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Digital Design - Portfolio Semester 1, 2018

Lam Quynh Vuong 987942 Alison Fairley + Studio 08

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Lam Quynh Vuong lvuong@student.unimelb.edu.au

Education: 2017 - current 2016 - 2017

Bachelor of Design The Peninsula School

Work Experience: 2019 - current Illustrator - University of Melbourne Infrastructures Sevices Awards / Exhibition: 2018 Skills: Rhino Grasshopper Unreal Photoshop Illustrator Indesign Fabrication

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MSDx, Melbourne School of Design


Digital Design has expanded on my previous knowledge of Rhino, and most importantly, taught me how to be self-reliant. As the brief for the project relies so much on individual skills and creativity, I was encouraged to explore tips and tricks on the internet to make my design the best it could be. Coming into this subject, the thing that motivated me the most about design is a cohesive sense of aesthetic. I love fiddling with things and watching things fall into place. It was difficult letting go of my urge to control every aspect of the design for parametric tools. The learning curve has been steep, but I think it’s a lesson worth having. As a student majoring in Graphic Design and Performance Design, I aspire to create nuanced forms that expresses emotions. These forms do not have to be complex, but has to deliver a feeling. I tried to capture this with my Zenith pavilion. It is designed to be constrictive, and draw your eyes upwards – almost cathedral-like in that sense. Additionally, your feeling of the pavilion change with the angle you view it, seeing it morph from basic to complex. While I had fun, there are areas I needed to improve on in the future. The most important one is my fabrication skill, which has been poor, and would need to be refined if I wish to pursue a career in Design. Secondly, I wish to stop restricting myself and explore more imaginative forms. In module 3, I mainly looked at module 2 for inspiration, and I feel like it has been its downfall. In the future, I wish to make wildly different forms for each assignments. While this concludes my journey in Digital Design, I am hopeful for the future classes.

Content: 03

Precedent Study

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Generating Design Through Digital Processes

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Queen Victoria Garden Pavilion

In this portfolio, Module 2 and 3’s drawings and photographs have been updated.

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The Pavillion is created by interlocking timber bars. fully permeable, with no clear boundary with the outer landscape. Thus, no detail can be ommitted, and one can view the entirety of the pavillion at any point of view. It blurs the line between building and landscape, as wind and grass can easily enter the building, Through the development process, the main takeaway for me is the ability to create to refine the concise lines with good pacing between the bars. As it is a simple design, you are supposed to get the placement correctly lined up, alternating in 45 degrees angles every wall.

MODULE 1: DIAGRAMMING DESIGN PRECEDENT

Isometric of your precedent study

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Threshold diagram

Circulation diagram

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MODULE 2: GENERATING DESIGN THROUGH PROCESS

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Design Matrix

Surface

1.1

1.2

1.3

1.4

Paneling

2.1

2.2

2.3

2.4

Cull Pattern

3.1

3.2

3.3

3.4

Height of the panels

4.1

4.2

4.3

4.4

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Surface and Waffle

Isometric 1:1 0

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20

60mm

For the panel structure, I created a mix-match of 2D and 3D shapes within three types of panels, The panels are placed in alternating order, forming a pattern as well a gradient of height from low to high. I found inspiration in the randomness of a natural landscape, with high mountains and low valleys, but stylised with pyramids.


Computation Workflow

The surfaces are created from a 50x50x50 bounding box

The bounding box is divided into points for formulation of the surfaces.

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Through selecting a set of points, the surfaces are created and baked. I chose this as it as both a curved surface and a straight linear one for variation.


Task 01 Full Page Photo

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The panels are individually unrolled into strips in Rhino, with 5mm tabs applied for fabrication. For the waffle structure, its creation relied on the use of the Grasshopper script, which was extremely helpful and easy to navigate. The lasercut panels have been nestled together to minimize the printing cost. Additionally, for every piece, two edges are put on etch to prevent taping from the Fablab.

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Prior to creating the final surface panels, I did test prints of other iteration for review with tutor. The panels below were ultimately scrapped in favour of exploring Grasshopper’s capabilities further.

