Digital Design Survival Guide 2018 S1

SURVIVAL GUIDE + PROGRAM ARCH20004, Sem 01 - 2018

CONTENTS

Subject Synopsis Digital design emerged out of advancement in technology during the post-war period of the 20th century. In the last two decades, contemporary design practice has drawn closer to technology, utilising computing power to speculate, generate, evaluate and implement the design. Computer Aided Design (CAD) and Computer Aided Manufacturing (CAM) are becoming fundamental to contemporary design discipline and has been widely used from aerospace to health and medicine, graphic design, architecture, landscape, engineering, performance and product design. Most objects use in our daily life utilised CAD or CAM in part or whole.

Computing allows calculations to be performed at faster and more accurate speeds. In 1960, Ivan Sutherland developed Sketchpad as the first computer graphic user interface. The translation of abstract calculation to visual graphic has since revolutionised the way designers represent and communicate their information. This also makes computing more accessible for the creative discipline. CAD software allows designers to manipulate and model complex virtual models which can be shared and worked on collaboratively. Computer Numeric Controlled (CNC) machinery allow the virtual model to be directly output as a physical object; the most widely known CNC machinery is the 3d printer. In this subject, we will utilise CNC machinery to help us create design outputs; we will harness computing power to explore design. Read more on “How computing can help with complex design?”

We will explore Digital Design through 8 lectures with three design briefs organised into modules. The content will introduce you to contemporary design thinking that emerges out of digital design practice. We will explore the field and consider the future of digital fabrication.

You will have a firsthand experience of “design to production” and managing the design process. Digital Design is never easy and seamless: things do not simply happen by pushing a button.

When you are ready, let’s digitally reconfigure your world!

Paul Loh ARB, RIBA

2

SYNOPSIS

02

INTRODUCTION & USEFUL INFORMATION

04

MODULE 1

17

MODULE 2

25

MODULE 3

47

PORTFOLIO

73

Melbourne School of Design Faculty of Architecture, Building and Planning

3

What is the aim of the subject: The subject aims to introduce and develop students skills in digital design.

Digital design is a way of thinking about design which utilises the computing power of technology. As a form of thinking and design methodology, it requires students to develop both lateral and logical thinking.

We will use technology and software current to the design industry and through series of design exercises and briefs, you will explore the use of contemporary techniques in digital design. You will learn to prepare and make drawings and models (both digital and physical models) as part of module submissions. At the completion of the subject, you will prepare a design portfolio; a well laid out document that communicates your design thinking and ideas. It should reveal your development as well as showcase your most amazing work. As you progress through your degree (no matter which design discipline), you will continue to build on your portfolio and it will form the basis for you to apply for jobs as well as build up your design credentials – in other words, it identifies who you are as a designer.

You will also need a portfolio for future entry into most Graduate design schools.

to your tutor by Week 12 and include this in your final portfolio; please inform your design tutor. While there is no reassessment of modules past the moderation date, we will take the re-worked drawings into account when moderating the final portfolio marks.

Role of your design tutor? Your studio is led by a tutor who will act as your mentor and instructor. They will guide you through readings and discuss different drawing, model making and representation techniques. They will provide constructive criticism and evaluate your work as it progresses. This session is hands-on and you must bring in work in progress; coming to studio with no work to show or discuss will constitute non-attendance.

What is a Workshop session? Similar to Foundation of Design: Representation (FoD:R), a workshop session is where you learn the technical skills of using industry standard software. We will use multiple software in this subject; refer to LMS for software list and where to access them. Most contemporary design practices utilise an “ecology” of software to develop a workflow. In this subject, we will work through some of this workflow. On the LMS, we have identified additional online learning videos and resources. You will be required to watch some of these videos prior to coming to the Workshop session.

Why is it important to attend Lectures? Lectures are where we disseminate key conceptual thinking, ideas and knowledge that will guide you through your modules. It will refer to specific case studies which help to make the weekly activities that constitute the module legible.

What is an online Quiz and how do I prepare for it?

During each lecture (see subject schedule) we will dedicate 15min to run an online quiz on LMS. The quiz covers the content presented in the lecture, previous weeks reading and workshop content. This is an assessed task and will contribute to 14% of the subject.

The quiz will be accessible using any android, iPhone, laptop or IPad. Note: Online quiz will only be opened to those attending the lecture as some questions are visual; you will need to attend Lecture to answer these questions. The quiz will be administered via the LMS.

What is a module? A module is a “block” of study that theoretically frames a particular set of learning outcomes. This subject consists of 3 modules. Within each module, we have weekly exercises that will lead you to complete the module. At the end of the module, you will be required to “pin-up” the work in class and deliver a short presentation to your tutor and peers. You will prepare a portfolio to document the progression of your work including all work from M1, M2 and M3. Apart from module 3, you are required to submit a module journal at the end of each module.

If I mess up a module can I re-submit work or redo it at the end? The module is designed to be independent which means that marks are not carried forward. If you mess up, just move on. In this subject, we will require you to bring forward thinking in the previous module.

If you do not understand the content or workflow of a particular module, it is crucial for you to seek clarification before moving forward. If you feel strongly to re-work a specific part of your module (either the final drawings or module journal), you must re-submit it

Do I need to bring my own laptop to a Workshop session? What if I do not have one? We suggest that you bring your own laptop and mouse to the Workshop session where possible. All software for the Workshop session must be installed on your system before class; there will be no help available to install software during the Workshop. If you do not have a Laptop, you can borrow one during the class; please bring a USB stick to save your work. The faculty’s recommended laptop specification can be found on the LMS. Is there any other equipment I need for this subject?

4

SUBJECT OUTLINE

I have problems meeting the deadline due to illness and other family situations. What can I do? You can apply for extension for your assignment, see information on Extension & Special Consideration (p8).

Refer to Page 11 of this guide. Also, refer to LMS for a list of software required for this subject. Most software we used can be downloaded for Free.

What is the LMS? The LMS (Learning Management System) is where we keep all digital content for the subject, including downloadable Module content, software links, lecture recordings, on-line learning resources, readings, journal template and where to purchase modelling material and much more. This is accessible from my.unimelb.edu.au

I did not meet the submission deadline due to poor management of time – what do I do? You should complete the work to your best ability and submit the work as soon as possible. As we require you to submit your portfolio on LMS, the submission time will be recorded. There is a penalty of 10% deduction in mark per day. Note: there is no cap under University rules; i.e. if you are 7 days late, your assignment will be deduced by 70%. A copy will need to be made available on your WIX page.

How is my work assessed? The marks for the subject are allocated as follow: Module 1 (10%), Module 2 (25%), Module 3(30%)

Staff:

Final Design Portfolio (21%)

Subject Coordinator:

Online Quiz at the end of each selected lecture (14%)

Paul Loh E-mail: paul.loh@unimelb.edu.au Room: 326, Melbourne School of Design Contact Hours: 10:00 - 17:00 (Monday, Thursday & Friday) Please e-mail in advance (minimum 24hrs) if you wish to book for a consultation time.

Although each module’s content is independent, they do rely on a progressive build-up of knowledge and skillset over the course of the subject. We, therefore, require you to attend 75% of all workshops and studios as a hurdle requirement for the subject. Attendance at lectures will be calculated through each quiz at the end of the lecture and attendance will be taken at every studio class and workshop.

Senior tutor: Matt Greenwood E-mail: greenwood.m@unimelb.edu.au Room: G01 Baldwin Spencer Building Contact Hours: 9:00 - 17:00 with Booking.

Please e-mail minimum 24hrs in advance if you wish to book for a consultation time.

Each module will be accompanied by an assessment rubric which is used by your tutor to assess your work. At the end of each module, all work is moderated across the studios to ensure equity in marking. Your marks for each module will not be disclosed, but you will receive a rubric indicating your performance. If you have any questions regarding your level of performance during the semester, please contact your tutor in the first instance. You can also contact the senior tutor and the subject coordinator if you have specific concerns.

Tutors: Please refer to staff information on LMS; it lists their contact email address.

Please note that at the end of the semester, you are required to submit a portfolio and this is a hurdle requirement.

What is the deadline of each module? Deadline of each module is at the start of studio pin-up presentations of each module. Where we require you to upload your journal onto your online portfolio page, this should be completed before the start of your studio. Journal must be submit via Turnitin through LMS. 5

HANDBOOK INFORMATION

Overview: This subject continues the knowledge from Foundations of Design: Representation. We will examine rule base thinking in digital design through processes of modelling and fabrication. The ability to develop this thinking through contemporary techniques of abstraction, evaluation, formulation, and transformation of information as ideas and knowledge is critical in digital design.

• Developed skills and dexterity in using digital media and fabrication techniques.

• Developed skills in communicating complex relationships within a set of information through drawings, modelling and fabrication.

• Developed techniques and rigour in constructing design ideas from gathered information.

In this subject, students will develop an understanding of design process and workflow through modelling of information, both as virtual data and physical material.

We will focus on using digital and physical modelling as iterative, progressive and generative techniques in developing form and design content.

• Developed an understanding of abstract and analytical thinking and why it is pivotal in the design process.

• •

Developed an understanding of iterative modelling process and its application in contemporary design.

A series of lectures will introduce students to a range of processes and techniques in digital design and its implementation in architecture and design. We will explore some of these methodologies in detail through a series of exercises and design brief. Students will learn rule based design process and developed skill in parametric design software resulting in physical artefacts using digital fabrication tools. The emphasis will be on developing a critical understanding of the relationship between media and its outcomes, and how modelling and digital fabrication techniques can encourage or constrain design possibilities.

• Developed group communication.

working

skills

and

Generic Skills: Upon successful completion of this subject the student will have had the opportunity to develop the following generic skills : • Develop precision, rigour and skills in physical and digital modelling.

• To work cooperatively and professionally in group setting.

Concluding each lecture, students will be introduced to self-teaching modules that will enable further experimentation with media and techniques. At the end of the semester, students will compile their individual portfolio with precision using reflective writing to anchor and demonstrate design thinking.

• Develop communication skills through drawings, models and other media.

• Developed capacity for independent critical thought, creative inquiry and self-directed learning.

Note: Students are encouraged to purchase a laptop with suggested faculty specifications. Further information can be found on https://msd.unimelb. edu.au/abp-specialist-it-support

• Developed an understanding of how such techniques are related to creative thinking Contact Hours: 52hrs

Further subject information is also available on Handbook: https://handbook.unimelb.edu.au/ subjects/arch20004/print

Total Time Commitment: 170hrs. This is equivalent to 10H of study outside of contact hour over 12 weeks The University’s Grading Scheme:

Intended Learning Outcomes: Students who have successfully completed this subject should have; • Developed skills in digital thinking through modelling and learning to use parametric software.

6

N

0% - 49%

Fail

P

50% - 64%

Pass

SUBJECT OUTLINE

H3

65% - 69%

Third Class Honours

H2B

70% - 74%

Second Class Honours Division B

H2A

75% - 79%

Second Class Honours Division A

H1

80% - 100%

First Class Honours

Tutorials & Workshops: (*Workshops run weeks 3,4,5,7,8 & 9 and replace Thursdays Studio 2.)

