DIGITAL DESIGN
PORTFOLIO
Emma Kelly Design
Ed ucation
Architectural design is a crucial part of everyday life as it shapes the spaces we frequent day in day out. The spatial experiences moulded and shaped by architects influence emotional responses. This for me is one of the most powerful tools in architecture and is a great motivation in order to create carefully crafted spaces.
2017 - present
Bachelor of Design - Architecture and Urban Planning
2004 - 2012
Gymnasium Ohlstedt Hamburg - Abitur
Throughout the course I learned that design is a process of many stages. The end-product may not have been foreseen when starting to create. Letting go of a tight control of the design process can lead to surprising designs that might be successful or even fail. However, often there were parts or elements that can be translated, transferred or utilised elsewhere and in other design approaches. This fast iteration process of the outcomes and their evaluation is a skill to take into further studies. As an architecture and urban planning student, I have interest in investigating and shaping the spaces we frequent, encounter and interact with. In modern society I feel a gradual disconnection from the human scale in the built environment. Emphasising the connectivity to nature, the haptic engagement and the visual impact of spaces is something that interests me greatly. The design o the Queen Victoria Garden Pavilion reflects on my passion of focusing of the human scale and the experiential qualities of a space. The design outcomes produced throughout this subject have room for improvement in regard to the communication of the designs. The diagramming could be clearer, holding more information with a clear visual representation., Furthermore there can be more skills gained regarding Grasshopper and Unreal Engine as the poweful tools have not been utilised to the intended extend yet.
Work Experience 2017 - present
Trotters Bistro - Waitress and Supervisor
2014 - 2016
ZeZe Moebelbau GmbH - Apprenticeship in furniture making and cabinetry
Awards / Exhibition July 2019 2018 2017 2016
Vivid 2019 Decor and Design Show - Finalist (B)01-FLOW with Simeon Chua Winter MSDx - Studio Alpha Summer MSDx - GFOD, FoDR “Gesellenstueck� Exhibition,AlsterPavilion Hamburg - Final workpiece
Certificate of Excellence by Furniture Makers Guild Hamburg
Skills Rhino Grasshopper Unreal Photoshop Illustrator InDesign Fabrication
Content
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Diagramming Precedent Study`
Module 1 Radix Pavilion
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Generating Design Through Digital Processes
Module 2 Task A and B
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Queen Victoria Garden Pavilion
Module 3 Raumgestalter
MODULE 1 Radix
Isometric 1:100
0
1
2
3m
Exterior ExteriorInterior InteriorRealtion Realtion
Structure Structureand andAccess Access
Exterior Exterior Interior Interior Light Lightguiding guiding movement movement
Design Precedent Human HumanMovement Movement
Interior InteriorVolumes Volumes
Less Less Frequent Frequent
Open Open- Inviting - Inviting- Light - Light
More MoreFrequent Frequent
Closed Closed- Private - Private-Dark -Dark
Level LevelChanges Changes
Gathering GatheringSpots Spots Less Less Dense Dense More MoreDense Dense
Circulation Circulation1:200 1:200
Thresholds Thresholds1:200 1:200
Circulation
Threshold
This diagram explores the circulation through and around the pavilion. The primary entry is through the largest volumes. Main axis is through the ellipsoid and the smaller sphere. The movement through the space comes to a rest at the central gathering point facing the water, which forms an attraction point. The smaller opening between ellipsoid and sphere creates a point of interest and may be crawled through.
The thresholds in this pavilion are expressed through level changes, varying interior volumes and the differing uses of materials that produce eclectic experiential moments. The level changes on the ground floor mark the boundaries of the covered area. The varying interior volumes create different spatial qualities as the interplay between light and material create varying spatial qualities. The interlocking forms of the voids contribute to this effect.
The Radix Pavilion, designed by Aires Mateus was exhibited at the Venice Biennale in 2012. The concept is to combine the vernacular and the modern in one piece of work. The construction hints at the vernacular venetian architecture, with the arches being translated into this project through the cutout volumes. There is a flowing continuity in the built structure and the intangible setting of the piece. When modeling the pavilion it was important to translate the measurements into exact voids in order to recreate the exact circulation and thresholds as these greatly influence the overall composition of the piece.
