GRE GO RY WA N G 300411208 SA RC 261
ABSTRACT PROJECT ONE PROJECT ONE OVERVIEW ON-SITE SKETCHES PLAN DRAWINGS SECTIONAL DRAWINGS PART DETAIL PLANS PART DETAIL SECTIONS TEMPORAL DYNAMICS TEMPORAL OVERLAY PROJECT TWO PROJECT TWO OVERVIEW EXTRACTING ELEMENTS FROM TEMPORAL DRAWINGS OVERLAY OF WATERCOLOR EXTRACTIONS EXPERIMENTATION WITH BLUR TO INFORM LANDSCAPE DEVELOPMENT OF TERRAIN INFORMED BY DRAWINGS CNC ROUTED TOPOGRAPHY MODEL EXPLORING MATERIALITY OF MODEL FINDING FORMAL REPRESENTATIONS WITHIN DRAWINGS EXTRACTING NODES WITHIN DRAWINGS EXPERIMENTATION WITH NODE POINTS COMBINATION OF PROCESSES TO INFORM FINAL PAVILION PAVILION COMPONENTS PAVILION SECTION PAVILION PLAN PAVILION RENDERS PROJECT THREE REFINEMENT OF PAVILION PHYSICAL MODELING COMPLICATIONS ASSEMBLING THE MODEL FINAL EXHIBITION MODEL SECTION PLAN CONTEXTUAL IMAGES
ABSTRACT Throughout the duration of the SARC 261 course, individual techniques and skills were tested to inform the creation of a conceptual pavilion. Project One was based on abstract drawings of the Civic Square area. Drawings of plans and sections were informed by the formal features re-interpreted into how an individual perceives the space to work. From these sections and plans, a Temporal Dynamic was chosen and represented in relationship to plans and sections. Project Two required drawings from project one to be scrutinized and altered to inform the outcome of a conceptual pavilion. Abstractions from the drawings were generally formal explorations for the pavilion. The analogue drawings were then re-represented through digital programs to create a 3D computer model. Project Three is about refining the pavilion designed in project two. Refining the design to allow an easier constructibility of a physical model.
001 PROJECT PROJECT ONE OVERVIEW ON-SITE SKETCHES PLAN DRAWINGS SECTIONAL DRAWINGS PART DETAIL PLANS PART DETAIL SECTIONS TEMPORAL DYNAMICS TEMPORAL OVERLAY
PROJECT ONE OVERVIEW The universe has been seen through simplified geometric forms as the basis of all creation; It is the divine geometry. This project represents the built environment and its forms into simplified geometries. Relationships between positive and negative spaces of these base geometries, are deciphered in order for us to understand the natural movement of individuals through these spaces. This project focuses on the relationship between the Michael Fowler Centre and the broader and finer context of Civic Square. The drawings progress from a simplistic representation of plan and section, towards a temporal dynamic abstracting the behavioral patterns of the natural movement of individuals; enriched and intensified through applying multiple analogue techniques.
PLAN DRAWINGS Focusing on the interaction between the Michael Fowler Centre (represented as the large circle) and the various spaces around Civic Square. The pencil smudges indicate the relationships between these spaces and the watercolor highlighting the main aspect of the space.
SECTION DRAWINGS
PART DETAIL PLANS
Focusing on the interaction between the Michael Fowler Centre (represented as the large circle) and the various spaces around Civic Square. The hatching indicates intersections between geometries and lines and often ambivalent spaces. Watercolors are used to emphasize geometries and surrounding spaces.
These drawings look at details found at Civic Square and are reinterpreted using a series of geometries, lines, and intersections. As explained in the project overview, the details of the universe are based on simple geometric forms.
PART DETAIL SECTIONS
TEMPORAL DRAWINGS
Akin to the Part Detail Plan drawings, these detail sectional drawings incorporate methods using simple geometries to create detail drawings. Methods such as repetition and vanishing points are primarily used to enhance and inform drawings.
