02.3. D DES PORTFOLIO.

DIGITAL DESIGN PORTFOLIO S E M E S T E R 1 | 2018

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Charensia Pricilla Rompis [ 860209 ] Daniel Parker + Studio 06

PROFILE

C DIAGRAMMING DESIGN PRECEDENT BAD HAIR PAVILION

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Charensia Pricilla Rompis - 860209

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GENERATING DESIGN THROUGH DIGITAL PROCESS

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TIME OF USE

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TYPE OF USE

LAYER THREE

CIRCULATION PATHS

LAYER TWO

COMMON USE

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SURFACE AND WAFFLE & SOLID AND VOID

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Circulation - 1:200

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AA SCHOOL OF ARCHITECTURE - BAD HAIR 2007

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QUEEN VICTORIA GARDEN THEORY OF LIGHT PAVILION

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Thresholds - 1:200

REFLECTION

P R O F

EDUCATION

2015 - 2016 Trinity College Foundation Studies 2017 - PRESENT University of Melbourne Architecture and Landscape Architecture

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SKILLS

One thing that still amaze me is how time flies and how I ended up here, writing this reflection bit for my architecture subject. And now, I realised that I no longer draw, but, I design, and there is a huge difference in it.

In Module 01, I learned how to interpret a 3D model from basic information. Also, I get to understand how diagram helps conveying ideas and concepts.

In Module 02, I get the chance to explore parametric design through Grasshopper in Rhinoceros.

In Module 03, I was able to combine all the skills that I have learnt throughout the module, and develop it further with rendering skills in Unreal Engine.

AWARDS / EXHIBITION

2016 Allison Wehrman Award 2017 ALKF Exhibition 2018 MSDx

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Design has become a part of me and it has been the biggest influence in my life.

I started drawing since very young and I still remember drawing a rectangular house with triangular shaped roof.

Well, I guess everyone went through that stage, don’t you?

CHARENSIA PRICILLA ROMPIS

Rhinoceros Grasshopper Unreal Engine Adobe Photoshop Adobe Illustrator Adobe InDesign Model Making

As a designer, I feel that the program/function is more important than the design itself. Designing is important, but, creating something aesthetic and functional is something that I have always wanted to achieve. From my design throughout the subject, it is clear that I never aim to design something complex, because I wanted to appreciate simplicity that creates aesthetic value. In this subject, I have been using the concept of light to achieve my goal.

CONTACT

e-mail rompisc@student.unimelb.edu.au 3

In the future, I want to further develop my designing and rendering skills to create a design that is simple, yet, functional.

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DIAGRAMMING DESIGN PRECEDENT BAD HAIR PAVILION 4

PRECEDENT

STUDY

Image 1.1. Perspective View of Layer One and Layer Two.

Image 1.4. Bad Hair Pavilion - AA School of Architecture source: “Folding Architecture: AA Summer Pavilions - Bad Hair,� Project4rosemaryweebly, accessed March 2, 2018, https://project4rosemary.weebly.com/uploads/4/3/1/2/43121189/7835785.jpg.

Image 1.2. Plan View of Layer Three aboveLayer Two and Layer One - not to scale

Image 1.3. Elevation View of the Bad Hair - not to scale

The precedent study of my project was taken from the Bad Hair Pavilion by AA School of Architecture in UK. The design of the pavilion looks complex, however, by analysing it thoroughly, it can be seen that the pavilion consists of four layers. Each layer consists of two sets of perpendicular beams that are joined together forming four curved beams. When all layers are put together, each layer sits right above the previous layers. The design allows interaction between people and the pavilion which can be seen from the image that some people are occupying the edge of the beam.

