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DIGITAL DESIGN

PORTFOLIO SEM 1 2018 A R

SHIRLEY TAN MIN HUEY 784063 CHELLE YANG + STUDIO 01

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Shirley Tan Min Huey email: shirleyminty@gmail.com

Education: 2017 - current Bachelor of Design 2014 - 2015 Trinity College Foundation Studies

Awards / Exhibition: 2017

FOD:R Exhibition, AFLK Gallery

2018

MSD X Exhibition

Skills: Rhino Grasshopper

With design, and particularly architecture, what motivates me is the desire to see people’s lives touched and positively impacted through architecture by creating architecture that people are emotionally and physically drawn to. The Queen Victoria Garden Pavilion would be an example of the idea of architecture that I aspire to achieve from and beyond. One that inspires and uplifts and is simply humane. That is, one that increases their experience of the space and world they live in. In this subject, I’ve learn technical skills of translating my ideas into reality through the use of software, programme, representation and fabrication. This subject has really pushed me to as a designer to break boundaries and constantly try something new with design. It has awaken a desire in me to master my skills in software so that my ideas can be better and more accurately translated into real forms.

Unreal Photoshop Illustrator Indesign Fabrication

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CONTENT

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01

Precedent Study

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Generating Design Through Digital Processes

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Queen Victoria Garden Pavilion


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M1

DIAGRAMMING DESIGN PRECEDENTS

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DIAGRAMMING D E S I G N

P R E C E D E N T

My isometric of the pavillion is north west oriented. I’ve chosen this angle or view as it best shows the relationship between the curves and also more of the bench space as compared to the other ones. This model was mainly modelled using extrusion, curves and offset in rhino, with the flow and form of the curves modelled with more detail as thickness is not integral to the overall sturcture of the pavillion. I’ve learnt that circulation for this pavillion is not restricted to a specific flow but because of the openness of the structure it allows a fluid circulation flow throughout and around most of spaces. In terms of threshold, i’ve learn that it is influenced by shadows and enclosure of the space, which work together to create a separate quality of space, differentiating the area beyond the pavillion and under the pavillion.

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DIAGRAM

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DIAGRAM

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roof

walls

CIRCULATION The first layer illustrates

THRESHOLD occupancy

This diagram shows

the main circulation

shadows formed in the

area where people

morning, afternoon and

usually come and go and the density

primary circulation space

and activites of the people who occupies

evening and clearly informs us which space is always in the shade. The

shadows

shadow and enclosure

the space, with most

of the walls and roof

people sitting and some

creates a space that

people standing away

is separate or different

from the seats. The

from the area beyond

distance and number of the arrows depict

circulation path

the pavilion, hence, the threshold. Also, the shade

the size of circulation

corresponds with the

compared to other

occupancy of the space.

parts of the pavilion.

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M2

GENERATING IDEAS THROUGH PROCESS

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The waffle has a cantileving structure, where the cantileving surface structure sits on one point. I decided to use 2 very different orientations of the same surface to produce unusual and interesting structure for my waffle. I experimented with the different shapes for the panels and used two of the ideas here in my panels. For one of the shapes, i applied weaverbird’s picture frame in grasshopper in order to produce a result as can be seen in my panels. I’ve also incorporated a variety of 2D panel shapes to create a gradient effect ( holes opening up). I experimented with curve attractors and point attractors and decided to use 2 point attractors for the transformation of my panels.

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S U SW U

W


S U R F A C E A N D

W A F F L E

U R F A C E A N D

A R FFAF CL EE A N D

A F F L E

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P A N E L S

W A F F L E

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AXONOMETRIC D I A G R A M

&

D E T A I L

Shape of waffle structure creates the effect of the structure twisting open, where volume increases towards the top, where most light enters into the space in the structure

Perforated 3D Panels are more concentrated at the top while solid ones concentrate at the bottom to create a gradient towards the top

The solid panels acts as a definitive barrier or boundary between the exterior and interior and is concentrated at the bottom of the waffle surface, to allow for light to enter from the top. There are more protruding forms than flat 2d panels on this side to create interest through light and shadow and to boldly show how the panels deform or transform as the surface curves.

Perforations of varying sizes on the 2d panels control the direction and amount in which light can enter the volume and create a gradient effect in light shadow too

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

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P R O C E S S 14


DESIGN MATRIX

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C O M P U T A T I O N A L

WORKFLOW

SURFACE SCRIPTING

First, a bounding box for the

The edges that were deconstructed from

boundary is drawn and then the brep is deconstructed, specifically using the edges of the deconstructed brep

the brep was then divided into points and listed to control the number of points and use different points from different edges and connecting them into curves

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These curves are then used to create surfaces within the bounding box through the loft command


WAFFLE SCRIPTING

First, the surfaces were inputted into

The intersection between the Y

The direction of these waffle

the script and contours obtained from each surface. These contours were then offsetted and joined to create the waffle surfaces

and Z extrusions are obtained, then rectangles of the right size are drawn and extruded at each point, then trimmed off for the slits

surfaces are then oriented from one plane to another so they are flat.

