Digital Design Portfolio Semester One 2018
Caleb Biffanti
915044
Dan Parker
Education 2017 -
University of Melbourne, Bachelor of Design
2016
Awarded ACT Senior Secondary Certificate
2003 - 2016
Burgmann Anglican School
Awards 2017
The University of Melbourne Dean’s Honours Award - Year 1 FOD:R Exhibition Semester One + MSDx Exhibition Semester Two
2016
University of Canberra, Dean’s Design Winner University of Wollongong, STEM Major Prize Winner
skills Rhino........................................ Grasshopper.......................... Unreal Engine 4...................... Photoshop............................... Illustrator................................... InDesign.................................. Makerbot............................... e: cbiffanti@student.unimelb.edu.au
Fabrication.............................
w: https://cablet2.wixsite.com/biffanti-portfolio
Visual Represenation.............
reflection The following progression of modules consolidated my previous knowledge whilst exponentially increasing my understanding of the tools available to me in the realm of digital design and fabrication. Throughout this subject, I have explored the potential for designs to be layered and therefore establish intricacy for the users of the space to explore. This is most evident in module 03 which coalesces on ideas explored in module 02 with exploring apertures in a façade that create different moments and vistas through the circulation of the gardens. It is in this that I focused on the user and human experience of a design – a factor that I believe is often lost. Exploring and gaining skills in grasshopper was most profound in the knowledge gained from this subject although I often got led on a tangent of exploring the grasshopper plugins that were not conducive to the task at hand (however that is how I ended up developing module 03). Unreal Engine 4 presented itself as a valuable tool for exploring your design and understanding the experiential qualities – in a manner that software such as Rhino is incapable of. As a designer, I aspire to explore the possibilities of digital design to generate forms that are receptive to a complex environment – designs that are thoughtful and engaged with the context of light, sound, visibility and human experience of space. Digital Design has induced me to want to explore the field of digital fabrication and the possibilities that parametric design has for creating designs that are beyond convention. I would especially like to explore how parametric programming can be used in creating sustainable designs within the urban environment. In retrospect, pushing my designs earlier on in the iteration process and clarifying my design intent before jumping straight into rhino/grasshopper would, I believe, result in work that is more innovative and akin to something of a higher standard. Additionally, I need to work on giving myself the time to develop my drawings and diagrams, giving them more detail and continuity across projects to better represent my designs and ideas.
Content. 04
M01
07
M02
019
M03
Diagramming Design Precedent
Generating Ideas Through Process
Queen Victoria Garden Pavilion
03
module 01
Diagramming Design Precedent
Burnham Pavilion The Burnham Pavilion, designed by Zaha Hadid Architects in 2009, manifests parametric and forward thinking design that pushes conventional forms and constructability. The angulating and organic characteristics are key to this pavilions success as an attraction and spatial facilitator. This was at the forefront for representation. Where the skylights, and the angulating ‘sea shell’ form are focused on, and defined. These elements
define movement, adhere to the circulatory constraints of the site and facilitate a dynamic, temporal relationship with the public. The skylights and overall permeable form act as thresholds that enable a transition from day to night, and therefore a transition from an abstraction of curves to the dynamic symphony of lights and entertainment superimposed into the fabric.
