Digital Design: Final Portfolio

Digital Design - Portfolio Semester 1, 2019 Hugo Marmara

996284 Siavesh Malek Studio 11

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name: Hugo Marmara

Education:

Reflection:

2018 - current Bachelor of Design 2015 - 2017 Camberwell High School

Through its ups and downs, this semester has probably been the most influential on me as a designer so far. With Digital Design as the catalyst, I have now begun to define my style and core motivations altering my trajectory through my early design career. While I am yet to discover a specific or consistent motivation behind my design processes, this subject has developed an appreciation for high quality, thought provoking design within me. Furthermore, specifically in M3, I experienced a drive to achieve that I hadn’t yet experienced in earlier projects. There was a certain sense of passion and love for my design that I was truly proud of which motivated me right until its completion.

The more tangible skills that Digital Design has left me also include proficiency in a multitude of new software and programs as well as newfound skills and knowledge of digital fabrication and parametric design that all came together for my final project. In aspirations for a career in Urban Design I believe the scale of such a

student iD: 996284 email: hugomarmara@gmail.com

Work Experience: 2017

Dennis Family Homes

Content: Skills: 03

Precedent Study: Serpentine Pavilion 2011

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Generating Design Through Digital Processes

Rhino Grasshopper Unreal Photoshop Illustrator Indesign

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Queen Victoria Garden Pavilion: The Onion

Fabrication

project was quite refined when compared to what I wish to be working with in the future. However, through its more abstract teachings of digital architecture and specifically Herzberger’s reading on habitable space I have developed an understanding for the human scale within the larger city which is often forgotten in large projects and developments. Despite this I still have much to learn, by means of refining my ideas further as well as time management and execution which have let me down both in Digital Design and other subjects this semester. Overall, I am extremely grateful to have experienced this subject and have taken a lot from it in a short period of time. I now have work that I can say I am proud of and can’t wait to use my new knowledge in future designs.

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Precedent Study: 2011 Serpentine Pavilion

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In his 2011 Serpentine Pavilion, Peter Zumthor analyses spaces of rest and circulation, epitomised in his pavilions maze like journey into an open “hortus conclusus” at its center. This journey of narrow corridors into open seating ‘aims to help its audience take the time to relax, to observe and then, perhaps, start to talk again… or maybe not’. From this exhibition I learned how one can shape how people move but cannot shape their behaviour, reiterating the importance of adaptable pavilion spaces as each individual will have an individual experience.

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Peeled back isonometric of Peter Zumthor’s 2011 Seprentine Pavilion.

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Visual Obstruction

Sun Study

Garden Height and Density

10am - 6pm

Visual Chanels

Static vs Dynamic

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Generating Design Through Digital Processes

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Waffle and Surface My task 1 waffle and surface draws from ideas of permeability and visual experience. Both skewed quad surfaces produce two different experiences, one creating a sense of threshold through appearing solid from the outside and permeable from the inside, while the other utilised permeability on a horizontal axis encouraging circulation around the structure.

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Design Matrix: Waffle and Surface

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Isometric: Waffle and Surface

Surface 1: Opening on the top of each module allow light into the pavilion while leaving no interior visible from the putside.

Waffle: The diagonal fins aligned with the vertical contours aligned seemlessly with the skewed pattern of the modules.

Surface 2: Openings only on the southern side of the surface allow for an open view of the interior from the south and a closed facade from the north.

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Computation Workflow: Waffle and Surface

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This surface when viewed from one angle provides an uninterupted view of what is beyond it. However when viewed from the other side the surface becomes impermeable and displays a solid facade for the user.

I found this idea fascinating as I believe it would effect how the user would participate with the space. When confronted by the solid the user may be intrigued as to what lies inside. However, when presented with a clear view of the interior, the user is encouraged to move around the perimeter to see what may be o the other side.

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Computation Workflow: Waffle and Surface

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This second surface explores the same idea of permeability but in the context of threshold opposed to circulation. Using the same skewed quads to create a sense of continuity, the hole are situated on a horizontal plane along the top faces of the panels.

This means from the exterior the facade is unrevealing and imposing, providing a completely polar to the experience inside which presents a wall dotted in holes allowing light to flood the interior space. This contrast in experiences outside the sturcture and within highlights the transition between inside and outside by bringing the outside in and the inside out.

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Fabrication Process: Waffle and Surface

To avoid taping and therefore imperfactions I decided to etch three tabs of each module. Due to the skewed quads each row of 5 was able to split evenly in two and half. This meant for an even number of 10 modules per side. The main constraint was the inflexibility to alterations after the cut and obviously the wait time for the queue. This resulted in some miscalculations on my part and some errrors in the final fabrication of my model. From this I have learnt to triple check what I print before i do because in a time sensitive project such as this it is important to get it correct.

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Final Model: Waffle and Surface

Surface 1

Surface 2

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Permeable Light Study: Waffle and Surface

Surface 1

Surface 2

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Solid and Void

My task 2 booleaned solid explores circulation and rest areas via clear sightlines and framed views. Clear exit and entry points through the solid provoke users to move through the space, while framed views cause one to stop and observe what is happening beyond the solid.

