ARCH20004 Digital Design 2019 Survival Guide

SURVIVAL GUIDE + PROGRAM ARCH20004, Sem 01 - 2019

CONTENTS

Subject Synopsis Digital design emerged out of advancement in technology during the post-war period of the 20th century. In the last two decades, contemporary design practice has drawn closer to technology, utilising computing power to speculate, generate, evaluate and implement the design. Computer-Aided Design (CAD) and Computer-Aided Manufacturing (CAM) are becoming fundamental to contemporary design discipline and has been widely used from aerospace to health and medicine, graphic design, architecture, landscape, engineering, performance and product design. Most objects use in our daily life utilised CAD or CAM in part or whole.

Computing allows calculations to be performed at faster and more accurate speeds. In 1960, Ivan Sutherland developed Sketchpad as the first computer graphic user interface. The translation of abstract calculation to visual graphic has since revolutionised the way designers represent and communicate their information. This also makes computing more accessible for the creative discipline. CAD software allows designers to manipulate and model complex virtual models which can be shared and worked on collaboratively. Computer Numeric Controlled (CNC) machinery allow the virtual model to be directly output as a physical object; the most widely known CNC machinery is the 3d printer. In this subject, we will utilise CNC machinery to help us create design outputs; we will harness computing power to explore design. Read more on “Computing helps with the complex design of modern architecture” on theconversation.com We will explore Digital Design through 8 lectures with three design briefs organised into modules. The content will introduce you to contemporary design thinking that emerges out of digital design practice. We will explore the field and consider the future of digital fabrication.

You will have a firsthand experience of “design to production” and managing the design process. Digital Design is never easy and seamless: things do not simply happen by pushing a button.

When you are ready, let’s digitally reconfigure your world!

Paul Loh ARB, RIBA

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SYNOPSIS

02

INTRODUCTION & USEFUL INFORMATION

04

MODULE 1

19

MODULE 2

27

MODULE 3

53

PORTFOLIO

81

Melbourne School of Design Faculty of Architecture, Building and Planning

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What is the aim of the subject: The subject aims to introduce and develop students skills in digital design.

Digital design is a way of thinking about design which utilises the computing power of technology. As a form of thinking and design methodology, it requires students to develop both lateral and logical thinking.

We will use technology and software current to the design industry and through series of design exercises and briefs, you will explore the use of contemporary techniques in digital design. You will learn to prepare and make drawings and models (both digital and physical models) as part of module submissions. At the completion of the subject, you will prepare a design portfolio; a well laid out document that communicates your design thinking and ideas. It should reveal your development as well as showcase your most amazing work. As you progress through your degree (no matter which design discipline), you will continue to build on your portfolio and it will form the basis for you to apply for jobs as well as build up your design credentials – in other words, it identifies who you are as a designer.

You will also need a portfolio for future entry into most Graduate design schools.

to re-work a specific part of your module (either the final drawings or module journal), you must revised the work as part of your final portfolio; please highlight this to your design tutor via email. While there is no reassessment of modules past the moderation date, we will take the re-worked drawings into account when moderating the final portfolio marks.

Role of your design tutor? Your studio is led by a tutor who will act as your mentor and instructor. They will guide you through readings and discuss different drawing, model making and representation techniques. They will provide constructive criticism and evaluate your work as it progresses. This session is hands-on and you must bring in work in progress; coming to studio with no work to show or discuss will constitute non-attendance.

What is a Workshop session? Similar to Foundation of Design: Representation (FoD:R), a workshop session is where you learn the technical skills of using industry standard software. We will use multiple software in this subject; refer to LMS for software list and where to access them. Most contemporary design practices utilise an “ecology” of software to develop a workflow. In this subject, we will work through some of this workflow. On the LMS, we have identified additional online learning videos and resources. You will be required to watch some of these videos prior to coming to the Workshop session.

Why is it important to attend Lectures? Lectures are where we disseminate key conceptual thinking, ideas and knowledge that will guide you through your modules. It will refer to specific case studies which help to make the weekly activities that constitute the module legible.

What is an online Quiz and how do I prepare for it?

During each lecture (see subject schedule) we will dedicate 15min to run an online quiz on LMS. The quiz covers the content presented in the lecture, previous weeks reading and workshop content. This is an assessed task and will contribute to 14% of the subject.

The quiz will be accessible using any android, iPhone, laptop or IPad. Note: Online quiz will only be opened to those attending the lecture as some questions are visual; you will need to attend Lecture to answer these questions. The quiz will be administered via the LMS.

What is a module? A module is a “block” of study that theoretically frames a particular set of learning outcomes. This subject consists of 3 modules. Within each module, we have weekly exercises that will lead towards completion of the module. At the end of the module, you will be required to “pin-up” the work in class and deliver a short presentation to your tutor and peers. You will prepare a portfolio to document the progression of your work including all work from M1, M2 and M3. You are required to submit a module journal at the end of modules 1 and 2, and your final portfolio at the end of module 3.

Do I need to bring my own laptop to a Workshop session? What if I do not have one? We suggest that you bring your own laptop, mouse and charger to the Workshop session. All software for the Workshop session must be installed on your system before class; there will be no help available to install software during the Workshop. If you do not have a Laptop, you can borrow one during the class; please bring a USB stick to save your work. The faculty’s recommended laptop specification can be found on the LMS.

If I mess up a module can I re-submit work or redo it at the end? The module is designed to be independent which means that marks are not carried forward. If you mess up, just move on. In this subject, we will require you to bring forward thinking in the previous module.

If you do not understand the content or workflow of a particular module, it is crucial for you to seek clarification before moving forward. If you feel strongly 4

SUBJECT OUTLINE

Is there any other equipment I need for this subject?

Refer to Page 11 of this guide. Also, refer to LMS for a list of software required for this subject. Most software we used can be downloaded for Free.

each module. Where we require you to upload your journal onto your online portfolio page, this must be completed before the start of your studio. Journal must be submit via Turnitin through LMS.

What is the LMS? The LMS (Learning Management System) is where we keep all digital content for the subject, including downloadable Module content, software links, lecture recordings, on-line learning resources, readings, journal template and where to purchase modelling material and much more. This is accessible from my.unimelb.edu.au

I have problems meeting the deadline due to illness and other family situations. What can I do? You can apply for extension for your assignment, see information on Extension & Special Consideration (p8).

I did not meet the submission deadline due to poor management of time – what do I do? You should complete the work to your best ability and submit the work as soon as possible. As we require you to submit your portfolio on LMS, the submission time will be recorded. There is a penalty of 10% deduction in mark per day. Note: there is no cap under University rules; i.e. if you are 7 days late, your assignment will be deduced by 70%. A copy will need to be made available on your WIX page.

How is my work assessed? The marks for the subject are allocated as follow: Module 1 (10%), Module 2 (25%), Module 3 (30%) Final Design Portfolio (21%) Online Quiz at the end of each selected lecture (14%) Although each module’s content is independent, they do rely on a progressive build-up of knowledge and skillset over the course of the subject. We, therefore, require you to attend 75% of all workshops and studios as a hurdle requirement for the subject. Attendance at lectures will be calculated through each quiz at the end of the lecture and attendance will be taken at every studio class and workshop. Note: Workshop attendance is noted via eventbrite ticket. You will recieved your ticket at least 24h prior to the session and please ensure your ticket is scanned before your workshop session.

Staff: Subject Coordinator: Paul Loh E-mail: paul.loh@unimelb.edu.au Room: 207, Melbourne School of Design Contact Hours: 10:00 - 17:00 (Monday, Wednesday & Thursday only) Please e-mail in advance (minimum 24hrs) if you wish to book for a consultation time.

Note: Paul is not in the University on Friday.

Senior tutor: Nancy Samayoa E-mail: nancy.samayoa@unimelb.edu.au Room: G01 Baldwin Spencer Building Contact Hours: 9:00 - 17:00 with Booking (Monday & Thursday only) Please e-mail minimum 24hrs in advance if you wish to book for a consultation time.

Each module will be accompanied by an assessment rubric which is used by your tutor to assess your work. At the end of each module, all work is moderated across the studios to ensure equity in marking. Your marks for each module will not be disclosed, but you will receive a rubric indicating your performance. If you have any questions regarding your level of performance during the semester, please contact your tutor in the first instance. You can also contact the senior tutor and the subject coordinator if you have specific concerns.

Tech Tutor Lead: Michael Mack E-mail: michael.mack@unimelb.edu.au Room: G01 Baldwin Spencer Building Contact Hours: During Workshop session only.

Please note that at the end of the semester, you are required to submit a portfolio and this is a hurdle requirement.

Tutors: Please refer to staff information on LMS; it lists their contact email address.

What is the deadline of each module? Deadline of each module is at the start of studio pin-up presentations of

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HANDBOOK INFORMATION

Overview: This subject continues the knowledge from Foundations of Design: Representation. We will examine rule base thinking in digital design through processes of modelling and fabrication. The ability to develop this thinking through contemporary techniques of abstraction, evaluation, formulation, and transformation of information as ideas and knowledge is critical in digital design.

• Developed skills in communicating complex relationships within a set of information through drawings, modelling and fabrication.

• Developed techniques and rigour in constructing design ideas from gathered information.

• Developed an understanding of abstract and analytical thinking and why it is pivotal in the design process.

In this subject, students will develop an understanding of design process and workflow through modelling of information, both as virtual data and physical material.

We will focus on using digital and physical modelling as iterative, progressive and generative techniques in developing form and design content.

• D eveloped an understanding of iterative modelling process and its application in contemporary design.

• Developed group communication.

A series of lectures will introduce students to a range of processes and techniques in digital design and its implementation in architecture and design. We will explore some of these methodologies in detail through a series of exercises and design brief. Students will learn rule based design process and developed skill in parametric design software resulting in physical artefacts using digital fabrication tools. The emphasis will be on developing a critical understanding of the relationship between media and its outcomes, and how modelling and digital fabrication techniques can encourage or constrain design possibilities.

skills

and

Generic Skills: Upon successful completion of this subject the student will have had the opportunity to develop the following generic skills : • Develop precision, rigour and skills in physical and digital modelling.

• To work cooperatively and professionally in group setting.

• Develop communication skills through drawings, models and other media.

Concluding each lecture, students will be introduced to self-teaching modules that will enable further experimentation with media and techniques. At the end of the semester, students will compile their individual portfolio with precision using reflective writing to anchor and demonstrate design thinking.

• Developed capacity for independent critical thought, creative inquiry and self-directed learning.

• Developed an understanding of how such techniques are related to creative thinking

Note: Students are encouraged to purchase a laptop with suggested faculty specifications. Further information can be found on https://msd.unimelb. edu.au/abp-specialist-it-support

Contact Hours: 52hrs Total Time Commitment: 170hrs. This is equivalent to 10H of study outside of contact hour over 12 weeks. There is 3h of presentation session during the exam period.

Further subject information is also available on Handbook: https://handbook.unimelb.edu.au/ subjects/arch20004/print

The University’s Grading Scheme:

Intended Learning Outcomes: Students who have successfully completed this subject should have; • Developed skills in digital thinking through modelling and learning to use parametric software.

• Developed skills and dexterity in using digital media and fabrication techniques.

working

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N

0% - 49%

Fail

P

50% - 64%

Pass

H3

65% - 69%

Third Class Honours

SUBJECT OUTLINE

H2B

70% - 74%

Second Class Honours Division B

H2A

75% - 79%

Second Class Honours Division A

H1

80% - 100%

First Class Honours

Tutorials & Workshops: *Workshops run weeks 3,4,5,8,9 & 10 and replace Thursdays Studio 2 (ST2)

Assessment Overview: • Online Quiz at the end of lectures or studio during Semester, (14%); • Module 1 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 12 hours of work per student), week 3 (10%); • Module 2 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 30 hours of work per student), week 8 (25%); • Module 3 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 36 hours of work per student), due during exam period, in week 14 (30%); • Final Portfolio submission: formatted journal containing collated and composed drawings and photography of model with reflective writing and references to lectures (equivalent to 25 hours work), due during exam period, in week 14 (21%).

