DIGITAL DESIGN PORTFOLO Works by Hayley Cottrell 995093 Kammy Leung & CL Fok Studio 24
reflection
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resume
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projects module one: digital design precedent
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module two: generation design through digital processes
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module three: queen victoria garden pavilion
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how it was shaped my view of design, I wanted to use a word that described this continuous learning curve. The word “Loading” was chosen, as although this term refers to the amount of time was spent waiting for programs to respond during this subject, it also reflects the continuing process of change that this course I’m following as a designer will go through.
reflection
Loading... Loading... Architecture has been my dream since I was 7 years old, and now, 12 years later it still is. It’s been a long journey as a designer since my dream to become an architect was realized, with the commencement of the Bachelor of Design the beginning of my true development in this field. The process is everlasting: learning, evolving, becoming the designer I want to be. Upon reflecting on the work I have produced this semester and
Over the semester, I have realised the valuable potential of technology in realising architectural projects, with outcomes achieved that could not be possible without digital aid. In my career ahead, this technology will play a crucial role in designing, communicating and producing architecture, as in this digital age it is impossible to escape it. In this fast-paced, modern world, this technology will change, become better, and more capable, which future architects will have to grow and adapt to in order to utilise its potential as well. For myself, digital design will be something I will never fully grasp as a result of this factor but will continue to push the possibilities as I venture through into becoming an architect.
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Photo Credit: Paul Loh, Subject Coordinator for Digital Design, via Instagram @digitaldesign_msd.
11/02/2000 Melbourne, Australia email: hmcottrell@student.unimelb.edu.au website: hayleycottrell9.wixsite.com/digitaldesign
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resume
Hayley Cottrell Subjects undertaken Semester 1, 2019: Design Studio: Beta Digital Design Japanese 5 Modern Architecture: MOMO to POMO
education
awards
2018 - present
University of Melbourne
2005 - 2017
St Catherine’s School, Toorak
Bachelor of Design (Architecture)
Victorian Certificate of Education (VCE)
work experience 2016
Russell & George
Short Unpaid Intership
2017
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VCE Subject Award for Visual Communication and Design
skills Rhino Grasshopper Unreal Engine Photoshop Illustrator Indesign SketchUp Fabrication
languages 2016 - present
Graphic Design Works
Notable Project: Bariatric Surgery Registry
English Japanese
Native Intermediate
1.
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module one: digital design precedent
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Peter Zumthor’s 2011 Serpentine Pavilion A diagram is a powerful tool that allows spatial relationships to be represented in an abstract form. For this module, it was used to display the different types of thresholds of the precedent study and the circulatory path that people take to experience the space. Peter Zumthor has created a simple yet complex design that can be described through this design application to express its concept. 3.
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4.
structure
contemplation
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circulation path
Circulation exploded circulation diagram 1:300
The pavilion has been designed with how people move through space intentionally considered. The circulation around the pavilion’s interior hallway is what enables one to remove themselves from the exterior context as Zumthor intended. The slow, meandering nature of the circulation and the seating surround the garden encourages people to stop and take in the unique setting that the pavilion offers.
roof
experiential
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physical
Threshold exploded threshold diagram 1:300
Within the pavilion, there are two different types of thresholds that define the space. The first is the physical entrances in and out of the pavilion and its spaces. The second is an experiential threshold, defined by the surrounding hallway. This interior area acts as a transition between the outside world of London and the Serpentine Gallery’s gardens and the serene garden hidden within the structure.
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isometric diagram 1:200
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“A garden with a garden� When describing the concept of his pavilion, Peter Zumthor uses this quote to summarize the experience captured within. The isometric shows how the design of the pavilion enables this quote to be realised in architecture, with the secluded garden sheltered by an austere mass, transporting one away from their surroundings as they enter. A complex vision, but a simple design to achieve it is how the pavilion creates this sensory space.
