Portfolio DD18

DIGITAL DESIGN

SEMESTER ONE 2018 GEORGIA GRIFFITHS 837010 STUDIO FIVE: MICHAEL MACK

“PERFECTION IS ACHIEVED NOT WHEN THERE IS NOTHING MORE TO ADD, BUT WHEN THERE IS NOTHING LEFT TO TAKE AWAY” Antoine de Saint-Exupery II |

CONTENTS About me 4 Reflection 5 Precedent study 6 Generating Design through Digital Process 9 Queen Victoria Gardens Pavilion 21

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ABOUT ME

Education

Skills

2017-current: Bachelor of Design, University of Melbourne

Rhino

2008-2015: Radford College

Grasshopper Unreal

Work Experience

Photoshop

›› Work experience at Phillip Leeson Architects, 2013

Illustrator

›› Australian Open Court Services, 2015-present

InDesign Fabrication

›› Wimbledon Championships Court Attendant, 2016-2017

Model Making

Awards/ Exhibition

Contact

›› FOD:R Exhibition, AFLK Gallery 2017

Website: https://georgiagriffiths79. wixsite.com/portfolio

›› MSDx, MSD 2017 ›› Design & Graphics award 2013-2015

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REFLECTION

I ENJOY CHALLENGING THE WAY WE BELIEVE STRUCTURES SHOULD BE VIEWED IN RELATION TO THEIR FUNCTION. Over the course of the semester in Digital Design I have gained a range of new skills, continued to build upon and consolidated those that I have already had and been introduced to new technologies and ways of approaching and thinking about design problems.

The skills I have gained in Unreal Engine and Grasshopper are invaluable and I am excited to explore their possibilities further. While at first Grasshopper was quite difficult to understand, it has become a tool that I use regularly when designing in Rhino.

Unreal engine was another challenging aspect of the course, that in addition to experimenting with drawing techniques, in particular line weights for presentation, are areas that need improvement.

As a designer and in particular an architecture student I enjoy exploring the possibility of designing structures that challenge the way we believe certain spaces should be viewed in relation to their function. This subject has encouraged me to explore new ways to approach designing spaces and structures.

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DIAGRAMMING DESIGN PRECEDENT

What may seem to be a complex, yet random arrangement of cutouts is based on an algorithm of a cube that is expanded and rotated.

Toyo Ito’s Serpentine pavilion explores the articulation of interior and exterior spaces within his design. Through the use of glass, steel and voids he is able to create habitable spaces within the transitional zone. It is important not to neglect the often underutilised spaces/the spaces in-between as they may sometimes have surprising uses. The unexpected use of the openings as seating shows the functionality of the pavilion and appropriation of its spaces.

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Toyo Ito’s Serpentine Pavilion. Images capture structural elements and individuals occupying the varying types of spaces.

DIAGRAMMING DESIGN PRECEDENT: ISOMETRIC DRAWING

1.

2.

3.

4.

Process of construction | 7

DIAGRAMMING DESIGN PRECEDENT: ANALYSIS DIAGRAMS

Circulation diagram 8 |

Structure/ solids/ glazing

Solids/ glazing

Circulation (primary routes/ space)

Openings

Pavilion position on site

Structure

Threshold diagram

M|TWO

GENERATING DESIGN THROUGH DIGITAL PROCESS | 9

DESIGN MATRIX

Lofts

1.1

1.2

1.3

Key

1.4

{0,0,0}

{0,0,150}

{0,45,150}

{0,0,135}

{0,21,150}

{0,150,150}

{0,150,150}

{150,150,0}

{150,150,150}

{150,0,90}

{120,0,0}

{150,0,0}

{150,0,0}

{90,150,0}

{105,150,0}

{150,75,0}

Attractor Point (Surface One)

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

2.4

{140,234,129}

{-156,234,257}

{-173,464,336}

{-178,355,266}

Paneling (Surface Two)

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

3.1

3.2

3.3

3.4

{Staggered Quad Panels}

{Quad Panels}

{Triangle Panels C}

{Quad Panels}

Design Matrix 1:5

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

{45,0,150}

face Two) {Quad Panels}

{Staggered Quad Panels}

SURFACE AND WAFFLE

Designing of the waffle began by defining the surfaces to be contoured.

The intersection of the two planes formed a triangular internal structure that was quite interesting, creating a sense of movement as it twists upwards.

The open panels create transparency between inside and outside spaces and play with light. Various cutouts were experimented with, though for a coherent design the same base shape/ pattern was used. Ensuring the panels were no too delicate was important to ensure a buildable design.

{Triangle Panels C}

{Quad Panels}

Design Matrix 1:5

Open panels expose internal structures and generate dynamic shadows

The waffle structure continues beyond the panelled surfaces to accentuate curves and create visual interest.

Perforations on the interior surfaces allow for the penetration of light. The panels appear to ‘close up’ the further away from the attractor point, controlling the amount of light entering.

Panels follow the contour of the surface reaching towards the attactor point, resulting in a sense of motion across the structure.

The aperture of the panels increases as the surfaces diverges, breaking down the boundary between interior and exterior.

Exploded Axonometric 1:1 0

20

60mm

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COMPUTATION PROCESS

Contours were achieved by generating a three dimensional shape then selecting required lines.

Extension of waffle contours was achieved by creating a line through a set of points, based off existing geometry.

To enable the structure to be built, notches were created on each set of extruded contours. Sets of square rods (orange), were used to cut with.

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FABRICATION: LASER CUTTING

Fabrication techniques, for example laser cutting allow finer and more delicate designs to be produced to a higher standard and within a shorter amount of time.

