Digital Design Final Portfolio by woodwardc

DIGITAL DESIGN - PORTFOLIO Semester 1, 2018 Claire Woodward 915 504 Michael Mack + 05

CONTENTS

Reflection

Design Precedent

Generating Design Through Digital Processes

Transient Cave

REFLECTION

The city and the mountains are my two driving inspirations. I have always lived in the city but have relished the opportunities to get away, explore the mountains and appreciate natures beauty. Through design I like to look at the interplay of these two spaces. I am passionate about the interplay of the built environment and the well-being of the community and individuals. I am interested in how buildings can disorient someone from the surrounding, busy urban setting – forcing them to take notice of the intricate details around them. And I desire to create spaces that encourage reflection for the individual as well as sparking conversation with the wider community. Before the beginning of semester, I had a relatively concise understanding of Rhino software and the Adobe Suite. This was, however, my first exposure to parametric and rendering software’s (specifically Grasshopper and Unreal Engine). While at first these processes were challenging, with time, experimentation and collaboration with fellow students I was able to extend my abilities in these programs - with added guidance from the workshops and tutorials. This was essential as it allowed me to challenge my designs and push the scope of the task to produce highly intricate and well composed pieces. As the semester progressed, I began to develop confidence with my digital capabilities which lead me to deeper explorations of complex ideas. Similarly, I developed a great appreciation for hierarchy across a page and the way a piece can be championed with effective manipulation of line weights and surrounding composition. This lead to a developed ability to cull to ensure that work isn’t over powered by annotation or graphics. Finally, I learned the importance of the consideration of fabrication. Parametric software allows you to generate a myriad of highly complex designs often which are undevelopable through hand-built fabrication. This is where it becomes important to trial fabrication techniques so that the materials and methods can be tried and tested and then the digital software can be altered accordingly to overcome any observed fabrication errors. To further improve my work in the future I need to begin to merge the design and fabrication stages so that I am testing constantly while designing so that I can discern if my ideas are buildable. A lack of time-management and consideration of material when it came to fabrication impacted the quality of my models. Moreover, in the future it may be worth considering whether complexity in design outweighs a poor fabrication. I think it would be valuable in the future to reduce the difficulty of my designs – placing the focus on the desired outcomes of the piece i.e. an exploration of light and movement, rather than complexity for complexities sack. This would also result in more crisp models. Finally, another area of improvement is my digital skills. While I have learnt a lot this semester and more confident in my digital capabilities I often feel limited by my skills. The development of design ideas is my strength and I often find myself hindered by my technical capabilities to produce my concepts in the way I desire. Often, I get to where I want to be in the end, however, I often take the long way. Consequently, further personal exploration of these software’s will assist in continually improving my technical skill set. Digital Design as challenged my skills set and improved my design capabilities. I feel proud of the work I have achieved and the progress I have made throughout the semester. I feel more confident as a designer and have had enjoyed the freedom of the design tasks as it has allowed me to tailor design exploration to my areas of interest. This subject has made me feel motivated and excited for my future in design.

PRECEDENT STUDY

The exploration of a precedent enables us to explore tried and tested techniques of designers in order to see how they have controlled movement and defined thresholds. Allowing us the chance to reflect how similar attributes could be adapted to our own design. This analysis became invaluable later in the process as I had a deepened understanding of the pavilion structure and the way the different forms interact with each other. This challenged me to question how people might weave in and out of the spaces and if there were defining factors that would inform movement - such as sunlight. This is a critical element of the Libeskind Pavilion as the angular nature of the panels and the reflective surface of the material means that light interacts with the space in an artistic and lively manner. Light dramatises the angles, determines key thresholds and creates playful shadows across the site, all encouraging diverse use of the pavilion. Libeskinds adaptation of movement and light are ideals I wish to explore further through my designs.

DIAGRAMMING DESIGN PRECEDENT

The modelling process of the Linebskind model was challenging due to the unclear plan, complex angles and inconsistencies between the elevations and images of the actual structure. To overcome this, it took a lot of time analysing the provided information and thinking logically about the practicality of the shapes - what could you assume would work. To ensure I was as precise when tracing the lines, I used Illustrator first and then transferred these to Rhino, rotating them and placing them into position. I found with this technique I was able to more accurately pinpoint the ends of lines, and the form of my final model was more accurate as a result.

