Digital Design - Portfolio Semester 1, 2018 Grace Creati
913143 Xiaoran Huang (Studio 8)
M1
M2 Task 1
M2 Task 2
M3
Changing the way we think about space and the possibilities of spaces has motivated me to study and learn about the ways in which we use, inhabit and experience designs. I have always enjoyed a creative challenge and how this can be addressed in an in nite amount of ways from many sources of inspiration. Learning from precedent is important but having the freedom to create rather than regurgitating knowledge produced by someone else is something I particularly welcome in design. The skills I have learnt through the Digital Design subject include pushing a design further to see its potential, grasshopper, enhancing my rhino abilities, clear and informative diagramming, taking design criticism and constructively working on it, portfolio formatting and precedent research to explore how people have used the available technology in ways to achieve parametric designs. My aspiration is to become an architect, with a knowledge of construction, who designs buildings that address issues of sustainability and available space as I think these are important parts of design to address for the future. I am also very interested in designing houses for the tiny house movement that promotes small, ef cient, well designed, structures that do not seem limited by the smaller scale by ful ll their purpose and providing a exibility of design to suit the function and inhabitants. This can be clearly seen in my module 2 and especially in my module 3 response where the structure itself considers the intended function and livability of the space, adapting, through a physically exible design, to t the desires of the people using the space and to enhance this spatial experience. I think the area of my design process that needs that most work is to have a more rigorous process of critically accessing the aws and strengths of a design so that these can be addressed. I also think enhancing my grasshopper skills will be bene cial for my hopeful future in architecture as the industry is currently heading towards a greater digital age of parametric design, working with the current and available technology. This is something that must be learnt and maintained in order to remain the best candidate possible for an architectural practice. Therefore, the more I can learn and improve now the more opportunities I allow myself to follow my current aspirations.
M1
Diagramming Design Precedent As the name ‘Bad Hair’, and its spindly form, suggests the pavilion structural design was inspired by a student’s experience of drying their entanglement of wet hair. This inspiration can clearly be seen in the nal design with this central concept being carried through to physical construction. The isometric view of the digitally reconstructed ‘Bad Hair’ Pavilion demonstrates the integral relationship between the 4 varying constructed layers of the design and its constructed materiality. All layers of the pavilion require elements of joinery to form a singular beam or a completely compositional layer. Therefore, the composite parts and joinery are key elements of the build and have been digitally modelled and composed to show the constructability of the structure. Due to the focus of constituent parts every layer beam was modelled in its distinguishable parts and then joined together. These were then subjected to angle changes and replication to then compose the larger layer structures. Although this process was more time consuming in modelling each element it was an important lesson about the transition from digital buildability to actual physical construction, a transition which can experience some disconnect in projects, especially between architect and builder.
Constructed Isometric of ‘Bad Hair’Precedent
Diagram 1
Diagram 2
Circulation
Threshold
M2 Task 1
Generating Ideas Through Process SURFACE AND WAFFLE
Originally the two surfaces constructed were extremely curved and not aligned with one another. This produced interesting relationships between the surfaces but not going to be viable for fabrication. Therefore, two surfaces that had the same ground and top plane where created to design a structure that could stand unaided and had visual rhythm between these two surfaces. Both of the developed 2D and 3D paneled surface designs were inspired by the ocean, as when rst exploring the relationship between the two nal surfaces, they reminded me of towering, crashing waves, rolling over each other. For the 2D surfaces I desired a level of intricacy to represent water coming into the shore and, in contrast, for the 3D surface I wanted to create a strong, directional surface to geometrically emulate a wave crashing over rock pools.