The temporal drawings inhibit an amalgamation of analogue drawing methods from the plan, section, and detail drawings. The temporal drawings focuses on the intensity and nature of movement around fixed built forms. Nodes representing the beginning and end of ones movement path, are drawn in relationship to the spaces depicted in geometrical forms.
TEMPORAL DRAWINGS
TEMPORAL DRAWINGS
The temporal drawings inhibit an amalgamation of analogue drawing methods from the plan, section, and detail drawings. The temporal drawings focuses on the intensity and nature of movement around fixed built forms. Nodes representing the beginning and end of ones movement path, are drawn in relationship to the spaces depicted in geometrical forms.
The temporal drawings inhibit an amalgamation of analogue drawing methods from the plan, section, and detail drawings. The temporal drawings focuses on the intensity and nature of movement around fixed built forms. Nodes representing the beginning and end of ones movement path, are drawn in relationship to the spaces depicted in geometrical forms.
TEMPORAL DRAWINGS
TEMPORAL OVERLAY
The temporal drawings inhibit an amalgamation of analogue drawing methods from the plan, section, and detail drawings. The temporal drawings focuses on the intensity and nature of movement around fixed built forms. Nodes representing the beginning and end of ones movement path, are drawn in relationship to the spaces depicted in geometrical forms.
Individual drawings were scanned and printed on individual translucent sheets. The sheets are overlayed and then placed in front of a bulb to be taken a photo of. The circle becomes the focal point of the overlay and creates a multi-dimensional relationship between all the temporal drawings.
PROJECT
002
PROJECT TWO OVERVIEW EXTRACTING ELEMENTS FROM TEMPORAL DRAWINGS OVERLAY OF WATERCOLOR EXTRACTIONS EXPERIMENTATION WITH BLUR TO INFORM LANDSCAPE DEVELOPMENT OF TERRAIN INFORMED BY DRAWINGS CNC ROUTED TOPOGRAPHY MODEL EXPLORING MATERIALITY OF MODEL FINDING FORMAL REPRESENTATIONS WITHIN DRAWINGS EXTRACTING NODES WITHIN DRAWINGS EXPERIMENTATION WITH NODE POINTS COMBINATION OF PROCESSES TO INFORM FINAL PAVILION PAVILION COMPONENTS PAVILION SECTION PAVILION PLAN PAVILION RENDERS
PROJECT TWO OVERVIEW Analogue drawings from project one are scrutinized and manipulated to extract ideas or visual qualities which will be used to inform the form of a pavilion. In particular, the temporal drawings from project one showcased an intensity and variety of several analogue drawing methods. The drawings had layers of different methodologies used and represent a variety of ideas such as intensities of human movement; with a beginning and destination point. Because of the richness within the temporal drawings, only the temporal drawings will be analysed to inform the outcome of the pavilion.
EXTRACTING ELEMENTS FROM TEMPORAL DRAWINGS
OVERLAY OF WATERCOLOR EXTRACTIONS
Extracting splattered watercolored textures from each individual temporal drawing to be taken into the design process. The splatters are a representation of the intensity of movement of individual; the darker the more intense.
Individual extraction of water colours were made black and white and overlayed to create a relationship between the intensities of water colour as well as reintroducing the overlaying method from project one. To view the overlays from a different medium or perspective the colours were inverted which resulted in an image derived from drawings that in fact look like a digital elevation model.
EXPERIMENTATION WITH BLUR TO INFORM LANDSCAPE
EXPERIMENTATION WITH BLUR TO INFORM LANDSCAPE
The result of applying no blur and creating a terrain using the displacement map function on Maya has resulted in a terrain with sharp defined peaks. Defined edges within the drawing are reproduced as distinct displacements in the terrain model.