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M O D U L E 2 - TASK
A
Generating Design Through Digital Processes
Lofts
1.2 {0, 150, 150}
1.3 {0, 120, 150}
{120, 150, 150}
{105, 0, 150}
1.4 {0, 105, 150}
{150, 0, 150} {150, 150, 150}
{90, 0, 150}
DESIGN ITERATIONS
Key
1.5 {0, 150, 150}
{90, 0, 150}
{0,0,0} {0, 150, 150}
{135, 150, 150} {150, 0, 150}
{150, 150, 120.0}
Grid Points
{150, 150, 75} {150, 0, 45}
{150, 0, 60}
{150, 0, 45}
{0, 0, 30}
{0, 0, 30} {150, 0, 15} {0, 0, 0}
{0, 0, 15}
{150, 150, 0}
2.1
2.2
{150, 15, 0}
{150, 0, 45}
{0, 0, 0}
{135, 0, 0}
{150, 150, 0}
{75, 150, 0}
{0, 15, 0}
{30, 0, 0}
{105, 150, 0}
{150, 150, 0}
2.3
2.4
2.5 {-136,-55,164}
{150, 150, 0}
{-208,-55,189}
{-160,-106,94}
{-205,149,96}
{-128,-60,76}
{47,53,32}
{47,53,32}
{-26,-134,23}
{-32,-106,26}
{-202,-118,-3}
{84,46,5}
{-202,15,-10}
Paneling
3.1
3.2
{-96,-116,-83}
{-96,-116,-83}
{-20,149,-35}
3.3
3.4
3.5 Y1
{0,0,0}
Y2
In the second module the task was to find a design through parametric iterations. The process of design finding was governed by the notion of movement and the exploration of pushing and pulling of spaces. The points of tension created when the two surfaces either nearly touch or draw away from one another were found to be interesting. The final two surfaces selected in the process mean to investigate said notions. The panels applied to the surfaces compliment the concept of movement as the triangular shapes lead the eye towards the top end of the surfaces. Surface 1 and surface 2 stand in close relationship to each other and function as a whole, as the panel from both sides push through in the nearest point, creating an intangible bond between the two.
Key {135, 150, 150} {150, 0, 150}
{105, 150, 0}
{0, 15, 0} {30, 0, 0}
{-116,46,233}
Control Points (X,Y,Z)
Attractor / Control Curves
{150, 150, 105}
Paneling Grid & Attractor Point
0, 0}
1.1
Control Points (X,Y,Z) Attractor / Control Curves Grid Points
{150, 0, 45}
{105, 150, 0}
{150, 150, 0}
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The 2D panels are emphasizing the
The location of 2D and 3D panels is
notion of movement. The cutouts allow for a relationship to the interior of the waffle structure.
supposed to represent a pushing and pulling of spaces. This creates a tension within the design. It corresponds to the grid manipulation as seen in the matrix.
Exploded Isometric 1;2 0
07
20
40
60
The alignment of the panel connections with the waffle fins cater for a clean construction, also allowing for the surface to exist as its own floating entity.
The waffle structure is cleanly aligned with the panels . The waffle again highlights the directionality of the surfaces with its dynamics and twist.
The 3D double pyramid allows for a further emphasis on movement. Here, the separately attracted points lead the eye throughout the design.
LASERCUTTING When setting up the file for laser cutting it is crucial to delete any doubled edges. SelDup is a helpful command to eliminate the risk of cutting through etched lines. Make2d also helps to eliminate that risk. Nesting the panels closely together saves time on the actual process. Furthermore, leaving one outer tab line on the edge layer rather than cutting it through gives a better result and saves the process of having to tape the panels down. Labeling the rows of panels and the individual waffles will later help the assembly.
