DD Portfolio Lloyd Hsieh

DIGITAL DESIGN - PORTFOLIO SEM 1, 2019

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LLOYD HSIEH 996484

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Studio 31 - Shiqi Tang

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CONTENT

M1

Precedent Study - Aires Mateus’s Radix

M2

Generating Design Through Digital Processes

M3

Queen Victoria Garden Pavilion - In Motion

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LLOYD e-mail - llhsieh@student.unimelb.edu.au

EDUCATION

REFLECTION

Bachelor of Design, Architecture 2018 - Present Melbourne School of Design, University of Melbourne Activity and Societies: Design Officer for Women in Commerce and Politics (WCP)

Mar 2019 - Present

Design Officer for Taiwanese Student Association (MUTSA)

April 2019 - Present

Event and Sponsors Promoter for MUTSA

May 2018 - Aug 2018

Member of SONA, Construction Student Association (CSA), Built Industry Group (BIG), & Financial Management Association of Australia (FMAA)

Construction Project Management - Specialization

Feb 2018 - Present

I’ve always been captivated by the design thinking behind the physical built forms that surround us in our daily lives.

Through the exploration of different conceptual ideologies, I seek to create designs that communicate to the audience. In this subject, I have gained valuable problem-solving skills and learnt new digital tools that would help me continue to grow as a designer. Understanding of digital design is essential in today’s architectural practice as technologies are integrated into every stage of the design process.

Online Course with Coursera x Columbia University International Baccalaureate Diploma

2012 -2017

Saint Kentigern College (High School) Activity and Societies: Peer Support Leader

Feb 2017 – Oct2017

Painting & Drawing Club Tutor (Design Council)

April 2017 – Oct2017

Academic Colours 2016

WORK & VOLUNTEER EXPERIENCE Finger Arithmetic Teaching Assistant

April 2014 – Nov 2016

Fo Guang Shan Chinese School, Auckland SKILLS Rhino Grasshopper Unreal Photoshop

Module 1 has helped to extend my knowledge in the visual communication of architecture. I learnt to break down a design into its elements to realise the various decisions made by the designer that determine the programme and spatial qualities. Furthermore, through the exploration of different digital techniques and fabrication methodologies in Module 2, I have acquired insights into generative design. It introduced to me a new way of design thinking, where the process is a journey of the discovery of the endless possibilities. The process of searching for the answers has taught me to design working with the brief without having an end-goal in mind.

The parametric software, grasshopper, enables a high degree of flexibility that has allowed me to utilise visual scripting and mathematics to formulate iterations of design that are easily editable. Moreover, I also found limitations of fabrication that make me more aware of the potential and constraints in today’s’ design practice.

Illustrator Indesign

My aspiration as a designer is to create architecture that conveys emotions. I believe good design should attain beyond functionality in the programmatic sense.

Fabrication

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PRECEDENT STUDY Radix - Aires Mateus 2012

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The structure is derived from three different intersecting voids.

The result is an abstract composition created from purely geometric volumes. The spherical walling offers a sense of protection and closure. Simultaneously, the scattered thresholds and the open nature of the space in terms of connections to the outside allows free movements and flexible circulation paths. Moreover, there is a very vague distinction between the inside and the outside as it changes throughout the day with the change in direction of the shadow/shade from the structure.

The sheltered areas vary in heights. The two thresholds that are anchored at the lower heights in the centre establish the transitions between spaces. Passing through the arch, the person experiences an expansion both vertically and horizontally as they enter a different space underneath the mass. With no distinctive entrance and lack of indicative directions, the pavilion suggests open circulation.

The radix displays a contrast between the very heavy quality and the lightness with its mass and voids. The rib lines on the internal surfaces of the spherical voids provide a sense of dynamic movement in terms of circulation. The architectural language of the repetition of arches is consistent with the existing buildings and the context of the site. Hence, it naturally creates a organic flow.

Isometric Drawing of the Radix The stairs lead to the edge of the canal, the main attraction.

As an attractor, the water edge affects the circulation of the ground movement. Bounded by the canal and circular dorm, the space naturally exhibits a strong sense of intimacy.

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CIRCULATION DIAGRAM The diagram demonstrates the circulations in different layers. In the upper layer the graphic highlights how the varying volumes and heights of the spaces affect the atmosphere, spatial experience but also where people congregate. In the base layer, the arrow lines show the ground movement of people in space. In conjunction, the gradient shows that people densely populate near the canal.