Precedent Study
Isometric Modelling and Representation
05
Skylights
Night Circulation Static Interaction Light Permeability
Fabric Form Day Circulation
Internal Combined Circulation
Burnham Pavilion - Movement Diagram
Burnham Pavilion - Threshold Study
module 02
generating ideas through process 07
Lofts
1.1
1.2
1.3
[-47.7, 37.2, 150.0]
[0,0,0]
[2.1, 69.2, 150.0]
[51.9, 77.7, 150.0]
[-45.9, 101.5, 150.0]
[52.3, 112.2, 150.0]
Key
1.4
[-45.9, 101.5, 150.0]
[27.1, 69.2, 150.0]
[-47.9, -30.8, 46.6] [104.3, -47.6, 150.0]
[11.1, 69.2, 103.0] [49.1, 97.7, 72.4] [52.3, -37.8, 150.0]
[102.3, -12.8, 150.0]
[29.1, -48.6, 150.0]
[-47.7, 112.2, 0.0]
[79.1, -36.1, 150.0]
[-10.5, -80.8, 150.0]
[25.1, -80.8, 117.0] [51.6, -52.3, 67.1]
[76.9, 97.7, 0.0]
[27.1, 69.2, 0.0]
[-70.9, -48.6, 0.0]
[79.1, 51.5, 0.0]
[-10.5, -80.8, 0.0]
[102.3,12.1] [101.9, -52.3, 0.0]
[79.1, -11.1, 0.0]
[77.1, -80.8, 0.0]
Paneling Grid & Attractor Point
[Index Selection]
[Index Selection]
[Index Selection]
[Index Selection]
2.1
2.2
2.3
2.4
[-90.2, 151.8, 71.4]
[67.9, 145.3, -34.7] [39.5, -52.3, 150.0]
[-53.3, -49.1, 46.6]
[83.6, 87.8, 69.6]
[-42.7, -105.6, 64.2] [98.8, 52.7, 0.0]
[-35.5, -52.3, 0.0]
[0.3, -67.5, 185.6]
Paneling
[Attractor Point]
[Attractor Point]
[Attractor Point]
[Attractor Point]
3.1
3.2
3.3
3.4
Design Matrix
Grid Points Manipulated Grid Points
[-4.7, -52.3, 71.9]
[-35.5, -52.3, 0.0]
[-47.7, -37.8, 0.0]
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
task 01 panelised surfaces
Exploded Isometric.
Exploring the iterative process of design, task 01 was defined by the manipulation of control points that would generate surfaces that were twisted, yet harmonious. The panelled surfaces engage in a dialogue with the base form that enhances the progression - starting flat and coalescing in growth to the uppermost point – there is a natural progression of scale. The perforations and changing aperture of one of the sides creates different moments and vistas through to the waffle structure - highlighting its intricacy. The increased waffling enhances the undulation of the surfaces – giving definition and legitimacy to the form that would otherwise be lost.
09
Using the bounding box of 150x150x150mm, the points of reference were explored, including the use of an arc line, to determine the form of the lofted surfaces.
Grasshopper Design Script.
The panellised surfaces were created using attractors (points and curves), along with the Moph3D and Morph3DList parameters of the Panelling Tools. The attractors were applied to the offset grids to give the panels the effect of growing and coalescing towards to the top corners.
Using the referenced lofted surfaces, the contouring node (in the y and z directions), and an offset of 7mm, a waffle system is formulated for construction.
Creating connecting notches and extracting the boundary curves ready to be arrayed and processed for digital fabrication.
Increasing the number of contours enables the waffle to effectively be seen through the apertures of the panels.
011
Fabrication Process.
Model Fabrication.
Final Model Captures.
013
Grid Manipulation
1.1
1.2
1.3
Key
1.4
[0,0,0] [12.5, 60.6, 128.8]
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
[-19.7, 28.7, 85.17] [-3.9, -52.5, 214.8] [30.8, 12.5, 0.0]
[32.2, 93.9, 0.0]
[-102.5, 28.7, 0.0]
[-66.7, 27.1, 0.0]
[-48.1, 3.45, 98.4]
[Index Selection]
[Index Selection]
[Index Selection]
[Index Selection]
Shapes
2.1
2.2
2.3
2.4
Scale Manipulation
3.1
3.2
3.3
3.4
[-67.3, 153.2, 0.0]
[31.8, -48.3, 0.0] [-18.8, 17.1, 0.0]
[-126.4, 118.5, 0.0]
[-48.2, -23.96, 0.00] [-33.1, 36.6, 0.0] [Attractor Point]
Design Matrix
[Attractor Point]
[-21.58, -132.1, 0.0] [Attractor Point]
[Attractor Point]
[12.52, -28.6, 0.0]
task 02 Voided Geometry
Model Isometric - with original geometry before cut
Task 02 entailed the process of subtracting geometries and exploring the voids that are created.This booleaned section explores the intricate space created through the complex geometry and the manipulation through attractor points. The voids blur the line between positive and negative space, the stepping form presents areas of opportunity for the integration of a programme, easily manipulated by scaling the geometry – where the stepping could be used as seating, or as a ceiling design to define certain spaces between private and public. The undulating scale of the voids further explores threshold, the permeability of light and human circulation - depending on its orientation and execution to a design. With the model oriented vertically, there is a layering to the design that reveals details as you get closer.