Design Matrix
SURFACE AND WAFFLE
The direction of the spherical cut outs provides a contrasting rhythm to that
The direction of the 3D panels progresses
of the 3D panels allowing for a variety of experiences within the one form
towards this edge as if this is the top of a wave and it is about to crash over The triangular pyramid 3D panels are a bold contrast to that of the intricate 2D panels and invite a different interaction due to their pointy nature
The circular cut out in the surface
The circular forms at the corner
The central waf e structure provides a support network from which the surfaces can hang from Its
Section
would create an interesting internal light experience as
of the 2D surface provide an alternative way of representing
twisted, dynamic form, developed in response to the surfaces, creates an interesting internal space that
the forms pools to
the light shifts across the day
the stylistic sea foam forms
alters
contrast
through
the
upward
extention
of
its
volume.
inspired
and
of
by
rock povide context
Computation Work ow
A bounding box of 150 x 150 x 150 was created and then four points for the four
The surfaces where deconstructed in order to
In order to get both the horizontal and vertical waf e forms to t the
To get a solid waf e structure the contours were lofted in the correct
obtain the position and shape of the waf e structure.
surface curvature the surfaces were contoured and these lines offset.
direction so that the waf e structure t perfectly into the internal facing sides of the two surfaces, which can be seen in the image below. From this point
corners of each surface loft were selected from the divided bounding box edges
the slots where added for the structure to be constructed and the pieces were laid out in order to be laser cut.
To create the 3D panelled surface the grasshopper script above was applied with different modules applied to the surface. The modules desired in a certain area such, as the rock pool shaped brep shown to the right, were applied to the whole surface, baked and then the isolated in rhino.
Fabrication Process
Laser Cut nesting Two surface structures (2D & 3D)
Constructing model
Ivory card
2D surface panels
The constrains of laser cutting is you have to nd the balance of what is possible in the digital realm and what can then be translated into a physical
Once all the pieces of the waf e structure and the 2D and 3D surfaces had been laser cut they were assembled using PVA
model. I found this dif cult with the size of the circular cut out on the 2D surface as it was hard to know if the design would be completed successfully
glue to connect panel tabs and a hot glue gun to attach the surfaces to the waf e structure. The PVA glue was left to partially
through the laser cutting process to a precision that re ects the digital design.
stiffen before application to provide a faster, stronger bond.
M2 Task 2
Generating Ideas Through Process SOLID AND VOID
The Sectioned Boolean Model demonstrates the subtractive process whereby spheres were subtracted from the greater cube volume in order to develop a remaining mass shaped by voids. For the second task I continued with a spherical shape as it was very prominent to the development for the 2D surface for Task 1. The nal segment design was created through a process of nding the section of the booleaned structure that best represented the ideas of permeability and porosity, while also remaining conceptually scale-less and physically balanced. The structure has a balance between enclosure and openness, as the voids cut out the structure provide a physical diagram of porosity and permeability. When considering porosity this is usually considered on a smaller scale such as in soils and skin. However, here it is presented as if it is not bound by scale. This form could be miniscule or a large megafarm. The overlapping spheres have been positioned to provide opportunities for different spatial qualities, an aspect of architecture that can sometimes be overlooked, leaving a monotonous form. The opening that penetrate the outer surface provide an interesting intercourse of thresholds, as the height and size of these openings, when applied to a larger building, will alter how it is perceived from the outside and how it is experiences from within.
Design Matrix
There is an indent remaining at this point of a sphere that has left an impression. I thought this was an interesting part of the overall form as it is not clear what size the sphere was that made the remaining imprint and emphasizes the scaleless nature of the project.
SOLID AND VOID
This corner of the form is different to all others as it is more like a bridge form supported by the arched form providing context for the thickness of all other parts of the structure. It also provides an element of fragility to the structure which is not experiences in the other solid parts of the structure.
The
porosity
There is a reduced amount of
experienced throughout the design would create an interesting framed
permeability
and
permeability capable in this small cluster due to the variation in opening
view through a structure if translated into an inhabitable scale and would
and the amount of enclosure mainly created by smaller spheres.
allow varying amounts of light into the various void structures.
The at surface here articulates the
This at surface creates a contrast to the hollowed out, cave like forms on
overall triangular prism for that has been booleaned out. This interplay
the other side of the segment and gives the form a sense of solidity.
of the exterior surface and the internal spaces will becomes increasingly important for the further development of a public pavilion structure.