Hurdle Requirements: • Studio and Workshop attendance of at least 75% of all classes • Submission of Final Portfolio is a hurdle requirement Lectures: Lecture 01 Wednesday 09:00 - 10:00H The Spot B01 (Copland Theatre);15min walk from MSD. Incidental Costs: (as published on Handbook) Students will be required to purchase drawing and modelling materials for the course excluding software; cost approx. $250 to $300 per person. Rhino 3d can be downloaded free for 90 days trial. Adobe Creative Cloud (CC) can be purchased on monthly bases.

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ST1/02 ST1/03 ST1/05 ST1/06 ST1/07 ST1/08 ST1/10 ST1/11 ST1/12 ST1/13 ST1/15 ST1/16 ST1/17 ST1/19 ST1/20 ST1/21 ST1/23 ST1/24 ST1/29 ST1/30 ST1/31 ST1/33

Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday

09:00 - 11:00 09:00 - 11:00 11:00 - 13:00 11:00 - 13:00 09:00 - 11:00 15:15 - 17:15 09:00 - 11:00 19:15 - 21:15 11:00 - 13:00 13:00 - 15:00 16:15 - 18:15 15:15 - 17:15 14:15 - 16:15 17:15 - 19:15 12:00 - 14:00 18:15 - 20:15 14:15 - 16:15 16:15 - 18:15 16:15 - 18:15 18:15 - 20:15 16:15 - 18:15 19:15 - 21:15

MSD 146 MSD 314 MSD 137 MSD 139 MSD 137 MSD 226 MSD 244 MSD 314 MSD 314 MSD 144 MSD 449 MSD 138 MSD 125 MSD 144 MSD 142 MSD 236 MSD 238 MSD 228 MSD 227 MSD 448 MSD 448 MSD 125

ST1/02 ST1/03 ST1/05 ST1/06 ST1/07 ST1/08 ST1/10 ST1/11 ST1/12 ST1/13 ST1/15 ST1/16 ST1/17 ST1/19 ST1/20 ST1/21 ST1/23 ST1/24 ST1/29 ST1/30 ST1/31 ST1/33

Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday

09:00 - 11:00 09:00 - 11:00 11:00 - 13:00 11:00 - 13:00 09:00 - 11:00 15:15 - 17:15 09:00 - 11:00 19:15 - 21:15 11:00 - 13:00 13:00 - 15:00 16:15 - 18:15 15:15 - 17:15 14:15 - 16:15 17:15 - 19:15 12:00 - 14:00 18:15 - 20:15 14:15 - 16:15 16:15 - 18:15 16:15 - 18:15 18:15 - 20:15 16:15 - 18:15 19:15 - 21:15

MSD 139 MSD 140 MSD 241 MSD 244 MSD 125 MSD 139 MSD 241 MSD 216 MSD 226 MSD 241 MSD 124 MSD 144 MSD 448 MSD 140 MSD 216 MSD 124 MSD 228 MSD 216 MSD 117 MSD 244 MSD 139 MSD 140

Workshop 01* Workshop 03* Workshop 04* Workshop 05*

Thursday Thursday Thursday Thursday

09:00 - 11:00 11:00 - 13:00 13:15 - 15:15 15:15 - 17:15

MSD B120 MSD B120 MSD B120 MSD B120

FURTHER INFORMATION Extensions

Special Consideration

Students may be granted an Extension of up to 10 working days if the student’s capacity to complete work by the due date has been affected by significant factors beyond their control and which can be verified by supporting evidence only. These factors include the following circumstances: illness or medical condition; trauma arising from a significant event such as a car crash; jury duty; illness of a person for whom you are the primary caregiver. Extensions will not be granted for the following circumstances: Computer failure, assessment tasks in other subjects, employment responsibilities, social commitments, stress or anxiety associated with completing assessment tasks, study difficulties, language difficulties, moving house, minor illnesses, and similar.

Applications for extensions of more than ten days should be made as Special Consideration applications via the Student Portal. Please note that submission of an application does not mean automatic approval of the extension. You should continue to work on the assignment and hand in your work as soon as possible to avoid penalty should your application for an extension not be approved. Applicants will be advised of the outcome of an application within five days of the receipt of the application and supporting documentation, unless their application relates to a final assessment task in a subject, in which case applicants will be advised of the outcome within five days of the release of final subject results.

Special Consideration is available to students who have had their studies significantly impacted by shortterm circumstances reasonably beyond their control such as acute illness. Information about eligibility for Special Consideration and application processes can be found here: http://students.unimelb.edu.au/ admin/special

All extensions requests must be submitted with a completed form via email to the Senior Tutor (nancy. samayoa@unimelb.edu.au) three days before the assignment submission deadline. Students who experience the onset of adverse circumstances less than three days prior to the due date must request an extension as soon as possible and prior to the assignment due date. The form can be downloaded on LMS. Supporting documentation (e.g. medical certificate) must be submitted along with the extension form. Applicants will be advised of the outcome of an application within three working days of receipt of the application.

Note: Please inform the Senior tutor if you have applied for a Special Consideration after you submit the application. This is so we can follow it up on the system.

Policy The ABP Student Policy Guide can be accessed via the LMS page for all ABP subjects. It contains important information on student responsibilities and expectations, including time commitment requirements and key enrolment dates; instructions for extension and special consideration applications; instructions for requesting a review of results; and important information on academic misconduct, especially regarding plagiarism, collusion and cheating.

Further information about applying for an extension can be found here: http://ask.unimelb.edu.au/app/ answers/detail/a_id/5667

Academic Skills Unit The University’s Academic Skills Unit provides handouts, skills guides, booklets, and videos to guide and support students in developing time and task management skills, writing skills, speaking and presentation skills, language skills, and, importantly, research and referencing skills. These resources can be accessed from the Academic Skills Unit website.

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AVOIDING PLAGIARISM Plagiarism and Collusion: Plagiarism is the act of representing as one’s own original work the creative works of another, without appropriate acknowledgment of the author or source. Creative works may include published and unpublished written documents, interpretations, computer software, designs, music, sounds, images, photographs, and ideas or ideological frameworks gained through working with another person or in a group. These works may be in print, electronic or other media. Without full acknowledgement of the debt to the original source, any of the following would be an example of plagiarism: direct duplication, by copying (or allowing to be copied) another’s work, whether from a book, article, website, another student’s assignment, etc.; close paraphrasing of another’s work, with minor changes but with the essential meaning, form and/ or progression of ideas maintained; piecing together sections of the work of others into a new whole; or submitting one’s own work which has already been submitted for assessment purposes in another subject.

Collusion is the act of representing as one’s own work what is in fact the result in whole or in part of unauthorised collaboration with another person or persons. Collusion involves the cooperation of two or more students. Both the student presenting the assessment deliverables and the student(s) willingly supplying unauthorised material are considered participants in the act of academic misconduct.

Cheating (e.g. using banned material in an examination), plagiarism, and collusion will be dealt with according to the University’s policy on academic misconduct. Please be aware that the penalties are severe.

Plagiarism Detection Software: The Faculty routinely uses Turnitin plagiarism detection software, which may be applied to all assignments from a subject, to suspect work, or to a random selection of assignments, as determined by the subject coordinator. Students will be advised if the software has been applied and of any issues identified by the application of the software.

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AVOIDING PLAGIARISM Using Sources and Avoiding Plagiarism

(This document has been prepared with the assistance of the Academic Skills Unit and the ABP Teaching & Learning Unit)

Why do you need to acknowledge the work of others?

Most university writing tasks require you to draw on a range of academic sources to support your claims, arguments and ideas. To distinguish between your thoughts and words, and those of others, it is essential that proper acknowledgement be provided. By acknowledging your sources, you are also giving credit to the original authors or creators of the work you are using, while placing your work in the context of previous scholarship.

What is plagiarism?

Plagiarism is the act of passing off others' work as your own. This means all types of work, including published and unpublished documents, images, photographs, research, ideas, design and audio-visual material. Note that plagiarism can be either deliberate or accidental.

What is collusion?

Collusion is the act of representing as your own, work that is the result of ‘unauthorised collaboration with another person or persons’ (University of Melbourne 2005). This includes copying another person’s work even if you have their permission. In this instance both the person presenting the work and the person/people involved in supplying the material will be investigated and may be charged with academic misconduct.

Penalties for plagiarism and collusion Plagiarism and collusion are serious offences. If you are found to have deliberately or accidentally plagiarised or colluded with others, you will be formally investigated. If the instance is severe you will be charged with academic misconduct. This may lead to failing the subject, suspension from your course or termination of your enrollment. Accidental plagiarism is not an excuse for academic misconduct and you will still be held accountable.

How can I avoid plagiarism?

To avoid plagiarism, work on building your academic skills. For example: • Manage your time to avoid completing assignments ‘at the last minute’.

• Make a conscious effort to develop your reading, note-taking and writing skills as well as your English language (for example, by accessing ASU programs and services and/or through self-study).

• Keep detailed notes of all your sources, including all reference details and page numbers.

• Analyse and evaluate what you read.

Basic referencing hints • Always acknowledge your sources by citing others’ work (including their ideas, images or exact words) in the body of your work and in the reference list or bibliography.

• If you are quoting someone’s words, use quotation marks and ensure that you quote the original words exactly.

• If you are paraphrasing someone’s work, you must use your own words, while still retaining the author’s original meaning.

• When citing your sources, you must follow a referencing style (e.g. Harvard or Chicago) consistently and to the smallest detail. Style guides are available on the University's library website.

-------------------------------------------------------------------------------------------------------------------------------Sources and further information • Academic Skills Unit 2010, Using sources and avoiding plagiarism, University of Melbourne, Parkville, viewed 23 May, 2011, <http://www.services.unimelb.edu.au/asu/download/5297-Avoiding-PlagiarismWEB.pdf>.

• University of Melbourne 2005, What is plagiarism?, University of Melbourne, Parkville, viewed 23 May, 2011, <http://academichonesty.unimelb.edu.au/plagiarism.html>.

• University of Melbourne Library 2005, Common citation styles, University of Melbourne, Parkville, viewed 23 May, 2011, <http://www.lib.unimelb.edu.au/cite/>.

• La Trobe University, Library Guide http://latrobe.libguides.com/content.php?pid=62289&sid=458378 • La Trobe University, ‘Striking a Balance’ http://latrobe.libguides.com/content.php?pid=62289&sid=458393 10

MATERIAL & EQUIPMENT

The following materials from Foundation of Design: Representation can be reused for this subject. For their specification, you should refer to Foundation of Design: Representation Survival guide.

Material & Art supply shop:

Drawing equipment: - A5 or A4 Sketchbook - Pens - PVC Eraser - Graphite Pencil,5H, 2H, HB, 2B, 4B - Metal Rulers, - Set squares, - Scale Ruler, with 1:100, 1:20, 1:250, 1:500 scale.

- A3 tracing pad or Detail paper

Melbourne Artists Supplies – large selection of paper, cardboard, Perspex, metal tube, timber dowel, colour film and other modelling equipment (on Little La Trobe St), www.melbourneartsupplies.com.au

Model making tools: - A3 Cutting mat, - Pen Knife, - Scalper, - Adhesive & Tape, - Glue stick, - UHU, - PVA Glue, - Masking Tape, - Bull nose clip Folios and carry case: Plan or Tube for large format drawings. NOTE: do not use folio with sleeve as it is clumsy to use and the glossy surface makes your artwork difficult to read.

Empty shoe box; this is great for storing small physical models.

Daiso - sells a variety of objects, materials and drawings equipment. http://www.daisostore.com.au/ (there is a store on Swanston St)

Eckersleys - Art supply store: www.eckersleys.com.au Deans Art – Art supply store: www.deansart.com.au Riot Art and Craft – General craft material with limited range: www.riotstores.com.au

Computer: We recommended that you acquire a laptop for the course. A good laptop will last you throughout your study. Note: this is not a requirement. If you do not have a laptop, you can use a computer in the Faculty computer lab or computers distributed around MSD and Baldwin Spencer building.

You can find a faculty recommended specification suitable for most software: https://msd.unimelb.edu. au/abp-specialist-it-support. Student licences for common software can also be found on the above link.

Please bring a USB stick to all Workshop session.

Refer to LMS for a list of software required for this subject. Most software we used can be downloaded for Free or with a 90 days trial.