Fig. 1.1 assembly of the panels
Fig. 1. 2 assembly of the waffle
Fig. 1. 3 finished waffle
Fig. 1. 4 combining the two
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Surface Generation
Waffle Script
Final Surface Iteration
PARAMETRIC DESIGN The process of surface iteration was governed by the notion of movement, tension and attraction. Initially a box was created and deconstructed in order to find a surface lofted in between two lines. Points individually being manipulated, allows the surfaces to being altered. A 5 by 5 grid by utilising Surface Domain Number was applied and later offset. A point attractor or a curve attractor enables the points to be manipulated in order to create movement within the later surface. Feeding the panels into a list item allows for the manual selection of panels. The interweaving of 2-D and 3-D panels again plays on the notion of movement and tension within the design. To create the waffle structure, the surfaces had to be contoured. Through playing with the distances between the lines, and aligning them with the panels the optimal division was found. The lines were offset and through cull index excess lines were deleted. Joining the curves allows for the later lofting to create surfaces. The intersecting surfaces had to be cut out in order to create a slotted connection. Here for, extruded rectangles were inserted and with trim surface the slits created.
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Fig. 1. 5 Scale speculation as a sheltered roof structure
Fig. 1. 6 Scale speculation as a textured wall
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M O D U L E 2 - TASK
B
Generating Design Through Digital Processes
Grid Manipulation
1.1
1.2
1.3
Key
1.4
{0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{240,126,148}
{62,-34,74}
Centroid Manipulation
2.1
{240,126,107}
{240,126,148}
{62,-34,74}
2.2
Centroids
{-8,25,85}
2.3
2.4
3D PRINT OUTCOME
Solids
3.1
3.2
Voids
4.1
4.2
Study Area
5.1
5.2
3.3
4.3
5.3
3.4
4.4
5.4
The initial start to the development of the matrix was intuitive. From the workshop a script was created which was later altered to focus the voids towards one point of the cube. This started in referral to Task A. The overlapping spaces created an interesting interior volume which were later explored in the other iterations. The second row explores the dynamics of the triangular, interior voids and the angular spaces they create. Through iteration is further exploring interior, overlapping spaces and taking into account to address the edge conditions. Light, shadow and the relationship of the exterior to the interior is interesting here. In the final iteration the rotation of two separate sets of voids is aimed at both exploring interior voids and the addressing of the edge condition.
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The overlapping of spaces create different scales of opening. The spaces relate to each other through the physical openings.
The edge conditions create different scales of openings. These cater for an interrelationship of exterior and interior. Light can penetrate the volume, or they can
Intersecting smaller spaces make a larger volume, creating an interesting sequence of spaces. As the original voids are larger on the exterior decreasing in scale towards the inner volume, they create a larger volume when interacting.
The layering of voids in different scales make for a textured surface of the interior. This may cater for an interplay of light and shadow, open and secluded areas. Scale 1:2 0
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20
40
60
Edge conditions may be skylights, an introduction to the interior or a design feature to catch the eye.
Different scaled openings can be windows, doorways, thresholds and an introduction to different spatial qualities.
Intersecting spaces can create a squeezing of spaces, a sense of relieve when entering the new volume, hence creating a threshold.
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PARAMETRIC DESIGN The 150x150x150mm box was initially divided into boxes and then manipulated. The intention throughout the design was to give direction to the orientation of the boxes. This was done through the use of attractor points and curves. The centroids to every iteration was further manipulated to increase the notion of directionality. Again the pushing and pulling of spaces was intended to be created with drawing centroids towards or away from another. The final creation of two separate sets of voids that can be rotated through rotate 3d with the feeding in of an axis and the location of the centroids, allowed for this intention to be translated into the visible geometry. The move command to better control the individual location aided in finding the positioning. The 3-d print process included making sure the exported .stl file is a closed mesh and importing specific print settings. When exporting the makerbot files it important to export all included printer beds and exporting .print and .makerbot files.