The result of applying 50% blur has resulted in a more sinuous terrain with less defined peaks when compared to the previous specimen. The overall composition of the drawing abstraction is still visible. This topographic specimen in my opinion is far more successful than the first specimen.
N O
B L U R
S P E C I M E N .
I N F O R M E D
5 0 %
0 0 1 .
T E R R A I N
B L U R
S P E C I M E N .
0 0 1 .
I N F O R M E D
0 0 2 .
T E R R A I N
0 0 2 .
EXPERIMENTATION WITH BLUR TO INFORM LANDSCAPE The result of applying 80% blur has resulted in a terrain with less definition and more fluid. The qualities of the initial watercolor abstractions are lost and thus less relevant to the drawing in project one.
I N F O R M E D
0 0 3 .
T E R R A I N
0 0 3 .
Rotating “ I N F O R M E D T E R R A I N 0 0 2 . ” to create indentations to the landscape rather than mountainous forms.
S P E C I M E N .
“ S P E C I M E N . 002.” has resulted in the best terrain model and will be further explored.
B L U R
DEVELOPMENT OF TERRAIN INFORMED BY DRAWINGS
8 0 %
DEVELOPMENT OF TERRAIN INFORMED BY DRAWINGS
CNC ROUTED TOPOGRAPHY MODEL
Using a gravitational solver, a crater was create by colliding the landscape with a perfect sphere. This emulates the prominent spherical form representing the Michael Fowler Centre in each drawing from project one.
A 300 x 300mm Pine Block with a Laminated Veneer Sheet glued on top allowed the height differences to be captured in the contour model. The different wood laminate on top, creates a textural element as the CNC routers cuts deeper down the block. A Wood stain is then applied on the model to intensify the wood’s appearance as well as adding a glossy appearance. The result of the model allowed me to explore the textures informed by my drawings and touch the surface rather than visualising through a 3D computer model.
EXPLORING MATERIALITY OF MODEL
EXPLORING MATERIALITY OF MODEL
The topographical model is inverted and 3D printed to be vacuum formed by heated PET plastic. This is then boxed around MDF framed work for cement to be poured into.
Cement is poured into the mould at a ratio of 2 parts cement : 1 part water. The result of the terrain looks more flat when compared to the CNC model. The grains of the wood allow the different level to be portrayed far better.
FINDING FORMAL REPRESENTATIONS WITHIN DRAWINGS An
analysis of the overlayed watercolors, finding formal representations within the compositions of the image.
EXTRACTING NODES WITHIN DRAWING Nodes representing beginning and end points in the project one temporal drawing are extracted. These points have a relationship with the predominant circle - depicting the Michael Fowler Centre. Nodes from all the individual drawings are then overlayed to reintroduce orerlaying methods used in project one. The overlay forms a relationship with all the drawing, creating a “3D� (ZXY) relationship with depth.
EXTRACTING NODES WITHIN DRAWING
EXPERIMENTATION WITH NODE POINTS
Nodes representing beginning and end points in the project one temporal drawing are extracted. These points have a relationship with the predominant circle - depicting the Michael Fowler Centre. Nodes from all the individual drawings are then overlayed to reintroduce overlaying methods used in project one. The overlay forms a relationship with all the drawing, creating a “3D� (ZXY) relationship with depth.
C r e a t i n g
0 0 1 . C i r c l e a r o u n d
p o i n t s
EXPERIMENTATION WITH NODE POINTS
EXPERIMENTATION WITH NODE POINTS
0 0 2 . E x t r u d i n g c i r c l e s d o w n , o n e l a y e r d e e p
0 0 3 . E x t r u d i n g t o t h e g r o u n d . L e v e l o f l a y e r i n f o r m s h e i g h t s t r u c t u r a l p o s t
EXPERIMENTATION WITH NODE POINTS
EXPERIMENTATION WITH NODE POINTS
Removing structural posts to create emphasis on the central circular form, as seen in the drawings.