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TASK 1 PRODUCTION METHOD:

LASER CUTTING

In rhino, the panels were unrolled as surfaces and tabs were applied to create the laser cut file template. As for the waffle, each contour curve was offsetted then slits were trimmed off them and laid down to the right plane so that it lays flat. These were then made 2D in rhino and arranged efficiently to be submitted to the fab lab for laser cutting. After they have been cut, I used PVA glue to stick the panels into the right form and put the waffles together, also applying glue to each connection to make sure it’s fixed.

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TASK 1

M O D E L


SOLID AND

V O I D

For my sectioned boolean model i was looking to create one that is open, where edges corners, and the way the surfaces form can be seen. It has a very organic shape that is quite abstract. I chose the iteration with the most interesting and diverse openings in them and picked the part of the iteration with the most openings to section off. I ran the thickness analysis to decide on which iteration and how to section it off as well. The original section model had too many areas with a thickness of 1mm or less, therefore i decided to boolean that part off to create my final model. My model is extremely permeable and quite porous, with a few holes of varying sizes in it.

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AXONOMETRIC D I A G R A M

&

D E T A I L

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

The various rotations of the geometry creates a organic set of interesting edges and corners

Most of the booleaned geometry intersects with the faces of the cube as they aren’t contained within it. Therefore, the shape of the cube is not as visible.

Larger booleaned geometries concentrated at the top, creates two different spaces that link. The more open space at the top and the more enclosed space at the base of the model.

The solids left behind can also be translated into a very open space. It creates a space with depth and levels that can be explored and circulated through.

Where the intersecting geometry interacts with the surface envelope or other geometry very slightly creates perforations or tunnels.

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DESIGN MATRIX

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C O M P U T A T I O N A L

PROCESS

The 150 by 150 box was produced in

The grid was manipulated along with the

The geometry is further manipulated

grasshopper. The box was deconstructed and only one face is selected. The grid points were obtained from the face. The face was then repeated along the x axis and cellulated

centroid ( distribution) of the geometry using point attractors or curve attractors. Attractor point was used to transform the shape and size of the geometry according to the position of the point. The geometry then morphed and rotated.

by changing the magnitude of the size, morph and arrangment. One the design is finalised, it is then baked out with the box to be booleaned off

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TASK 1 PRODUCTION METHOD:

3D PRINTING I’ve used 3D printing method of fabrication to produce my model for task 2. One of the few limitations that comes with this form of fabrication is cost and time. In order to keep cost and time to a minimum, my model had to be sectioned off quite significantly and due to the complexity of my structure, i had to change print settings to include more supports. However, this is type of fabrication saves time and energy compared to other fabrication techniques and the resulting model is quite accurately produced as well.

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Task 02 Full Page Photo

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TASK 2 M O D E L

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M3

QUEEN VICTORIA GARDEN PAVILION

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C

O

N

C

E

P

T

My concept is the simple use of elegant curves and surfaces to create a feeling of embrace, intimacy and elegance. There are sitting spaces for the lunctime seminar on the steps and at the very bottom of those steps, is a wider space for the evening string quartet to perform in. Perforations in the structure create magical lighting and shadow effects that illuminate the stage and enhance the performance. The pavilion is designed for good acoustics for the performances as the surfaces curve in to create a structure that opens up, as if amplifying the sound and reflecting it. There is only one entry way to the pavilion, which is facilitated by the steps that connect the ground to the pavilion. There are also spaces around the outside of the pavilion to circulate around. The pavilion only has one main entrance, which is the front of it, the back area has no steps leading down, and is the floor is too low to allow for a safe and comfortable climb down, thus, inhibiting entry from there and informing people that it is not a place intended for entry. There is a side entrance that can be used by those circulating that side of the pavilion. The materials used are concrete and timber (plywood), while the floor is made up of marble and stone. Concrete and timber create an aesthetic contrast of warm and cold and gives off a sense of comfort and calm that ties in with the seasons and nature. My pavilion is ideal in the summer for its lighting and shadow effects and for the stone and marble to provide a comfortable and cooling resting ground during the hot weather.

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M3 -Pearl Pavilion

Timber Structure Detail 1:25

Structure made pine wood creates starking Structure made of pineof wood creates starking and elegant contrast with coldcold hard and elegant contrast withthethe hard concrete of the other structure. This concrete of the other structure. structure also allows more light into the spaceThis structure while still keeping the interior space also allows more lightpavilion into the space while still keeping the interior pavilion space enclosed and intimate

Shirley Tan Min Huey - 784063

interactions between the surfaces of each structure interactions between thein the creates the space surfaces of each structure pavilion. these creates theGap space between in the pavilion. Gap between these structures also serve to allow structures also serve to allow light directly into the space light directly into the space when the sun’s position when the sun’s position is able is able to do do so. to so.