Lofts
1.1
1.2 {30,0,150}
1.3 {90,0,150}
{0,90,150} {0,150,150} {0,0,60}
{150,30,150} {0,150,150} {150,30,150}
{120,0,0}
{0,120,0}
{0,150,0}
{120,0,0} {30,150,0}
{150,60,0} {150,120,0} {150,150,0} {150,150,0}
{150,120,0}
Paneling Grid & Attractor Point Paneling
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{Index Selection}
{Index Selection}
{Index Selection}
2.1
2.2
2.3
{Attractor Curve Location}
{Attractor Curve Location}
{Attractor Curve Location}
3.1
3.2
3.3
module two: generating design through digital processes
Task A: Surface and Waffle Digital design offers the opportunity to push the limits of architecture in terms of what can be physically constructed. Architects are no longer limited to straight lines and simple curves, but can now create much more complex geometries. With the fabrication method being laser cutting for this task, the precise nature of this technique was explored by creating fine perforations and complex, panelled surfaces. Through this design intention, forms and experiential qualities that could be achieved through parametric modelling were investigated, with the final outcome looking at the juxtaposition between subtle detail and bold form. These were iterated, with variables such as attractor points and true/false patterns adjusted to parametrically operate the design’s form. The final design aims to have a complex overall form, but have hidden intricacies that create interesting light effects, enabled by utilising the technology available.
Key
1.4 {90,0,150}
{0,0,0} {0,150,150}
Control Points (X,Y,Z) Attractor Curves Grid Points
{0,150,0} {150,60,0}
{150,150,0}
{Index Selection}
2.4
{Attractor Curve Location}
3.4
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{0,0,0}
control points (x,y,z) attractor curves grid points
task a matrix
final panels
creating the surface The extracted points were joined in a line, with the two lines being used to create a lofted planar surface.
extracting edges In order to create unique and complex surfaces for panelisation, the edges of a 150x150x150mm box were evaluated by deconstructing the cube.
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constraining the size A bounding box was set up parametrically, being 150x150x150mm in height.
computational workflow: task a grasshopper script
isolation Specific edges vertices could be isolated with the script through listing the items and creating a slider to adjust which one was selected.
adjusting the offset height Curve Attraction component was inserted into the script to make the panelisation follow the form of the surfaces in terms of the height of the applied modules.
iterations created by adjusting the curve attraction
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application Morph3D was used to distribute the modules across the 10x10 grids.
dividing the surface
repetition from branches
A 10x10 grid was set up according to the points on the generated surfaces using Surface Domain Number.
Through collecting the progress of the scripts outcomes at different points, the same component could be used to create different variations of the same form.
The adjustment of the surfaces and the attractor curve strength enable the design to achieve the desired form enhancing the panelisation that allows for the juxtaposition of the subtle and the bold to occur.
Design 3.3 and 3.4 were combined for more variation in the panels, utilising the twist of the surfaces to be more dramatic in intent.
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The panels from Design 3.4 is a true combination of two and threedimensional modules, however, the 3D geometries use the same inclusion of flat shape to create the sunken form.
Waffle is made out of 1mm mountboard, with vertical and horizontal fins that interlock with each other.
exploded isometric 1:2
The final design utlises 4 different yet similar modules to panelise the surface, creating a juxtaposition of boldness and subtlety. The surfaces are panelised according to their form, allowing the perforation to act in a different manner on each side. The two and three dimensional geometries are blended together to create an outcome where sharp, angular forms are contrasted by light, delicate perforation.
Panelised surfaces are supported by a waffle structure, which shows the extreme twist one side takes, whilst the other remains slightly more composed.
When the panels were grouped int lines of five due t complex geomet
Perforations on the geometries are 1mm wide in diameter, an intricate detail that would not be as precisely refined in production if cut by hand.
Design 3.3 was used on this panel, combined into one. The perforations are hidden within the geometry, with the sun only able to shine through at certain times of the day.