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ISOMETRIC DRAWING

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Image 1.5. Isometric View - scale 1:!00

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ANALYSIS DIAGRAM LAYER 04 TIME OF USE

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LAYER 03 TYPE OF USE

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LAYER 02 CIRCULATION PATHS

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LAYER 01 COMMON USE

Image 1.7. Thresholds - 1:300

Image 1.6.Circulation - 1:300

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02

GENERATING DESIGN THROUGH DIGITAL PROCESS SURFACE AND WAFFLE & SOLID AND VOID 8

T A S K 01 SURFACE AND WAFFLE

T A S K 02 SOLID AND VOID

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TASK 01 | MATRIX

Lofts

1.1

1.2

1.3

Key

1.4

{-130, 44, 150}

{0,0,0}

{-92, -68, 150} {-150, 94, 120}

{-140, -87, 150}

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

{-141, -76, 150}

Grid Points

{-130 ,-56, 150} {-106, -30, 150} {-130, -74, 0}

{-140, -36, 80}

{-147, -83, 0}

{-91, -38, 0} {-140, -36, 0}

{-132, -84, 0}

{-128, -87, 0}

{-147, -36, 0}

{-106, -39, 0}

Paneling Grid & Attractor Point

{Index Selection}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

{Index Selection}

2.4 {-92,- 31, 150}

{-92,-31,150}

{-105,-32,150} {-95, -33, 164} {93, -32, 61}

{-106, -33, 0}

{106,-33,0}

Paneling

{Attractor Point Location}

{Attractor Point Location}

{Attractor Curve Location}

{Attractor Curve Location}

3.1

3.2

3.3

3.4

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Image 2.1. Task 01 Matrix - Not to Scale.

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Design Matrix 1:5 Design Matrix 1:5

Solid shape to create a strong ary between the exterior and

EXPLODED AXONOMETRIC

boundinterior.

The shape is created for the purpose of design, shadow effect, and lighting.

The panel is tilted and angled for flexibility purposes in different projects.

The exploded axonometric shows the combination of both surfaces and waffle structure that act as a support. The surfaces are combined from one solid 3 dimensional patternation, while the other contains a small perforation. The view of the axonometric drawing was chosen to show the perforation that allows lighting penetration from the inside of the prototype to the outside. The solid patternation was designed to create a strong boundary between the inside and the outside.

Furthermore, in order to follow the nature of the curve in the waffle structure, the patternations were designed with attractor curves, allowing variation in terms of size.

Small opening where the interior lighting can be exposed to the exterior.

Small opening at this corner and increase in size towards the other axis to create variations.

Small opening at this corner and increase in size towards the other axis to create variations.

Waffle structure as a support sy tem for two panels. on both side

Waffle structure as a support system for two panels. on both sides.

Exploded Scale Bar Axonometric 1:1 Exploded Axonometric 1:1 0

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Small opening at this corner and increase in size towards the other axis to create variations.

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Both panels are designed with a theme of triangles within a square.

Image 2.2. Exploded Axonometric.

60mm

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COMPUTATIONAL WORKFLOW

1.3

Key

1.4

{0,0,0}

{-92, -68, 150} {-150, 94, 120}

Attractor / Control Curves

}

0}

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

The surfaces were generated by controlling the pa{-140, -36, 80} -36, 0} rameter on the script. {-147, Both of the surfaces show a nat{-140, -36, 0} ural flow from its curves. {Index Selection}

{-106, -30, 150}

{-91, -38, 0}

{-106, -39, 0} {Index Selection}

Image 2.3. Grasshopper Script for Surface Development.

2.3

2.4 {-92,- 31, 150}

{-92,-31,150}

{-105,-32,150}

3, 164}

The patternations were developed from a single geometry, one is solid, and one with small perforations {-106, -33, 0} to allow light penetrations. {Attractor Curve Location}

{106,-33,0} {Attractor Curve Location}

Image 2.4. Grasshopper Script for Surface Patternation.

3.3

3.4

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The waffle structure was created following the shape of both surfaces and designed as a support system.

Image 2.5. Grasshopper Script for Waffle Structure.

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3D MODEL

Image 2.6. Panelled Surfaces with Small Perforations.

Image 2.7. Solid Panelled Surfaces.

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Image 2.8. Light Penetrations from the Openings.

Image 2.9. Shadows created from Solid Panel.

Image 2.11. View from the Open Panel.

Image 2.12. Shadows created from Open Panel.

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Image 2.10. View from the Solid Panel.

Image 2.13. Waffle Structure.

FABRICATION PROCESS 7 7

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860209 Charensia R

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Laser cutting requires a lot of attention, especially for the panelling as it usually leaves burnt marks. Therefore, I decided to have the panels hand-cut.