Final assembled model.

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SOLID AND VOID

The form is created from booleaning multiple dipyramids. The isometric is based on gem formation, as such the solids seem to emerge from one location. Despite the complex structure, passage is streamlined and allows for porosity and permeability of the space. The appearance of the inner space is similar to erosion of rocks -- jagged, random but realistic. The 3D printed fragment has different layers of height building on top of one another. It provides strongly defned threshold, is similar to a cavern.

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Design Matrix

Grid Attractors

1.1

1.2

1.3

1.4

Key {0,0,0}

{230, 190, 52}

{-71, 114, 92}

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

{113, 194, 52)}

{106, -73, 92} {254, 147, 52} {-51, 97, 52}

{-130, -126, 92}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

Radius of Boolean

2.1

2.2

2.3

2.4

Booleans

3.1

3.2

3.3

3.4

Dipyramid variables

3.1

3.2

3.3

3.4

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{58, -91, 92}


Computational Process

To create the structure, a 150x150x150 box is first created and then divided into grid points

The grid points are adjusted with attractor points/curves, allowing for variation in points.

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Computational Process

Dipyramids are created in relation with the adjusted grid points and remapped numbers. It is then booleaned from the original 150x150x150 box.

The points are cellulated and meshed into centroids and remapped in relation to a point. This allows for variation in size in the dipyramids.

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M2 Task 2 3D Printing

The fragment is printed in angle that reduced the most amount of support materials. As the the fragment is comprised of angular shapes, having these materials is inevitable.

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100 word describing your project. Below are some questions as prompt. 1) What is your concept? 2) How does it satisfy the inhabitation brief for both the lunchtime seminar and an evening quartet performance? 3) How is the ground articulated to facilitate circulation? 4) Describe the material and how its effect the inhabitation of the space?

MODULE 3: ZENITH PAVILLION

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Isometric

Area of circulation

Direction of circulation

The structure is created through the booleaning process of various dipyramids, creating a cavernous structure.

There is a juxtaposition between the plain “outer shell� and the complex inner form. Thus, white marble slabs have been used for building material. This gives the sense of emptiness and artificial, contrasting with the surrounding. Additionally, the material itself has specks of colours and is not completely white.

The seating is based on the shape of the dipyramids used to boolean, as well as complimenting the overall aesthetics.

The edges culminates into a wide opening ontop, creating an almost cathedral-esque space, drawing your eyes upward.

The area for the stairs is similarly created by the booleaning process, matching the jagged shape of the pavillion.

The stairs abide by the standard height regulations, and the gap between the high and low ground is not tall enough to be hazardous, and can serve as seating space.

Exploded Isometric 1:20 0

250

5000mm

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Design Iteration

Iteration two and three are of a pair. In this set, I used a smaller dypiramid in order to create a sense of enclosed space. This ultimately would not be able to contain fifteen guests, so I attempted to make it hollow with voronoi boundings, but after discussion with my tutor, we decided to explore another direction.

The first iteration used the dipyramids to boolean at an angle, creating a large inner cavern. It was not used due to the shapes created not being interesting enough.

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Computational Process

Similar to M2, a bounding box is created to allocate grid points. In this case I used a combination of different sized boxes.

The grid points are adjusted with attractor points/curves, allowing for variation in points.

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Computational Process

Dipyramids are created in relation with the adjusted grid points and remapped numbers. The process uses multiple dipyramids from multiple bounding boxes.

Like M2, the points are cellulated and meshed into centroids and remapped in relation to a point. This allows for variation in size in the dipyramids.

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Fabrication process

The landscape is lasercut from of 3mm polyplex sheets, transforming the landscape from smooth curves to more angular, fitting with the aesthetic of the pavillion. The pavillion is created by 3D printing. Due to time constraints, I had to divide the pavillion into sections. With 3D printing, the pavillion became warped at the edges. In the future, I’ve learned to explore different fabrication methods for the optimal result.

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360 Image Output

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Digital Design Semester 1, 2018

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