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laser cutting preparation
s were unrolled, they to twos or threes, not to overlapping of the try.
waffle structure; model in progress
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model photographs, capturing detail and exploring scale
Point Grids Cellulated Grid & Attractor Point Rotation & Scale
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1.1
1.2
1.3
{Point Attraction Grid}
{Point Attraction Grid}
{Point Attraction Grid}
2.1
2.2
2.3
{Centroid Attraction}
{Centroid Attraction}
{Centroid Attraction}
3.1
3.2
3.3
Task B: Solid and Void The second task required a range of iterations to be produced with 3D printing, with the space created in by boolean the key point of interest. This subtraction of form could be used to create volumes with interesting spatial qualities in terms of the unique geometries, defining thresholds in the cavities. Spheres and cubes were explored, but the cone was ultimately used to create hollow differences as they produced a variety of combinations with curved and straight edges and spaces. The cone allows for both tight and wide chasms, with this change often occurring in the one space. The openings are varied, creating interesting thresholds between spaces due to the sharp and curved nature of the cone. Through adjusting variables in the script, the intersections could be changed by tightening to a point, rotating and scaling, in order to explore the different spatial outcomes that the cones could create.
Key
1.4
Attractor Points Point Grids Grid Centroids
{Point Attraction Grid}
2.4
{Centroid Attraction}
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3.4
attractor points point grids grid centroids
task b matrix
cascading Cascading used to set up the next stage of the script which is not parametric in nature, but needs similar outcomes. In this case, it was used to repeat the offsetting of the grid created from one of the box surfaces.
tidying up
Maintain a clean script was important for more complex workflows. Final outcomes of different steps were collected in containers relating to the type of output they created
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creating the solid A 150x150x150mm cube was set up for the boolean difference of the final geometries to create the subtractive design.
manipulating the grid Point Attraction component used to establish a relationship of the distance between points. It adjusted the grid created within the cube, pulling the final geometries closer together.
computational workflow: task b grasshopper script
booleaned geometries and study areas
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adjusting the scale defining the void Different geometrics could be inserted at this point to change the result of the final form.
The scale of the geometries was adjusted based on the square root of the distance of the centroids from the attractor point. This created a different scale for each object.
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rotating at different degrees Geometries were rotated on an axis in the y-direction to give further complexity in the void spaces of the final design. Through squaring the result of remapped domain and bounds, the degree at which the geometries were rotated could be different between each object.
Central cavity could be an attrium space in a building if this form was used to create a large scale structure.
The magnitude of attraction was manipulated to create more intersections between the cones.
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Rotation of the cones can be observed in the different angles of the openings, which could frame different views of both the interior and exterior.
sectional perspectives 1:2
The final design utilises 4 different yet similar modules to panelise the surface, creating a juxtaposition of boldness and subtlety. The surfaces are panelised according to their form, allowing the perforation to act in a different manner on each side. The two and three-dimensional geometries are blended together to create an outcome where sharp, angular forms are contrasted by light, delicate perforation.
Location of where the tip of a cone has pierced the box that the geometries were subtracted from.
The volume of the spaces creates a defined area for uses, tapering of the edges of the area whilst still defining it with an angle.
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The spaces created seem to tighten at the openings and increase in space as one would enter, giving a clear threshold of two different voids.
There is a variety of openings created from the intersection of the box and the rotating cones, causing the spaces to be framed in different ways.