Libeskind Isometric

After a wider analysis of the surrounding environments of Hyde Park, train stations, universities and tourist attractions, it became apparent that there was no straightforward way to determine a consistent reason or pattern to the movement across the Libeskind pavilion. I was inspired by the work of William Whyte where, through using time laps photography, he was able to analyse the correlation between sunlight and the way people interact with a site. I consequently decided to use this as a basis for exploration across the Libeskind site looking at how well-lit thresholds could alter the flow across the site with the assumption that people are either drawn towards the suns heat or away, seeking shade and the way this would alter over contrasting times of the day.

GENERATING IDEAS THROUGH PROCESS

With a focus on development in technical and fabrication skills Module 2 aims to progress the concepts of threshold, shadows and movement explored during our precedent study to formulate our own design. We get to explore panelling tools in Grasshopper which is our first encounter with parametric design and through many iterations put together both a laser cut waffle structure with panels and a 3D printed Boolean massing design. To me a successful pavilion is not one that necessarily blends with the surrounding environment but rather creates a space that can act as a retreat, distances you from the its location and transports you to a carefully created space. It is these elements that I want to explore throughout the development of my pavilion. To begin I narrowed my exploration to the concepts of movement and lighting. To see how a panelling textures can exaggerate and enhance these elements. Through experimentation with initial surfaces I was inspired by the concept of creating a cave like form. One that looks narrow from the outside, may be dynamic in its textures on the exterior but the interior forms are hidden and not fully exposed until you enter. The exploration of solids and voids I aimed to create a sense of disorientation and awe, where no to views are the same and the space can be appropriated uniquely by each individual. Moreover, create a space that is unexpected from the exterior view creating intrigue and sparking conversation.

DESIGN MATRIX 1 1.3

1.2

1.1 {177,74,150}

1.4 {141 ,-807,150}

{63,-27,150}

{140,-867,150}

{241,-1215,0}

{244,-1095,0}

{0,-349,150}

{90,-349,150} {150,-349,0}

{180,-1244,150}

{150,-439,0}

{64,147,0} {-12,101,0}

{99,-70,0}

{165,-1243,150}

{-20,800,38}

{Index Selection}

2.1

2.2

{3,-1167,93}

{90,-1409,146}

{Index Selection}

2.3

2.4

{-112,-1261,-51}

{244,-1095,0}

{0,-1305,98}

{51,-1382,-14}

{140,-867,150}

{112,-1417,5}

{-4,-1261,-7}

{-12,-1314,98}

{Attractor Point Location}

{Attractor Curve Location}

3.1

3.2

3.3

3.4

{Panelling}

SURFACE AND WAFFLE

Light penetrates in and out of the structure through a myriad of different apertures resulting in kaleidoscopic patterns

space from above resulting in unique lighting patterns through the panels

The solid interlocking panels exaggerate a sense of movement and create a dynamic boundary to the interior volume

Exploded Axonometric 1:50 0

60mm

I played around with a lot of different panel forms that expressed either movement or lighting through their pattern. I wanted to ensure that even though I was experimenting with different concepts on each surface that there was still a sense of continuity. Consequently, I chose two panels that repeated an interpretation of triangular forms throughout. The left-hand surfaces was more dramatic in its curvature and consequently became the basis for my investigation of movement. The panels link together in a highly dramatic sweeping motion. On the alternate side I used offset triangular forms that were skewed using a curve attractor to create different apertures and a highly textured surface. This interplay of movement and lighting enhanced through complex, dramatic geometry touches on features of the Libeskind pavilion. When deciding upon a design for my waffle I wanted to find surfaces that did not only look good and match my developing concepts, but one that challenged me so that I would have the chance to explore Grasshopper more deeply. While my surfaces werenâ&#x20AC;&#x2122;t highly curved (a choice I made as I didnâ&#x20AC;&#x2122;t want the curve to make my panels unbuildable) the complexity came when dealing with the collision of the two planes. In order to over come this I had to redefine the bounding box to the internal shape and then rearrange the edges to get a clean loft. Also due to the narrow nature of the internal structure I decided to reduce the thickness of the waffle pieces, resulting in a more cohesive and delicate structure.

COMPUTATION WORKFLOW

Through creating a series of carefully grouped indexes each point on the surface could be adapted to form the desired surfaces - allowing you to have total control of the output. Parametric software also allowed you to instantly see how these iterations would change

Altering the offset grid through a series of point attractors and curve attractors enhanced a sense of movement and resulted in a diversely panelled surface

1.2

the design.