Note: A Windows operating system is required for the software needed for Digital Design. All workshops are taught using the latest version of software (unless otherwise noted on the LMS); English language should be set as the default language.

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EMAIL PROTOCOL

BODY

When sending University emails there is a standard that all emails are required to meet. If emails fails to meet these standards a response will not be provided.

• Briefly and succinctly state the request/inquiry. It is best not to make this too long or include superfluous information.

Please note that we are in an academic environment.

Text message short-hand (lol, gonna, needa, wanna etc) and emojis should never be used in formal emails.

• You must include all relevant information. For example if your email is regarding a workshop/ studio, you must include the date, time, workshop number and tutor.

There are 4 main components to an email. Subject, greeting, body and signature. Please see the rules that you must adhere to for all sections below:

• Ask yourself: ‘What information will the person you are emailing require in order to help you with your request’.

SUBJECT

• Keep it brief and to the point. We will not read extensive essay length emails.

Must include: • Course Subject Name: DD • Maximum of 5 words describing email content. ie: ‘Extension Request’ , ‘Request for Information’, ‘Fridays Studio 1’ etc.

SIGNATURE

• Sample subject: DD Extension Request

• Kind Regards & Regards are both appropriate methods of signing an email.

• Include your full name, Student Number & Tutorial Number.

GREETING • Hi, Hello and Dear are all acceptable salutations.

• You must address the person by name that you are emailing, saying ‘hi’ alone is not acceptable.

• For example to address the Senior Tutor of this subject Nancy Samayoa a greeting may look like one of these: 1. Dear Nancy, 2. Hi Nancy, 3. Hello Nancy, • If the person you are emailing has a title such as Dr or Professor please use that when addressing them

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PROGRAM

14

SEM 1 , 2019

15

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NAVIGATING THE LMS This is accessible from my.unimelb.edu.au

Announcement: From time to time, we will make specific announcements to draw your attention to specific aspects of the subject.

Download your survival guide and programme here.

Module content can be view here.

All workshop session information is located here.

Required drawing / modelling equipment, software and hardware.

Quiz will be made available during lecture Find contact email to all staff members.

Lecture is captured on a weekly bases. It usually appears 24h after recording.

This tab will be availble 1 week before None-teaching week We will need you to fill in the SES survey in week 12!

More information on student policy including guide on Special Consideration etc

Check out the information on Fablab website, including Level 1 induction (compulsory if you want to use the Fablab)

Lynda contains thousands of tutorials for various software including those you will be using in this subject.

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MODULE 1

Diagramming Design Precedent MODULE 1 BRIEF: (10%) In this module, you will digitally model a precedent study (a pavilion) from orthographic information provided on the LMS. We will explore diagrams as a means of communication.

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WEEK 1 LECTURE 1: WHAT IS DIGITAL DESIGN? We will take an overview of the landscape of Digital Design now. We will discuss the role of technology in design and touch on the role of diagrams as a medium for communication. This lecture will examine the various types of diagrams used in design and its consequences. The latter part of the Lecture will cover the content and structure of the subject including material and equipment, LMS and online learning Resources, Quizzes, housekeeping rules, assessment + Introduction to the M1 task.

Tips: Use the scale bar or dimension provided on the plan to scale your model.

Ask yourself: What is the concept of your pavilion? This will help you to focus on what to model. Do not model everything; model what is important and relevant to the design when viewed at 1:50 scale.

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MODULE 1 Tutorial content: Attend Week 1: Studio 2 - watch videos: What is Digital Design? before your class.

Tutorial introduction and attendance.

Seminar on reading + Tutor to discuss the role of precedent studies in design and assign a pavilion to individual students. Conclude the session by going through the LMS.

Reading: Zeara Polo, A. 2010. Between Ideas and Matters. You can download the reading from LMS.

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Ensure you have been assigned a precedent study during Studio. If you have not been assigned a precedent study, please contact your studio tutor via email. You can find your tutor’s email on LMS under “Staff Information”.

2. Set up your Wix page (you can continue to use the same Wix address from FoD:R) and email your Wix page address to your tutor. [0.5h] 3. Download plan, section and elevation drawings from the LMS for your assigned pavilion. [0.5h] 4. Import the drawings into Rhino 3D and begin modelling the information; Rhino 3D is taught in Foundation of Design: Representation as a prerequisite to this subject. If you need to refresh your 3D modelling skills, refer to “Workshop & Software” tab on the LMS. [5h] 5. Use the preset isometric view on Rhino and adjust the projection to “parallel”. Print 2 views on white background on separate A3 paper to show your progress for Week 2: Studio 1. [0.5h] 6. Bring your laptop and digital file with you to Week 2: Studio 1 so you can discuss your work with the tutor. If you do not have a laptop, please save your file onto a USB stick and bring this to class. You can use the PC in the studio.

7. Check your email for an invite to Archistar, It might be in your Junk or Spam folder. If you have not recieved the email please email Nancy Samayoa; include your name, student number and studio number.

Basic: Can’t remember how to model some of the complex surfaces? You can refresh your Rhino modelling skill on the LMS - check out the Archistar platform for easy and digestible online videos.

Advance: Archistar has a few modules on Architecture Diagram (AD101 + AD103). It provides some neat tricks on how to make clear diagrams, including extracting shadow from Rhino to Illustrator.

It covers manipulating massing, make 2d, basic render and illustrator workflow.

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WEEK 2 Tutorial content: Tutor to discuss Reading by Zeara Polo (20min). Watch online video on “Circulation” [0.5H]. Tutor to review progress model and discuss the isometric views and diagrams requirements.

Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture.

STUDIO 1

WEEKLY TASKS

CHECKLIST



1. Continue to work on your Rhino 3D model. [1.5h] 2. Learning from the readings and video, extract key geometry or features of your pavilion study and use it to explain the circulation and threshold as diagrams (in isometric only). Make 2d in Rhino of your digital model and export line drawings into illustrator. Below are a few hints on the diagrams: [2h total] A. Circulation diagram. Where is the entrance and exit of the pavilion?

Imagine how people flow through the space using the idea of ‘shortest path’?

Are there spaces for gathering? See Lecture 1 and 2 for example.

B. Threshold diagram. Where is the threshold? What defines it? Is it the door or opening or a series of levels? Is this best shown through a section isometric? How is privacy defined in your pavilion?

3. Print your draft diagrams on A4 paper in isometric view only, and bring them to show your tutor in Week 2: Studio 2. [0.5h] 4.

Download the module journal and complete answer to readings. [0.5H]

What is the module journal? From this module onward, you will keep a module journal (the template can be downloaded from LMS). Follow the template and you will have a Module journal which forms part of your module submission.

Make 2D Diagrams in Rhino showing the separation of various component of the pavilion onto multiple layers indicated by the different colours.

Isometric view of model in Rhino.

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MODULE 1 LECTURE 2: Diagram Works. The function of the diagram goes beyond communicating simple ideas but at times can be used as a generative component of design. Quiz towards the end of this lecture.

Tutorial content: Tutor to review diagrams and digital model. Tutor to run through submission template for both journal and drawings. Tutor to prepare students for M1 presentation.

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Complete your digital model in Rhino and set up isometric views. Adjust line weights in illustrator.[1.5h] 2. Complete the two diagrams taking on board comments from your tutor and lecture content.[1.5h] 3. Compose the isometric drawings and 2 diagrams onto the 594 x 594 drawing template; download the template from LMS. Print drawings to correct scale for Week 3, Studio 1 pin-up session. [1.5h] 4. Complete the module journal and print it on A4 paper for next week Pin-up. Journal also needs to be submitted on LMS through Turnitin before start of your Studio 1 in week 3. [1H]

What is a pin-up? At the end of each module, we will ask you to pin-up your work in studio. You will prepare a 2 min verbal presentation of your work.

In this module, use the following as a guide for your presentation: A. What is the key concept of your precedent study?

B. Where is the Threshold or In-Between space of the pavilion?

C. How does the circulation inform the design?

Note: work must be ready at the start of your studio for pin-up. Listening to tutor’s comments and learning to critique each other’s as well as your own work is part of studio learning. This help you to be more critical of your own work.

Submission Checklist • M1 A1 Crop - Printed in Colour • M1 Journal Submitted to Turnitin prior to Week 3 studio 1 • M1 Content uploaded and curated on your Wix Portfolio Website

Printing: We recommend you to use Plotter 2 or 3 in the MSD print room; matt paper only.

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RUBRIC Toyo Ito - Serpentine Pavilion 2002 Matt Greenwood - 000000

Isometric 1:50 0

1000

3000mm

TR

CE

AN

TR

EN

EN

AN

CE

Solids

Structure

Primary Circulation Space

Glazing

Structure

Circulation paths

Circulation 1:200

Thresholds (Permeability) 1:200

Layout Example - Module 01

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MODULE 1

Proportion of Total Mark: 10% Individual Mark

Digital Modelling & Drawing Presentation

Journal & Portfolio website

70%

30%

H1

As H, plus student has exercised dexterity over the digital model, isometric drawing and diagrams.

Diagrams are precise and capture the conceptual thinking of the precedent study in an imaginative manner. Excellent verbal presentation.

As H, plus journal is composed and Portfolio website is presented clearly with annotation/narrative structure.

H

As P, plus drawings presented are precise in execution, and there is an understanding of the conceptual thinking behind the precedent study. There is a good attempt at the digital model. Diagrams are clean and well composed. Good verbal presentation.

As P, plus journal is well laid out and complete.

There is an attempt to personalise the website.

P

Student attempts the digital model task and has presented the required set of drawings and diagrams as outlined in weekly tasks. Diagram is simplistic in its interpretation. Poor verbal presentation.

The student has attempted the journal, but it is not complete. There are attempts to answer the questions to the readings. There is an attempt to set up the WIX portfolio page with reasonably legible formatting.

N

Drawings and Digital model is incomplete or poorly executed with an untidy layout. Diagrams did not demonstrate an understanding of the concept in the assigned precedent study or is inappropriate. No verbal presentation.

Student fails to upload content or set up a Wix page. Student fails to complete journal or poorly execute journal with no relevance to the assigned precedent study.

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MODULE 2

GENERATING DESIGN THROUGH DIGITAL PROCESSES MODULE 2 BRIEF: (25%) In this module, you will explore digital fabrication and parametric software through two tasks. Task A will require you to work with surface and laser cutting techniques (recalling Module 3 of FoD:R). In task B, we will work with volume and 3D printing techniques. In both tasks, you are to use a 150 x 150 x 150mm bounding box or frame; this is not a physical boundary but a framework from which you will operate in. The aim of the module is for you to understand the iterative nature of digital design and work through a workflow from design to physical outcome.

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WEEK 3 Tutorial content: Pin-up of M1 drawings. Ensure your journal is uploaded onto WIX page before your class. Reminder to attend Workshop#1 this Thursday - have you go your ticket?

Before you start: Have you downloaded the Module 2 journal and the assessment rubric?

STUDIO 1

TASK A: SURFACE AND WAFFLE STRUCTURE

CHECKLIST

Within the 150 x 150 x 150mm bounding box, you will create two surfaces in Grasshopper. In this task, you should use the edge of the bounding box as the parameter. We will explore surface patternation in Workshop #1 and developable surface for laser cutting in Workshop #2.

WEEKLY TASKS 1. Before Workshop 1, you will need to log-into the Archistar website to complete the “Grasshopper Essentials” course [3.5h]. Note 1: You do not need to complete the exam but we encourage you to do so; this is optional.

Note 2: Week 4 lecture quiz content will be based on this online material.

2. Install the Grasshopper for Rhino Plug-in [0.5h]: refer to LMS for instructions.

3. Attempt the following step by step guide before the workshop: [1.5h] a. Set up a Box in grasshopper (150 x 150 x150). b. Deconstruct BREP to obtain the edges. c. Divide two opposite edges and connect points with one line. d. Loft the two lines; surface must be doubly curved and not planar. Repeat step c + d. e. Explore “Panelling Tools” plug-in and see if you can triangulate the surface using your knowledge from FoD:R. Hint: “Grid Domain Number” and “panel connections” component could be useful.