To create a network of relationships between node location and the circular geometry, the circle was rebuilt with 10 points. For each layer, nodes and the rebuilt circular points are then processed through a grasshopper process called Delaunay Edges to form a network between points. This process resulted in geometric forms, individual to each layer and therefore a Convex Hull command is used to create a geometry around the edges of the point; maximising the surface area of the planar surface. These surfaces can be used as platform or levels of the pavilion.
D e l a u n a y E d g e s
C o n v e x H u l l
E X P E R I M E N T A T I O N .
0 0 1 .
The circula r cent r al s pine is then s ubtracted f rom each platf orm.
E X P E R I M E N T A T I O N .
0 0 2 .
Using the selective nodes extracted from the hull command,I further explored connectivity between all the nodes but in a 3D field. A 3D Convex hull command is used, creating a mesh abstracted from the 3D array of nodes. As a result a skin around these points are formed.
E X P E R I M E N T A T I O N .
0 0 3 .
O ffset t ing a nd ex p loding a sk in to recreate the veins or p a ssa ges a b st ra ct ed f rom the project one drawings.
E X P E R I M E N T A T I O N .
0 0 4 .
Po i n ts f r o m e xp e r i me n tati o n 2 an d 3 ar e th e n e xtr ac t e d an d a n e two r k b e twe e n c l o se st p o i n ts ar e c r e at e d . T h e se l i n e s f r o m th e b asi s o f a ste e l e xo - sk e l e t o n c r e ati n g a th r e sh o l d b e twe e n th e e xp e r i me n tati o n 2 an d 3.
COMBINATION OF PROCESSES TO INFORM FINAL PAVILION
PAVILION COMPONENTS C O M P O N E N T
0 0 7 .
C O M P O N E N T
0 0 6 .
C O M P O N E N T
0 0 5 .
C O M P O N E N T
0 0 4 . C O M P O N E N T 0 0 3 . P L A T F O R M S
C O M P O N E N T
0 0 3 .
C O M P O N E N T
0 0 2 .
C O M P O N E N T
0 0 1 .
C O M P O N E N T 0 0 2 . S T R U C T U R A L P O S T S
C O M P O N E N T 0 0 5 . S T R U C T U R A L E X O - S K E L E T O N
C O M P O N E N T 0 0 4 . O P A Q U E G L A S S I N T E R N A L W A L L S
C O M P O N E N T
C O M P O N E N T 0 0 7 . G R A V I T Y C O N T R O L L E D L I F T S H A F T
C O M P O N E N T 0 0 6 . R E F L E C T I V E M E T A L E X T E R N A L ‘ S K I N ’
0 0 1 .
L U N A R T O P O G R A P H Y D E R I V E D F R O M D R A W I N G S .
L
U
N
A
R
P A V
I
L
I
O
N
/
/
S
E
C
T
I
O
N
/
/
1
;
2
5
0
L
U
N
A R
P A V
I
L
I
O
N
/
/
P
E
R
S
P
E
C
T
I
V
E
P
L
A
N
/
/
1
;
2
0
0
PROJECT
003 REFINEMENT OF PAVILION PHYSICAL MODELING COMPLICATIONS ASSEMBLING THE MODEL FINAL EXHIBITION MODEL SECTION PLAN CONTEXTUAL IMAGES
PROJECT THREE OVERVIEW In this project, the pavilion from project 2 is refined to enable simplicity when physically modeling an exhibition standard model. Various modeling techniques such as 3D printing, CNC, Laser cutting are explored to create a clean unified physical exhibition model.
REFINEMENT OF PAVILION
REFINEMENT OF PAVILION
As a result of using all nodes from the drawings in project two as structural posts, this resulted in 71 structural posts holding up the pavilion platforms. This is unnecessary and would minimise the amount of floor area which could be used. Modeling this amount of posts would be hard to get accurate. As a result, each post is held by one structural pole that cantilevers. One structural pole as highlighted in blue, is the heart pole which intersects each level, represented a relationship between each layer/level. This leaves a total of 12 structural poles.