Spatial Depth/Height high

low

Anchor point(s)

Circulation Path(s)

high

low

Density/Crowd Canel

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THRESHOLD DIAGRAM The diagram breaks down the structure into its primary components to show the surfaces, masses, and the spaces of the pavilion. The openness of the space determines how private and intimacy the atmosphere of space. The shade/shadow throughout the day also acts as thresholds and affects how people locate themselves. Furthermore, materiality of different surfaces also differetiate spaces hence the hatching to display the surface quality.

Openness/Closedness

Openness/Closedness

Public

Private

Public

Private

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Shadow/Shade

Morning Mid-day Afternoon N

Concrete Shadow/Shade Morning Mid-day Afternoon Canel

Concrete Canel

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GENERATING IDEAS

THROUGH PROCESS...

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Surface Set 1

Surface Set 2

Surface Set 3

Surface Set 4

The two surfaces have their

While one surface extends across

I decided to maximise the space

I combined some of the notions

highest points in opposite corners such that they appear to move toward contrary directions. As the faรงades taper inwards, they come together at the top where they seemingly collide. This composition is, however, difficult to make with the waffle structure. It also lacks the dynamic quality that I want in my design.

space and attempts to wrap around the second surface, the other twists itself in a more extreme manner. The two surfaces converge and turn together towards one direction. I liked the design overall, but I thought I could develop upon the contrast between spatial expansion and compression by narrowing the gap between the surfaces more on one end.

between the two surfaces at the base such that the structure has greater functional potential. The transition towards a narrower gap at the top is rather sharp and linear in comparison to previous iterations. The spacing between the surfaces is strictly parallel, highlighting how the surfaces transform from a more free-formed composition to an ordered/uniform arrangement at the top.

of the second and third iterations.

One surface is more free-formed as it wraps around the second surface while the second surface is twisted and compressed. The point where the two surfaces converge towards is further away from the surfaces themselves compared to the second iteration. This means the faรงades are more tilted, which creates a shelter/shaded area under one of the them.

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The triangular geometry emphasises on the notion of surface convergence as it creates a directional illusion and a sense of motion with the collective form. For the first surface, I utilised a point attraction to direct all the panelled geometries towards the top corner where the surface converges with the second one. This resulted in the illusion of dynamic motion in the structure itself as the arrangement provides a sense of uniformity, and more importantly, flow. The second surface where it is twisted and compressed, I wanted to create a different quality to the first. For that, I used a curve attraction instead, to guide all the geometries towards a central line, which accentuate the compression concept. The solidness (or lack of opening) gives the appearance of strength and aggression and which contrasts with the light dynamic flow of the first with those intentional openings.

Part of the designing process was to consider an effective approach to successfully integrate the flat and the three-dimensional panels. I discovered that it is difficult to design a seamlessly smooth transition from the flat to the high, hence I decided to go entirely against the concept of a grid panelling. Instead, I panelled the surface with the flat and high geometries in a diagonal arrangement. By completely separating them and having the flat next to the taller panels heightens the sharpness and other characteristics of the taller panels. Furthermore, the diagonal arrangement also breaks the formality and offers a greater dynamic in the rhythm of the pattern visually. The diagonal movement follows the direction of the triangular geometries and the direction of the surface convergence. Moreover, the openings on the panelling also guide the direction of the movement, drawing the eyes to move with the surface.

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DESIGN MATRIX Lofts

1.1

1.2

1.3 {135,150,150}

Key

1.4

{20,26,0}

{0,0,0}

{150,150,120}

{150,150,150}

{150,45,150}

{105,150,150}

Grid Points

{35,101,150} {150,150,75}

{35,101,150} {35,101,150} {20,26,0}

{0,0,150} {20,26,0}

Paneling Grid & Attractor Point

2.1

{120,0,0}

{0,0,75}

{15,150,0} {120,0,0}

{150,0,0}

2.2

{0,0,0}

2.3

2.4

{79,-25,166}

{17,157,0}

Paneling

3.2

{150,0,0}

{177,36,91}

3.1

{30,0,150}

{15,150,0}

{35,101,150}

{0,15,150} {150,150,0}

{75,150,0}

{35,101,150} {0,135,0}

{45,0,150}

{0,30,150}

{30,0,150}

3.3

3.4

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

{150,90,150}

SURFACE & WAFFLE The distinction between the flat and 3D panels is not obviously viewing from certain angles as the flat panels sometimes blend in / hide behind the 3D panels. This exploded isometric view gives a clear view of how the flat panels sit next to the 3D ones. The high and low gives a violent and dangerous appearance to the surfaces.