4. Complete Level 1 Induction for Fablab. This induction is online and is compulsory as your will be using the Fablab in this Module. edsc.unimelb.edu.au/maker-spaces/training-centre

Lasercutting and 3d-Printing Induction: We have organized free laser-cutting and 3d printing induction session (typically 1h) at the Fablab and NextLab. You will recieved a $10 credit for attending the 3d printing session only. This is not compulsory but we strongly recommended it as you will be using both technology in the coming weeks during this module.

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WORKSHOP SESSION 1 Workshop content: Bring your laptop with the Grasshopper plug-in loaded on your laptop to the workshop session. We will introduce you to a Rhino Plugin that facilitates parametric modelling. Please also install the following plug-ins: Panelling tools for Grasshopper, Weaverbird and Lunchbox, see LMS.

LECTURE 3: Parametric modelling. What is Parametric Modelling? This lecture will examine the role of parametric modelling in architecture, art, graphic and performance design. How does parametric design change the way we think? What is a Matrix drawing? Quiz towards the end of the lecture.

WORKSHOP #1

WEEKLY TASKS

CHECKLIST

1. In the workshop, we will go through “Studio 1, Item 3”. We will also explore the idea of data structures to give you a deeper understanding of the process. Spend some time to revise the content on page 30-35. [0.5H] 2. Continue to work on the definition, take 2 screenshots of your parametric model and print them on A4 paper. Bring drawings, laptop and design file to Week 4: Studio 1. [4h] 3. Prepare for Week 4 reading and attempt the questions in the journal template[1H] Each workshop is accompanied with workshop notes (see next two pages).

It contains useful information on the software and identifies key concepts and terminology used in the Workshop session. They do not replace or duplicate workshop content. You will also find a folder on LMS under: Workshops & Software In this folder, you will find additional online tutorials (including Archistar tutorials) to extend your skills.

Baked surface examples created from the lofting of 2 lines in grasshopper from the de-constructed cube.

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WEEK 3 Introduction: The workshop is intended to introduce digital workflow using Grasshopper. Grasshopper is a plug-in to Rhino software. Unlike other plug-ins, Grasshopper (GH) uses parameters to define geometry otherwise known as parametric modelling; the ruleset behind geometry is declared in the first instance. It is essentially a scripting software that doesn’t require you to write code; we called visual scripting. GH is used extensively in contemporary architectural / design practice because it’s an open source and free software with an international community of users, visit http://www.grasshopper3d.com. You will also find more online tutorial and recommended reading on Grasshopper on the LMS, including links to download the plug-in.

The workshops aim to allow you to develop an understanding of how to construct and design a rule-based systems.

It should be seen as a workflow rather than a dogmatic application of the digital tool. In the first two workshop, we will focus on manipulating data structure in Grasshopper which is one of the most fundamental logic underpinning this visual scripting program. The workshop takes you over the workflow to complete the Module task, but it is by no means comprehensive. We encourage you to explore the large number of resources available on the internet. Like all creative tools, there is no one single right or wrong solution or path to get to your desired outcome.

The parametric software requires you to exercise design curiosity and judgement in the process. The information below are some critical aspect of visual scripting relevant for each week’s workshop. Note: This does not duplicate content of the workshop. The workshop is an active session. You will need to bring your laptop or files with you.

The fastest way to learn software is by using it; sitting in a workshop observing the session will not help you learn.

Grasshopper Interface: Toolbars, Menus and Icons

Container: An input node that can ‘hold’ a specific type of data. This is a Point (pt) container and can hold the data of one, or many points.

Component: A node that takes an input and output. Each component will execute a specific action on a single or group of input. This rectangle node creates a rectangle around an input point.

Wire: Wires connect containers and component nodes together.

Writing a Grasshopper Definition The process of writing a script or algorithm in Grasshopper usually involves linking one or more inputs to a process, then creating an output. These are usually referred to as writing a ‘definition’.

Objects in red denotes a preview of a Grasshopper object. It is not selectable in Rhino, and can only be manipulated in grasshopper.

Input: Grasshopper inputs consist of containers or nodes with referenced geometry from Rhino, or numeric values assigned by sliders.

Process / Associative: These are the steps or modifications that are applied to the input. In this case, we are creating a rectangle and extruding it to form a box.

Output: This container holds the result of the manipulation. This is the preview that is shown in the Rhino interface.

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WORKSHOP SESSION 1 Understanding Data Structure: A data structure or how the components organize information is a critical aspect of visual scripting. By understanding how the information is organized, you can retrieve, move or delete it. This is powerful as you are essentially manipulating the data. You can read this article on The Why and How if Data Trees: http://www.grasshopper3d.com/forum/topics/the-why-and-how-of-data-trees Single Value Single values are individual pieces of data containing only one piece of information. The example to the left shows a single point (1,0,0) stored in list {0} at index [0]

Data List A data list is created when multiple pieces of data are stored together.

Here, there are three values: 3,5 and 7.

They are stored in list {0} under indexes [0,1,2] Using a component called the “param viewer”, we can see that there is 1 “Branch” of data with N=3 pieces of data. This is visualised as a single branch on a tree.

Data Tree A data tree consists of multiple branches of multiple items of data.

In this example, there are 3 branches called: {0,0}, {0,1}, {0,2} Each contains 3 points under indices [0], [1] and [2].

We can see by the numbering of the points, that the data has been ‘sorted’ to first recognise the groups of points by columns. These are represented by the branches {0,0}, {0,1}, {0,2}.

Each point is then labelled with their index number [0],[1] or [2] by row.

{0,0}

{0,1}

{0,2}

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Manipulating Data Structures Now that you understand the primary types of data structures, It is key that you are able to recognise and manipulate the data structures to suit your purpose.

Mixed Data Structure This is a combination of lists of data within several branches in a data tree.

Simplified Data Structure Similar to above, but note that the labels for the branches consist only of single digits instead of multiple.

This makes finding and using specific data branches much easier and it is usually recommended to use as simplified data structures as possible.

Flattened Data Structure A flattened tree removes all branches and bring all items into a single list. This can be seen as moving all data ‘down’ a level.

Flattening a tree removes branch information about a data structure and is usually not recommended. However, it does have uses in locating and utilising single items in a data tree.

Grafted Data Structure The opposite of flattening. All data is moved ‘up’ a level into their own individual branches.

Grafting is good for cross referencing data with one another and data matching certain groups of data.

Note that all these data manipulation tools are vital to using grasshopper and are available on every component from a right-click menu. These appear as icons next to the components.

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WORKSHOP SESSION 1 List Item This component calls an item based on an index. Notice by calling index [0], it will select the index [0] of all 3 branches.

The green indicates a selected object in grasshopper.

Flip Matrix Flipping a data tree swaps the branch and index information. In this case, it swaps the data so the rows are recognised before the columns.

Flattened List By flattening the list, you can select an individual item from the data tree.

Exploding Tree [BANG!] Exploding a tree allows each branch to be individually accessible.

Entwine Does the opposite of Exploding a tree and allows you to combine multiple branches of data together while still retaining branch information.

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Try to build these definitions yourself and explore the various components. It will help you better understand Data Structure.

Scenario: Below are a few practical scenario that usltilised some of the component discussed above.

Example 1: Simple Data Tree

Data Tree

List component allows you to isolate the items from a list. In this example, we isolated edge with an index = 4. This is highlighted in green colour on Rhino.

Index

Data type; it can be curves or a value like an integer (whole number)or floating number (with decimal point).

Note the Data tree is written as {0;0}. The first “0” on the left refers to the cube and the second “0” refer to the set of edge curves.

Example 2: Matrix like Data Tree

The data tree shows nine rows of points labelled 0 to 8. Note: GH do not count from 1; zero (0) is used as the starting number.

Param Viewer

co lu

w ro

m

n

The Param viewer shows a graphic representation of the branches.

The Index show coordinate value of the points {x, y, z}

Example 3: Flip Matrix Flip Matrix turns rows into columns and columns into row. So, each branch now contains seven indexes of data point.

The numbering of data points on the surface will correspond to the data list.

n

m

lu

co 34

w

ro

Example 4: List Items on 2D matrix

When you list an item from a 2D matrix, GH identifies the set of data points index as (4) on the branch regardless of columns.

Related components are: Shift List, List Length, Cull Index, Cull pattern and Cull Nth. Plug in these components to see what they do.

Example 5: Flatten tree structure Sometime you only want to select one data point only. The easiest way is to flatten the tree structure.

Flatten removes all the hierarchy of rows and columns and organized the data point into a sequence, 0,1,2,3 etc...

In other word, it removes all branch information.

Example 6: Explode - Weave - Entwine Here, we can use a combination of the components we have used previously to cull certain points using a pattern, weave the new data together in a given pattern, then use these to pattern a surface by joining the new ordered list by a polyline

Using the same data set as above, we can manipulate the data to draw zig-zag curve on the surface.

1. Explode Tree. This isolate the branches out, in this case, we have 7 branches.

2. Cull. Cull allows you to remove data set.

We used Cull Pattern in this case, by inputting a pattern: “True, False” or “False, True” we can isolate the data points.

3. Weave. The data points are weaved into a single branch so we can draw a line following the data points.

4. Entwine. Take two single branch and turn them into a tree with two branches.

If all data points is in a single branch, we will draw a curves from Weave 1 to Weave 2. To avoid this, we use the Entwine component.

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5. Output. We use a NURBS curve component which draw a curve from point to point. The order of the points is therefore important.

Note: There are three degrees of curve.

D = 1; produce a straight line with zero bend D = 2; produce parabola or arc with one bend.

D = 3; produce Bezier curve with two bends

WEEK 4 Tutorial content: Tutor to discuss Module 2: Task A & reading. [1H] Tutor to discuss Matrix drawing, review Task A and issues on scale. Go through any questions on Grasshopper as a class; use the example on LMS.

Reading: Kolerevic, B, 2003.

Architecture in the Digital Age.

Remember to attend Workshop#2 on Thursday.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Continue to build on your Grasshopper definition incorporating feedback from your tutor; create a second surface below or above the primary one you have generated. Avoid intersecting the two surface unless you like a challenge! [2h] 2. Before Workshop 2, you will need to log-into the Archistar website to complete the “Grasshopper Designer” course [3.5h]. You do not need to complete the exam but we encourage you to do so; this is optional.

Note: Week 6 lecture quiz content will be based on this online material.

Isometric view of Task 1 model in Rhino.

Surface divided into strips for fabrication.

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WORKSHOP SESSION 2 LECTURE 4: Digital Fabrication techniques. This lecture will examine the various techniques of digital fabrication in architecture and design. How digital fabrication changes the way we design and make things? Quiz towards the end of the lecture.

Workshop Session 2: This workshop session will take you through the workflow of creating sections or waffles of your surface and panelling the surface using grasshopper. It will also cover techniques and file preparation for laser cutting.

WORKSHOP #2

WEEKLY TASKS

CHECKLIST

1. Continue to build on your Grasshopper definition; we want you to produce a “waffle” structure between the two surfaces and follow the guidance in the workshop to “unroll” the surface for laser cutting.[2h] 2. In addition, we want you to implement surface pattern on your design; Workshop 2 will introduce some key techniques.[2h] 3. Matrix. Using the template on LMS, you will demonstrate the variations of your GH definition as a drawing which we call a matrix. When setting up the matrix, it is important to understand what parameter is variable and what is not. Please annotate the matrix; what is the parameter you are changing. Annotation should identify areas that you find interesting- see template on LMS. [1.5H] 4. Prepare your digital model for review with your studio tutor in Week 5: Studio 1; send your model for laser cutting after this session. Refer to the laser cutting guide on the Fablab website. Use 1mm mount board for waffle structure and ivory card for the panelled surface. [1H] Note: Mount board is difficult to fold so it is used for the structure only.

Lofts

1.1

1.2

1.3

1.4 {20,-33,0}

{110,-101,150}

{80,101,150}

{35,101,150} {20,56,150} {20,-18,150}

{20,-18,150}

{20,11,150}

{140,-48,0}

{20,56,0} {20,26,0}

Paneling Grid & Attractor Point

2.1

Paneling

3.1

{65,-48,0}

{20,86,0} {80,-48,0}

{20,-33,0}

{35,-48,0}

2.2

2.3

2.4

{91,-93,136}

{93,35,74}

{217,35,0}

{93,35,-76}

3.2

3.3

3.4

+

Example of the variable matrix drawing for Module 2 Task 1.