Assessment Overview: • Online Quiz at the end of lectures or studio during Semester, (14%); • Module 1 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 12 hours of work per student), week 3 (10%); • Module 2 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 30 hours of work per student), week 7 (25%); • Module 3 containing drawings and physical model with a verbal presentation. Drawings and digital model collated in draft journal format, (equivalent to 36 hours of work per student), week 12 (30%); • Final Portfolio submission: formatted journal containing collated and composed drawings and photography of model with reflective writing and references to lectures (equivalent to 25 hours work), due during the examination period (21%).

Hurdle Requirements: • Studio and Workshop attendance of at least 75% of all classes • Submission of Final Portfolio is a hurdle requirement Lectures: Lecture 01 Friday 16:15 - 17:15 The Spot B01 (Copland Theatre); 12min walk from MSD.

ST1/01 ST1/02 ST1/03 ST1/04 ST1/05 ST1/06 ST1/07 ST1/08 ST1/09 ST1/10 ST1/11 ST1/12 ST1/13 ST1/14 ST1/15 ST1/16 ST1/17 ST1/18 ST1/19 ST1/20

Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday Monday

09:00 - 11:00 11:00 - 13:00 13:00 - 15:00 09:00 - 11:00 11:00 - 13:00 13:00 - 15:00 09:00 - 11:00 11:00 - 13:00 13:00 - 15:00 12:00 - 14:00 14:15 - 16:15 16:15 - 18:15 12:00 - 14:00 14:15 - 16:15 16:15 - 18:15 12:00 - 14:00 14:15 - 16:15 16:15 - 18:15 18:15 - 20:15 18:15 - 20:15

MSD 140 MSD 140 MSD 140 MSD 117 MSD 137 MSD 137 MSD 137 MSD 138 MSD 226 MSD 449 MSD 448 MSD 448 MSD 314 MSD 314 MSD 226 MSD 238 MSD 238 MSD 449 MSD 448 MSD 236

ST2/01 ST2/02 ST2/03 ST2/04 ST2/05 ST2/06 ST2/07 ST2/08 ST2/09 ST2/10 ST2/11 ST2/12 ST2/13 ST2/14 ST2/15 ST2/16 ST2/17 ST2/18 ST2/19 ST2/20

Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday Thursday

10:00 - 12:00 12:00 - 14:00 14:15 - 16:15 10:00 - 12:00 12:00 - 14:00 14:15 - 16:15 09:00 - 11:00 12:00 - 14:00 13:00 - 15:00 09:00 - 11:00 11:00 - 13:00 13:00 - 15:00 09:00 - 11:00 11:00 - 13:00 15:15 - 17:15 09:00 - 11:00 11:00 - 13:00 16:15 - 18:15 18:15 - 20:15 18:15 - 20:15

MSD 244 MSD 244 MSD 244 MSD 141 MSD 137 MSD 137 MSD 125 MSD 216 MSD 244 MSD 142 MSD 117 MSD 241 MSD 226 MSD 226 MSD 241 MSD 241 MSD 241 MSD 224 MSD 244 MSD 241

Workshop 01 Thursday Workshop 02 Thursday Workshop 03 Thursday

7

11:00 - 13:00 MSD B121 13:15 - 15:15 MSD B120 15:15 - 15:15 MSD B120

FURTHER INFORMATION Extensions

Policy

Students may be granted an Extension of up to 10 working days if the student’s capacity to complete work by the due date has been affected by significant factors beyond their control and which can be verified by supporting evidence only. These factors include the following circumstances: illness or medical condition; trauma arising from a significant event such as a car crash; jury duty; illness of a person for whom you are the primary caregiver. Extensions will not be granted for the following circumstances: Computer failure, assessment tasks in other subjects, employment responsibilities, social commitments, stress or anxiety associated with completing assessment tasks, study difficulties, language difficulties, moving house, minor illnesses, and similar.

The ABP Student Policy Guide can be accessed via the LMS page for all ABP subjects. It contains important information on student responsibilities and expectations, including time commitment requirements and key enrolment dates; instructions for extension and special consideration applications; instructions for requesting a review of results; and important information on academic misconduct, especially regarding plagiarism, collusion and cheating.

Academic Skills Unit The University’s Academic Skills Unit provides handouts, skills guides, booklets, and videos to guide and support students in developing time and task management skills, writing skills, speaking and presentation skills, language skills, and, importantly, research and referencing skills. These resources can be accessed from the Academic Skills Unit website.

All extensions requests must be submitted via email to the Senior Tutor before the assignment submission deadline. Supporting documentation (e.g. medical certificate) must be submitted along with the extension request.

Further information about applying for an extension can be found here: http://ask.unimelb.edu.au/app/ answers/detail/a_id/5667 Special Consideration Extensions for all assignments for the duration of more than 10 working days need to be made via an application for Special Consideration.

Information about eligibility for Special Consideration and application processes can be found here: http:// students.unimelb.edu.au/admin/special Special Consideration is available to students who have had their studies significantly impacted by shortterm circumstances reasonably beyond their control such as acute illness. In addition, information about more serious, ongoing and long-term circumstances can be found here: http://students.unimelb.edu.au/ admin/special Note: Please inform the Senior tutor if you have applied for a Special Consideration after you apply. This is so we can follow it up on the system.

8

AVOIDING PLAGIARISM Using Sources and Avoiding Plagiarism

(This document has been prepared with the assistance of the Academic Skills Unit and the ABP Teaching & Learning Unit)

Why do you need to acknowledge the work of others?

Most university writing tasks require you to draw on a range of academic sources to support your claims, arguments and ideas. To distinguish between your thoughts and words, and those of others, it is essential that proper acknowledgement be provided. By acknowledging your sources, you are also giving credit to the original authors or creators of the work you are using, while placing your work in the context of previous scholarship.

What is plagiarism?

Plagiarism is the act of passing off others' work as your own. This means all types of work, including published and unpublished documents, images, photographs, research, ideas, design and audio-visual material. Note that plagiarism can be either deliberate or accidental.

What is collusion?

Collusion is the act of representing as your own, work that is the result of ‘unauthorised collaboration with another person or persons’ (University of Melbourne 2005). This includes copying another person’s work even if you have their permission. In this instance both the person presenting the work and the person/people involved in supplying the material will be investigated and may be charged with academic misconduct.

Penalties for plagiarism and collusion Plagiarism and collusion are serious offences. If you are found to have deliberately or accidentally plagiarised or colluded with others, you will be formally investigated. If the instance is severe you will be charged with academic misconduct. This may lead to failing the subject, suspension from your course or termination of your enrollment. Accidental plagiarism is not an excuse for academic misconduct and you will still be held accountable.

How can I avoid plagiarism?

To avoid plagiarism, work on building your academic skills. For example: • Manage your time to avoid completing assignments ‘at the last minute’.

• Make a conscious effort to develop your reading, note-taking and writing skills as well as your English language (for example, by accessing ASU programs and services and/or through self-study).

• Keep detailed notes of all your sources, including all reference details and page numbers.

• Analyse and evaluate what you read.

Basic referencing hints • Always acknowledge your sources by citing others’ work (including their ideas, images or exact words) in the body of your work and in the reference list or bibliography.

• If you are quoting someone’s words, use quotation marks and ensure that you quote the original words exactly.

• If you are paraphrasing someone’s work, you must use your own words, while still retaining the author’s original meaning.

• When citing your sources, you must follow a referencing style (e.g. Harvard or Chicago) consistently and to the smallest detail. Style guides are available on the University's library website.

-------------------------------------------------------------------------------------------------------------------------------Sources and further information • Academic Skills Unit 2010, Using sources and avoiding plagiarism, University of Melbourne, Parkville, viewed 23 May, 2011, <http://www.services.unimelb.edu.au/asu/download/5297-Avoiding-PlagiarismWEB.pdf>.

• University of Melbourne 2005, What is plagiarism?, University of Melbourne, Parkville, viewed 23 May, 2011, <http://academichonesty.unimelb.edu.au/plagiarism.html>.

• University of Melbourne Library 2005, Common citation styles, University of Melbourne, Parkville, viewed 23 May, 2011, <http://www.lib.unimelb.edu.au/cite/>.

• La Trobe University, Library Guide http://latrobe.libguides.com/content.php?pid=62289&sid=458378 • La Trobe University, ‘Striking a Balance’ http://latrobe.libguides.com/content.php?pid=62289&sid=458393 9

10

MATERIAL & EQUIPMENT

The following materials from Foundation of Design: Representation can be reused for this subject. For their specification, you should refer to Foundation of Design: Representation Survival guide.

Material & Art supply shop:

Drawing equipment: - A5 or A4 Sketchbook - Pens - PVC Eraser - Graphite Pencil,5H, 2H, HB, 2B, 4B - Metal Rulers, - Set squares, - Scale Ruler, with 1:100, 1:20, 1:250, 1:500 scale.

- A3 tracing pad or Detail paper

Melbourne Artists Supplies – large selection of paper, cardboard, Perspex, metal tube, timber dowel, colour film and other modelling equipment (on Little La Trobe St), www.melbourneartsupplies.com.au

Model making tools: - A3 Cutting mat, - Pen Knife, - Scalper, - Adhesive & Tape, - Glue stick, - UHU, - PVA Glue, - Masking Tape, - Bull nose clip Folios and carry case: Plan or Tube for large format drawings. NOTE: do not use folio with sleeve as it is clumsy to use and the glossy surface makes your artwork difficult to read.

Empty shoe box; this is great for storing small physical models.

Daiso - sells a variety of objects, materials and drawings equipment. http://www.daisostore.com.au/ (there is a store on Swanston St)

Eckersleys - Art supply store: www.eckersleys.com.au Deans Art – Art supply store: www.deansart.com.au Riot Art and Craft – General craft material with limited range: www.riotstores.com.au

Computer: We recommended that you acquire a laptop for the course. A good laptop will last you throughout your study. Note: this is not a requirement. If you do not have a laptop, you can use a computer in the Faculty computer lab or computers distributed around MSD and Baldwin Spencer building.

You can find a faculty recommended specification suitable for most software: https://msd.unimelb.edu. au/abp-specialist-it-support. Student licences for common software can also be found on the above link.

Please bring a USB stick to Workshop session.

Refer to LMS for a list of software required for this subject. Most software we used can be downloaded for Free or with 90 days trial.

11

PROGRAM

ARCH20004 Digital Design Semester S1, 2018

Feb 26 - 02

W1

W2

Mar 12 - 16

W3

Mar 19 - 23

W4

Mar 26 - 30

W5

Apr 02 - 06

Apr 09 - 13

NTW

Apr 16 - 2

W6

W7

QUIZ

QUIZ

QUIZ

QUIZ

Drop-in tech session

Studio 1

10%

LECTU

Q

25%

WORKSHOP #3

WORKSHOP #2

WORKSHOP #1

WORKSHOP

12

Studio 2

05

Studio 1 with tech help

LECTURE

04

Studio 1

LECTURE

03

Studio 1: M1 SUBMISSION

LECTURE

02

Studio 2

LECTURE

01

Studio 1

LECTURE

Studio 2

STUDIO

Mar 05 - 09

MODULE 02

Studio 1: M2 SUBMISSION

MODULE 01

SEM 1 , 2018

W6

W7

Apr 23 - 27

W8

Apr 30 - 04

W9

May 07 - 11

May 14 - 18

W10

W11

W12

QUIZ

QUIZ

QUIZ

Studio 1: M2 SUBMISSION

Studio 2 with tech help

QUIZ

Studio 1

08

Studio 2

LECTURE

07

Studio 1

LECTURE

06

Studio 1

LECTURE

05

Studio 1

ECTURE

30%

May 28 - 01

June 04 - 08

Wk 13

Wk 14

21%

WORKSHOP #6

WORKSHOP #5

25%

WORKSHOP #4

Studio 2

May 21 - 25

PORTFOLIO SUBMISSION Monday 11th June 2018

Apr 16 - 20

Studio 2: M3 SUBMISSION

9 - 13

SWOT VAC

PORTFOLIO

MODULE 03

Monday: Studio 1 + Thursday: Studio 2 or Workshop Lecture: Friday, 4:15 to 5:15PM

13

14

NAVIGATING THE LMS This is accessible from my.unimelb.edu.au

Announcement: From time to time, we will make specific announcements to draw your attention to specific aspects of the subject.

