Digital Design - Module 03 Ziyuan (Helena) Cui 1067712 Tony Yu Studio 16 Semester 1, 2020
Critical Reading: Schuere & Stehling, 2011. Lost in Parametric Space. AD. In Schurer’s text, Parametric Space, he discuss Abstraction, Reduction and Normalisation in Computer Aided Design (CAD). Using your design experience in M3, describe the process of Abstraction (in shape and detail), Reduction and Normalisation you have deploied in your design process? Use evidance (such as screenshot of your digital model or matrix) to support your argument. Abstraction is a process of generating a method or algorithm that is a general solution can be applied to all the individual components. In my designing process, I started with exploring various ways of manipulating the surface to create fluid form. After considering other factors such as function and fabrication process, I chose the method of stripping the ribbon into several smaller one and applied it to all the parts of the pavilion. Normalisation is a way of optimising the algorithm. It means reducing redundant information that is presented more than once. An example of normalisation in my design process would be referencing the same attractor point for multiple times rather than creating a new point at the same location for many times. Reduction is another method of optimising the algorithm by finding better ways to transport the information rather than reduce the amount of information.
Module 3 Reflection Questions: A. What is the key concept explored through your design? The key concept explored through the design process is playfulness, which determined some of the physical characteristics for the design. Playfulness is something that can be communicated through not only the fluid form and lightsome material of the pavilion, but also the welcoming manner created by the surrounding landscape.
B. Describe the quality of space in your pavilion design. The key quality of the space in the pavilion is “mobile”. Not saying that they can be moved, but it has the potential of being multifunctional. Structurally, the “ribbons” can be both the supporting structure and the aesthetic “cladding”; functionally, it can be regarded as a threshold, a view frame, a shade, and a piece of furniture.
C. How does threshold and circulation shape your design? At the centre of the pavilion, there is a small open area which creates a focal point for people in the site. It gives speakers or buskers to have their performance. Based on the idea of central focal point, I leave enough opening to the pavilion that people from outside can also see through. In terms of the threshold, although there are layers of threshold surrounding the pavilion, since there is always an alternative way to go and the openness allows people to see through the site, none of them are rigid, but makes the site more playful.
D. What parametric design strategy did you deploy to develop your design intention? I explored various methods of manipulating a surface to create a sense of fluidity and playfulness. Then, considering the functionality and fabrication process, the proper manipulation process of the single surface was treated as an algorithm and applied to each “ribbon”.
ISOMETRIC DRAWING
N An isometric view of the whole site.
EXPLODED ISOMETRIC DRAWING The isometric drawing of the full site provides a general perception of the site, “whimsical ribbons”. As the name suggests, it takes the form of flowing ribbons to form a central pavilion and the surrounding landscape. The fluidity of the form creates a playful and dynamic atmosphere for the site. The exploded isometric drawing zooms in on the central pavilion. It shows the structure of each main “ribbon” that constructs the pavilion illustrating that a “ribbon” can be multifunctional. Structurally, it can be both the supporting structure and the aesthetic “cladding”; functionally, it can be regarded as a threshold, a view frame, a shade, and a furniture at the same time.
Bench/table
Shade
Primary threshold
The Drawing also shows where the points of weld locate, which can strengthen the structure after its installation.
Secondary threshold
View frame
0 1:75
0.5
1
1.5m
Points of weld
DIAGRAMS The circulation in the pavilion is pretty linear. The small open area at the centre creates a focal point for people in the site which allows speakers or buskers to have their performance. Based on the idea of central focal point, I leave enough opening to the pavilion that people from outside can also see through. More playful circulation happen in the landscape. The ribbons are in the proper height that can be transferred into seats and tables. While it is assumed that most people would either walk through the “doors” or around the furnitures, they can also be crossed from the above directly to experience a bit more fun. Some “door-heads” are of the height that people can merely walk through. The landscape furnitures almost form a maze so that if people want to get to the pavilion, they’ll be involved into a game before they even arrive.
Primary circulation Secondary circulation Height
0
1
1:200
2
5m
Overhead Table Low table/seat Seat
DIAGRAMS The thresholds in the site are mainly created by horizontal planes. Going through an archway means entering a new space. Although there are layers of threshold, since there is always an alternative way to go and the openness allows people to see through the site, none of them are rigid. By walking through and around layers of ribbon-like furnitures in the site, one can eventually get into the pavilion. In this case, the whole landscape can be treated as a transitional space between the pavilion and the external site. It has similar ribbon element as the pavilion.
Vision Threshold
0
1
1:200
2
5m
Pavilion Inner Site Site Boundary
ITERATION MATRIX Single Surface Manipulation
Twisting Through gestures such as twisting and bending, a sense of dynamic can be created within a single surface.
Loft Rotated edges: 90°
Twist: 360° Axis: Naked edge
Bend: 180°arc
Pufferfish Tween Surfaces/ Isotrim + Point Attractor Create tween strips from a single surface.
Pufferfish Morphs Each element is slightly twisted, which creates an overall wave pattern.
Image Mapper
Corner Angle Static, clearly defined boundary.
Fillet Corner Smoother but still clear boundary.
Triangular Prism + Fillet Blurred boundary between the wall and overhead surfaces.