0mm

100mm

200mm

300mm

Key {0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points

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WEEK 4 Vectors: Vectors are critical in manipulating geometry in GH. A Vector contains two components: Magnitude and Direction.

Magnitude: Refers to the â&#x20AC;&#x2DC;strengthâ&#x20AC;&#x2122; or distance of a vector. A vector that is defined by two points has a magnitude equal to the distance between those two points. A Unit Vector, or a Vector that has been Unitized, is a vector with magnitude equal to 1.

Direction: All vectors must have a start point, and a direction which indicates which way the magnitude of force is applied. The world coordinates can be used to give perpendicular direction to a vector.

For example, a Unit Z Vector is a Vector of Magnitude 1 in the direction of the positive Z direction. Vectors are not visible geometry, but are references to the manipulation of other objects.

Visualising Vectors

In the above example, a Vec2Pt (Vector from 2 Points) is used to create a vector between point 1 and point 2. The length of the vector is shown as an output from the component.

Utilising Vectors

Vectors can be used with components that require magnitude and directional inputs. In this case, the vector created from the points is used to move a rectangle.

Combining Vectors

In the above example, the Angle and Degrees components are used to measure the angle between two vectors. In many cases, multiple vectors may be needed to perform a series of transformations.

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WORKSHOP SESSION 2 Normal Vectors

Normal Vectors are those that are perpendicular to the surface. In this example, the surface is divided, and the perpendicular vector, i.e. the normal vector, is displayed at each of these points.

Contouring using Vectors

The contour component produces section cuts of a surface [S] from a starting point [P] in direction [N] with a set distance [D] apart. For this example, we use the world unit vector â&#x20AC;&#x153;Zâ&#x20AC;? as the direction of the contours. The starting point is generated using the deconstruct brep component which breaks any brep down into its constituent parts.

In this example, a custom vector is generated from opposing sides of the input surface geometry and used to define the direction of the contours. From these examples, we can see how an understanding and ability to manipulate vectors is fundamental to grasshopper.

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WEEK 5 Tutorial content: Tutor to review model for laser cutting and check for errors. Go through laser cutting guide and submission protocol on Fablab website.

Remind students to attend Workshop #3 on Thursday.

STUDIO 1

TASK B: Solid and Void

CHECKLIST

Within the 150 x 150 x 150mm bounding box, you will subdivide the box into 9 cubes in grasshopper. In this task, you should use the subdivided cube as the primary parameter. We will explore the idea of solid and void in Workshop #3 with 3D printing techniques. You will be required to iterate your design over the three weeks; resulting in a minimum of 3 3d print model, each with the 50 x 50 x 50mm boundary.

WEEKLY TASKS 1. By now you will have completed Task 1. If not, you should aim to complete this before next workshop. If you still have not send your lasercut file to the Fablab, please do so by this Thursday at the latest.

2. If you are ready to move forward, try the following: [2h] A. Set up 150 x 150 x150 cube as Task 1.

B. Divide the cube into 3 x 3 x 3 array of cells (9 in total).

C. Use Panelling Tool to distort the grid using ‘attractor points’ D. Use centre point of each cell to create a sphere. Use ‘solid difference’ to boolean the sphere from the primary cube; ensure the spheres intersect. Can you make the sphere varied in diameter?

3. Before Workshop 1, you will need to log-into the Archistar website to complete the “Grasshopper Advanced” course (3.5h). You do not need to complete the exam but we encourage you to do so; this is optional.

Note: Week 8 lecture quiz content will be based on this online material.

Take photos of your physical model: You can book a mobile photostage on the Fablab website or set up your own - see FoD:R survival guide or LMS. We encourage you to take the photo of Task A this week so its ready for your journal.

Module 2 Task 1 - Laser Cut Examples.

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WORKSHOP SESSION 3 LECTURE 5: Implication of Digital Fabrication.

This lecture continues to examine the effect of digital fabrication on design. We will discuss its implication in architecture, design, construction and manufacturing. We will trace the development of technology in the past century to understand how technology facilitates design and where it will go next. Quiz towards the end of the lecture.

Workshop Session 3: This Workshop session will cover the manipulation of 3D grids and boolean processes in Grasshopper. The last part of the workshop will run through 3D printing protocol.

Install Makerbot software for this workshop, see LMS for links. Note: Please download and install the software prior to the class.

WORKSHOP #3

WEEKLY TASKS

CHECKLIST



1. The workshop will introduce techniques of manipulating volumes in the cell. Continue to build on your Grasshopper definition to explore different effects. Your design aim, is to produce porosity or permeability of the volume, to explore solid and void. Refer to lecture 4 and 5 content. This workshop will also introduce you to the Makerbot software and provide tips on how to make a successful 3D print. Spend some time revising the content. [1H] 2. From item 1, use boolean Intersect to extract a 50x50x50mm cube sample from the above exercise. Ensure the volume is “watertight” and has no open surface, i.e. a close volume. Colour: White PLA only.

Download the Makerbot setting on LMS and set up a 3d print file. Send the file to NextLab for printing. Bring it to Week 6, Studio 1. [7h] Note: refer to LMS for file naming convention for NextLab submission.

Q: How do I choose what to print?

A: Have a look at your model and ask yourself, what is interested in this model? Is there a particular intricate parts or area that seems complicated and interesting? Don’t be precious about this print. We will be doing two more print after this exercise.

Scale of your 3D print: 3D Printing is very time consuming. A small print can easily take up to 5-6h to complete. In the Makerbot software, you can see how long it will take to print your part. The model you send to print should be less than 2.5h. Print beyond the 2.5h time constrain may be rejected by the NextLab staff.

We recommend that you get a shoe box or similar to keep your models and parts safe. You will need to bring them in for presentation in Week 8 and M3 presentation in Week 14.

Example of Item 2 (above). Red Cube shows the 50 x 50 x 50mm cube to extract for 3d printing.

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WEEK 5 What is a BREP: A BREP or Boundary Representation refers to geometry composed of a more than one surface. BREP can be closed/capped or opened.

The following content will look at generating data using series component and manipulating it with the graph mapper.

The Series Component

The series component generates a series of consecutive numbers based on a Starting number [S], Step size [N], and Number of values [Count - C]. In this case, it generates radii incrementally from 0.1 to 4.9.

Graph Mapper

The graph mapper is a type of â&#x20AC;&#x153;remappingâ&#x20AC;? component. It takes an input of a value between a domain (0-5 in this case) on the x-axis, and outputs another value based on the value specified by the graph on the y-axis. In this case, the graph is parabolic, so we can see that the circles towards the middle of the input x-domain, are now outputting the highest y-values based on the graph.

In this more detailed image, the x-axis input of 2 can be seen to output a y-value of 5.73 due to the relationship of the graph.

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WORKSHOP SESSION 3 The Attractor Point The circulation video in week 2 introduced you to this idea. Attractor Points are a tool to establish the relationship between a reference point and a set of data. In the following examples, the distance between the center of each circle is checked to establish which of the circles is the closest, and which is the furthest. This relationship can be used to manipulate data sets.

Establishing an Attractor

In this example, a line is drawn to simulate the distance between each of the circles and the attractor point. This distance is fed into a panel.

Remapping Values

Using this distance, we can scale the circles based on their distance to the attractor point. Here, we checked the bounds of the lengths to find the minimum and maximum distances. We then used the Remap component to remap these values to a new domain. Try building this definition for yourself and see what happens when you move the attractor point around.

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WEEK 6 Tutorial content: Discuss boolean concept with tutor, as a group exercise. Tutor to discuss boolean concept with relevant examples on LMS. Tutor to go through 3D print guide on NextLab Website.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Revise your design, taking on board your tutor’s comments. You will capture another 50x50x50mm cube sample for 3d print. This time, consider where to best slice or section your model to reveal the most interesting spaces; bring your 3D-print model rhino file for discussion with your studio tutor on Thursday. [2H] 2. Prepare your model for 3D printing to ensure the volume is closed or capped; colour: White PLA only. You should use the 3D printing guides on the NextLab website as a guide - see LMS. Clean up your 3D print when you receive it from the Nextlab. [2H] Submit your new 3d-print file to NextLab as soon as possible, or by Tuesday 12noon the latest so model is available for Studio 2. You can continue to work on the Grasshopper definition after you have submit the 3D-print file.

Note: You should aim to send your part to the 3D printer ASAP as it will take a long time to print.

Please submit your file using the “Innovation Centre” interface, via NextLab website.

Remember there is a 2.5H print limit per student.

We encourage you to combine your parts with your friend’s. This may increase the print time but you can share the minimum cost of the 3d print. If you label the file correctly with yours and your friends’s name, it will be accepted as two students’ print.

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

MODULE 2 Tutorial content: Bring in the two iteration of 3d print models. Tutor to provide guidance on Matrix set up and tutorial on exploring ideas based on the 3d printed artifacts.

NO LECTURE THIS WEEK

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Reflect on the matrix and the 3D print models. Consider what are you exploring in your design? Is it: porosity, density, or edge condition? What is the variable parameters?

Prepare your matrix drawing as a draft with annotation and print an A4 paper for discussion with your tutor for Week 7, Studio 1. The matrix should start to help you develop or clarify your ideas above.

Annotate your diagrams. Download journal template and start to layout your matrix. [2H] 2. Ensure your laser cut model is assembled with care; minimised glue marks. [2H] 3. Photograph your models (both 3D prints and lasercut model). Layout and annotate photos in Journal and print them at A4 for tutor to comment in Week 7: Studio 1.

Example of the variable matrix for Module 2 Task 2.

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ď&#x192;ź

WEEK 7 Tutorial content: Discuss matrix layout with your tutor.

Modify your definition to take on board your tutor’s comment during the class.

An additional technical tutor will support this session. Technical Tutor to review digital model for 3D-printing and check for obvious errors.

STUDIO 1 Grid Manipulation

1.1

1.2

1.3

Key

1.4

{0,0,0}

Grid Points {134,104,100}

{-15,4,150}

1. Take on board your tutor’s comments on the matrix and complete the drawings. {134,54,0}

{34,54,0}

{-15,104,0}

{34,54,0}

{-15,4,0} {Curve Attractor}

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.2

2.3

2.4

Sphere Distribution

2. Make an exploded isometric drawing of Task A and produce a sectional isometric drawing Task B for your journal. If you have not download the journal template, please do it now. Layout your drawings on the journal page. Print a draft copy for Week 7: Studio 2. [2H] 2.1

{59,101,94}

{134,154,0} {34,4,50}

3. Finalise your design. so it is ready for one more iteration of 3D printing.

You must submit your file by no later than Thursday, 18th April. Maximum volume is again, 50x50x50mm. Do not scale your parts to fit the volume.

Learn from your last two print experience. Consider where to best slice or section your model to reveal the most interesting spaces. [2H] {Point Attractor}

Sphere Transformation

3.1

{Curve Attractor}

{Random Attractor}

{Volume Gravitational Centres}

3.2

3.3

3.4

4. Print your journal as a draft for Week 7, Studio 2 to discuss layout with your tutor. {34,4,0}

{Consistent Scaling}

{Morph}

{Reverse Attractor}

{Random Scale}

Design Matrix 1:5

With the booleaned geometry contained mostly within the original shape the cube is still highly visible as a form.

Where the intersecting geometry interacts with the surface envelope creates a lighter more open space.

Points at which geometry almost touches but does not creates a feeling of uncanny heaviness to the above structure.

Intersections that do not interact with the surface envelope create heavier darker spaces.

The solids left behind can also be interpreted as space. If we invert the positive and negative space it creates a stretched/pinched network of spaces.

Axonometric 1:1 Solid boolean using 3.2 morph itteration.

0

20

Attractor / Control Points (X,Y,Z) Attractor / Control Curves

WEEKLY TASKS

{34,154,150}

60mm

Module 2 sectional isometric drawing of Task B

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CHECKLIST



MODULE 2 Tutorial content: Bring in your printed draft journal , lasercut and 3d print models for discussion with your tutor. Tutor will discuss the best way to photograph your models. Discuss submission requirement for M2.