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COMPUTATION WORKFLOW Box

Loft the Curves 5x5 Grid

The script begins with a 150x150x150mm cube as a bounding box for the two surfaces. The command - Deconstruct Brep then breaks down the cube into its edges, with the edges then been divided into coordinates points along the line. A single surface is created by connecting two points with a Line and Lofting two lines. The script allowed me to easily manipulate the surfaces by altering the coordinates of the corners of the surfaces using the Number Sliders. I created several iterations of two surfaces before deciding on my final design.

My emphasis was on the interaction and relationship between the two surfaces. With every iteration, the notion was to establish a sense of flow/movement. I attempted to create the effect by converging the two surfaces closer at one point, giving the illusion that the two surfaces are approaching each other and attracted towards a single direction. I was also interested in the space in between that is framed by the two surfaces and how this can be interpreted from a functional perspective.

Deconstruct Brep & Divide Curve

Line between two points

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Contour on Surfaces in X&Z Directions

Extrude X Fins

Layout for Laser Cut

For the waffle, I reduced the number of Z contours/ fins with the number slider such that there is only a total of 4 - one in between each panelled grid for the 5x5 panels to be glued on to the waffle afterwards.

Creating Notches

Extrude Z Fins

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FABRICATION

I made sure that I tested out the geometry’s ability to unroll during the designing process. It is crucial that the geometry is developable and it would not overlap on itself when it is unrolled.

In addition, I had to separate the module (grid) into two triangular panels for my design, but it is also the fact it would not unroll properly if I had combined several modules when I use the command Unrollsrf. The unrolled surfaces all look very similar since they are the same geometry with variations. Since I have a hundred unrolled surfaces the easiest approach to reference them was to make a table with the corresponding grid.

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The panelling creates interesting shadows on itself. With the light coming from certain angles, the flat panels are in shade, hiding behind the taller ones while the defined/ sharp geometries of the taller panels reflect the lights. Again, the alternating pattern between flat and tall panels gives more space for the taller panels to extend their forms without crowding out space, which gives a stronger visual definition of the geometries.

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SOLID & VOID

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Sphere

Icosahedron

Cylinder

I created the first iteration with the geometry from the workshop. Spheres create interesting thresholds and atmospheric qualities. Due to the nature of spheres, the voids give a strong sense of intimacy. The smaller the sphere, the more intimate space becomes with less exposure to the external space. The gradual transition from larger to smaller spheres guides the spatial experience.

The complexity of the geometry blurs the horizontality and verticality of negative space. It appears to be multi-dimensional where the space almost loses the sense of dimension entirely. It creates similar effects to the spherical design but has more variations in the shapes of where geometries intersect among themselves.

It also has arguably more potential from a functional perspective.

Cylinders create distinctive ground planes, generating spaces that are more architectural. The elevated and depressed horizontal planes dictate the spatial definition.

Simultaneously, the curvatures of the walling also provide gradual transitions between spaces. The design allows framing of space with the vertical sections of cylinders. When a cylinder is cut off vertically, it creates a rectangular frame, while a horizontal section gives a circular framing effect (ceiling). From the previous spherical design, the orthographic sectional view remained the same. i.e. the vertical and horizontal sections of a sphere are both still circular. In contrast, the vertical section of a cylinder is a rectangle. I wanted to explore the concept that when the negative volume is cut off at different sections, the orthographic view can be very different from the original geometry.

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Physical Print Iteration 1 (Sphere) After having studied the Radix Pavilion, I wanted to explore further into the idea of intersecting spherical volumes. I manipulated the magnitude of the attraction point to make all the spheres congregate closely. The idea is to make the geometries intersect more closely such that it becomes intelligible that the carved out space is derived from spheres. The result looks more like a continuous wave of curvatures. This creates a rhythm where the curves almost like water waves. When it’s laid flat, it looks more like a topography.