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860209 Charensia R

Sheet 01 of 01

Image 2.14. Laser Cut File for Panelled Surfaces and Waffle Structure - Not to Scale.

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MODEL MAKING

Image 2.15. Open Panel - Process.

Image 2.16. Open Panel - Process.

Image 2.17. Open Panel - Process.

Image 2.18. Open Panel -- Process.

Combining The paper panelling after hand-cutting

Clean View from the back of the panelling paper

Wire is being used to uphold the panels.

Final look.

the template.

after all panels are attached.

Image 2.19. Solid Panel - Process.

Image 2.20. Solid Panel - Process.

Image 2.21. Solid Panel - Process.

Image 2.22. Solid Panel - Model.

Process of cutting the panel and joining it together.

View from behind.

Joined panels with bulldog clip.

Final look.

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T A S K 01 SURFACE AND WAFFLE

T A S K 02 SOLID AND VOID

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TASK 02 | MATRIX

Grid Manipulation

1.1

1.2

1.3

Key

1.4

{0,0,0}

{-58, 150, 150}

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

{--20, 150,150}

{-72, -23, 0}

Grid Points

{-35, 0, 0}

{-43, 150, 0}

{-35, 181, 0}

{-60, -61, 0}

{-81, 28, 0}

Geometric Exploration Dipyramid Scale Exploration

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.1

2.2

2.3

2.4

{Truncated Pyramid}

{DiTruncated Pyramid}

3.1

3.2

3.3

3.4

{Scale NU; 0.98, 1.22, 0.94}

{Scale NU; 1.37, 0.99, 09.94}

{Scale NU; 0.79, 0.86, 1.05}

{Scale NU; 1.05, 0.98, 2.4}

{Dipyramid}

{Pyramid}

Design Matrix 1:5

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Image 2.23. Task 02 Matrix - Not to Scale.

{Scale NU; 0.98, 1.22, 0.94}

{Scale NU; 1.37, 0.99, 09.94}

{Scale NU; 1.05, 0.98, 2.4}

{Scale NU; 0.79, 0.86, 1.05}

Design Matrix 1:5

A higher density of hatches as the cut form gets deeper from the other.

AXONOMETRIC DRAWING

A small penetration

opening that allows light to the outer spaces.

A small void space created from boolean that forms a shape from original geometry.

Lighting access from ing above creating a

A higher density of hatches as the cut form gets deeper from the other.

the opendiffused light.

A lower density of cut form becomes

A small void space created from boolean that forms a shape from original geometry.

hatches as the more apparent.

A small cantilever area that creates a heavy feeling towards the overall form.

A lower density of cut form becomes

hatches as the more apparent.

Flat surface shape from

to enable a the boolean

clear-cut process.

Void space created from boolean that results in a form of its original shape.

Scale Bar Axonometric 1:1 Solid boolean using 3.4 morph itt 0

The axonometric drawing shows the best angle of the boolean where the cut outs still form a shape of dipyramid.

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60mm

Image 2.24. Exploded Axonometric.

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1.1

1.2

1.3

Key

1.4

{0,0,0}

{-58, 150, 150}

{--20, 150,150}

{-72, -23, 0}

COMPUTATIONAL WORKFLOW {-35, 0, 0}

{-43, 150, 0}

{-35, 181, 0}

{-60, -61, 0}

{-81, 28, 0}

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.1

2.2

2.3

2.4

{Truncated Pyramid}

{DiTruncated Pyramid}

3.1

3.2

3.3

{Scale NU; 0.98, 1.22, 0.94}

{Scale NU; 1.37, 0.99, 09.94}

{Scale NU; 0.79, 0.86, 1.05}

{Dipyramid}

{Pyramid}

3.4

Boolean process from multiple dypiramids that create overlapping inside the cube.

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{Scale NU; 1.05, 0.98, 2.4}

Image 2.25. Grasshopper Script for Boolean.

3D PRINT MODEL

Image 2.26. Front View of the Model.

Image 2.27. Upper View of the Model.