015
Using the bounding box of 150x150x150mm, the left most surface was isolated for a the following cellular geometry to be made.
Grasshopper Design Script.
A cellular 5x5 grid was made, with attractor points used to manipulate the geometry and angularity of each cell.
A stepped cube was used as the void geometry, this paired with the use of an attractor point enabled various apertures to be eventually be created through the Boolean process of the original cube.
Digital modeling and Makerbot file set up for 3D printing.
017
3D model section.
module 03
queen victoria garden pavilion Sonority Sound is a key element that contributes in defining our sensory experience of space. With the programmatic conditions of this pavilion being dictated by aural exchange, I aimed to explore how sound could be used as the defining force for the generation of form and therefore be manifested into something tangible [where sound = form]. Each vertical layer to the design is therefore generated through the mapping and manipulation of a string quartet performance, with polycarbonate geometry that would illuminate with the natural undulations of sound. The layered façade reveals itself through the angled apertures as the user circulates through the gardens and the internal volume – acting as a sonorous form that unveils the intricacy of sound as the user becomes more engaged with the interior space. The terrain blends with seating that focuses attention towards the performances. A pigmented concrete juxtaposes the light reflected from the chrome waffling and permeated through the polycarbonate panelling.
019
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?
“Sonority�
the quality of being full or loud in sound, imposing and impressive in effect and style
021
Polished chrome waffling enables light and garden views to reflect into the interior space.
The pavilion appears as a solid mass that reveals itself through the circulation of a viewer. The angled apertures shift the interior view - a layered facade that becomes more complex with approach. Polycarbonate panels angulate to represent the complexity of sound. The use of lighting enables a temporal delineation of programme - the panels illuminate with sound.
Seating is integrated within the ground, with an inward focus towards the centre space for freedom of movement. Smaller step levels allow for their use as a stage platform. Pavilion Isometric.
A ground plane generated by sound descends below the pavilion and increases the interior volume. High polished black concrete reflects light.
pavilion diagramming. Filtration of Light - enabling a temporal change in program
Openings perpendicular to main paths delineate the openness, drawing attention towards the interior of Queen Victoria Gardens
Pavilion Movement Diagram.
Permeability of Sight - layered reveal of an interior volume
Pavilion Threshold Diagram.
023
Sound Mapping
Box Morph Geometry
Resultant Angulating Form
Front Elevation.
Section Cut - Day Seminar.
Section Cut - Night Quartet.
Design Iterations.
Iteration 01.
Iteration 02.
Iteration 3.
Iteration 4.
Exploring the different undulation that can be generated through sound. The ground plane naturally transform into seating.
By extruding a more intricate surface light wells are created, edges are defined by the ground plane and an internal space is created.
Introducing the possibility for using an extruded waffling that maintains the undulation (lost by the extrusion of iteration 02).
An accumulation of the previous iterations using a waffle extrusion along with larger, dramatic cuts - a combination of iteration 01 and 02.
025
A grid system was then reestablished and cellular 2D panels were constructed.
Isolating the base surfaces of the bounding box to be manipulated.
Grasshopper Design Script.
This was the most intricate and important process of inputs and outputs. Using a Firefly sound capture node, the left frequency was isolated and used to manipulate the grid of each surface in the z direction at different multipliers, grid sizes, and frequency sensitivity.
Using the same surface of points, an offset was made with the points then interpolated to define striated lines that were lofted and then manipulated similar to module 02 task 01 in the process of creating a waffle structure.
The offset points of this data stream were then used as a system similar to module 02 task 01 where geometry was morphed to the grid to create the panels that define the interior ceiling.
The resultant silhouette was baked and then referenced in as a brep. A panelling grid was then defined and used to build the wall system of the same abstracted geometry of the ceiling. Using an exaggerated sound capture, the entrances to the pavilion were defined.
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Digital Design Portfolio Semester One 2018
Caleb Biffanti