NO LECTURE THIS WEEK

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Take photos of your 3d print and laser cut model. Set up a photo stage or use the photo stage in Fablab to take two high quality images with white backgrounds of each models (8 in total). Include the photos in your journal. [1H] 2. Speculate on the scale of your model. Consider the model at three scales: the scale of hand (something you can touch at 1:1 scale), the scale of the furniture or the body. Lastly, speculate the model as a space for 3 people. You can do the scale test using Photoshop. White figure only; download from LMS. Refer to week 5 Lecture. [2H] 3. If you have not completed your laser cut model, continue to assemble it with care; minimised glue marks. [1H] 4. Complete journal. Journal needs to be submitted on LMS through Turnitin before the start of Week 8: Studio 1. Upload M2 Content to your Wix site. [1.5H]

Presentation: You will prepare a 2min verbal presentation of your work. Use the following as a guide for your presentation: A. What is the key concept explored through your lasercut and 3d-print models?

B. What is the quality of the space generated in your design fragment? Consider this as a fragment of space and the scale is not yet determined, i.e. it can be 1:10 scale or 1:50 scale.

C. Consider this as a fragment of a pavilion design. Can you start to speculate on the threshold condition or possible means of circulating through your structure? Again, what sort of scale will your structure need to be?

Submission Checklist • All Physical Models (1 x lasercut + 3(minimum) x 3d-print model) • M2 Journal submitted to Turnitin prior to week 8 studio 1 • M2 Content uploaded and curated on your Wix Portfolio Website • Print an A4 copy of your journal (single sided page - colour) for Week 8, Studio 1 pin-up.

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

Lofts

Module 02 - Task 01

1.1

1.2

1.3

Key

1.4

{0,0,0} {20,-33,0}

{110,-101,150}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points

{80,101,150}

{35,101,150} {20,56,150} {20,-18,150}

{20,-18,150}

{140,-48,0}

{20,56,0} {20,26,0}

{65,-48,0}

{20,11,150}

{20,86,0} {80,-48,0}

{20,-33,0}

{35,-48,0} {Index Selection}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

2.4

Matthew Greenwood - 000000

Paneling Grid & Attractor Point

{Index Selection}

{91,-93,136}

{93,35,74}

{217,35,0}

{93,35,-76} {Attractor Point Location}

{Attractor Point Location}

{Index Selection}

3.1

3.2

3.3

3.4

Paneling

{Attractor Point Location}

Scale test, using human figure silhouette to speculate on the scale of your artefacts +

Design Matrix 1:5

Perforations on one face control the direction in which light can enter the volume.

Solid panels create a definitive boundary between exterior and interior. Protruding forms create interest through light and shadow.

Panels are smaller at the bottom and increase in size towards the top of the volume.

A hollow waffle structure allows for the creation of an interior volume.

Exploded Axonometric 1:1 0

20

60mm

Module 2 exploded isometric drawing of Task A

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NTW Drop in technical session: There is no formal class scheduled for this week. We have set up an optional dropin technical session to provide additional help and guidance on both design and technical issues. If you are unsure of what you are doing or confuse about aspect of the software, we strongly suggest you sign up to this session. Please sign up on LMS.

Note: Nextlab will be closed on Easter Monday and Tuesday. It will also be closed on Anzec day on the 25th April. 3d print can be collected on Wednesday and Friday only. Please ensure you submitted 3d print file before 19th April, the Easter Friday,

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RUBRIC

50

MODULE 2

Proportion of Total Mark: 25% Individual Mark

Task A

Task B

Journal format

35%

35%

30%

H1

As H, plus creative use of techniques to develop further intricacy and refinement. Highly considered exploration and creative approach to the design process. There is consideration for its design potential and implication.

As H, plus creative use of techniques to develop further intricacy and refinement. Highly considered exploration and creative approach to the design process. There is consideration for its design potential and implication.

As H, plus journal are visually well composed. Matrix is extensively explored and annotated.

H

As P, plus an attempt to execute with consistent care and precision at a high level. The verbal presentation explores a wide range of options and demonstrate an understanding of the generative capacity of digital tools.

As P, plus an attempt to execute with consistent care and precision at a high level. The verbal presentation explores a wide range of options and demonstrate an understanding of the generative capacity of digital tools.

As P, plus an articulated response to reading. Graphic layout is clean, and the page is composed. Matrix is complete and annotated.

Grasshopper definition is well layout and annotated. .

P

The student attempted to produce a grasshopper definition but is not able to control the laser cutting output.

Laser cut model is poorly executed or did not work but demonstrates some understanding of the workflow.

The verbal presentation provides some interpretation of the artefact as threshold and circulation device.

The student attempted to produce a grasshopper definition but is not able to control the 3D printing output, poor surface structure, for example. 3D print model is poorly executed, messy or did not work but demonstrate some understanding of the workflow. The verbal presentation provides some interpretation of the artefacts as threshold and circulation devices.

Student compiles the journal as per given template. There is an attempt at laying out the matrix. Most work is included.

Photography of the outcome is at a satisfactory level.

N

The student did not attempt to use the laser cutter to produce the model. There is no attempt at constructing an appropriate Grasshopper definition for the design.

There is no understanding of the generative potential of the design.

The student did not attempt to use the 3D printer to produce the model. There is no attempt at constructing an appropriate Grasshopper definition for the design.

Student fails to complete journal or journal has missing pages.

51

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MODULE 3

Queen Victoria Garden Pavilion MODULE 3 BRIEF: (30%)

Design a pavilion in the Queen Victoria Garden - location is the same as per the annual M-Pavilion. The pavilion must fulfil the following criteria: A. The pavilion must facilitate these activities: an evening quartet concert for an audience of 30 people and lunchtime seminar with 15 guests + 1 presenter.

B. Your pavilion must have a roof to provide shade and shelter for 15 people attending the lunchtime seminar.

C. The pavilion must have a relationship with the ground. How the pavilion touches the ground and interacts with it should be considered. All seatings will need to be integrated into the landscape or pavilion design.

D. You must utilised parametric software to produce the pavilion, and the design should be self-supporting without the need of additional â&#x20AC;&#x153;externalâ&#x20AC;? columns.

E. The pavilion is to be no more than 5 x 5 x 5 meter in volume; this is the maximum volume. Material: laser cut metal or timber + 3d printed parts allowed; negotiate this with your Studio tutor.

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WEEK 8 Tutorial content: Pin-up of Module 2 Journal (printed on single side only). Discuss with tutor how this can be implemented as design for a new pavilion.

Ensure your content is uploaded onto WIX page.

Remember to attend Workshop #4 on Thursday + review Rubric for M3.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Install Unreal Engine on your laptop. Download the VR template from the LMS and place in the correct folder as per instructions.[1.5H] 2. Watch online tutorial of Unreal Engine + what is real-time rendering. [0.5H]

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ď&#x192;ź

WORKSHOP SESSION 4 LECTURE 6: Pavilion and Ground. This lecture will introduce the Module 3 design brief and discuss the role of pavilions in contemporary design.

We will also look at the ground and landscape as interfaces. Quiz at the end of lecture.

Workshop Session 4: This workshop will introduce a workflow showing how to import your 3d Model from Rhino into Unreal Engine. Please bring either task 1 or task 2 Rhino model with you.

Note: Please download and install the software prior to the class, refer to LMS for instruction. There will be no assistance in class for software installation.

WORKSHOP #4

WEEKLY TASKS

CHECKLIST

1. After the lecture, we would like you to have a first go at the design brief using the skills developed in Week 1 to 7 to design a new pavilion.

Download the Rhino model of the context from LMS. [5H] Note: The site model and 360 photos can be downloaded from the LMS, under the Module 3 tab. You may choose to visit the site in your own time but itâ&#x20AC;&#x2122;s not compulsory.

Site

Site location of proposed pavilion.

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ď&#x192;ź

RHINO TO UNREAL ENGINE 4 Pre-Workshop Checklist 1. Installed Unreal Engine 4.

Unreal Engine 4 is a game engine used widely in the game design industry.

It has gained widespread use in other industries such as design and film since becoming free to use and open source. We will be using Unreal Engine 4 for Real-Time rendering. Installation details are on the LMS. 2. Downloaded the VR Template from the LMS and placed it in the correct folder.

3. Accepted and downloaded your Eventbrite Ticket.

What is UVW Mapping?

UVW Mapping allows us to set the scale of the texture being applied to the object.

Texture is the image/photo used for the material; a texture is usually a tileable image so that it can be applied on large surfaces without seeing joins.

Different Object Maps

Map Channel & Type



By creating a UVW Map, we are telling the material that we want the texture to be a particular size rather than stretching it over the entire surface of the object. This information is stored on a ‘Map Channel’.

The settings shown to the right are a good starting point. You can always return to Rhino 3D once you see you object textured in Unreal Engine to adjust the scale of your UVW Maps, then re-export.

Texture Map Size



Understanding UVW Maps is essential for rendering in any program.

What is UVW/Lightmap Unwrapping?

UVW Mapping is also used in lighting calculations. Unwrapping a UVW Map de-constructs the various faces of an object and stores this information on a sperate mapping channel to the UV Map. This gives more information to programs in order to calculate more accurate lighting and shadows. This avoids situations like shadows bleeding around sharp angles on a surface.

You can check the accuracy of map by entering the UV editor and examining the UV maps.

UV Editor 56

WORKSHOP SESSION 4 UV Editor in Rhino The UV map from Rhino shown to the right can be considered a good map due to the following reasons: 1. The objects are spaced relatively evenly across the map.

2. There are no overlaps with any objects 3. All objects are in consistent orientation to one another.

4. There is minimal wasted space relative to the geometry of the object map.

Note that the default Rhino software is not natively set up to be an advanced rendering software. We will re-examine UVW maps in Unreal Engine.

Naming Convention Naming convention is important in any program, particularly when you are working in a team environment such as a design office. Everyone should be using a standardised format. Unreal Engine has a list of prefixes and suffixes that come in handy when naming objects. Before exporting your file, you will need to use the Setobjectname command to name each of your objects.

Below are some which we will be using.

Prefixes SM_ M_ T_

Suffixes Static Mesh Material Texture

_BC _N

Base Colour Normal Map

Export Settings from Rhino There are many file formats that you can work for exchanging files between programs. We will be exporting our objects as .FBX, which is a file format owned by Autodesk. FBX files can store a large amount of modelling information such as materials, lighting, animations, etc.

When exporting from Rhino for Unreal Engine use the following settings: We only want to export our objects as meshes. Unreal Engine does not read NURBS objects.

We are not applying any materials in Rhino so there wont be any to export. It is safe to select either Lambert or Phong.

We are going to export our files as Version 6 ASCII. These are formats in which information and code is shared between software. Using the older Version 6 allows wider transference of information across programs.

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RHINO TO UNREAL ENGINE 4 The Unreal Engine 4 User Interface Save Button

Settings Menu - Here you can find the engine scalability settings. (See Below) Blueprints Menu - Here you can find the level blueprint.

Build Menu - Access to Lighting and Navigation build options.

Simulate Menu - Here you can simulate your scene in various modes.

World Outliner - This lists all objects in your current level.

Viewport Content Browser - An overview of all the files associated with your project.

Basic Library - Here you can find basic shapes, lighting and cameras.

Details Panel - This shows all details and options for your currently selected object.

1

Engine Scalability Settings The visual fidelity of Unreal Engine is directly related to the speed and power of your computer. If you are finding that Unreal Engine is running slow on your machine you can lower the scalability settings and then increase them only to create the final images/experience.

These settings are found in the Settings Menu.

2

From here you can adjust your settings individually or as a whole using the presets at the top of the window. (Low, Medium, High, Epic, Cinematic) If you are finding that your personal computer is still running slow then we recommend using a University computer rather than adjusting other settings that may impact the final quality of your work.

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3

WORKSHOP SESSION 4 Unreal Engine Glossary of Terms In addition Unreal Engine uses some terminology that may be new to you or unique to the program. Here are a few common terms.

Project - The name for an Unreal Engine working file, consists of folders on your hard drive that store all the assets, settings and code used to create your scene.

Assets - Files used to create the project such as meshes, textures, sounds.

Level - The workspace in which the scene is created.