Image 2.28. Model When Lit.

the height of the final model was reduced to meet the requirement of 3D printing, in which it does not really affect the overall shape. Image 2.29 shows that the model is flipped vertically for easier and faster printing as it does not require much support compared to the original model. The model creates a strong boundary between the inside and the outside through the rectangular cube. On the other side, Image 2.28 shows a feature where light can be transferred through the openings, creating a diffused light. The rectangular shaped opening above was meant to connect both sides of the solid structure, enhancing the idea of inside vs outside.

Image 2.29. Makerbot File.

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QUEEN VICTORIA GARDENS THEORY OF LIGHT PAVILION 23

T H E O R Y O F

Theory of Light Pavilion explores the concept of lighting throughout the interior and exterior. The goal was achiever through the use of stainned glasses, and pervorations on the seating areas inside. The materiality allows light penetrations of different colours and shadowing ion the interior seating space. The pavilion was designed in a solid rectangular shape to allow maximum efficiency. The interior was formed by splitting a rectangular base with curves. Moreover, the height of different blocks vary to provide seating areas for both the lunchtime seminar and an evening quartet performance. On the outside of the pavilion, there is a rised path acting as a circulation path, in which it connects the pavilion to the three cylindrical seating areas outside.

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L I G H T

M3 - Theory of Light

Key: x

M3 - Theory of Light

EXPLODED AXONOMETRIC

Threshold

Primary Circulation

The ceiling is formed from the division of multiple curves within a rectangular base. The form is a reflection from the interior space.

Circulation Paths

Charensia Pricilla Rompis - 860209

Stainned glass allowing light penetration to the interior at day and exposing light to the exterior at night.

x

Extruded geometry that a as a support to the ceiling

Charensia Pricilla Rompis - 860209

Raised geometry providin a comfortable seating are

x

Extruded geometry that act as a support to the ceiling.

Opening that is created from a trimmed structure.

Raised geometry providing a comfortable seating area.

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Boundary that creates a threshold dividing the pavilion and the landscape.

Raised geometry acting as a stage for performance.

Boundary that creates a threshold dividing the pavilion and the landscape.

Patterned perforation resulting in reflective shadows at the seating area.

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Opening that is created from a trimmed structure.

Raised level to highlight the entrance into the pavilion.

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Raised geometry acting as a stage for performance.

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Scale Bar

Exploded Isometric 1:35

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Raised pathway into the pavilion.

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Image 3.1. Exploded Axonometric.

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The step creates a seating space.

EP

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EP

SP

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SITE ANALYSIS S

Sun Path D

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EP

EP

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Legend:

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EP

Site Area Winter Summer

SP

Start Point

EP

End Point

Legend: Site Area

Sun Path Diagram Sun Path Diagram

Wind Path Diagram

EP EP

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EP EP

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Legend: SP Winter Summer EP S

SP SP

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Wind Path Diagram

W S

SP SP

Wind Path

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S

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Legend: Legend:

Winter Winter Summer Summer

Wind Rose during 9 am (Annual Average)

Wind Path Diagram Wind Path Diagram

Wind Rose during 3 pm (Annual Average)

Site: Queen Victoria Gardens - not to scale.

SP SP EP EP

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ating Area

St. Kilda Road

get

Site Analysis and Diagram Site Analysis and Diagram

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dr

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Legend: Site Area

Wind Ros Legend: during 9 am (Annua S Wind Ros during 3 pm (Annua du

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Start Point Start Point End Point End Point

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Theory of Light Pavilion Key:

Legend: Legend: Site Area Site Area Wind Rose Wind Rose Average) during 9 am (Annual during 9 am (Annual Average) Wind Rose Wind Rose Average) during 3 pm (Annual during 3 pm (Annual Average)

scale 1:100 @A3 scale 1:100 @A3

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Site: Queen Victoria Gardens Site: Victoria Gardens - notQueen to scale.

- not to scale.

Site Analysis and Diagram

Theory ofSite Light Pavilion Boundary Key:

Main Circulation Path Access/ Threshold

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Low Density of People scale 1:100 @A3 Site Analysis and Diagram

Access/ Threshold Site Boundary

Circulation

scale 1:100 @A3

Site: Queen Victoria Ga - not to scale. du

Main Circulation Path Circulation

Crowd Target

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Site: Quee - not to sc Al

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Low Density of People

Possible Seating Area Crowd Target

Image 3.2. Site Analysis - not to scale.