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Design Matrix: Solid and Void

Booleaned Geometry

1.1

1.2

1.3

1.4

1.5

Key Area of Interest

Happy Accidents Iterations

{Sperical Boolean}

{Box Boolean}

{Rotated Box Boolean}

{Rotated Box By Row}

{Rotates Box By Row}

2.1

2.2

2.3

2.4

2.5

{Windows}

{Channels}

{Structures}

{Columns}

{Skylights}

3.1

3.2

3.3

3.4

3.5

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Isometric: Solid and Void

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The fInal 150 x 150 as pictured created some very fascinating irregular shapes. As detailed in the matrix the happy accidents created utilised in my 3 iterations. Through its variety of internal booleaning and small exterior openings my box displays elements of porosity and permeability as defined by elements such as, framed views, passages and skylights. These ultimately allowed me to discover an a wide array of iterations within the 150x150 cube.

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Computational Process: Solid and Void

Point Attractors:

XYZ Rotation:

In measuring the distance from the

Range of Size:

Finally I created a script that

centre of each cube and a mpoint attractor I was able to manipulate how they grouped.

Then in creating boxes i was able to manipulate the dimensions of the boolean geometry.

allowed me to roatate ech row of boxes indepedantly to create interesting abngles and voids.

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Fabrication Process: Solid and Void

Iteration 1

The 3D printing process educated me on the importance of correct geometry and creating my Rhino models correctly. Via exploring non-manifold and naked edges i learnt a lot about the theory that goes behind the process of digital to physical.

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Iteration 2

Final Model: Solid and Void

Clear sightlines through passage

Skylight

The final iteration explored nearly all the happy accidents. Through further expanding on the passage seen in the first iteration the model encourages circulation throught the interior space and out the other side. The framed views seen in the windows on either side may insight rest spaces and contemplation.

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Framed views

Queen Victoria Garden Pavilion: The Onion

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The Onion The main concept that my project explored was the idea of layered spaces creating separate thresholds.

Through overlapping the origami shell structures new thresholds were created between them, further defined by material and light properties. The pavilion utilises its terrain and built structures in accommodating enough presenter space to with in the inner shell to house a quartet of performers as well as an audience of 30 people. The terrain also defines entry and exit point from wither side of the site, creating interesting walkways where the shells overlap.

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Design Iterations: The Onion

The first iteration was produced “origamically� as a prototype and while interesting needed further refining to accomodate the pavillions brief.

The second iteration drew inspiration from the first iteration via the interesting blooming shape formed from pinching and manipulating the origami folds. The podium however was too heavy and juxtaposed with the origamis light weightless effect

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This third iteration, inspired by Santiago Calatravas work, aims to create a ligther more seemless junction between the two surfaces.

However it appears more awkward than weightless and did not achieve the effect I was hoping for.

Isometric: The Onion

Semi-permiable shell provides glimpses of the internal space from St Kilda Rd eliciting interest from the street.

Semi-transparent shell allows for a unique visual interaction with the presenter as well diffusing light into the pavilion.

The outer threshold, defined by the outer shell, creates a more enclosed space despite being larger.

The junction between the two thresholds creates a space within the space allowing for multiple experiences.

The inner threshold, defined by the inner shell, allows for a more permiable space due to its transparency.

Showing the differing experiences of a phisically permiably facade (top) and a visually permiable facade (bottom).

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N The pavilions interaction with the landscape gives it a “floating� appearance

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Computational Process: The Onion

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2

3

4

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Computational Process: The Onion

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4

Components 1 and 4: Each part of the process used more or less the same script manipulated in different ways. Process was quite simple, by dividing each curve the into 10 points and running an arc between each point a tunnel shape could be observed.

The arcs were then divided themselves to creat points. In a true/false pattern each arc was treated by connecting a polyline to every second point.

The polyline was then baked and pannelled panneled in Rhino.

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Components 2 and 3: The two 3D printed components were treated slightly differently to the laser cut shell as they were not panelled.

Continuing the same triangulated pattern to create consistancy, the presenter space manipulated the third point of each arc along another arc creating the bridge like passage underneath.

The seat ran the tthird point of the arc along another line to create the seemless transition of square seating to the more sloped option.

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Fabrication Process: The Onion Ivory Card: Using techniques learned in the Waffle and Surface exercise I unrolled t my outer surface only ivory card using 2mm x 2mm scores to create clean folds

Polypropylene: Up until now I had never used polypropylene before so I treated it as I would ivory card and hoped for the best. The material was actually very forgiving and easy to work with and folded very cleanly using the same 2mm by 2mm scoring system.

Mountboard: For my landscape i used mountboard which was fairly straight forward.

There were complication in the FabLab so I had to supply my own which came up much nicer than I expected, however its dimesnsions were 600mm x 800mm at 1.5mm thickness so my model had to be adjusted accordingly.

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Fabrication Process: The Onion

3D Print: Using skills learned in my solid and void component I was able to get my 3D print out reletively easily. I had one issue with the stand structure as in offsetting the mesh many naked edges occured. To resolve this I offsetted two polysurfaces, joined them and then meshed the entire peice which cleared up any inconsistancies.

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Unreal Render: The Onion

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360 Image Output: The Onion

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Final Model: The Onion

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