original booleaned box
makerbox 3D screenshot for fabrication
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model photographs, exploring scale
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module three: queen victoria garden pavilion
Fabric of the Night Sky Situated just outside of Melbourne’s city centre, a place of bustling activity, the proposed pavilion offers an escape from the bustling life and instead allows one to be transported to a different time and place. The pavilion seeks to emulate the night sky visible from the Australian country side, suggesting what it might look like if a sheet of fabric covered the city to block of the excess light. Through perforations punched through the smooth, undulating surface, the architecture creates an intimate, sensory experience inside the pavilion, allowing people to relax and take in an unfamilar sight and surroundings. With the key focus of the pavilion being on the array of perforations in the ceiling, the complex design has remained simple in its finishes. In this way, the experience one has inside the pavilion is pure and raw, even though it is only a replication of the real-life inspiration. The transition into the space is slow, with the connection to the landscape being at the forefront
of this pr portation dropping of the pa could onl pavilion c concrete visitors’ i the “fabri
rogression. As one moves down the slopes, the pavilion and land become one, providing the transn of the mind into one enveloped by nature. To enter in interior space, one must navigate around the g of the “fabric”, creating a confrontation with the architecture that emphasises the intimate nature avilion The “sky” above can be viewed both day and night, eliciting a spectacle the busy city worker ly dream of. In addition to hosting a contemplative, intimate quality in the space, the centre of the can host a variety of events, where people can surround the entertainment, either sitting on the e benches or the soft, grassy hills. The space provides a dramatic backdrop for performances, with imaginations drifting away from the centre of Melbourne and into wonders of the night sky. Under ic of the night sky”, once can experience something rarely seen, but often dreamed of.
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night time atmosphere at the pavilion
computational workflow: grasshopper
creating the roof The gradient used is what causes the roof structure to resemble a sheet being cast over the top of buildings, with the white circles forming the dropping points. Through multiplication and addition of the variation in height of the structure, the surface became an undulating surface which perforations could be cast onto.
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iterations of roof structure height
manipulating the grid The surface was divided (with edges taken in by 3%) into a grid, which was then organised into an organic, more star-like arrangement through the use of attractor points.
adding perforation and depth
gradients produced for use of image sampler 33 rotating normals After the attractor points were added into the script, the normals were lost and the perforations were not lining up in the same direction as the curve of the surface. The surface was re-evaluated in terms of the closest points to the grid and the surface, allow for new normals to be created.
changing radius The holes vary between 5cm to 10cm in diameter, based on two attractor points. The closer they are to the points, the larger the hole will be.
offsetting surface The structure was given thickness by offsetting the surface downwards by 5cm. This depth allowed for the perforations to remain fine and still be able to have light shine through them.
extrusion for perforation Cylinders were extruded from the circles placed upon the surface in order to cut through both of the surfaces that make up the roof structure.
Perforations across the surface allow light to filter through during the day to create an artificial, sensory experience of the night sky.
The pathways into the pavilion are created through embedding the seating in the landscape, following the form of the hills. The change in width entices people down towards the pavilion, gathering them inside.
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The threshold is defined by the change in elevation, with the benches embedded into the hills to create this differentiation as the landscape slopes down and underneath. This guided procession marks the change in the experience of the space.
experiential threshold primary circulation gathering circulation
exploded isometric 1:100
The hills outside side of the pavilion are also able to be occupied, with the flowing landscape reflecting hills of the Victorian country.
Hills enclose the interior space and block out the light, achieved through the pavilion’s roof resting in the landscape at three points.
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The open area in the centre of the pavilion creates an intimate space for performances and seminars. It is framed by the seating used to view these activities.
The roof structure is thin to suggest a sheet being thrown over the city, with the form dropping, emulating how fabric might hang across the buildings.
light shining through the perforation during the day 36
embedded benches drawing people in and creating the interior space
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what seems, light years away, is not so far after all...
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physical model photographs
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360 image, captured underneath the roof structure to show spatial quality
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references
1. Provided by the University of Melbourne 2. Accessed March 15, 2019. https://www.designboom.com/architecture/peter-zumthor-serpentine-pavilion-now-complete/. 3. Accessed March 15, 2019. https://oudolf.com/ garden/serpentine-gallery 4. Accessed March 15, 2019. https://inhabitat. com/peter-zumthor-unveils-2011-serpentine-pavilion-with-a-secret-garden/.
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Thank you.