2.3

{241,-1215,0}

{244,-1095,0}

{51,-1382,-14}

{180,-1244,150}

{112,-1417,5}

{140,-867,150}

{-4,-1261,-7}

{165,-1243,150}

{Attractor Curve Location}

13 {Index Selection}

By customising the bounding box I was able to control the domains of the panel so that they would interlink across the surface. This helped me to create an exaggerated sense of movement.

FABRICATION METHOD

Laser cutting helps significantly reduces fabrication time especially when building such intricate small scale models. As I have laser cut before the process itself was not unfamiliar to me however fabrication always has its limitations and these that I have learnt will be important when moving forward to Module 3. For example the thickness of the paper can effect the permeability of the surface which intern results in shapes that may not accurately represent the scale or the shape of your digital model. By using dashed cut lines rather than etch lines you are able to get a crisp fold and you have the flexibility of folding in both directions (this is not possible in the smaller scale panels as they would be cut off so considering scale is important.) Secondly, I also learnt the importance of getting files in early to have everything ready in time and to test as much as possible to ensure it will come out the way you desire. Finally, when working with panels and then moving to the waffle it is easy to forget that they need to come together to form a single piece - consequently more careful consideration of how the two pieces will join is important.

DESIGN MATRIX 2 1.2

1.1

1.3

1.4 {-385,754,92}

{-385,754,92}

{201,82,0}

{-49,42,0}

{Curve Attractor}

{Attraction}

{1.5}

2.1

{Curve Attractor}

{Attraction}

{Point Attractor}

{2}

{Attraction}

{0.8}

2.3

2.2

{Point Attractor}

{Shape Distrubution}

{291,-960,0}

{416,-1142,0}

{Attraction}

{272,-1018,0}

{1.3}

3.1

{Scaling}

{0.3}

2.4

{291,-960,0}

{416,-1142,0}

{Attraction}

{Shape Distrubution}

{272,-1018,0}

{Attraction}

{Shape Distrubution}

{0.7}

3.2

{Radius}

{18}

{Scaling }

{Attraction}

{0.4}

{Scaling}

Design Matrix 1:5

{Attraction}

{0.9}

3.4

3.3

{24}

{Shape Distrubution}

{Radius}

{33}

{Scaling}

{Radius}

{45}

SOLID AND VOID

Openings of different apertures are featured throughout creating different lighting effects but also allowing peepholes to the exterior

The repetition of the same form overlapping distorts the original shape creating a highly beginning or end

The delicate features where walls just touch creates a sense of fragility while also creating overhangs

The remaining solid acts as an enclosure to the highly textured and intricately detailed interior so that a sense of disorientation is created upon entry The lower section is shut off from the rest of the internal structure creating a more intimate and secluded space.

Axonometric 1:1

60mm

Solid boolean using 3.2 morph iteration.

I was immediately drawn to a spherical shape as I liked the way it creates a sense of intimacy and enclosure. Integral features when forming a cave like space - where a person becomes completely removed from the surrounding environment. In order to create more variation to this shape I chose to use an octagonal sphere as the multiple flat faces create a kaleidoscopic texture that reflect organic the natural rock form interiors of a cave. To enhance this further I focused on playing around with scale in order to create overlaps. These overlapping voids form unique spaces, different windows and gaps to the outside form. During the iterations I found it was important to find the right balance between having open spaces from overlapping shapes, but not too many that resulted in a more fragmented, open form where intimacy and enclosure would be lost. This meant playing with various curve and point attractors and scaling factors to find the right balance of overlaps. The final iteration has one completely isolated space that encourages more intimate social interaction and provides privacy. The other spaces have more on a focus on entering light with different sized apertures resulting in a playful interaction of light with the multi-faceted walls. This interaction also had interesting links between the different levels, nothing is overly repetitive and each space would provide a distinctly different experience to the next. Similarly, the small over hangs and delicate connections can lead to unique appropriations of the space when used. The implication of this structure in Module 3 is still flexible and will be dependent on scale. This could provide a design for the overall form of the interior on which the panels sit or it if taken at a smaller scale could design small interior spaces or furniture with which people can interact.

COMPUTATION PROCESS

Each grid cell and point could be individually

By grouping the different scaling

manipulated to alter the nature of the space. This level of control was essential in being about to control the level of overlap between each shape and thus the voids obtained

techniques I was able to easily move between the different iterations. This way I could come back and alter the output scale as required to achieve the desired overlaps.

FABRICATION METHODS

Throughout the design it was important to consider the properties of a 3D print. Most importantly the level of support material that would be required to build it. While support material can be quite easily removed if the spaces are too small or curved it can become highly difficult to remove and consequently the model could look messy and unfinished. Similarly, very delicate pieces can easily break or print inaccurately. This was a consideration of mine throughout the design and focused on the effect and light qualities created by the shapes rather than design a highly complex boolean.