Download your survival guide and programme here.

Module content can be view here.

All workshop session information is located here.

Required drawing / modelling equipment, software and hardware.

Quiz will be made available during lecture Find contact email to all staff members.

Lecture is captured on a weekly bases. It usually appears 24h after recording.

This tab will be availble 1 week before None-teaching week We will need you to fill in the SES survey in week 12!

More information on student policy including guide on Special Consideration etc

Check out the information on Fablab website, including Level 1 induction (compulsory if you want to use the Fablab)

Lynda contains thousands of tutorials for various software including those you will be using in this subject.

15

16

MODULE 1

Diagramming Design Precedent MODULE 1 BRIEF: (10%) In this module, you will digitally model a precedent study (a pavilion) from orthographic information provided on the LMS. We will explore diagrams as a means of communication.

17

WEEK 1 LECTURE 1: WHAT IS DIGITAL DESIGN? We will take an overview of the landscape of Digital Design now. We will discuss the role of technology in design and touch on the role of diagrams as a medium for communication. This lecture will examine the various types of diagrams used in design and its consequences. The latter part of the Lecture will cover the content and structure of the subject including material and equipment, LMS and online learning Resources, Quizzes, housekeeping rules, assessment + Introduction to the M1 task.

Use the scale bar or dimension provided on the plan to scale your model. Ask yourself: What is the concept of your pavilion? This will help you to focus on what to model. Do not model everything; model what is important and relevant to the design when viewed at 1:50 scale.

18

MODULE 1 Tutorial content: Attend Week 1: Studio 2 before the lecture. Tutorial introduction. Seminar on reading + watch videos: What is Digital Design?

Tutor to discuss the role of precedent studies in design and assign a pavilion to individual students.

Conclude the session by going through the LMS.

Reading: Zeara Polo, A. 2010. Between Ideas and Matters. You can download the reading from LMS.

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Ensure you have been assigned a precedent study during Studio. If you have not been assigned a precedent study, please contact your studio tutor via email. You can find your tutor email on LMS under “Staff Information”.

2. Set up your Wix page (you can continue to use the same Wix address from FoD:R) and email your Wix page address to your tutor. [0.5h] 3. Download plan, section and elevation drawings from the LMS for your assigned pavilion. [0.5h] 4. Import the drawings into Rhino 3D and begin modelling the information; Rhino 3D is taught in Foundation of Design: Representation as a prerequisite to this subject. If you need to refresh your 3D modelling skills, refer to “Workshop & Software” tab on the LMS. [5h] 5. Use the preset isometric view on Rhino and adjust the projection to “parallel”. Print 2 views on white background on separate A3 paper to show your progress for Week 2 Studio 1. [0.5h] 6. Bring your laptop and digital file with you to Week 2 Studio 1 so you can discuss your work with the tutor. If you do not have a laptop, please save your file onto a USB stick and bring this to class. You can use the PC in the studio.

7. Check your email for an invite to IDDA, It might be in your Junk or Spam folder. If you have not recieved the email please email Matt Greenwood; include your name, student number and studio number.

Can’t remember how to model some of the complex surfaces? You can refresh your Rhino modelling skill on the LMS - check out the IDDA platform for easy digestible online videos.

19



WEEK 2 Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture.

Tutorial content: Tutor to discuss lecture content + Reading. Watch online video on “Circulation” [0.5H]. Tutor to review progress model and discuss the isometric views and diagrams requirements.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Continue to work on your Rhino 3D model. [1.5h] 2. Learning from the readings and video, extract key geometry or features of your pavilion study and use it to explain the circulation and threshold as diagrams (in isometric only). Make 2d in Rhino of your digital model and export line drawings into illustrator. Below are a few hints on the diagrams: [2h total] A. Circulation diagram. Where is the entrance and exit of the pavilion?

Imagine how people flow through the space using the idea of ‘shortest path’?

Are there spaces for gathering? See Lecture 1 and 2 for example.

B. Threshold diagram. Where is the threshold? What defines it? Is it the door or opening or a series of levels? Is this best shown through a section isometric? How is privacy defined in your pavilion?

3. Print your draft diagrams on A4 paper in isometric view only, and bring them to show your tutor in Week 2: Studio 2. [0.5h] 4.

Download the module journal and complete answer to readings. [0.5H]

What is the module journal? From this module onward, you will keep a module journal (the template can be downloaded from LMS). Follow the template and you will have a Module journal which forms part of your module submission.

Make 2D Diagrams in Rhino showing the separation of objects onto multiple layers indicated by different colours.

Isometric view of model in Rhino.

20



MODULE 1 Tutorial content: Tutor to review diagrams and digital model Tutor to run through submission template for both journal and drawings.

LECTURE 2: Diagram Works. The function of the diagram goes beyond communicating simple ideas but at times can be used as a generative component of design.

The second half of the lecture will introduce parametric modelling in design. Quiz towards the end of this lecture.

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Complete your digital Rhino model and set up isometric views. Adjust line weights in illustrator.[1.5h] 2. Complete the two diagrams taking on board comments from your tutor and lecture content.[1.5h] 3. Compose the isometric drawings and 2 diagrams onto the 594 x 594 drawing template; download the template from LMS. Print drawings to correct scale for Week 3, Studio 1 pin-up session. [1.5h] 4. Complete the module journal and print it on A4 paper for next week Pin-up. Journal also needs to be submitted on LMS through Turnitin before start of your Studio 1 in week 3. [1H] What is a pin-up? At the end of each module, we will ask you to pin-up your work in studio. You will prepare a 2 min verbal presentation of your work.

In this module, use the following as a guide for your presentation: A. What is the key concept of your precedent study?

B. Where is the Threshold or In-Between space of the pavilion?

C. How does the circulation inform the design?

Note: work must be ready at the start of your studio for pin-up. Listening to tutor’s comments and learning to critique each other’s as well as your own work is part of studio learning. This help you to be more critical of your own work.

Submission Checklist • M1 A1 Crop - Printed in Colour • M1 Journal Submitted to Turnitin prior to Week 3 studio 1 • M1 Content uploaded and curated on your Wix Portfolio Website

Printing: We recommend you to use Plotter 2 or 3 in the MSD print room; matt paper only.

21



RUBRIC Toyo Ito - Serpentine Pavilion 2002 Matt Greenwood - 000000

Isometric 1:50 0

1000

3000mm

TR

CE

AN

TR

EN

EN

AN

CE

Solids

Structure

Primary Circulation Space

Glazing

Structure

Circulation paths

Circulation 1:200

Thresholds (Permeability) 1:200

Layout Example - Module 01

22

MODULE 1

Proportion of Total Mark: 10% Individual Mark

Digital Modelling & Drawing Presentation

Journal & Portfolio website

70%

30%

H1

As H, plus student has exercised dexterity over the digital model, isometric drawing and diagrams.

Diagrams are precise and capture the conceptual thinking of the precedent study in an imaginative manner. Excellent verbal presentation.

As H, plus journal is composed and Portfolio website is presented clearly with annotation/narrative structure.

H

As P, plus drawings presented are precise in execution, and there is an understanding of the conceptual thinking behind the precedent study. There is a good attempt at the digital model. Diagrams are clean and well composed. Good verbal presentation.

As P, plus journal is well laid out and complete.

There is an attempt to personalise the website.

P

Student attempts the digital model task and has presented the required set of drawings and diagrams as outlined in weekly tasks. Diagram is simplistic in its interpretation. Poor verbal presentation.

The student has attempted the journal, but it is not complete. There are attempts to answer the questions to the readings. There is an attempt to set up the WIX portfolio page with reasonably legible formatting.

N

Drawings and Digital model is incomplete or poorly executed with an untidy layout. Diagrams did not demonstrate an understanding of the concept in the assigned precedent study or is inappropriate. No verbal presentation.

Student fails to upload content or set up a Wix page. Student fails to complete journal or poorly execute journal with no relevance to the assigned precedent study.

23

24

MODULE 2

GENERATING DESIGN THROUGH DIGITAL PROCESSES MODULE 2 BRIEF: (25%) In this module, you will explore digital fabrication and parametric software through two tasks. Task 1 will require you to work with surface and laser cutting techniques (recalling Module 3 of FoD:R). In task 2, we will work with volume and 3D printing techniques. In both tasks, you are to use a 150 x 150 x 150mm bounding box or frame; this is not a physical boundary but a framework from which you will operate in. The aim of the module is for you to understand the iterative nature of digital design and work through a workflow from design to physical outcome.

25

WEEK 3 Tutorial content: Pin-up of M1 drawings. Reminder to attend Workshop#1 this Thursday. Ensure your journal is uploaded onto WIX page before your class.

Before you start: Have you down loaded the Module 2 journal and the assessment rubric?

STUDIO 1

TASK 1: SURFACE AND WAFFLE STRUCTURE

CHECKLIST

Within the 150 x 150 x 150mm bounding box, you will create two surfaces in Grasshopper. In this task, you should use the edge of the bounding box as the parameter. We will explore surface patternation in Workshop #1 and developable surface for laser cutting in Workshop #2.

WEEKLY TASKS 1. Before Workshop 1, you will need to log-into the IDDA website to complete the “Grasshopper Essential” course [3.5h]. Note 1: You do not need to complete the exam but we encourage you to do so; this is optional. Note 2: Week 4 lecture quiz content will be based on this online material.

2. Install the Grasshopper for Rhino Plug-in [0.5h]: refer to LMS for instructions.

3. Attempt the following step by step guide before the workshop: [1.5h] a. Set up a Box in grasshopper (150 x 150 x150). b. Deconstruct BREP to obtain the edges. c. Divide two opposite edges and connects points with one line. d. Loft the two lines; surface must be doubly curved and not planar. Repeat step c + d. e. Explore “Panelling Tools” plug-in and see if you can triangulate the surface using your knowledge from FoD:R. Hint: “Grid Domain Number” and “panel connections” component could be useful.

2. Complete Level 1 Induction for Fablab. This induction is online and is compulsory as your will be using the Fablab in this Module.

26



WORKSHOP SESSION 1 Workshop content: Bring your laptop with the Grasshopper plug-in loaded on your laptop to the workshop session. We will introduce you to a Rhino Plugin that facilitates parametric modelling. Please also install the following plug-ins: Panelling tools for Grasshopper, Weaverbird and Lunchbox.