Shell like shapes remain from the action of booleaning and sectioning the overall cube form. The shell forms
There
is
a
large
amount
of
permeability is some areas of the structure such as in the centre where larger spheres have been cut from the structure.
relate thematically to the wave inspired design of the Task 1 design.
Computational Process
A bounding box of 150 x 150 x 150mm was
The position of the internal 3 x 3 x 3 grid volumes
The size and position of the spheres within the
created from which would eventually be
were altered to create more interesting relationships between the spheres when they were applied. The
bounding box were altered in order to obtain the booleaned volume below. The maximum
iteration below and scripted above was the one that had the greatest complexity and interesting forms.
domain start was set at 1.4 and the domain end was at 0.7 with a maximum spherical radius of 21.
the spherical volumes booleaned out from.
Fabrication Process
3D Printing Makerbot 3D Printing Software White PLA
Final 3D Print Design
Task 02 3D Printing Makerbot Screenshot after calculation.
To lower the time of the 3D print and the amount of support material required the
The
form was orientated to how it is shown in the image above. The print time was predicted at 7 hours and 13 minutes which was under the 9 hour maximum limit. The
sanded to remove any excess printing material that was reducing the visual impact of the
nal model, as seen above, was lightly
print required minimal support material besides the base structure which meant it was a clean print that required minimal alterations once it was complete. The process
curved voids with the contrasting straight outer edges of the overall form. Although the major-
from digital rhino model to a fabricated 3D print is rather seamless, demonstrating how digital design and an iterative process can be informed by fabrication trials.
ity of the segment was solid and stable, the thin section at top right of the photo was fragile.
M3 M3
Queen Queen Victoria Victoria Garden Garden Pavilion Pavilion THETHE FOUR FOUR PILLARS PILLARS
My M-Pavilion Design was inspired by the current research into the fourth pillar of sustainable design and the M-Pavilions’ website which discussed the role design and architecture play to aid a city in becoming and remaining liveable. The well-known three pillars of sustainability are economic, social and political sustainability. However, there is current discussion into a fourth pillar, cultural vibrancy and vitality considering human wellbeing through the quality of life and quality of place. Fully sustainable area need to provide spaces for cultural exchange and sharing and this is what I aspired to in my design. My design for the MPavilion contained four symbolic and structural pillars that represented the four pillars of sustainability, marking the pavilion as a culturally vibrant place to enhance the wellbeing and quality of life of those who came to experience the design. For the seventh year running Melbourne has been named the most liveable city, so the design I have presented for the pavilion has a clear cultural link with the city of Melbourne. Liveability is not a simple concept as it is multifaceted, taking on the many ideas of the individual and the collective population, spanning great demographic scales. Therefore, I wanted to create a pavilion that could be exible to the needs of the people using and experiencing the space, which is intended as an events hub. This was attempted through the design intervention of vertically foldable walls and roof, which would close down the space for an intimate event, open completely for a public lecture, quartet performance or completely fold away seamlessly integrating with its surrounding landscape. Although the form was particularly born out of function, the four integrated columns and the wave pattern walls are also re ective of the three palms on mounds presented on site. The exible wooden panels link the structure aesthetically and materially to the three palm trees on the mounts beyond. The circulation and threshold can be de ned and rede ned by how the users want to experience the space or how an event intends people to experience it. By vertically extending the walls you can alter the path which people have to take into, around and onto the pavilion while also determine the level of privacy. The larger topography of the mound allows the pavilion to fold into the cultural and physical landscape of surrounding area and more broadly Melbourne.
M-Pavilion Site
Design Iteration
Ker ng Patterns & Fabrication Trials
When rst exploring how I would construct a exible wall structure I came across the method of ker ng.
The ker ng pattern above provided more of a horizontal stretch rather than maintaining its shape.