TRANSIENT CAVE

Movement and light. Enclosure and volume. Threshold and levels. Intimacy and interaction... Creating a space that interplays with natural forms and removes the viewer from the surrounding urban fabric. To me this creates a pavilion. In line with my design aspirations these concepts have been the basis for my exploration throughout the semester and have defined my final design â&#x20AC;&#x153;Transient Caveâ&#x20AC;?. The name enhances the ironic interplay between the permanence of a cave and the impermanence of a pavilion structure. The dramatic interplay between the pavilion form and the landscape creates a seamless wave barely noticeable until you approach the site. The stairs down into the site narrow as you approach the entry to the interior volume forcing people to enter individually -curating the movement and creating an intimate personal interaction with the pavilion. The space then opens up - only interrupted by the low drooping form allowing for community interaction and engagement with the seminar or performance space. The open lattice structure allows for both minor glimpses out and in. Framing views. Highlighting natural elements of the surrounding park or the movements within the pavilion. This also allows with an interaction of from above and below allowing people to engage and appropriate the site in their own ways. The use of timber reflects the relationships to nature. It is also a feasible material to use is it can be steambended to form the curved shapes. This is reflected in the interior to create continuity and distorted the realities of the ground and roof planes. By contrast, concrete is used on the stairs to highlight a change in threshold and draw the viewers eyes down into the space.

DESIGN ITERATIONS

My first iteration was an exploration of fields and I could create an organic for that interplays both with the internal spaces and the surrounding landscape. While I liked the complexity of the shape and how segments drooped down into the space the transition of this design to a feasible fabricated model lost these qualities and in turn lost my overall desired design outcomes.

Moving away from fields into an exploration of geodesic curves I focused my design to create a cave like form. While I like the fish net quality of this form I felt it didnâ&#x20AC;&#x2122;t represent the sense of movement effectively. From the ground level the structure would appear plain and there isnâ&#x20AC;&#x2122;t an interesting interaction between the structure and interior volumes.

Through this form I placed a focus on how the 3-point arcs could exaggerate a sense of movement. Creating a sense of levels and an interesting interplay between the ground plain and lower interior space. This design did become the premise for my final surface, however, I did shift away from the gridshell design as the complex angles of the geodesic curves made it difficult to define the overlapping points for fabrication.

COMPUTATION PROCESS

Through my exploration of geodesic

By offsetting points from controlled

Perp frames enabled me to loft a

curves I explored how these curves would form arcs between 3 curves. By manipulating these curves parametric software enabled me to see direct updates of the resulting surface - leading me to my final design.

locations across the surface I was able to extrude singularly curved y-contours for fabrication.

rectangle beam that followed set curves along the surface. Then by constructing domains I was able to set the appropriate widths of each beam so that they would the reflection fabrication materials.

FABRICATION PROCESS

The fabrication process of involved various stages and the use of a variety of equipment. The laser cut file was prepared for 2mm thick white PVC. As PVC is a highly brittle material it is important to consider the thickness of the pieces as they become highly difficult to work with and are easily broken when trying to manipulate. To overcome this fragility I used a heat gun to melt the PVC strips so that they could be doubly curved and slot into the singularly curved structural frame. Secondly, working slowly was important so that the super glue could dry before moving on to the next strip. Finally, controlling the heat was vital in ensuring the structural frame was now melted or warped.

ISOMETRIC

M3 - Project Name

Timber Structure Detail 1:25

Movement from ground plan into lower interior, controlled by stair case Notches are created to form the primary structure in which horizontal members are bent

Holes in the structure allow light through into the interior space creating shadow patterns that alter throughout the day as well as create views out towards the sky and the moving traffic above

Claire Woodward - 915 504

Fluid shape creates a sense of movement and intergrates seemlessly with the surrounding landscape so the pavilion could easily go unnoticed

The edge peels up to create an enclosed space on the ground plane - allowing people to interact with the structure from above and underneath

Distinct threshold clearly directs movement into the lower level of the pavilion

Low drooping form playfully interacts with the lower space allowing people to interact with the structure and circumabluate around it

Curved interior walls mimic the curved pavilion structure

The stairs narrow at the base forcing people to enter individually and thus encouraging personal interaction with the site

Exploded Isometric 1:50 0

500

1500mm

DIGITAL DESIGN Semester 1, 2018