Possible Seating Area

St. Kilda Road

Site Area

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Site Area Site Area

Legend:

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Sun Path Diagram

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St. Kilda Road

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Sun Path Diagram

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Program happening inside the Pavilion.

Section.

PROGRAM

Program hap Section.

Day time during lunch time seminar

Day time du

Program happening inside the Pavilion.

Night time during quartet’s performance.

Section.

Night time du

m and Activity

scale 1:100 @A3

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Panorama View Inside the Pavilion.

Day time during lunch time seminar

Panorama View Outside the Pavilion.

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Program and Activity

scale 1:100 @A3

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Image 3.3.Inside Program to scale.

Panorama View the- not Pavilion.

DESIGN ITERATIONS

Image 3.4. Trunk.

Trunk was developed from the idea of nature, in which it was designed with a rough facade and beams surrounding it. This iteration was a failure due to the problem with meshing. This iteration was done from Heteroptera and Cocoon.

Image 3.5. Cubicle.

Image 3.6. Ring.

Cubicle was inspired from Sou Fujimoto’s work and Conway’s Game of Life. The cubicle was a success iteration, however, it could not achieve the concept of light that I have been exploring throughout this semester.

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Ring was developed from the idea of solid and void, where it has a solid surface that receive the light penetration from the rounded pattern that has small perforations. The problem with this iteration is on the mesh, which is hard to control.

DESIGN MATRIX

1.1

1.2

2.1

2.2

1.3

2.3

1.4

2.4

Image 3.7. Design Matrix.

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COMPUTATIONAL WORKFLOW Mesh variation from Mesh+.

Image 3.8. Grasshopper Script using Mesh+.

Interior space generated from a rectangular base with different kind of splitting curves. Also, randomizer is used to create different iterations.

Heteroptera is used as a plug-in.

Image 3.9. Grasshopper Script Using Heteroptera.

Mesh fixing and reduction to generate a better mesh o u t c o m e from Mesh+.

Image 3.10. Grasshopper Script Using Mesh Edit.

Skin generation from Voronoi.

Image 3.11. Grasshopper Script using Voronoi.

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FABRICATION PROCESS

tri mid

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tri low

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mid mid

atas mid

Image 3.12. Laser Cut Template.

The fabrication process were done in three ways, 3D printing, Laser Cutting, and Hand cutting and modelling. For the 3D print, I decided to print a column, that act as a support for the cantilevered ceiling. Moreover, for the terrain and the facade skin, I decided to have it done by ;laser cut for a clean cut and finishes. For the interior, I could do it from laser cut, however, I decided to hand cut it as it contains complex geometries. The hardest part was the interior, in which I need to make sure all the parts can be connected together forming a smooth triangle form.

back

kiri atas

Image 3.13. Template for Hand-Cut.

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3D MODEL

Image 3.14. Model when lit from the Inside, casting shadows to the outside.

Image 3.15. Model when lit from the Inside, casting shadows to the outside.

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Image 3.16. Model when lit from the Inside, casting shadows to the outside.

Image 3.17. Model from Elevation View.

Image 3.18. Model from above, showing the interior formation.

Image 3.19. Model from Front Entrance.

Image 3.20. Model from Side View.

Image 3.21. View of the Interior.

Image 3.22. Side View.

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360 IMAGES

Image 3.23. 360 Panorama View from the Entrance towards the city.

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Image 3.24. 360 Panorama Image of the interior at night.

Image 3.25. 360 Panorama View from the Entrance with the circulation path.

Image 3.26. 360 Panorama View from the Entrance with the circulation path.

Image 3.27. 360 Panorama View from the Bqck Side.

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Charensia Pricilla Rompis - 860209

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AA SCHOOL OF ARCHITECTURE - BAD HAIR 2007

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TIME OF USE

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CIRCULATION PATHS

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COMMON USE

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Circulation - 1:200

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SEMESTER 1 2018

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