The waffle structure was created from mount board while the panelled shapes were made from ivory card. Dashed rather than etched lines, for the panelled shapes, meant that the card could be easily folded in either direction without damaging the material. It was important to consider the distance between cuts when designing, as the laser cutter has a tolerance of 2mm between cut lines.

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DESIGN MATRIX

Centroid Manipulation

1.1

1.3

1.4

Key Centroid

Geometry Transformation Subtractive Geometry

{Location of Centroids for Geometry}

{Location of Centroids for Geometry}

{Location of Centroids for Geometry}

{Location of Centroids for Geometry}

2.1

2.2

2.3

2.4

{Original Form}

{Transformation of Shape}

{Transformation of Shape}

3.1

3.2

3.3

3.4

{Horizontal Geometry only}

{Vertical and Horizontal Geometry}

{Geometry Count Doubled}

{Geometry Count Doubled}

Design Matrix 1:5

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1.2

{Varied Scales}

ubtractive Geometry

btractive Geometry

837010

37010

SOLID AND VOID

3.1

3.2

{Vertical and Horizontal Geometry} {Vertical and Horizontal Geometry}

{Horizontal Geometry only} {Horizontal Geometry only}

3.3

{Geometry Count Doubled} {Geometry Count Doubled}

3.4

{Geometry Count Doubled} {Geometry Count Doubled}

Design Matrix 1:5 Design Matrix 1:5

The process of generating ideas began by altering the centroid locations for each shape, to stagger the geometry throughout the volume. A square was then transformed through lengthening, stretching and scaling to be used to boolean from the larger mass.

Vertical and horizontal elements were multiplied to create a greater range of moments within the resulting form.

Experimentation was required using boolean as it was difficult to judge the resulting form from the initial shapes being created.

Where the subtractive geometry Where the subtractive decreases in size, larger amounts geometry decreases in size, of the surface remain and lesslarger amounts of the surface remain and less light enters the structure. light enters the structure.

Collision between vertical and Collision between vertical and horizontal geometry generates horizontal geometry generates greater variation in surface levels greater variation surface levels and increases illumination of in the and increases illumination of the interior spaces. interior spaces.

The overall heaviness of the The heaviness form is offset byoverall moments where of the form is offset by moments where cantilevered elements. cantilevered elements.

Window-like opening guide Window-like opening guide the eye through the structure through the structure highlightingthe theeye narrowing passages. highlighting the narrowing passages.

Axonometric 1:1 Solid boolean using 3.4 Boolean geometry itteration.

Axonometric 1:160mm Solid boolean using 3.4 Boolean geometry itteration.

0 20 0

20

60mm

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COMPUTATION PROCESS

Centroids of each shape were altered to stagger the geometry within the volume.

Controlled use of a random component made this possible.

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Geometry was randomly scaled to different sizes to generate a greater range of moments in the resulting mass.

Each shape was moved to one of the previously generated centroids.

FABRICATION: 3D PRINTING

The emergence of 3D printing technology allows for quick production of complex designs, to understand their spatial qualities.

For a design such as the one produced, alternative fabrication methods would not have created as clean a result or within the given time frame. With the nature of printing with PLA sanding was required to smooth out imperfections.

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3D printed model for ‘Generating Design through Digital Process’ task two.

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M|THREE

LUMINOUS SKELETON

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DESIGN ITERATIONS

Iteration one

Iteration two

Iteration three

Iteration four

Iteration one explored using a hexagonal geometry for rotation.

Further shapes were examined to accentuate rotational curve within the interior space.

While being the ideal shape, frames were too close together. There were however more than necessary for the design to function.

Scaling of the tail of the pavilion is too extreme and usable space is not clearly defined by frame articulation.

Spacing of frames needed to be reversed, breaking away the further the user moves from the main space.

Scaling of elements needs to be reviewed.

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ISOMETRIC

1000

Main circulation space

3800

2800

Circulation routes

4500

Internal lights lining the pentagonal geometry further accentuate the shape.

Georgia Griffiths—837010

A stepped walkway defines the usable space, with the open nature of the pavilion allowing for external viewing of activities. The earth rises up on one side to provide a further sense of enclosure to the space and direct circulation. The land slopes down to the pavilion on the exposed side, drawing individual into the space.

M3 - Luminous Skeleton

The resolved design is based on the manipulation of a singular geometry.

A pentagon has been scaled, rotated and distributed and orientated along a curve. The shape decrease in size, becomes spaced further apart and essentially ‘unzips’ as the user exits the pavilion/ usable space.

Rotating geometry invites the user into the space, creating a sense of motion.

The semi-enclosed structure allows for viewing of activities outside of the pavilion itself.

Stairs provide further access to the pavilion and an alternative circulation route.

Lighting has been utilised underneath the walkway and within each frame to highlight the rotating geometry and create a different atmosphere at night.

Lowered single level platform forms the main performance space.

Elevated walkway is lit underneath to further create a sense of drama within the space.

Exploded Isometric 1:25 0

500

1500mm

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UNREAL ENGINE RENDERS

The following images were produced using Unreal Engine software and post process in Adobe Photoshop.

COMPUTATION PROCESS

The curve was divided into a series of points that the pentagonal frames could be move to using a 2pt vector.

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Geometry was scaled to the appropriate size before being moved and rotated along the curve

Frames were orientated along the curve, rather than facing the same direction to accentuate the curving details of the geometry and create a more refined shape.

FABRICATION: LASER CUTTING

The final model was fabricated using laser cutting technology. A combination of clear and white Perspex, in varying thicknesses, and MDF were the materials used. The clear Perspex allowed for light from the el-wire to pass through. A condition of the clear Perspex, to accommodate the lighting element, was that it needed to be no less than 3mm in thickness.

Extreme care was needed when assembling Perspex as it is quite brittle and breaks easily.

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