LECTURE 3: Parametric modelling. This lecture will examine the role of parametric modelling in architecture and design. How does parametric design change the way we think? What is a Matrix drawing? Quiz towards the end of the lecture.

WORKSHOP #1

WEEKLY TASKS

CHECKLIST

1. In the workshop, we will go through “Studio 1, Item 3”. We will also explore the idea of data structures to give you a deeper understanding of the process. Spend some time to revise the content on page 28-31. [0.5H] 2. Continue to work on the definition, take 2 screenshots of your parametric model and print them on A4 paper. Bring drawings, laptop and design file to Week 4: Studio 1. [4h] 3. Prepare for Week 4 reading and attempt the questions in the journal template[1H] Each workshop is accompanied with workshop notes (see next two pages).

It contains useful information on the software and identifies key concepts and terminology used in the Workshop session. They do not replace or duplicate workshop content. You will also find a folder on LMS under: Workshops & Software In this folder, you will find additional online tutorials (including IDDA tutorials) to extend your skills.

Baked surface examples created from the lofting of 2 lines in grasshopper from the de-constructed cube.

27



WEEK 3 Introduction: The workshop is intended to introduce digital workflow using Grasshopper. Grasshopper is a plug-in to Rhino software. Unlike other plug-in, Grasshopper (GH) uses parameters to define geometry otherwise known as parametric modelling; the ruleset behind geometry is declared in the first instance. It is essentially a scripting software that doesn’t require you to write code; we called visual scripting. GH is used extensively in contemporary architectural / design practice because it’s an open source and free software with an international community of users, visit http://www.grasshopper3d.com. You will also find more online tutorial and recommended reading on Grasshopper on the LMS, including links to download the plug-in.

The workshops aim to allow you to develop an understanding of how to construct and design a rule-based systems.

It should be seen as a workflow rather than a dogmatic application of the digital tool. In the first two workshop, we will focus on manipulating data structure in Grasshopper which is one of the most fundamental logic underpinning this visual scripting program. The workshop takes you over the workflow to complete the Module task, but it is by no means comprehensive. We encourage you to explore the large number of resources available on the internet. Like all creative tools, there is no one single right or wrong solution or path to get to your desired outcome.

The parametric software requires you to exercise design curiosity and judgement in the process. The information below are some critical aspect of visual scripting relevant for each week’s workshop. Note: This does not duplicate content of the workshop. The workshop is an active session. You will need to bring your laptop or files with you.

The fastest way to learn software is by using it; sitting in a workshop observing the session will not help you learn.

Grasshopper Interface: Standard GH panels Other Plug-in to Grasshopper.

Note: you will need GH panelling tool plug-in for this workshop; see LMS for detail.

View or Hide components

Canvas. You can double click on the canvas to bring up component.

Terminology of Grasshopper:

Rhino interface Red object denotes a preview of Grasshopper component. It is virtual and is not selectable in Rhino interface.

Component: Predefined parts in Grasshopper is called a “component”.

Referenced object, in this cased a point Definition: The entire visual script is refer to as a Definition. They are organized from left to right.

Input: A definition consists of input, a value or some reference geometry Associative: This are operation used to manipulate the Input Output: Result of the manipulation.

Shown as a red box on Rhino interface.

Light grey means preview is on.

28

WORKSHOP SESSION 1 Understanding Data Structure: A data structure or how the components organize information is a critical aspect of visual scripting. By understanding how the information is organized, you can retrieve, move or delete it. This is powerful as you are essentially manipulating the data. You can read this article on The Why and How if Data Trees: http://www.grasshopper3d.com/forum/topics/the-why-and-how-of-data-trees Example 1: Simple Data Tree

A list recalls all data output. Note: each curve has an associated “index” or address like a house number. You can display list with a “panel” component.

Data Tree

List component allows you to isolate the items from a list. In this example, we isolated edge with an index = 4. This is highlighted in green colour on Rhino.

Index

Data Tree is grouping of list or Index. If Index is house number, then Data tree organize the information Data type; it can be curves into “street” and then or a value like an integer “postcode”. This is useful (whole number)or floating when the data become number (with decimal point). complex.

Note the Data tree is written as {0;0}. The first “0” on the left refers to the cube and the second “0” refer to the set of edge curves.

Example 2: Matrix like Data Tree

The data tree has seven branches or “streets”. Each branch contains 9 indexes of the data point. This corresponds to the nine rows of points labelled 0 to 8. Note: GH do not count from 1; zero (0) is used as the starting number.

co lu

w

ro

m

n

Param Viewer

The Param viewer shows a graphic representation of the branches. Double click to show data information; {0} refers to the columns of point; N refers to number of data point in the row or data length.

The Index show coordinate value of the points {x, y, z}

Example 3: Flip Matrix Flip Matrix turns rows into columns and columns into row. So, each branch now contains seven indexes of data point.

The numbering of data points on the surface will correspond to the data list.

n

m

lu

co 29

w

ro

Try to build these definitions yourself and explore the various components. It will help you better understand Data Structure.

Other Useful Components for manipulating Tree Structure:

This show the data structure of the points from previous exercises. The data is organized in 7 branches and has 3 levels.

Right click on all component to bring up the option panel.

Simplified. This remove excess level on the data tree. So, {0;0;0} can be reduced to {0}.

Data tree can get complex very quickly and its sometime necessary to simplify it in order to find a specific branch.

Graft. This adds an extra branch to each items, i.e. move it up by one level. This is useful when you need to pair up or match data point i.e. when you have two or more sets of data.

30

WORKSHOP SESSION 1 Example 4: List Items on 2D matrix When you list an item from a 2D matrix, GH identifies the set of data points index as (4) on the branch regardless of columns.

Related components are: Shift List, List Length, Cull Index, Cull pattern and Cull Nth. Plug in these components to see what they do.

Example 5: Flatten tree structure Sometime you only want to select one data point only. The easiest way is to flatten the tree structure.

Flatten removes all the hierarchy of rows and columns and organized the data point into a sequence, 0,1,2,3 etc...

In other word, it removes all branch information.

Example 6: Explode - Weave - Entwine

Using the same data set as above, we can manipulate the data to draw zig-zag curve on the surface.

1. Explode Tree. This isolate the branches out, in this case, we have 7 branches.

2. Cull. Cull allows you to remove data set.

We used Cull Pattern in this case, by inputting a pattern: “True, False” or “False, True” we can isolate the data points.

3. Weave. The data points are weaved into a single branch so we can draw a line following the data points.

4. Entwine. Take two single branch and turn them into a tree with two branches.

If all data points is in a single branch, we will draw a curves from Weave 1 to Weave 2. To avoid this, we use the Entwine component.

31

5. Output. We use a NURBS curve component which draw a curve from point to point. The order of the points is therefore important.

Note: There are three degrees of curve.

D = 1; produce a straight line with zero bend D = 2; produce parabola or arc with one bend.

D = 3; produce Bezier curve with two bends

WEEK 4 Tutorial content: Tutor to discuss Module 2 task & reading. [1H] Go through any questions on Grasshopper as a class; use the example on LMS.

Reading: Kolerevic, B, 2003.

Architecture in the Digital Age.

Remember to attend Workshop on Thursday.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Continue to build on your Grasshopper definition incorporating feedback from your tutor; create a second surface below or above the primary one you have generated. Avoid intersecting the two surface unless you like a challenge! [2h] 2. Before Workshop 2, you will need to log-into the IDDA website to complete the “Grasshopper Designer” course [3.5h]. You do not need to complete the exam but we encourage you to do so; this is optional.

Note: Week 6 lecture quiz content will be based on this online material.

Isometric view of Task 1 model in Rhino.

Surface divided into strips for fabrication.

32



WORKSHOP SESSION 2 Workshop Session 1: This workshop session will take you through the workflow of creating sections or waffles of your surface and panelling the surface using grasshopper. It will also cover techniques and file preparation for laser cutting.

LECTURE 4: Digital Fabrication techniques. This lecture will examine the various techniques of digital fabrication in architecture and design. How does digital fabrication change the way we design and make things? Quiz towards the end of the lecture.

WORKSHOP #2

WEEKLY TASKS

CHECKLIST

1. Continue to build on your Grasshopper definition; we want you to produce a “waffle” structure between the two surfaces and follow the guidance in the workshop to “unroll” the surface for laser cutting.[2h] 2. In addition, we want you to implement surface pattern on your design; Workshop 2 will introduce some key techniques.[2h] 3. Matrix. Using the template on LMS, you will demonstrate the variations of your GH definition as a drawing which we call a matrix. When setting up the matrix, it is important to understand what parameter is variable and what is not. Please annotate the matrix; what is the parameter you are changing. Annotation should identify areas that you find interesting- see template on LMS. [1.5H] 4. Prepare your digital model for review with your studio tutor in Week 5: Studio 1; send your model for laser cutting after this session. Refer to the laser cutting guide on the Fablab website. Use 1mm mount board for waffle structure and ivory card for the panelled surface. [1H] Note: Mount board is difficult to fold so it is used for the structure only.

Lofts

1.1

1.2

1.3

1.4 {20,-33,0}

{110,-101,150}

{80,101,150}

{35,101,150} {20,56,150} {20,-18,150}

{20,-18,150}

{20,11,150}

{140,-48,0}

{20,56,0} {20,26,0}

Paneling Grid & Attractor Point

2.1

Paneling

3.1

{65,-48,0}

{20,86,0} {80,-48,0}

{20,-33,0}

{35,-48,0}

2.2

2.3

2.4

{91,-93,136}

{93,35,74}

{217,35,0}

{93,35,-76}

3.2

3.3

3.4

+

Example of the variable matrix drawing for Module 2 Task 1.

0mm

100mm

200mm

300mm

Key {0,0,0}

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

33



WEEK 4 Introduction: Once you grasp the concept of data structure, you are almost there with understanding Visual Scripting. We will now look at Vector as this is critical in manipulating geometry in GH. Vector = Magnitude + Direction. A Magnitude is the strength of the vector and is represented by the length of an arrow. The direction is the orientation of the force and can be defined by a minimum of 2 points. Vector is not visible, but it is useful when comes to visual scripting and modelling of surfaces and lines. Vector is closely related to Plane.

Example 1: Visualising Vector vector display

pt2 pt1

vector Length The above demonstrates the basic property of vector. Using 2pt Vector, we can create a new vector. The Vector Display show the direction of the vector. Vector Length shows the magnitude.

Example 2: Measuring Angle of Vectors Degree component

pt3

pt2

pt1

Using a third reference point, we can create two vectors. We can measure the angle of the vector using Angle component. GH uses radian (the SI unit) to measure angle; 2Ď&#x20AC; radians = 360 degrees; GH has a Radian and Degree component to help convert the unit.

Example 3: Vectors on a surface

The definition above maps the Normal vector of each point on the divided surface. Have a go at setting up the definition. Normal of a surface at particular point is always perpendicular to the surface at that particular point.

34

WORKSHOP SESSION 2

Example 4: Contour or Sectioning using predefined vector

Using Contour component, we can produce a series of cut section or contour on the surface. Using a predefined vector, â&#x20AC;&#x153;Zâ&#x20AC;? as the normal, it gives the component a direction to contour the surface. The List item component is used to identify a corner of the surface to use it as starting point for contouring.