When it’s upright, it creates interesting shadows but lacks functional qualities.

Physical Print Iteration 2 (Icosahedron) The complex geometries create interesting lighting and shadows between the solid and voids. The planes and edges set boundaries between spaces in which the structure has distinct thresholds and a clear sense of transition.

The individual icosahedrons touch on the edges and join to create a series of spaces all connected that spirals around the cube. The spaces are semiprivate yet all related. The user’s experience is also different in the separate spaces. While some are more opened and larger, some are smaller. The heights of the different spaces also suggest a hierarchy.

Physical Print Iteration 3 (Cylinder) The form is very architectural, suggesting the potential for many intuitive functional purposes. With the cube oriented in the way that it is presented in the 2nd picture, the stepping planes guide the user to the elevated private space. The cylinder sections create openings that frame the spaces strategically. That highest area has two frames that create openness. The curvatures of the walls also provide a sense of intimacy that soften the space.

The overall design is very minimal with a strong presence of the horizontality

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and verticality that is visually similar to modern architecture.

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This is the cube extracted from my final iteration. I used the tetrahedron geometry from the Lunchbox plugin on Grasshopper. I continued exploring the idea of framing.

The pyramid form generates different shapes when it is cut at different sections.

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I was interested in the relationship between two-dimensionality and three-dimensionality. With the pyramid rotated and terminated at different sections, I created a variety of shapes that frame the cube. E.g. rectangles, diamonds, triangles, and the slits (long narrow rectangles). Seeing the four sides of the cube in orthographic view, the voids almost lose that sense of volume and look like twodimensional frames.

Framing was an important concept of the design. The users can see all the way through the cube with the two diamond-shaped openings aligned in the front and back. Also, a large triangle opening frames the largest internal space from one side of the cube. Furthermore, I established openness and closure with variations in the scale of the volumes. Light penetrates through the openings that linked the spaces.

The key concept of the design is about light and shadow. The one of inspirations was the famous double slit experiment in quantum mechanics, hence the narrow gap. I also imagined the main internal void as a prism. The slit allows the light to penetrate through and hit the prism which will diffract and create the “rainbow”. Obviously, this is just the concept as the inside is hollow. Nonetheless, the light passing through the slit will hit and illuminate the internal space differently through the day. In a way, it can almost function as a clock telling time using the sun path. The gradual transition of the intensity of the diffracted light also creates spatial atmospheric variations within space. One particular source of inspiration that I looked at was The Church of the Light by Tadao Ando. Similar to that building, my design is about the “silhouette” of the light, instead of the shape of the shadow.

Section

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DESIGN MATRIX

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COMPUTATIONAL PROCESS Box Deconstruct Brep

Cellulate 3D Grid with Attractors

The script starts with a 150x150x150mm bounding box that is subdivided into Cellulite 3D grids, where I could control the number of subdivisions using the number sliders corresponding to the different planes of the bounding box. I added an attraction point to distort the skeleton of the grids and controlled the strength of the distortion by changing the magnitude. The geometries are anchored of at the centroid of each of subdivided cubes. To create more variations in the arrangement, I also rotated the geometries about their centroids with the command rotate as well as scaling the sizes of the geometries using another attraction point and the number sliders.

Geometry

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Rotation

3D PRINTING

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QUEEN VICTORIA PAVILION

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ISOMETRIC Duplicate a second surface, but with a lower amplitude, using Pufferfish Tween Surfaces. The resulted roof structure has fluctuations in its thickness.

The feature of slits/openings on the roof is inspired by the double-slit experiment, where multiple light waves create the interference pattern.

The curve of the overall structure is derived from the summation of two Sine functions.

It’s the idea of Superposition of light waves in physics.

Utilise the same functions (summation of two Sine curves) to form the landscape. Adopt the same language as the pavilion to enhance the experience of oscillation.

Contours underneath the roof structure define the spatial depth. Since the roof has variations in thickness, the some of the contour lines that are boo-leaned out penetrate to create the openings/slits at the thinnest parts of the roof.

The radiating circular forms resemble the wavefronts of ripples. Different frequencies in the steps create a dynamic current that incorporates itself in the wavy landform.

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DESIGN ITERATION

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COMPUTATIONAL PROCESS 37

FABRICATION PROCESS

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360 IMAGE OUTPUT

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Digital Design Semester 1, 2019

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