Material - The surface treatment such as a colour or pattern that is applied to a mesh.

Blueprint - The visual node based scripting interface of Unreal Engineer, similar to Grasshopper.

C++ - A coding language used by Unreal Engine, industry standard across many programs. Blueprints provide a visual way for us to interact with C++ without needing to learn the language itself.

Importing FBX files to Unreal Engine A few options to nite when importing FBX files into Unreal.

Auto Generate Collision This allows Unreal to Generate basic collision on all Mesh objects based on basic geometry. If you have many objects in your file, Unreal does a good job of approximating collision meshes which can be edited with more complex collision later on.

Generate Lightmap UVs Similar to the Auto-Generation of Collision, Unreal can also automatically generate Lightmaps based on your geometry. About 95% of the time, these automatically generated UVs are sufficient for basic light calculations.

Convert Scene Due to the number of 3D modelling programs available, there are many different ways positions and coordinates of objects and files may be encoded into FBX. Convert Scene attempts to correct for this automatically.

In most cases using native Autodesk Software (3DS Max or Maya) yields good results, however for consistencies sake, we will be converting our scene manually.

Materials As we will be using Unreal for our Material and Texture mapping, we do not need to import any Material or Texture data from our FBX file.

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WEEK 9 Tutorial Content: Discuss reading and design of pavilion with tutor. Tutor to discuss the spatial difference between a 15 person seminar space and a 30 person performance space.

Reading: Schuere & Stehling, 2011.

Lost in Parametric Space. AD.

STUDIO 1

Weekly task:

CHECKLIST

1. Build your pavilion design in Rhino and use Grasshopper to develop surface patternation and / or structure. Consider where water flows on the roof? How does light penetrate the roof structure during the day? How is the pavilion read at night? [2H]

ď&#x192;ź

2. How does the design accommodates the two events? How does the circulation work in your pavilion? Where do people sit? Insert figures to help you judge the scale of the pavilion. [1.5H] 3. Where is the threshold? How is it defined? By level? By height? By shadow, light or views? Where is the in-between space? Refer to Week 2 reading for inspiration [1.5H]

5m

5m

5m

5m

Spatial guide showing occupancy of the two scenarios; Left, a lunch time seminar & Right, a quartet with an audience of 30 people.

60

WORKSHOP SESSION 5 Workshop Session 5: This workshop will introduce Environments in Unreal engine including textures, lighting and atmosphere.

NO LECTURE THIS WEEK

WORKSHOP #5

Weekly task:

CHECKLIST

1. Continue to work on your pavilion design. Consider how it will be fabricated using additive or subtractive techniques?

Bake three versions and print it on A3 paper (or screen grab as isometric view) for next week Studio 1. [3H]

Example of 3 concepts. Baked from Grasshopper

61

ï&#x192;¼

MATERIALS AND LIGHTING Pre-Workshop Checklist 1. Downloaded the sample Unreal Engine Project from the Workshop 05 Folder on the LMS 2. Accepted and downloaded your Eventbrite Ticket.

What are materials?

No matter what program you use for rendering, the same principles for materials apply. What we are learning about materials in Unreal Engine can be applied in most rendering software, including 3dsmax.

Materials are essentially images called textures, mapped onto the surface of an object. These images are generally always square and tile-able, meaning they can be tiled without seeing any noticeable join line, allowing them to be used on large surfaces. There are plenty of online tutorials on the creation of textures using applications such as Photoshop and there are many free & paid online collections of textures. (Refer to the additional resource links at the end of these workshop notes).

We will be using two main texture types in out materials. Not all materials need all textures, as you will see.

- Diffuse Texture, this is the base colour/image

- Specular, this is a texture that defines which parts of a material are shiny and which are not.

- Normal Texture, this defined depth and texture to the surface (Tutorials on how

to create normal maps in photoshop can be found in the additional resource links).

The scale and rotation of the texture on a surface is controlled by UVW mapping, which we have created in Rhino 3D. These can be adjusted slightly in Unreal Engine, or preferably altered and re-imported from Rhino3D. The next few pages will cover these topics in a bit more detail. However, one of the best ways to learn about materials is to open up some of the default Unreal Engine materials and see how they are constructed.

The Unreal Engine Material Editor

Main material node. This is where we plug all our components that define our material into.

Preview window.

Base Colour: Also known as diffuse.

Defined by a texture image or a colour vector. This is the primary image or colour of the material.

Specular: Controls how light is reflected off a surface.

Defined by a texture.

Roughness: Controls how rough a surface is.

Defined by a constant value between 0.0 - 1.0.

Metallic: Controls how metallic our material looks. Adds general sheen and reflectivity.

Defined by a constant value between 0.0 - 1.0.

Emissive: Can be used to create glowing materials. See further documentation.

Normal: This controls the depth effects on a material.

Defined by a texture.

Details panel which shows all the information on the currently selected node.

Opacity: Determines the translucency of a material.

Defined by a constant value between 0.0 - 1.0.

62

Palette of definitions that can be applied to a material. Can be searched using the top bar and nodes dragged and dropped into the blueprint.

WORKSHOP SESSION 5 Texture Types - Visual Examples

Diffuse T_TimberFloor_D

Normal T_TimberFloor_N

Specular T_TimberFloor_S

Diffuse T_Cobblestone_D

Normal T_Cobblestone_N

Specular T_Cobblestone_S

Basic Material Example.

This node is called a Texture Sample, to call this into the blueprint either search for it in the palette or right click on the blueprint background and type texturesample as one word.

This texture sample is using the Diffuse texture. Which is assigned to the texture sample node using the details panel in the bottom left hand corner of the screen.

This texture is plugged into the Base Colour input.

This texture sample is using the Specular texture.

This texture is plugged into the Specular input.

This texture sample is using the Normal texture.

This texture is plugged into the Normal input.

63

MATERIALS AND LIGHTING Metallic Material Example.

This node is called a Constant 3 Vector. This defines a colour from 3 constant values. These values can be adjusted by double clicking on the coloured rectangle in the details panel with this node selected. This node is used to define the base colour as a singular flat colour as opposed to a diffuse texture. Like a diffuse, this plugs into the base colour input.

To call a Constant 3 Vector into the blueprint right click and type constant3vector.

This node is called a Constant. This defines a singular value. These values can be adjusted in the details panel with this node selected. This constant is being used to define the metallic value of our material. In this case 0.9, this plugs into the metallic input.

To call a Constant into the blueprint right click and type constant.

This second constant is being used to define the roughness value of our material. In this case 0.5, this plugs into the roughness input.

Glass/Transparent Material Example.

This constant 3 value is being used to define the base colour of our material. In this case 0,0,0 (Black), this plugs into the base colour input.

This constant is being used to define the specular value of our material. (By using a constant rather than a texture it applies the effect to the entire material).

In this case 1, this plugs into the specular input.

This constant is being used to define the roughness value of our material. Because this glass is shiny a value of one is being used. This plugs into the roughness input.

This constant is being used to define the opacity value of our material. This plugs into the opacity input. You may notice that the opacity input on your main material node is greyed out. This is because we have to make some adjustments in the details panel in order to create a transparent material. (See the next page for details).

64

WORKSHOP SESSION 5 Glass/Transparent Material Example Continued When creating transparent materials there are a few extra settings that we need to change in order for the material node to accept additional input parameters. These are changed in the details panel when you have the main material node selected.

If all your settings are correct then you should have a material that looks like this in the preview window.

With the main material node selected we can begin to make some adjustments in the details panel.

The first parameter we want to change is the Blend Mode which needs to be set to Translucent.

Next we want to make sure that the Two Sided option is ticked.

Particularly if we are going to be viewing the glass from both directions. (This only applies if your glass is a single plane, if the glass is modeled as a thin box this does not need to be ticked)

The last setting we need to adjust is the Lighting Mode, which needs to be set to Surface Translucency Volume.

This needs to be changed as the material needs to interact and accept light differently as a translucent material than it does as an opaque material.

Further Resources • Texturing: https://docs.unrealengine.com/latest/INT/Engine/Rendering/ Materials/Functions/Reference/Texturing/index.html • Materials: https://docs.unrealengine.com/latest/INT/Engine/Rendering/Materials/HowTo/index.html • Lights: https://docs.unrealengine.com/latest/INT/Engine/Rendering/LightingAndShadows/index.html • Using Photoshop to Create Normal Maps: https://photoshoptrainingchannel. com/photoshop-3d-depth-maps-bump-normals/

65

MATERIALS AND LIGHTING Adjusting UV Tiling When you are applying your materials you may find that they are the wrong size. There are two ways to fix this, one is to go back into 3DS Max and adjust the size of the UVW Map. The second is to add a TextureCoordinate node to your material. See below for examples.

UV Tiling Set to 1 (Default) This is the Texture Coordinate Node. This can be called into the blueprint by right clicking and typing texturecoordinate as one word. This is then plugged into the input on your texture samples called UVâ&#x20AC;&#x2122;s.

It is important you assign this to all your texture samples or they will not match up.

With the texture coordinate node selected we can adjust the size of the tiling by changing the UTiling and VTiling parameters.

Here they are set to 1, the default scale.

UV Tiling Set to 0.5 With this setting you can see in the material preview window that the brick texture has halved in density.

Here the U and V Tiling parameters are set to 0.5. The lower the number the lower the density of tiling, thus the larger the appearance of the material.

Be careful when making that texture larger that is does not pixilate.

UV Tiling Set to 1 With this setting you can see in the material preview window that the brick texture has doubled in density.

Here the U and V Tiling parameters are set to 2.0. The higher the number the higher the density of tiling, thus the smaller the appearance of the material.

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WORKSHOP SESSION 5 Lights in Unreal Engine 04 You will need to adjust some form of lighting in your scene. It is important to note that lights do not have physical form, when placed they are representing the point at which the light projects from. You need to model and place materials on the physical light then place a light ontop of this object.

There will be 3 main lights that you will be working with,They are: • Point Lights: These are lights that project lighting in a spherical direction all around the insertion point. These could be used for example for an exposed light bulb.

• Spot Light: These lights project light in a cone like direction. Great for accent lighting such as downlights.

• Directional Light: This light applied lighting to the entire scene from a particular direction. Essentially it is sunlight.

Point Light

Spot Light

Directional Light

Lighting Adjustments Here is a quick overview of some of the parameters that can be adjusted on a light.

Intensity: This adjust the brightness of your light.

Light Colour: This adjust the colour of your light.

Attenuation Radius: This is how far your light travels and is represented by the wireframe sphere around the light source.

Temperature: You can also adjust the light in Kelvins if you are familiar with that measurement of lighting.

The tick box below turns this option on and off.

Cast Shadows: Determines if you light casts shadows or not.

Why is there a Red Cross on my lights?

Lights can be set one of three modes: Static, Stationary & Movable. The scene can only handle so many stationary and movable lights in close proximity to one and other. When there are too many a red cross will appear on your lights. This can be solved by changing the mobility mode to static at the top of the Details Panel when the light is selected.

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

WEEK 10 Tutorial Content: Tutor to provide feedback on individual design. Discussion will extend to how the pavilion touches the ground.

How to fabricate the design using the laser cutter, 3D printer or both at 1:25 scale.

STUDIO 1

Weekly task:

CHECKLIST

1. Take on board tutor’s comments and continue to build your pavilion design in Rhino using Grasshopper. Revisit the landscape and how the pavilion responds to the garden and topography. [2H] 2. Use the clipping plane in Rhino and cut a section through your model to reveal the space inside. You may want to consider the thickness of material in your digital model. Optional: Some designs may be worth testing as a physical ‘mock-up’ model to ensure it works. [1.5H]

How thick should my structure be? It is useful to consider the thickness of material you want to laser cut or 3D print. For example, if the final model is at 1:25, and the structure is to be laser cut using 1mm thick mount board, the material at 1:1 scale will have to be 25mm thick. For 3D printing, the surface can be shelled or offset to comply with the 2mm minimum thickness at later stage.

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WORKSHOP SESSION 6 LECTURE 7: The return of virtual environment as an integrated system, we will discuss virtual mapping, informatics in design, IoT, interactive design, electronic platform and many more emerging system and research.