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SCALE
Fig. 2.3 The large scale object as a pavilion
SPECULATION
The design iterations can be understood in different scales. The level of engagement changes according to the object. They can be understood as seats, planterboxes, playground equipment or a full scale pavilion. Interesting in the finding of different functions and scales is the engagement of different agegroups. While one might be suitable for children, the other may serve as a community scale object
Fig. 2.1 The iteration as a seat
Fig. 2.2 Eyelevel height
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MODULE 3 Queen Victoria Garden Pavilion Raumgestalter
Materiality
Voids
Surfaces
DESIGN
ITERATION
The process of design finding was started with the notion of capturing and framing space with surfaces. The surfaces are oriented according to access points , responding to the site and greater Melbourne influences, such as the nearby NGV, artsdistrict and the CBD. A further exploration examines the booleaned voids and what spaces they create. The influence of sunlight and circulation throughout the site was taken into account. When investigating the materiality of said solid void relationships, the solidity of the structure was broken down to allow for a better engagement of the visitor and to avoid a start contrast to the flat gardens.
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The exterior shell creates an encapsulated interior. It caters for an increased intensity of the experience when moving thorugh the interior volume
The main performance and seminar space faces away from St Kilda Road to provide a private and secluded area, suitable for functions and gatherings
The shell openings allow for light penetration and a relationship between the interior and exterior
The large opening facing the city, the more frequented area of the site, encourages people to explore and approach the pavilion
Differing lengths of the panels divert spaces by program and quality of light and guide the visitor, light and the visual experience
The threshold is defined by the varying interior volumes merging together, creating a push and pull effect of the interior spaces which leads the visitor
Cit
y
The seating compliments the language of the openings and sits within the landscape to allow for a connection of the site and the pavilion
Wooden panels form the interior volume and emphasise the movement through the space Threshold Main Access Secondary Access Less Frequented Circulation
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More Frequented Circulation
ra nd a x Ale nue e Av
Panels forming openings to allow Panels forming openings for for sunlight access / sun / light access and connectivity connectivity to exterior from interior to exterior
Panels forming the diversion of Panels for diversion of space from entry / spaces distinguishing entry and thoroughfare to performance / place for place of rest rest
Panels for interaction and ofhaptic Example of panels forming seat / place physical interaction quality
Performance
Main Entry
Sun/ Light Access
Dense to less dense space
Threshold Diagram 1:50
DESCRIPTION The pavilion “Raumgestalter� actively forms space and guides the visitor to create a wholesome interior experience. The pushing and pulling of the interior volumes create movement throughout the space and double as a diversion of differing programs. The notion of movement not only translates to the actual physical human movement, but also refers to the interaction with light penetrating the exterior shell by day, and how light guides the eye and the visual experience by night. The spatial organisation refers to the site, as the main access is facing towards the well frequented city and the actual performance/seminar space faces away from the busy St. Kilda Road, offering a quieter more private space to engage with.
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Fig. 3.1 Modelphoto from entry
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Fig. 3. 2 Modelphoto showing performance space
Fig. 3. 3 Modelphoto showing approach from Alexandra Avenue
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Fig. 3. 4 Daytime render
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Fig. 3. 5 Daytime render of interior
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Fig. 3. 6 Night time render showing performance
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Fig. 3. 7 Night time render view from north
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MODELMAKING The base of the model is constructed of white 1mm thick mountboard. The seating as well as the stage are built from mountboard as well to emphasise the pavilion as its own entity. The 3D printed structure is glued together, later sanded smooth and the gaps filled up with putty. This makes for a closer representation of the concrete shell.
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PARAMETRIC DESIGN The initial ellipses were oriented according to the 5m x 5m bounding box and site specific influences. The 3 ellipses were lofted and capped to create a solid. Points representing the entry, access, sunlight, performance space and seating were positioned withing the bounding solid. With the Grasshopper plug in cocoon the points were lofted together, creating a uniform mesh. Said mesh was booleaned from the existing geometry. To create the sticks that penetrate and form the space the geometry was contoured in x and y direction. Through cross referencing the contour curves and later finding the intersecting points with brep/brep the guiding curves where created. These curves were now tubed and capped to create a solid geometry.
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360 View
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Emma Kelly 950391 Shiqui Tang Studio 30