Example 5: Contour or Sectioning using 2 Point vector

We can also identify two points on the surface and change the cutting direction of the contour.

35

WEEK 5 Tutorial content: Tutor to review model for laser cutting and check for errors. Go through laser cutting guide and submission protocol on Fablab website.

Remind students to attend Workshop on Thursday.

STUDIO 1

TASK 2: Solid and Void

CHECKLIST

Within the 150 x 150 x 150mm bounding box, you will subdivide the box into 9 cubes in grasshopper. In this task, you should use the subdivided cube as the primary parameter. We will explore the idea of solid and void in Workshop #3 with 3D printing techniques.

WEEKLY TASKS 1. By now you will have completed Task 1. If not, you should aim to complete this before next workshop.

2. If you are ready to move forward, try the following: [2h] A. Set up 150 x 150 x150 cube as Task 1.

B. Divide the cube into 3 x 3 x 3 array of cells (9 in total).

C. Use Panelling Tool to distort the grid using ‘attractor points’ D. Use centre point of each cell to create a sphere. Use ‘solid difference’ to boolean the sphere from the primary cube; ensure the spheres intersect. Can you make the sphere varied in diameter?

3. Before Workshop 1, you will need to log-into the IDDA website to complete the “Grasshopper Advanced” course (3.5h). You do not need to complete the exam but we encourage you to do so; this is optional.

Note: Week 7 lecture quiz content will be based on this online material.

Take photos of your physical model: You can book a mobile photostage on the Fablab website or set up your own - see FoD:R survival guide or LMS. We encourage you to take the photo of Task 1 this week so its ready for your journal.

Module 2 Task 1 - Laser Cut Examples.

36



WORKSHOP SESSION 3 Workshop Session 1: This Workshop session will cover the manipulation of 3D grids and boolean processes in Grasshopper. The last part of the workshop will run through 3D printing protocol.

Install Makerbot software for this workshop, see LMS for links. Note: Please download and install the software prior to the class.

NO LECTURE THIS WEEK

WORKSHOP #3

WEEKLY TASKS

CHECKLIST

1. The workshop will introduce techniques of manipulating volumes in the cell. Continue to build on your Grasshopper definition to explore different effects. Your design aim, is to produce porosity or permeability of the volume, to explore solid and void. Refer to lecture 4 and 5 content. This workshop will also introduce you to the Makerbot software and provide tips on how to make a successful 3D print. Spend some time revising the content. [1H] 2. Continue to develop your model over the non-teaching period. If you are ready to 3D-print, you can print your model and bring it to Week 6, Studio 1. [7h leading into NTW]

Scale of your 3D print: 3D Printing is very time consuming. A small print can easily take up to 5-6h to complete. In the Makerbot software, you can see how long it will take to print your part. Fablab has allocated 9H for individual prints; if you go beyond the 9H limit, your print may be rejected by the Fablab staff or you risk not having it in time for the M2 submission.

Module 2 Task 2 - Quarter 3D Print Example.

37

ď&#x192;ź

WEEK 5 What is a BREP: A BREP or Boundary Representation refers to geometry composed of a more than one surface. BREP can be closed/capped or opened.

The following content will look at generating data using series and remap component. We will also review the concept of attractor; this content does not duplicate the workshop content.

Example 1: Series

List Length

Note: It is important to flatten the tree structure to match the points to the series of numbers.

Radius input for circle

Series is used to generate a sequence or series of number. The above example use the list length of the points from the surface to create a series of incremental values (starting from 0, 1, 2, 3, 4 etc...) to act as radius for circle - the image (right) show the radius of the circle increasing.

Example 2: Graph Mapper

Using a Graph Mapper allow you to change the series of number via the graph into another set of values. The example above use “parabola” function; you can also try using other pre-defined graph type. Unfortunately, the value generated is very big, hence by the third value, the radius of the circle is bigger than the surface.

Example 3: Remap

To resolve the very large number, we use the Remap component to constrain or bound the output value as above. We have bound the value between 10 to 35. Note: I have use the panel as input data; to change a panel for input data, simply right click and select: “Multiline Data”.

38

WORKSHOP SESSION 3 Concept of attractor: The circulation video in week 2 introduce you to this idea. The principal is to use something to influence another set of data or information. We use a basic algorithm or rule set to mimic this idea below. We have a reference point (as attractor point). We measure the distance between the attractor point and all other points on the surface. The longer the distance, the less impact it has on the diameter of the circle. The closer to the attractor point, the shorter the distance and therefore the smaller the circle. Remap component allow us to bound the radius within a desired boundary.

Example 4: Attractor Point

Reference point as attractor point

Distance used to mimic influence Try building this definition yourself and move the attractor point around to see the circles change their diameter.

Example 5: Extending Attractor to height

Vector is ‘Unitise’; right click on the ‘v’.

Tree Brunch Component We can use the same logic to influence height or extrusion of the circles. The above use the same bound Remap data and multiply it by 5 times. Note 1: we have to use Tree Branch component to isolate the data; otherwise you will have duplicate data in the tree structure. Note 2: We “Unitise” the Normal (n) vector. Unitise preserve the vector direction and remove all length or magnitude of the vector.

39

40

NTW Drop in technical session: There is no formal class scheduled for this week. We have set up an optional dropin technical session to provide additional help and guidance on both design and technical issues. If you are unsure of what you are doing or confuse about aspect of the software, we strongly suggest you sign up to this session. Please sign up on LMS.

41

WEEK 6 Tutorial content: Tutor to go through 3D print guide on Fablab Website. Tutor to provide guidance on Matrix set up. An additional technical tutor will support this session. Technical Tutor to review digital model for 3D printing and check for obvious errors.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Finalise your design, so it is ready for 3D printing. You must submit your file by no later than Tuesday, 10th April. You are to print a maximum of 25% of your model only. Consider where to best slice or section your model to reveal the most interesting spaces; discuss your final 3D print model with your studio tutor. [2H] 2. Prepare your model for 3D printing to ensure the volume is closed or capped; colour: White PLA only. You should use the 3D printing guides on the Fablab website as a guide - see LMS. [2H] 3. Prepare your matrix drawing with annotation and print an A3 copy for discussion with your tutor. You should also print Task 1 matrix on A3 for discussion as well. [2H]

Note: You should aim to send your part to the 3D printer ASAP as it will take a long time to print. Please submit your file using the Fablab “Innovation Centre” interface. Remember there is a 9H print limit per part / per student.

Grid Manipulation

1.1

1.2

1.3

1.4

{34,154,150} {134,104,100} {-15,4,150}

{134,54,0} {34,54,0}

{34,54,0}

{-15,104,0}

{-15,4,0}

Sphere Distribution

2.1

2.2

2.3

2.4

{Random Attractor}

{Volume Gravitational Centres}

3.3

3.4

{59,101,94}

{134,154,0} {34,4,50}

Sphere Transformation

3.1

3.2

{Consistent Scaling}

{Morph}

{34,4,0}

{Random Scale}

Example of the variable matrix for Module 2 Task 2.

Key {0,0,0}

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

42



MODULE 2 Tutorial content: Tutor to review matrix drawings.

Discuss submission requirement for M2.

LECTURE 5: Implication of Digital Fabrication.

This lecture continues to examine the effect of digital fabrication on design. We will discuss its implication in architecture, construction and manufacturing. We will trace the development of technology in the past century to understand how technology facilitates design and where it will go next. Quiz towards the end of the lecture.

STUDIO 2

WEEKLY TASKS

CHECKLIST

1. Take on board your tutor’s comments on the matrix and complete the drawings. Use the template on LMS and ensure you print to scale for Week 7: Studio 1 Pin up. [1H] 2. Clean up your 3D print when you receive it from the Fablab. [1H] 3. Ensure your laser cut model is assembled with care; minimised glue marks. [1H] 4. Set up a photo stage or use the photo stage in Fablab to take two high quality images with white backgrounds. Include the photos in your journal. [1H] 5. Complete journal; download the template from LMS. Journal needs to be submitted on LMS through Turnitin before the start of Week 7: Studio 1. Upload M2 Content to your Wix site. [1.5H]

Presentation: You will prepare a 2min verbal presentation of your work. Use the following as a guide for your presentation: A. What is the key concept explored through your two models?

B. What is the quality of the space generated in your design fragment? Consider this as a fragment of space and the scale is not yet determined, i.e. it can be 1:10 scale or 1:50 scale.

C. Consider this as a fragment of a pavilion design. Can you start to speculate on the threshold condition or possible means of circulating through your structure? Again, what sort of scale will your structure need to be?

Submission Checklist • Task 1 A1 Crop - Printed in Colour • Task 2 A1 Crop - Printed in Colour • Physical Models • M2 Journal submitted to Turnitin prior to week 7 studio 1 • M2 Content uploaded and curated on your Wix Portfolio Website

43



RUBRIC 1.3

Key

1.4

{0,0,0} {20,-33,0}

{110,-101,150}

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

{80,101,150} {20,56,150} {20,-18,150}

{20,-18,150}

{20,11,150}

{140,-48,0}

{20,56,0} {20,26,0}

{65,-48,0}

1.2

{34,154,150}

{-15,4,150}

{3 {80,-48,0}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

2.4

{-15,4,0} {Curve Attractor}

Sphere Distribution

{Index Selection}

Matthew Greenwood - 000000

Paneling Grid & Attractor Point

{Index Selection}

{91,-93,136}

{93,35,74}

1.1

{20,86,0}

{20,-33,0}

{35,-48,0}

Grid Manipulation

Lofts

Module 02 - Task 01

1.2

{35,101,150}

{217,35,0}

{Curve Attractor}

2.1

2.2

{59,101,94}

{134,154,0}

{93,35,-76} {Attractor Point Location}

{Index Selection}

3.1

3.2

3.3

3.4

{Point Attractor}

Sphere Transformation

{Attractor Point Location}

Paneling

{Attractor Point Location}

{Curve Attractor}

3.1

3.2

{Consistent Scaling}

{Morph}

+

Design Matrix 1:5

Perforations on one face control the direction in which light can enter the volume.

Solid panels create a definitive boundary between exterior and interior. Protruding forms create interest through light and shadow.

Panels are smaller at the bottom and increase in size towards the top of the volume.

A hollow waffle structure allows for the creation of an interior volume.

Exploded Axonometric 1:1 0

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

{20,11,150}

{140,-48,0}

{20,86,0} {80,-48,0}

3,0}

{Index Selection}

{91,-93,136}

{Index Selection}

60mm

1.1

1.2

1.3

Key

1.4

{0,0,0}

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

{34,154,150}

Grid Points {134,104,100}

{-15,4,150}

{34,54,0}

{-15,104,0}

{34,54,0}

{-15,4,0} {Curve Attractor}

2.1

{Curve Attractor}

{Curve Attractor}

{Curve Attractor}

2.2

2.3

2.4

{59,101,94}

{134,154,0} {34,4,50}

{Point Attractor}

Sphere Transformation

3.4

Matthew Greenwood - 000000

{93,35,-76}

20

{134,54,0}

Sphere Distribution

2.4

Grid Manipulation

{0,0,0}

{80,101,150}

Module 02 - Task 02

Key

1.4

}

cation}

1.1

{Curve Attractor}

{Random Attractor}

{Volume Gravitational Centres}

3.1

3.2

3.3

3.4

{Consistent Scaling}

{Morph}

{Reverse Attractor}

+

{34,4,0}

{Random Scale}

Design Matrix 1:5

With the booleaned geometry contained mostly within the original shape the cube is still highly visible as a form.