Bend: 180° Twist: 180°
Texture The following attemps of creating textures on a single surface aim to capture the fluidity of waterbody, which could hopefully reinforce the playfulness through a “mobile” structure.
Angularity The angularity of a structure can state the boundary of the space taken by the structure.
Curved Creating a freeform feeling; no clear boundary defined.
Kangaroo wind simulation
Corner Angle Static, clearly defined boundary.
Fillet Corner Smoother but still clear boundary.
Triangular Prism + Fillet Blurred boundary between the wall and overhead surfaces.
Curved Creating a freeform feeling; no clear boundary defined.
Moving one end of the surfaces together makes it almost like lifting a curtain.
Twist as a Whole Adding a gentle curvature to the structure allows more sunlight to pass through.
Twist Each Side with an Axis Angle: 180°
Twist Each Side with an Axis Angle: 360° Although it looks drastic, a gap is remained between each surface.
Freeform strips; offset curve without control.
Point attractors applied to control the flowing direction of the ribbon.
Point attractors applied to adjust the width of each surface to create shadows.
Trim each surface into several ribbons; widen the distance between each ribbon.
ITERATION MATRIX Multiple Surface Manipulation
Gesture Different gestures can not only create openings but also emphasise the fluidity in the structure.
Rationalisation Starting with a freeform structure, manipulations of moving direction, width and twisting help the structure to be more rational in terms of the parametric design as well as the pavilion’s functionality.
The matrix has two parts: the manipulation of a single surface and multiple surfaces. Using grasshopper plug-ins such as pufferfish and kangaroo, a single surface is tested with different ways of twisting and texturing to create a sense of fluidity and playfulness. The manipulations on multiple surfaces focus more on the practical requirements including its functionality and construction process. For example, with attractor points, each ribbon is able to have the highest part widened to provide shadows.
Twist Each surface with an Axis Angle: 360° Intersections between the surfaces make the fabrication hard to achieve.
TEXTURES & MATERIALS The material used for building the pavilion would be coated steel slat as it can be bent to form the “ribbons� while maintain a high durability. Its colourful and smooth surface also contributes to the representation of the key concept. After being painted, the steel loses its metallic lustre, but due to its smoothness, there is still a considerable level of gloss.
Applications of coated steel slats in furnitures.
The smoothness of the surface and the bright coating colour makes the site almost looks like a large-scale toy town. In this case, instead of making it an exhibition of various materials, the single material maintains the sense of unity throughout the site.
A rendered image showing the materiality of the pavilion.
RENDER GALLERY
1. A panorama is captured to suggest the experience inside the pavilion, in which the pattern of the overhead plane and the shadow it cast are clearly shown.
3. A closer look at the stair threshold and the adjacent structure that forms the bend, table, and a view frame.
2. Nigh view. Lightings are placed to light up the flowing curvatures created by the ribbons as well as the thresholds in the landscape.
4. External view at noon. It shows the pavilion providing shade for the people having a seminal during the lunch break. The thresholds at the foreground form an echo pattern of the ribbon.
5. View at dusk. It captures the fluidity of the form as well as the complementary colours used for the installations which create a playful manner.
POST PROCESSING
Being covered in shadow, the main body of the pavilion looks quite dim. Therefore, the post processing progress includes blurring the background and increasing saturation of the pavilion to highlight the central pavilion figure from the green natural background.
As the panorama focuses on letting people get an experience of being inside the pavilion, background was blurred and contrast was slightly increased to emphasise the pattern of light and shadow.
POST PROCESSING
The two images on this page play with the sunlight of different time of a day. As the image on the left captures a scene during the sunset, I adjusted the temperature to become a little bit warmer. Modifications has also been made to the characters to create a scene of a small concert.
The original rendered image of the night view was overexposed and thus revealing distracting details. For the post processing, the brightness was turned down only to reveal the pavilion and the lit archways. The trees at the background become silhouette and creates a tranquil atmosphere.
ISOMETRIC MODEL DRAWING
Geometric pattern created by cutting through tween surfaces.
A comparatively complete overhead panel that can cast linear shadow.
Landscape furnitures of various heights are included in the model.
Structure that can be transferred to bench and table.
Primary threshold.
0 1:50
0.5
1
1.5m
Gradually rising landscape that can slightly lift up the pavilion and create a focal point.
N
EXPLODED ISOMETRIC MODEL DRAWING 3D printing material for steel slat. To fabricate the curved form with some missing supporting structure, as well as make sure they can stand with sole supporting, I decided to 3D print the pavilion. Thus it has to be thickened to fit the minimun requirement for 3D printing thickness.
Lasercut mountboard for earth.
3D printing material for concrete base. As some ribbons have their supporing structure being cut out, it’s essential to fix their only connection with groud, so the pavilion and the base are 3D printed as a whole.
3D printing material for steel slat. The length of each piece is elongated.
COMPONENT: 3D PRINTING STRUCTURE
Top view. The main pavilion part is oriented with the section cut touching the bottom. With the opening placed vertically, the amount of support material is reduced to a minimum.
The arrangement of all the parts in the 3D printer. Under the pavilion there is enough room for all the landscape ribbons to be placed so that they can be used as a part of the support material for the upper part.