Thinking about the desired wave like undulations of the wall structure shape I explored applying an
This is an application of a cut pattern to a material that alters its structure in order to make it more
This was not a desired trait of the exible wall structure however the trial was successful in demonstrating
abstracted geometric diamond ker ng pattern. This design would create an interesting interplay of light
exible. One of the patterns I came across was similar to the one I have created above. When
where the ker ng patterns need to be left uncut in order to get an outcome that maintains a viable strip shape.
and shadow within the structure. However, when trialing this design the all materials suffered signi cant
testing this on plywood it worked to a point before the brittle material snapped. When trialling this on
strain due to the minimal size of the joints between the cut outs. I also wanted to move in the direct of
mountboard it was very success. To achieve the greatest bending ability in the wall panels I explored
a simpler ker ng pattern that didn’t detract visually from the overall solid nature of the exible walls.
more ker ng patterns that can be seen on this page.
When exploring the ker ng wall strips I had to consider how they would be attached to one another to
Taking into consideration that the bolting system was not a reasonable method to use on the scale
The iteration that I nal arrived at for the ker ng pattern of the exible wall structure is the one shown
create the overall exible wall system. An idea explored was using bolts and therefore whole were
required I trialled a slot system so that the pieces wouldn’t need to be attached using another material,
above. I liked this ker ng design as it consists of three line patterns that alternate in a way that gives
designed to accommodate this attachment method. I ended up not using this method of attaching the
rather they were slotted in together, minimizing mechanics. Although this seemed like a way to
great exibility to the material but also retains the materials form due to the lines being carefully placed
wall strips together as on a 1:25 scale model this would not have been a viable method as the pieces
simply construct the structure and also produce a visually simpli ed structure the slot system altered
to maintain strength. It is also a simple, repeatable design that I think will look consistent when used on
would have been too small. However if the model was constructed in real life using a bolting system
the overall geometry desired for the walling system.
more surfaces in the close con nes of the model. For the nal model the pieces were glued at alternating
between the panels would be the chosen method.
intervals to form the attachment between the strips.
Design Iteration Structural Form
Using the maximum area of the 5 x 5m space provided I wanted to create a structure in which the
The iteration that was reached for the nal pillars were these four square columns as they provided
I desired to embed the structure within the landscape creating a landscaped mound, inspired
exible walls could be attached. The design of the four pillars that support the roof and wall structures
enough strength and space for the mechanized pulley system. They also had a stronger presence
by the surrounding landscape, from which the structure could be drawn out of. Originally the
was circular columns, however these did not provide enough support and hidden space for the moving
which was desired when the idea of ‘The Four Pillars’ evolved and the column became more symbolic
pavilion was positioned at the centre of the mound however, this created a structure that separated
mechanism. The height of the walls are positioned at 3m in order for the structure to change height.
that support structures. In this iteration on the roof is at which posses problems for rainfall runoff.
the most important part of the hill form, the crown, reducing the impact of integrating the structure.
To improve the integration of the structure the build was moves to the edge of the mound. This would
In order for people to freely access the pavilion two entrances have been created which also creates
The nal iteration of the overall landscaping and form provided the greatest opportunity to
also allow greater assess into the front side of the pavilion. From the top of the mound to the base of
a circulation owing through the structure. This was achieved by slicing a path through the mound. The
seamlessly integrate the design into the landscape. The small parts that complete the mound have
the pavilion structure was 2.5m. This is a suitable height for a ceiling however with the desire for the
total height, from the peak of the mound to the base of the pavilion structure is 3.45m, allowing more
been re-included at the front of the structure so that when the roof is positioned at its lowest point
height to be able to change there is not an much height in the structure available for this to occur.
height for the pavilion to shift and alter height for the desired internal atmosphere and exterior access.
it will t directly within the mound allowing people to travel over the completed landscaped form.