Where the intersecting geometry interacts with the surface envelope creates a lighter more open space.

Points at which geometry almost touches but does not creates a feeling of uncanny heaviness to the above structure.

Intersections that do not interact with the surface envelope create heavier darker spaces.

The solids left behind can also be interpreted as space. If we invert the positive and negative space it creates a stretched/pinched network of spaces.

Axonometric 1:1 Solid boolean using 3.2 morph itteration.

0

20

60mm

Above: Module 2 A1 Crop expected outcome 44

MODULE 2

Proportion of Total Mark: 25% Individual Mark

Task 1

Task 2

Journal format

45%

35%

20%

H1

As H, plus creative use of techniques to develop further intricacy and refinement. Highly considered exploration and creative approach to the design process. There is consideration for its design potential and implication.

As H, plus creative use of techniques to develop further intricacy and refinement. Highly considered exploration and creative approach to the design process. There is consideration for its design potential and implication.

As H, plus journal are visually well composed.

H

As P, plus an attempt to execute with consistent care and precision at a high level. The matrix and verbal presentation explores a wide range of options and demonstrate an understanding of the generative capacity of digital tools.

As P, plus an attempt to execute with consistent care and precision at a high level. The matrix and verbal presentation explores a wide range of options and demonstrate an understanding of the generative capacity of digital tools.

As P, plus an articulated response to reading. Graphic layout is clean, and the page is composed. .

P

The student attempted to produce a grasshopper definition but is not able to control the laser cutting output.

Laser cut model is poorly executed or did not work but demonstrates some understanding of the workflow. There is an attempt at laying out the matrix.

The verbal presentation provides some interpretation of the artefacts as threshold and circulation devices.

The student attempted to produce a grasshopper definition but is not able to control the 3D printing output, poor surface structure, for example. 3D print model is poorly executed, messy or did not work but demonstrate some understanding of the workflow. There is an attempt in laying out the matrix.

The verbal presentation provides some interpretation of the artefact as threshold and circulation devices.

Student compiles the journal as per given template.

Most work is included and to a satisfactory level.

N

The student did not attempt to use the laser cutter to produce the model. There is no attempt at constructing an appropriate Grasshopper definition for the design.

There is no understanding of the generative potential of the design.

The student did not attempt to use the 3D printer to produce the model. There is no attempt at constructing an appropriate Grasshopper definition for the design.

Student fails to complete journal or journal has missing pages.

45

46

MODULE 3

Queen Victoria Garden Pavilion MODULE 3 BRIEF: (30%)

Design a pavilion in the Queen Victoria Garden - location is the same as per the annual M-Pavilion. The pavilion must fulfil the following criteria: A. The pavilion must facilitate these activities: an evening quartet concert for an audience of 30 people and lunchtime seminar with 15 guests + 1 presenter.

B. Your pavilion must have a roof to provide shade and shelter for 15 people attending the lunchtime seminar.

C. The pavilion must have a relationship with the ground. How the pavilion touches the ground and interacts with it should be considered. All seatings will need to be integrated into the landscape or pavilion design.

D. You must utilised parametric software to produce the pavilion, and the design should be self-supporting without the need of additional â&#x20AC;&#x153;externalâ&#x20AC;? columns.

E. The pavilion is to be no more than 5 x 5 x 5 meter in volume; this is the maximum volume. Material: laser cut metal or timber + 3d printed parts allowed; negotiate with your Studio tutor.

47

WEEK 7 Tutorial content: Pin-up of Module 2 tasks.

Discuss with tutor how this can be implemented as design for a new pavilion. Ensure your content is uploaded onto WIX page.

Remember to attend Workshop on Thursday + review Rubric for M3.

STUDIO 1

WEEKLY TASKS

CHECKLIST

1. Install 3DS Max and Unreal Engine on your laptop. Download the VR template from the LMS and place in the correct folder as per instructions.[1.5H] 2. Watch online tutorial of Unreal Engine + what is real-time rendering. [0.5H] 3. Before moving forward make sure that you have completed models from M2 and photography for portfolio submission. [2H]

48

ď&#x192;ź

WORKSHOP SESSION 4 Workshop Session 4: This workshop will introduce a workflow showing how to import your 3d Model from Rhino into Unreal Engine. Please bring either task 1 or task 2 Rhino model with you.

LECTURE 6: Pavilion and Ground. This lecture will introduce the Module 3 design brief and discuss the role of pavilions in contemporary design. We will also look at the ground and landscape as interfaces.

Note: Please download and install the software prior to the class, refer to LMS for instruction. There will be no assistance in class for software installation.

WORKSHOP #4

WEEKLY TASKS

CHECKLIST

1. After the lecture, we would like you to have a first go at the design brief using the skills developed in Week 1 to 6 to design a new pavilion.

Download the Rhino model of the context from LMS. [5H] Note: The site model and 360 photos can be downloaded from the LMS, under the Module 3 tab. You may choose to visit the site in your own time but itâ&#x20AC;&#x2122;s not compulsory.

Site

Site location of proposed pavilion.

49

ď&#x192;ź

RHINO TO UNREAL ENGINE 4 Pre-Workshop Checklist 1. Installed Autodesk 3DSMax. (3DS Max is only available for Windows) 3DSMax is a very well know and widely used 3D modelling package. It is very popular for rendering, animation, game design and CGI for films. We will be using 3DSMax to do some mesh preparation work before taking our models into Unreal Engine 4. Installation details are on the LMS. 2. Installed Unreal Engine 4.

Unreal Engine 4 is a game engine used widely in the game design industry.

It has gained widespread use in other industries such as design and film since becoming free to use and open source. We will be using Unreal Engine 4 for Real-Time rendering. Installation details are on the LMS. 3. Downloaded the VR Template from the LMS and placed it in the correct folder.

4. Accepted and downloaded your Eventbrite Ticket.

The 3DS Max User Interface

Start or Max Menu.

Various Panels for creating and modifying objects, we will refer to this as the modifiers panel as this is what we will predominantly be using it for.

Selection and transformation tools.

Layer and overview panel. Here you will find all the objects in your scene listed as well as your layer structures.

Viewports. These are very similar to your Rhino 5 viewports. To expand and contract a view press ALT + W.

50

WORKSHOP SESSION 4 Export Settings from Rhino There are many file formats that you can work for exchanging files between programs. We will be exporting our objects as .FBX, which is a file format owned by Autodesk. FBX files can store a large amount of modelling information such as materials, lighting, animations, etc.

When exporting from Rhino for 3DSMax use the following settings: We only want to export our objects as meshes. Unreal Engine does not read NURBS objects.

We are not applying any materials in Rhino so there wont be any to export. It is safe to select either Lambert or Phong.

We are going to export our files as Version 6 ASCII. These are formats in which information and code is shared between software. Using the older Version 6 allows wider transference of information across programs.

Import Settings for 3DS Max When importing your FBX from Rhino into 3DSMAx make sure that Autodesk Media & Entertainment is selected at the top of the import window as shown below.

 What is UVW Mapping?

UVW Mapping allows us to set the scale of the texture being applied to the object.

Texture is the image/photo used for the material; a texture is usually a tile-able image so that it can be applied on large surfaces without seeing joins.

By creating a UVW Map, we are telling the material that we want the texture to be a particular size rather than stretching it over the entire surface of the object. This information is stored on a ‘Map Channel’.

The settings shown to the right are a good starting point. You can always return to 3DSMax once you see you object textured in Unreal Engine to adjust the scale of your UVW Maps, then re-export.

Understanding UVW Maps is essential for rendering in any program.

51

  

RHINO TO UNREAL ENGINE 4 What is UVW/Lightmap Unwrapping?

Unwrapping a UVW Map de-constructs the various faces of an object and stores this information on a sperate mapping channel to the UV Map. This gives more information to programs in order to calculate more accurate lighting and shadows. This avoids situations like shadows bleeding around sharp angles on a surface.

There are a number of factors to look out for in the UV Editor when unwrapping objects:

ď&#x192;ť

ď&#x192;ź Spacing between objects Overlapping objects, this will create inaccurate shadows.

Wasted space at the border. Objects can be flush up against the edge.

Object spread evenly across the work area.

Remember when you are in the UV Editor you can move objects around the work area just the same as the rest of 3DSMax, if you are having trouble with the auto-packing function try and adjust manually.

Naming Convention Naming convention is important in any program, particularly when you are working in a team environment such as a design office. Everyone should be using a standardised format. Unreal Engine has a list of prefixes and suffixes that come in handy when naming objects. Below are some which we will be using.

Prefixes SM_ M_ T_

Suffixes Static Mesh Material Texture

_BC _N

Base Colour Normal Map

Unreal Engine Glossary of Terms In addition Unreal Engine uses some terminology that may be new to you or unique to the program. Here are a few common terms.

Project - The name for an Unreal Engine working file, consists of folders on your hard drive that store all the assets, settings and code used to create your scene.

Assets - Files used to create the project such as meshes, textures, sounds.

Level - The workspace in which the scene is created.

Material - The surface treatment such as a colour or pattern that is applied to a mesh.

Blueprint - The visual node based scripting interface of Unreal Enginer, similar to Grasshopper.

C++ - A coding language used by Unreal Engine, industry standard across many programs. Blueprints provide a visual way for us to interact with C++ without needing to learn the language itself.

52

WORKSHOP SESSION 4 The Unreal Engine 4 User Interface Save Button

Settings Menu - Here you can find the engine scalability settings. (See Below) Blueprints Menu - Here you can find the level blueprint.

Build Menu - Access to Lighting and Navigation build options.

Simulate Menu - Here you can simulate your scene in various modes.

World Outliner - This lists all objects in your current level.

Viewport Content Browser - An overview of all the files associated with your project.

Basic Library - Here you can find basic shapes, lighting and cameras.

Details Panel - This shows all details and options for your currently selected object.

1

Engine Scalability Settings The visual fidelity of Unreal Engine is directly related to the speed and power of your computer. If you are finding that Unreal Engine is running slow on your machine you can lower the scalability settings and then increase them only to create the final images/experience.

These settings are found in the Settings Menu.

2

From here you can adjust your settings individually or as a whole using the presets at the top of the window. (Low, Medium, High, Epic, Cinematic) If you are finding that your personal computer is still running slow then we recommend using a University computer rather than adjusting other settings that may impact the final quality of your work.

53

3

WEEK 8 Tutorial Content: Discuss reading and design of pavilion with tutor. Tutor to discuss the spatial difference between a 15 person seminar space and a 30 person performance space.

Reading: Schuere & Stehling, 2011.

Lost in Parametric Space. AD.

STUDIO 1

Weekly task:

CHECKLIST

1. Build your pavilion design in Rhino and use Grasshopper to develop surface patternation and / or structure. Consider where water flows on the roof? How does light penetrate the roof structure during daylight? How is the pavilion read at night? [2H]

ď&#x192;ź

2. How does the design accommodates the two events? How does the circulation work in your pavilion? Where do people sit? Insert figures to help you judge the scale of the pavilion. [1.5H] 3. Where is the threshold? How is it defined? By level? By height? By shadow, light or views? Where is the in-between space? Refer to Week 2 reading for inspiration [1.5H]

5m

5m

5m

5m

Spatial guide showing occupancy of the two scenerios; Left, a lunch time seminar & Right, a quartet with an audience of 30 people.