Workshop Session 6: This workshop will look at how we output the scene and 360 image including how to export to VR headset.

WORKSHOP #6

Weekly task:

CHECKLIST

1. Import your Rhino model into Unreal Engine and navigate yourself around the pavilion. You may need to go back and forth several times to change the design. Is the roof tall enough?

Is the shadow effect produced by the sun what you want to achieve? Bring your Unreal file to Week 10, Studio 1 so your tutor can experience and comment on your design [4H].

2. Choose an isometric view of your pavilion in Rhino and print it on A3 paper (in Black and White) for next Studio discussion with tutor. [0.5H]

Example of model being tested in Unreal Engine 4 for scale and form. Note that textures and materials have not been applied at this stage of testing.

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ď&#x192;ź

PACKAGING - UNREAL ENGINE Pre-Workshop Checklist 1. Downloaded the sample Unreal Engine Project from the Workshop 06 Folder on the LMS 2. Accepted and downloaded your Eventbrite Ticket.

What is packaging?

Packaging is the process of collating all of the assets used in your scene and converting it into an executable file. (.exe). A project can be packaged for multiple platforms and methods of interaction however the entire project has to be built from the ground up to run for a particular packaging output.

The template that we are using is set up to run on a windows computer with an HTC Vive connected.

1

In order to package our project we are going to need to make sure we have some settings set correctly, these can be found in project settings accessible via the settings button at the top of the screen.

2

This first lot of settings can be found in the Description tab.

Make sure you give your project a name.



  Make sure that Start in VR is ticked.

This ensures that when the application is opened that it will search for the HTC Vive and deploy to it.

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WORKSHOP SESSION 6 These settings can be found in the Maps and Modes tab.

Make sure that the level in which you have been working is set as the Game Default Map. This means that when the application is started that it will load this level.

Pre-Packaging Checklist 1. Project settings have been set.

2. VR Pawn has been set to Auto Possess Player 0 3. There is a Nav Mesh Bounds in the Scene 4. Surfaces that you wish to be able to move on have had collision boxes created 5. A Build has been completed after the above points 1 - 4.

Important Note: The Template has been set up to require little adjustment on your part in order to work in Virtual Reality. As such the more you adjust and experiment with settings that we have not covered in the workshop the higher the chance that the application will not run in VR correctly.

Further Resources: • Packaging General: https://docs.unrealengine.com/latest//INT/ Engine/Basics/Projects/Packaging/index.html • Screenshots: https://docs.unrealengine.com/latest/INT/Engine/Basics/Screenshots/index.html • Animations: https://docs.unrealengine.com/latest/INT/Engine/Sequencer/QuickStart/index.html 71

WEEK 11 Tutorial Content: VR trolley will be available to use in class - bring in your file to test out your design. Discuss design and isometric view of pavilion with tutor.

Discuss spatial design, material and structure of the design. Technical Tutor will be available in this class.

STUDIO 1

Weekly task:

CHECKLIST

1. Update the material of your design in Unreal Engine. Use the realtime render to allow you to make design decisions / judgement. [2H] 2. Finalise your design and consider how you will fabricate it using laser cutting and 3D printing. You are to produce a sectional model - i.e. only half of your pavilion to reveal the space inside. We encourage you to construct a model that uses both fabrication techniques instead of one technique only. The physical model is to be 1:25 scale. It must include the landscape around the pavilion.

The bounding box of the model is 300mm length x 200mm width x 250mm Tall.

We recommend that all model base be spray painted, colour white.[4H] 3. Export 2 JPEG images of your design from Unreal (one interior and one exterior). Print these out on A4 paper and bring to next studio class.

Example of fabricated model using a combination of Laser Cutting and 3D Printing.

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MODULE 3 LECTURE 8: What is next? This lecture will look at digital practices and various career pathway. We will also touch on other field of advance digital design which is not covered in previous lecture. Final part of the lecture will discuss submission requirement and portfolio submission. Quiz at end of the lecture.

Tutorial Content: VR trolley will be available to use in class - bring in your file to test out your design.

Discuss M3 submission requirements and drawings template. Discuss your sectional model with your tutor; consider the most effective way to section your design; whilst limiting the 3D printing part to 8H. 8H print time is the maximum allowed by NextLab. Technical Tutor will be available in this class.

STUDIO 2

Weekly task:

CHECKLIST

1. Following consultation with your design tutor, you should adjust the file and send it to be 3D printed and/or laser cut. Assembly of model is time consuming so please ensure you send the file out to Fablab by Week 12. [3H] 2. If you have not imported your digital model to Unreal Engine, you should do so. Bring the file in for your tutor to view in the next studio. [1H] 3. Update your isometric drawing and print it at A3 for final discussion with tutor at Week 12, Studio 1. [1H]

Example of model being tested in Unreal Engine 4 with textures and lighting.

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WEEK 12 Tutorial Content: VR trolley will be available to use in class - bring in your file to test out your design.

Bring your laptop or Unreal file and discuss your digital and physical model with your tutor. Tutor to go through presentation requirement for M3.

Note: this is your last chance to receive feedback from your tutors. Some tutor may require you to email images during Swat Vac to demonstrate progress.

STUDIO 1

Weekly task:

CHECKLIST

1. Take onboard your tutorâ&#x20AC;&#x2122;s comments and adjust the design and complete your rendering in Unreal. Remember to include figures in your scene. You can download them from the LMS. [3H] 2. Final Submission will be in Week 14, during exam period. See Submission checklist + page 79. Exam time for each studio will be available on LMS by end of Week 10. [1H] Note: A1 crop panels will need to be submitted on Turnitin in Week 14, before your presentation session.

3. Compete and photograph your 1:25 sectional model. Final 1:25 model must be photographed and be included in the portfolio. Selected models will be exhibited at the MSDX (this will be submit on M3 presentation day). Please ensure you photography the model before your M3 presentation. [1.5H] 4. Work on your portfolio over the Swat Vac period. This is due immediately after your M3 presentation. Download template from LMS. [7H]

Note: Use Photoshop to adjust level, colour balance or saturation to make the image brighter or increase visual depth. We also recommend doing a test print on A4 paper to review your colour output. All print output should be in CMYK.

Example of image outputs from Unreal Engine (one interior and one exterior)

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MODULE 3 No Lecture

Ensure you print your panels at least 3 days before presentation date. This give you time to practice your presentation with the drawings in front of you.

Presentation: You will prepare a 3min verbal presentation of your work. Use the following as a guide for your presentation: A. What is the key concept explored through your design?

B. Describe the quality of the space in your pavilion design?

C. How does the threshold and circulation shape your design?

D. How do you use parametric design to develop design effects?

Submission Checklist • 2 x A1 Crop - Printed in Colour • VR Output, bring this on a USB stick or external Hard disk • 1:25 Sectional model made from 1mm Mount Board, White Plastic & Ivory Card • All models from M2 (failed or success)

Examples of M3 physical model showing sectional cut through the structure.

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RUBRIC

Example of final A1 Panel.

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MODULE 3

Proportion of Total Mark: 30% Individual Mark

Digital Design Skill

Model Making and Presentation

Real Time Rendering

40%

30%

30%

H1

As H, plus creative use of design techniques to articulate effects in the model. Design demonstrate an understanding of scale and utilised digital tools to make design decision and judgement. Excellent control of design resolution.

As H, plus model is exquisitely executed and assembled; with care and dexterity. An excellent verbal presentation demonstrating a concise understanding of the design and its process.

As H, plus creative use of material and lighting. Well choreography scenery and composition.

H

As P, plus an attempt to explore a range of design effects with the digital tools. The design is well resolved at various level including the threshold and landscape around the pavilion. Minor design flaws are acceptable.

As P, plus physical model is made and well executed; i.e. assembled with care. Digital model is used directly or to produce a successful template for model making and is executed with care. Good verbal presentation.

As P, plus well rendered images with postproduction in Photoshop.

Well articulated texture and lighting to enhance design detail.

P

The student has demonstrated an understanding of design workflow evident in the drawing and model. There is an attempt to fulfil the brief, but the resolution is awkward or clumsy. There is little or no articulation to the ground.

The student has attempted to construct the physical model as per weekly task but fails to execute it with care, or it is not assembled successfully. There are attempts in using the digital model to make useful template for model making. There is some effect visible in the model and presentation is legible. The verbal presentation is flawed.

The student attempted the technical skills taught in workshop but did not produce a successful outcome. Poor lighting or material scale; demonstrating a lack of design judgement.

There is no human scale in the rendered image.

N

Students did not attempt to use parametric software or digital fabrication techniques to explore the design. The design did not fulfil the brief and is not within the scale defined.

Model is not completed or poorly executed which demonstrates a lack of understanding of the module content. There is little or no attempt or little understanding in digital modelling and its workflow to model making. The presentation is not coherent or no verbal presentation.

Student fails to attempt real time rendering of the project.

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STUDIO 2

MODULE 3 SUBMISSION + PRESENTATION (30%) Assessment period: 3 Hour Please ensure you have the 2 x A1 crop drawings printed before your class. 1:25 scale model should be presented, including all models from M2 (success or failure). Be prepared with your presentation; 3 min verbal presentation + 5 min feedback. 2 x A1 crop panels must be submitted on Turnitin before your studio allocated presentation time.

Exam Timetabling: The presentation will be spread across 12th and 13th of June in MSD. The start time may not correspond to your normal studio time. This is an exam timetable and you are required to attend the allocated time. Unless there is a clash of exam timetable with another subject, no presentation will be re-scheduled outside of your studio allocated presentation time. You will need to inform the Senior Tutor of any exam timetable clashes by end of Week 11.

PORTFOLIO SUBMISSION (21%) Download portfolio template from LMS. Deadline: Friday, 14th June 2018, 11:59PM. Via Turnitin on the LMS. Submission - refer to Page 81.

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Portfolio Example by Saran Kim, DD 2018.

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PORTFOLIO SUBMISSION

Portfolio Requirement: You will need to compile M1, M2, and M3 work into an Indesign Document.

The portfolio will need to be exported as a PDF and uploaded onto Turnitin on LMS. This will form your final hurdle assessment worth 21%. For this submission, you have the opportunity to improve M1 and M2, take new photographs of your M2 models during the swot vac period and include this into your final portfolio. Download the Portfolio template from LMS and use it as a guide.

As part of your final portfolio submission, you are also required to update your WIX page to include your M1, M2 and M3 work. This is part of the portfolio assessment; refer to the rubric. [7h] Submission: Via Turnitin on LMS. References: Linton, H. (2012). Portfolio design. New York : W.W. Norton & Co., c2012.

MarjanoviÄ&#x2021;, I., Lokko, L. N., & Ray, K. R. (2003). Portfolio : an architecture studentâ&#x20AC;&#x2122;s handbook. Amsterdam ; Boston : Architectural Pr., 2003.

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PORTFOLIO RUBRIC

Mode of Assessment: Submission of Portfolio in PDF format + WIX Proportion of Total Mark: 21% Individual Mark

Graphic format and layout

Engagement

WIX

55%

30%

15%

H1

As H, plus portfolio is of high standard with little or no graphic flaws. There is a clear design and graphic sensibility towards lineweight and image treatment.

Graphic is delicate and/or innovative without overpowering the content.

Consistently high work level across M1, M2, and M3. Far above and beyond requirements.

Well documented WIX page with additional narrative structure to guide the reader.

H

As P, plus the portfolio is well formatted, layout is balanced and composed. Format is clean, with minor faults and mistakes in spelling, text or image alignment.

Contents, which includes drawings and photographs of physical model from M1, M2, and M3 is well presented.

Sustained engagement and rigorous work quality evident throughout M1,M2,and M3

Well organised WIX page, Clear structure and graphically coherent.

P

Student has compiled and submitted a portfolio in PDF format and uploaded the journal to their portfolio website

Some consistency is seen throughout M1, M2, and M3. Minimum requirements are met.

There is some effort to construct a online portfolio but with minimum effort.

N

Student fails to submit portfolio and therefore fails to meet the hurdle requirement for the subject.

Low out-put levels are seen throughout M1, M2, M3.

There is no evidence of WIX portfolio; link is not provided in portfolio submission

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Melbourne School of Design Faculty of Architecture, Building and Planning 84