Design Iteration Internal Seating
For the internal layout there needed to be elements of seating. To create the seating I took into consideration
To create enough seating for the seminar and the quartet within the pavilion step form seating
The nal arrangement of the step seating consisted of the seating being 2m apart which allowed enough
the circular shape of the mound and how this could be translated, within the square form, into a seating
was designed, its shape taken from the exible wall system. At the maximum distance apart there
room for a person delivering the seminar to position themselves where they chose and to move around,
plan. This produced seating that was too limiting and crowded within the space. The circular form was too
was a distance of 2.375m between the seating. When measured out in reality this was seen to be
it provides enough area for the quartet and when no events are being hosted it allows for a suf cient
extreme a curve within the square form of the pavilion.
too large a space that was taking away from the area that could be used to seat more people.
circulation space where anyone of any ability can visit. The steps are 400mm high and require smaller steps for people to be able to move up onto the higher areas.
The smaller steps where designed as opposing curved shapes positioned in the middle of each seating unit
Regular form stairs where designed into the seating at 200mm tall, which satis es the Building Code of
This is the nal design that came out of the iterative process for the internal seating arrangement.
so that all parts both sides could be easily accessed without requiring two sets of small stairs for each seating
Australia range of riser heights. The sides of the stairs are regularly straight however to integrate the small
It can comfortably seat 28 people with ability for others to be standing around
unit. However, people are not used to using steps that are not regularly shaped which can cause a tripping
stairs within the context of the curved step forms the fronts of the stairs followed the banded curves.
outside of the pavilion to also listen in to event
or falling hazard particularly in a public spaces such as the M-Pavilion where many people come to visit.
the the
Design Flexibility
Three Pavilion modes
At its most closed down position the built structure integrates into the mound leaving the four pillars to
In the pavilions half open / half closed mode t
remain symbolically standing tall creating a sculptural space. When the pavilion is in this closed mode the turfed roof becomes part of the surrounding landscaped mound, a setting design that was inspired
space that can be accessed. This could be use public concerts. This obviously alters the circulat
by the surrounding mounds on site. This allows people to interact with the pillars as they are more hidden when the pavilion is raised. This position also creates a different circulation path as people can
viable with the lowest part of the roof reaching ceiling. This position creates a more intimate spa
now freely ow over the pavilion rather than through it. The threshold also shifts as the circular mound itself becomes the central feature de ning the surrounds from the sculptural garden now created.
the public the roof space where they can still h would potentially have a automated pulley syste
e slant of the roof allows the roof area to remain a
When the space is desired to be as open as possible the roof is extended to its full height now inaccessible
d for sitting, observing the surrounding and potentially n pathways available. The internal space still remains
to general public use. This allows the most amount of sunlight and ventilation through the space. It can also create the most opportunity a larger crowd to stand around and look in on an event hosted within the
2.1m, which is still considered a suitable height for a ce for perhaps more private events while also leaving
pavilion once the walls have been shut down. The experience within the pavilion would constantly change due to the light quality and shadows produced. This temporality and eeting experience is much what ‘The
ve an interaction with the design. The roof and walls m to easily move the pavilion between the set layouts.
Four Pillars’ and M-Pavilion concept capture, as my design is exible, shifting and changes, while also only existing on the site for the period of four month over summer, making it a temporary opportunity to embrace.
Computational Process
Two lines were divided into equal segment
The curves were then separated into the two wave
The pattern was then lofted to create a
from which curves spanned the distance between. The vertical distance, pattern density
patterns below and places so that every second point was touching the curve above. This achieved
3D panelled wall structure which could then be tted into the structure designed
and the horizontal distances where all altered in order to get the desired pattern shape.
the desired pattern to create a exible wall design that looks like the palm tree trunk pattern.
in rhino. The image below shows the panelled wall at its maximum exibility.
Fabrication process
Laser cutting nesting Flexible wall ker ng design Ivory Card
Final laser cut wall system
In order to get the right amount of bending in the materials for the exible walls a
The ker ng pattern was also applied to the rise of the interior step seating to repre-
number of trials were conducted with various ker ng designs and materials. For the nal model was found that the ker ng pattern above and ivory card produced the
sent a wood materials that would be applied. The wall strips were glued together using UHU glue as this created a fast and strong bond which the model requires due
most exible physical wall system.
to its ability to move and stretch.
Rendering
Digital
Semest
360 Image Output
Design
er 1, 2018