54

WORKSHOP SESSION 5 Workshop Session 5: This workshop will introduce Environments in Unreal engine including textures, lighting and atmosphere.

LECTURE 7: The return of virtual environment as an integrated system, we will discuss virtual mapping, informatics in design, IoT, interactive design, electronic platform and many more emerging system and research.

WORKSHOP #5

Weekly task:

CHECKLIST

1. Continue to work on your pavilion design. Consider how it will be fabricated using additive or subtractive techniques?

Bake three versions and print it on A3 paper (or screen grab as isometric view) for next week Studio 1. [3H]

Example of 3 concepts. Baked from Grasshopper

55

ď&#x192;ź

MATERIALS AND LIGHTING Pre-Workshop Checklist 1. Downloaded the sample Unreal Engine Project from the Workshop 05 Folder on the LMS 2. Accepted and downloaded your Eventbrite Ticket.

What are materials?

No matter what program you use for rendering, the same principles for materials apply. What we are learning about materials in Unreal Engine can be applied in 3DSMax and programs.

Materials are essentially images called textures, mapped onto the surface of an object. These images are generally always square and tile-able, meaning they can be tiled without seeing any noticeable join line, allowing them to be used on large surfaces. There are plenty of online tutorials on the creation of textures using applications such as Photoshop and there are many free & paid online collections of textures. (Refer to the additional resource links at the end of these workshop notes).

We will be using two main texture types in out materials. Not all materials need all textures, as you will see.

- Diffuse Texture, this is the base colour/image

- Specular, this is a texture that defines which parts of a material are shiny and which are not.

- Normal Texture, this defined depth and texture to the surface (Tutorials on how

to create normal maps in photoshop can be found in the additional resource links).

The scale and rotation of the texture on a surface is controlled by UVW mapping, which we have create d in 3DSMax. These can be adjusted slightly in Unreal Engine, or preferably altered and re-imported from 3DSMax. The next few pages will cover these topics in a bit more detail. However, one of the best ways to learn about materials is to open up some of the default Unreal Engine materials and see how they are constructed.

The Unreal Engine Material Editor

Main material node. This is where we plug all our components that define our material into.

Preview window.

Base Colour: Also known as diffuse.

Defined by a texture image or a colour vector. This is the primary image or colour of the material.

Specular: Controls how light is reflected off a surface.

Defined by a texture.

Roughness: Controls how rough a surface is.

Defined by a constant value between 0.0 - 1.0.

Metallic: Controls how metallic our material looks. Adds general sheen and reflectivity.

Defined by a constant value between 0.0 - 1.0.

Emissive: Can be used to create glowing materials. See further documentation.

Normal: This controls the depth effects on a material.

Defined by a texture.

Details panel which shows all the information on the currently selected node.

Opacity: Determines the translucency of a material.

Defined by a constant value between 0.0 - 1.0.

56

Palette of definitions that can be applied to a material. Can be searched using the top bar and nodes dragged and dropped into the blueprint.

WORKSHOP SESSION 5 Texture Types - Visual Examples

Diffuse T_TimberFloor_D

Normal T_TimberFloor_N

Specular T_TimberFloor_S

Diffuse T_Cobblestone_D

Normal T_Cobblestone_N

Specular T_Cobblestone_S

Basic Material Example.

This node is called a Texture Sample, to call this into the blueprint either search for it in the palette or right click on the blueprint background and type texturesample as one word.

This texture sample is using the Diffuse texture. Which is assigned to the texture sample node using the details panel in the bottom left hand corner of the screen.

This texture is plugged into the Base Colour input.

This texture sample is using the Specular texture.

This texture is plugged into the Specular input.

This texture sample is using the Normal texture.

This texture is plugged into the Normal input.

57

MATERIALS AND LIGHTING Metallic Material Example.

This node is called a Constant 3 Vector. This defines a colour from 3 constant values. These values can be adjusted by double clicking on the coloured rectangle in the details panel with this node selected. This node is used to define the base colour as a singular flat colour as opposed to a diffuse texture. Like a diffuse, this plugs into the base colour input.

To call a Constant 3 Vector into the blueprint right click and type constant3vector.

This node is called a Constant. This defines a singular value. These values can be adjusted in the details panel with this node selected. This constant is being used to define the metallic value of our material. In this case 0.9, this plugs into the metallic input.

To call a Constant into the blueprint right click and type constant.

This second constant is being used to define the roughness value of our material. In this case 0.5, this plugs into the roughness input.

Glass/Transparent Material Example.

This constant 3 value is being used to define the base colour of our material. In this case 0,0,0 (Black), this plugs into the base colour input.

This constant is being used to define the specular value of our material. (By using a constant rather than a texture it applies the effect to the entire material).

In this case 1, this plugs into the specular input.

This constant is being used to define the roughness value of our material. Because this glass is shiny a value of one is being used. This plugs into the roughness input.

This constant is being used to define the opacity value of our material. This plugs into the opacity input. You may notice that the opacity input on your main material node is greyed out. This is because we have to make some adjustments in the details panel in order to create a transparent material. (See the next page for details).

58

WORKSHOP SESSION 5 Glass/Transparent Material Example Continued When creating transparent materials there are a few extra settings that we need to change in order for the material node to accept additional input parameters. These are changed in the details panel when you have the main material node selected.

If all your settings are correct then you should have a material that looks like this in the preview window.

With the main material node selected we can begin to make some adjustments in the details panel.

The first parameter we want to change is the Blend Mode which needs to be set to Translucent.

Next we want to make sure that the Two Sided option is ticked.

Particularly if we are going to be viewing the glass from both directions. (This only applies if your glass is a single plane, if the glass is modeled as a thin box this does not need to be ticked)

The last setting we need to adjust is the Lighting Mode, which needs to be set to Surface Translucency Volume.

This needs to be changed as the material needs to interact and accept light differently as a translucent material than it does as an opaque material.

Further Resources • Texturing: https://docs.unrealengine.com/latest/INT/Engine/Rendering/ Materials/Functions/Reference/Texturing/index.html • Materials: https://docs.unrealengine.com/latest/INT/Engine/Rendering/Materials/HowTo/index.html • Lights: https://docs.unrealengine.com/latest/INT/Engine/Rendering/LightingAndShadows/index.html • Using Photoshop to Create Normal Maps: https://photoshoptrainingchannel. com/photoshop-3d-depth-maps-bump-normals/

59

MATERIALS AND LIGHTING Adjusting UV Tiling When you are applying your materials you may find that they are the wrong size. There are two ways to fix this, one is to go back into 3DS Max and adjust the size of the UVW Map. The second is to add a TextureCoordinate node to your material. See below for examples.

UV Tiling Set to 1 (Default) This is the Texture Coordinate Node. This can be called into the blueprint by right clicking and typing texturecoordinate as one word. This is then plugged into the input on your texture samples called UVâ&#x20AC;&#x2122;s.

It is important you assign this to all your texture samples or they will not match up.

With the texture coordinate node selected we can adjust the size of the tiling by changing the UTiling and VTiling parameters.

Here they are set to 1, the default scale.

UV Tiling Set to 0.5 With this setting you can see in the material preview window that the brick texture has halved in density.

Here the U and V Tiling parameters are set to 0.5. The lower the number the lower the density of tiling, thus the larger the appearance of the material.

Be careful when making that texture larger that is does not pixilate.

UV Tiling Set to 1 With this setting you can see in the material preview window that the brick texture has doubled in density.

Here the U and V Tiling parameters are set to 2.0. The higher the number the higher the density of tiling, thus the smaller the appearance of the material.

60

WORKSHOP SESSION 5 Lights in Unreal Engine 04 You will need to adjust some form of lighting in your scene. It is important to note that lights do not have physical form, when placed they are representing the point at which the light projects from. You need to model and place materials on the physical light then place a light ontop of this object.

There will be 3 main lights that you will be working with,They are: • Point Lights: These are lights that project lighting in a spherical direction all around the insertion point. These could be used for example for an exposed light bulb.

• Spot Light: These lights project light in a cone like direction. Great for accent lighting such as downlights.

• Directional Light: This light applied lighting to the entire scene from a particular direction. Essentially it is sunlight.

Point Light

Spot Light

Directional Light

Lighting Adjustments Here is a quick overview of some of the parameters that can be adjusted on a light.

Intensity: This adjust the brightness of your light.

Light Colour: This adjust the colour of your light.

Attenuation Radius: This is how far your light travels and is represented by the wireframe sphere around the light source.

Temperature: You can also adjust the light in Kelvins if you are familiar with that measurement of lighting.

The tick box below turns this option on and off.

Cast Shadows: Determines if you light casts shadows or not.

Why is there a Red Cross on my lights?

Lights can be set one of three modes: Static, Stationary & Movable. The scene can only handle so many stationary and movable lights in close proximity to one and other. When there are too many a red cross will appear on your lights. This can be solved by changing the mobility mode to static at the top of the Details Panel when the light is selected.

61



WEEK 9 Tutorial Content: Tutor to provide feedback on individual design. Discussion will extend to how the pavilion touches the ground. How and can it be fabricated using the laser cutter, 3D printer or both.

STUDIO 1

Weekly task:

CHECKLIST

1. Take on board tutorâ&#x20AC;&#x2122;s comments and continue to build your pavilion design in Rhino using Grasshopper. Revisit the landscape and how the pavilion responds to the garden and topography. [2H] Note: workload for Studio 1 is reduced so you can focus on Studio Beta interim submission. If you do not have Studio Beta, we recommend you to catch up on the last two workshop contents.

How thick should my structure be? It is useful to consider the thickness of material you want to laser cut or 3D print. For example, if the final model is at 1:25, and the structure is to be laser cut using 1mm thick mount board, the material at 1:1 scale will have to be 25mm thick. For 3D printing, the surface can be shelled or offset to comply with the 2mm minimum thickness at later stage.

62

ď&#x192;ź

WORKSHOP SESSION 6 Workshop Session 6: This workshop will look at how we output the scene and 360 image including how to export to VR headset.

NO LECTURE THIS WEEK

WORKSHOP #6

Weekly task:

CHECKLIST

1. Import your Rhino model into Unreal Engine and navigate yourself around the pavilion. You may need to go back and forth several times to change the design. Is the roof tall enough? Is the shadow effect produced by the sun what you want to achieve?

[4H] 2. Choose an isometric view of your pavilion in Rhino and print it on A3 paper (in Black and White) for next Studio discussion with tutor. [0.5H] 3. Use the clipping plane in Rhino and cut a section through your model to reveal the space inside. You may want to consider the thickness of material in your digital model. Optional: Some designs may be worth testing as a physical ‘mock-up’ model to ensure it works. [1.5H]

Example of model being tested in Unreal Engine 4 for scale and form. Note that textures and materials have not been applied at this stage of testing.

63



PACKAGING - UNREAL ENGINE Pre-Workshop Checklist 1. Downloaded the sample Unreal Engine Project from the Workshop 06 Folder on the LMS 2. Accepted and downloaded your Eventbrite Ticket.