Back view 1:100

Sizes of perforations changes with Sizes of perforations changes with curvature curvature and creates gradient. and creates a gradient. Thea perforations allow light into the allow pavillionlight to giveinto interesting The perforations the and twinkling lighting effects that enhances pavillion to give interesting and the intimate and experience for the user or audience. twinkling lighting effects that enhances the intimate and experience for the user or audience. Shadows create a threshold Shadows create a threshold between the interior and exterior space of the pavilion between the interior and exterior space of the pavilion

AXONOMETRIC D I A G R A M Exploded Axonometric 1:25 0

500

1500mm

&

Steps create a seating space Steps create a seating space for audiences forwatching audiences watching the the performance or the general public performance or the general public

Height and width of pavilion fits exactly within the 5 by 5 by 5 metres boundary box

Main access or entry pavilion. Main access or entry towardstowards pavilion. Steps up to theSteps pavilion, differentiates thedifferentiates pavilion space from thepavilion up to the pavilion, the surrounding landscape and water surrounding the space from the surrounding landscape and pavilion. water surrounding the pavilion.

D E T A I L 30


M3 -Pearl Pavilion

main circulation area crowd density

Shirley Tan Min Huey - 784063

The enclosure that opens up to the front and folds over the top, amplifies and improves the acoustics in the space for the string quartet performance.

Exploded Axonometric 2 1:50

Areas that people occupy are indicated by the dots. Most occupied area would be the steps and areas that accommodate for sitting in the pavilion. The sunken parts, allows for the pavilion to sit in and increases structural stability of the curved surfaces.

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SUMMER AXONOMETRIC D I A G R A M

12 PM

9 AM

5 PM

North ideal shadow and lighting is created as seen on the diagram when the pavilion faces east of the site

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This sun-shadow diagram shows that the pavilion should be oriented facing towards the east of the site in order to create the lighting and shadow effects formed by light filtering through the perforations in the structure (as can be seen in the site plan of Queen Victoria Gardens shown above)


D E S I G N

I T E R A T I O N

This pavilion has a tunnel-like experience inside and opens up both sides from the middle space. I wanted concrete portals to define the form and space for the pavilion. I did not use it because it did not spatially and comfortably accommodate the string quartet

This pavilion has a very streamlined and smooth form, created with weaverbird in grasshopper. The undulating roof that hovers above and encloses the pavilion diffuses light coming in. However, the pavilion’s height exceeded the boundary and also, it doesn’t allow for underground steps to shape the space inside.

This pavilion is the starting point that my final design was based on. It’s elegant and bold at the same time, comprising of the same concept of light and shadows and acoustics. However, the ground needs to be manipulated and there should be another opening for more light in.

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The pavilion is surrounded by water and sits above the pond. People would be able to enjoy music on the platforms in the exterior of the pavilion while looking out to the view of the landscape. Smooth, polished marble enhances the elegance and luxury of the pavilion and sets the atmosphere for the interior where the string quartet will play. These renders are made with Unreal Engine.

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N

D

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C O M P U T A T I O N A L

Computational Process

PROCESS

I started off by drawing curves in rhino and using Edge

Diamond Panels from lunchbox used to give the

These scaled curves are then made into

Surface and Loft to create surfaces out of those curves through grasshopper. I then manipulated the points on the curve where grasshopper correspondingly and accodringly changes the surface from the points.

shape original grid and then a new domain is constructed, that changes and its size scaled according to the curve attractor.

surfaces to be extruded. They are then trimmed off the surfaces at specific areas to give the perforations.

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FABRICATION

P R O C E S S

As for the base of the pavillion, i contoured it in rhino and organised the lines into colours to signify etch or cut. It was then made into 2D and arranged on the laser cut file template. The waffle lines were obtained through grasshopper by projecting the waffle onto the flat plane and then DupEdge in rhino to give the linework. After these have been cut, all these components along with 3D printed ones were put together with uhu glue to create the model.

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FABRICATION

P R O C E S S

3D PRINTING 3D PRINTING After building the model in rhino, I scaled it down to the 1:25 scale and sectioned the model using the split command. I’ve sectioned my model in order to achieve the 9hr time limit that was permitted. Then, i made those polysurfaces into mesh and made sure they have no naked edges by filling mesh holes, so that it can be processed for 3D printing. Once this was done, i exported it as an stl to open in MakerBot . In MakerBot, the object was placed face bottom on a side or made sure its oriented so that it creates the least support structure . I used the standard colour settings and submitted it for 3D printing. The structure with holes accumulated up tp 6 hours while the latter took 4 hrs.

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SECTION M O D E L

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360 IMAGE O U T P U T

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DIGITAL

DESIGN

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SEMESTER 1, 2018


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