Individual platforms/levels and posts separated into individual modules. The plan view of the platforms are laser cut acrylic pieces to get and accurate, and clean physical model. The structural exo-skeleton between the glass interior wall and the metal exterior cladding will be almost impossible to model. Thus it will be excluded for physical modeling purposes.
P L A N
P E R S P E C T I V E
S T R U C T U R A L E X O - S K E L E T O N
V I E W
V I E W
O F
M O D U L E S
U N F O L D E D 2 D N E T O F I N T E R N A L S H E L L
REFINEMENT OF PAVILION The glass internal shell walls was a challenging component to model. A series of tests were conducted. First a 3D printed model made out of clear PLA Plastic. The result of the print was unsuccessful as the material made it impossible to get a clean outcome. Support structures autonomously printed were impossible to peel off, thus resulting in an unsuccessful model. Second, a laser cut 2D net made out of PET Plastic was cut. Initially using strong adhesive glue the model got messy and turned cloudy due to a reaction with the plastic. Bonding pieces together did not turn out well either so double sided tape was used. This isn’t ideal as it is not exhibition quality appearance.
T E S T
0 0 3 .
T E S T
0 0 2 .
T E S T
0 0 1 .
Third, the 2D net is cut on semi-translucent rhino plastic. This particular plastic does not glue well. The pieces had to be sewn together but this was very challenging and was not successful as it was quite flimsy and did not hold the corners together well.
ASSEMBLING THE MODEL
Laser cut acrylic platforms are taped and aluminium welding rod, emulating the structural poles are super-glued on. Individual modules are then slotted together to form the complete structure excluding the exterior shell.
THE MODEL
ASSEMBLING THE MODEL
Laser cut MDF - to scale - for structural poles to be slotted into. This is to ensure that the scale and the size of the model is correct.
The template is then stuck onto the CNC topography model from project 2, and the holes are drilled onto it. The structure is then slotted and glued into place.
ASSEMBLING THE MODEL
ASSEMBLING THE MODEL
Images of model without the external shell.
As a result of the internal shell wall testing, all of the results were sub-standard and were not to the standard I was looks for in a exhibition quality physical model. Finally, a 3D print using white ABS filament was tested, and proved successful.
ASSEMBLING THE MODEL External metal panels are laser cut on thin card board using the 2D net and then spray painted with metallic silver with splashes of black.
FINAL EXHIBITION MODEL
FINAL EXHIBITION MODEL
FINAL EXHIBITION MODEL
FINAL EXHIBITION MODEL
FINAL EXHIBITION MODEL
10
9
8
7
6
5
4
3
2
1
G
UG
L U N A R
P A V I L I O N : S E C T I O N S C A L E 1 : 2 5 0
L U N A R
P A V I L I O N : P L A N S C A L E 1 : 2 5 0
A T
L E V E L
5
REFLECTIVE TEXT The Lunar Pavilion is the first architectural creation on the moon, after ground breaking research had propelled the advancements of human life. After a devastating meteor hit Civic Square on the 5th of January 2054 human research advanced to new heights. The pavilion itself is informed by the natural movements of human on earth extracted from Civic Square as a memoir to those who were lost. Movements were represented as node points, which represented the beginning and end of an individuals movement around the Civic Square, Michael Fowler Centre region. Drawings of the spaces were drawn as a 2D image. To create depth and life to these drawings, the drawings were overlayed and represented as a 3D understanding of the relationship between each layer. Nodes from each layer are extracted and using scientific programming, an interaction between node points are re-interpreted to form a habitable, multi-layered space. Layers are depicted as platforms and the exterior shell representing a blanket around a regenerated life form. Structural poles are introduced at the beginning node points of each layer and intertwine the multiple platforms together. This results in a cohesive structure which requires each layer to be held together as a unified whole.