What is packaging?

Packaging is the process of collating all of the assets used in your scene and converting it into an executable file. (.exe). A project can be packaged for multiple platforms and methods of interaction however the entire project has to be built from the ground up to run for a particular packaging output.

The template that we are using is set up to run on a windows computer with an HTC Vive connected.

1

In order to package our project we are going to need to make sure we have some settings set correctly, these can be found in project settings accessible via the settings button at the top of the screen.

2

This first lot of settings can be found in the Description tab.

Make sure you give your project a name.



  Make sure that Start in VR is ticked.

This ensures that when the application is opened that it will search for the HTC Vive and deploy to it.

64

WORKSHOP SESSION 6 These settings can be found in the Maps and Modes tab.

Make sure that the level in which you have been working is set as the Game Default Map. This means that when the application is started that it will load this level.

Pre-Packaging Checklist 1. Project settings have been set.

2. VR Pawn has been set to Auto Possess Player 0 3. There is a Nav Mesh Bounds in the Scene 4. Surfaces that you wish to be able to move on have had collision boxes created 5. A Build has been completed after the above points 1 - 4.

Important Note: The Template has been set up to require little adjustment on your part in order to work in Virtual Reality. As such the more you adjust and experiment with settings that we have not covered in the workshop the higher the chance that the application will not run in VR correctly.

Further Resources: • Packaging General: https://docs.unrealengine.com/latest//INT/ Engine/Basics/Projects/Packaging/index.html • Screenshots: https://docs.unrealengine.com/latest/INT/Engine/Basics/Screenshots/index.html • Animations: https://docs.unrealengine.com/latest/INT/Engine/Sequencer/QuickStart/index.html 65

WEEK 10 Tutorial Content: Discuss design and isometric view of pavilion with tutor. Discuss spatial design, material and structure of the design. Use your knowledge from Construction As Alchemy as a starting point.

STUDIO 1

Weekly task:

CHECKLIST

1. Update the material of your design in Unreal Engine. Use the realtime render to allow you to make design decisions / judgement. [2H] 2. Finalise your design and consider how you will fabricate it using laser cutting and 3D printing. You are to produce a sectional model - i.e. only half of your pavilion to reveal the space inside. We encourage you to construct a model that uses both fabrication techniques instead of one technique only. The physical model is to be 1:25 scale. It must include the landscape around the pavilion. The bounding box of the model is 300mm length x 200mm width x 250mm Tall [4H] 3. Bring your digital file to next Studio 2 and discuss the detailing with your tutor.

Example of fabricated model using a combination of Laser Cutting and 3D Printing.

66

ď&#x192;ź

MODULE 3 Tutorial Content: Discuss M3 submission requirements and drawings template. Discuss your sectional model with your tutor; consider the most effective way to demonstrate your design; whilst limiting the 3D printing part to 9H.

NO LECTURE THIS WEEK

STUDIO 2

Weekly task:

CHECKLIST

1. Following consultation with your design tutor, you should adjust the file and send it to be 3D printed and/or laser cut.

Assembly of model is time consuming so please ensure you send the file out to Fablab before Week 11 - Studio 1. [4H] 2. If you have not imported your digital model to Unreal Engine, you should do so. Bring the file in for your tutor to view in the next studio. [1H]

Example of model being tested in Unreal Engine 4 with textures and lighting.

67

ď&#x192;ź

WEEK 11 Tutorial Content: Bring your laptop or Unreal file and discuss your digital model or physical mock-up with your tutor.

STUDIO 1

Weekly task:

CHECKLIST

1. Update the design and continue to work on your rendering in Unreal. [3H] 2. Export a sequence of 3 JPEG images as a walkthrough. Print these out on A3 paper and bring to next studio class. Remember to include figures in your scene. You can download them from the LMS. [1H] 3. Output an isometric drawing of your digital model from rhino for final discussion with tutor at next studio. [1H] 4. Bring your digital file to class and discuss the detailing with your tutor.

Note: You may need to use Photoshop to adjust level, colour balance or saturation to make the image brighter or increase visual depth. We also recommend doing a test print on A4 paper to review your colour output. All print output should be in CMYK.

Example of image outputs from Unreal Engine

68

ď&#x192;ź

MODULE 3 Tutorial Content: Bring your laptop or Unreal file and discuss your model with your tutor. This class will be supported by technical tutor.

LECTURE 8: What is next? This lecture will look at future technology, including VR and AR practices. We will also touch on other field of advance digital design which is not covered in previous lecture. Final part of the lecture will discuss submission requirement and portfolio submission. Quiz at end of the lecture.

STUDIO 2

Weekly task:

CHECKLIST

1. Organise your Module 3 submission: Note: This module has no formal journal. For the final presentation, tutor may request up to 3 x A3 page documenting the design process; you may download template from LMS. Documentation of the project will form part of final portfolio submission.

Presentation: You will prepare a 2min verbal presentation of your work. Use the following as a guide for your presentation: A. What is the key concept explored through your design?

B. Describe the quality of the space in your pavilion design?

C. How does the threshold and circulation shape your design?

D. How do you use parametric design to develop design effects?

Submission Checklist • A1 Crop - Printed in Colour • VR Output and an 360-degree image on a USB Drive • 1:25 Sectional model made from 1mm Mount Board, White Plastic & Ivory Card

Examples of M3 physical model showing sectional cut through the structure.

69



WEEK 12

NO STUDIO

Example 3D Print of M3 Pavilion Skin.

Example of render from Unreal Engine.

70

Tutorial Content: Module 3 pin-up and presentation.

Please ensure you have all drawings printed before your class. All models should be presented (success or failure) Be prepared with your presentation; 2 min verbal presentation + 3 min feedback.

NO LECTURE THIS WEEK

STUDIO 2

PORTFOLIO SUBMISSION (21%) Download portfolio template from LMS. Deadline: Monday, 11th June 2018, 12 noon. Via Turnitin on the LMS. Submission - refer to Page 65. Note: Final 1:25 model should be photographed and be included in the portfolio.

Selected models will be exhibited at the MSDX.

71

RUBRIC

M3 - Project Name

Key Primary Circulation Circulation Paths Spacial Thresholds

Timber Structure Detail 1:25

Semi-transparent shell allows for the transfer of light. This gives the pavilion a external heaviness at day and lightness at night.

The structure is created using profile and sectioning techniques. The radial z-axis members re-enforce the curvature of the form.

The threshold at the top of the pavilion creates an oculus and lessens the weighty feel of the profile & section structure.

Matthew Greenwood - 000000 The step-down creates a seating space to allow for viewing of performances inside the pavilion.

The ‘bridge’ creates a transitional space upon approaching to the pavilion.

Exploded Isometric 1:25 0

500

Vignette 01

Pavilion approach from walkway.

The step down creates a threshold helping to differentiate the landscape from the pavilion itself.

1500mm

Vignette 02

Vignette 03

View of oculus highlighting the radial waffle grid.

Night view of pavilion highlighting the change of translucency direction when internally lit.

Example of final A1 Panel.

72

MODULE 3

Proportion of Total Mark: 30% Individual Mark

Digital Design Skill

Model Making and pinup presentation

Real Time Rendering

40%

30%

30%

H1

As H, plus creative use of design techniques to articulate effects in the model. Design demonstrate an understanding of scale and utilised digital tools to make design decision and judgement. Excellent control of design resolution.

As H, plus model is exquisitely executed and assembled; with care and dexterity. An excellent verbal presentation demonstrating a concise understanding of the design and its process.

As H, plus creative use of material and lighting. Well choreography scenery and composition.

H

As P, plus an attempt to explore a range of design effects with the digital tools. The design is well resolved at various level including the threshold and landscape around the pavilion. Minor design flaws are acceptable.

As P, plus physical model is made and well executed; i.e. assembled with care. Digital model is used directly or to produce a successful template for model making and is executed with care. Good verbal presentation.

As P, plus well rendered images with postproduction in Photoshop.

Well articulated texture and lighting to enhance design detail.

P

The student has demonstrated an understanding of design workflow evident in the drawing and model. There is an attempt to fulfil the brief, but the resolution is awkward or clumsy. There is little or no articulation to the ground.

The student has attempted to construct the physical model as per weekly task but fails to execute it with care, or it is not assembled successfully. There are attempts in using the digital model to make useful template for model making. There is some effect visible in the model and presentation is legible. The verbal presentation is flawed.

The student attempted the technical skills taught in workshop but did not produce a successful outcome. Poor lighting or material scale; demonstrating a lack of design judgement.

There is no human scale in the rendered image.

N

Students did not attempt to use parametric software or digital fabrication techniques to explore the design. The design did not fulfil the brief and is not within the scale defined.

Model is not completed or poorly executed which demonstrates a lack of understanding of the module content. There is little or no attempt or little understanding in digital modelling and its workflow to model making. The presentation is not coherent or no verbal presentation.

Student fails to attempt real time rendering of the project.

73

74

PORTFOLIO SUBMISSION

Portfolio Requirement: You will need to compile M1, M2, and M3 work into an Indesign Document.

The portfolio will need to be exported as a PDF and uploaded onto Turnitin on LMS. This will form your final hurdle assessment worth 21%. For this submission, you have the opportunity to improve your work, take new photographs of your models during the swot vac period and include this into your final portfolio. Download the Portfolio template from LMS and use it as a guide.

As part of your final portfolio submission, you are also required to update your WIX page to include your M1, M2 and M3 work. This is part of the portfolio assessment; refer to the rubric. [9h] Submission: See LMS for detail.

References: Linton, H. (2012). Portfolio design. New York : W.W. Norton & Co., c2012.

MarjanoviÄ&#x2021;, I., Lokko, L. N., & Ray, K. R. (2003). Portfolio : an architecture studentâ&#x20AC;&#x2122;s handbook. Amsterdam ; Boston : Architectural Pr., 2003.

75

76

PORTFOLIO RUBRIC

Mode of Assessment: Submission of Portfolio in PDF format + WIX Proportion of Total Mark: 21% Individual Mark

Graphic format and layout

Engagement

WIX

55%

30%

15%

H1

As H, plus portfolio is of high standard with little or no graphic flaws. There is a clear design and graphic sensibility towards lineweight and image treatment.

Graphic is delicate and/or innovative without overpowering the content.

Consistently high work level across M1, M2, and M3. Far above and beyond requirements.

Well documented WIX page with additional narrative structure to guide the reader.

H

As P, plus the portfolio is well formatted, layout is balanced and composed. Format is clean, with minor faults and mistakes in spelling, text or image alignment.

Contents, which includes drawings and photographs of physical model from M1, M2, and M3 is well presented.

Sustained engagement and rigorous work quality evident throughout M1,M2,and M3

Well organised WIX page, Clear structure and graphically coherent.

P

Student has compiled and submitted a portfolio in PDF format and uploaded the journal to their portfolio website

Some consistency is seen throughout M1, M2, and M3. Minimum requirements are met.

There is some effort to construct a online portfolio but with minimum effort.

N

Student fails to submit portfolio and therefore fails to meet the hurdle requirement for the subject.

Low out-put levels are seen throughout M1, M2, M3.

There is no evidence of WIX portfolio; link is not provided in portfolio submission

77

Melbourne School of Design Faculty of Architecture, Building and Planning 78