DIGITAL DESIGN Semester 1, 2019 James Urlini 921240 Kammy Leung & CL Fok - Studio 24
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INTRODUCTION
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MODULE 01 Diagramming Design Precedent
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MODULE 02 Generating Ideas Through Process
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MODULE 03 Queen Victoria Garden Pavilion
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INTRODUCTION
Education: 2018 - current
Diploma in Languages, University of Melbourne
(Major in Italian)
2017 - current
Bachelor of Design, University of Melbourne
2016
(Major in Graphic Design) St Kevin’s College
Work Experience: E: jurlini@student.unimelb.edu.au
2019
Reflection:
Awards / Exhibition:
I chose to take Digital Design because I wanted to learn about the use of parametric design to generate forms and to allow thought to be translated into tangible form.
2019
No More Dull and Boring, Dulux Gallery
2018
Colour Studio, MSDx
2018
Graphic Design Studio 2: Image and Media, MSDx
2018
Design Studio Alpha, MSDx
Although I found some parts of the subject challenging, namely Unreal Engine and the more mathematics-based areas of Grasshopper, I’m happy to say that I’ve learned some valuable lessons about ensuring
2018
Undergraduate Dean’s Honours - Year 1
2017
Graphic Design Studio 1: Image and Text, MSDx
2017
FOD:R Exhibition, ALKF Gallery
concepts are driven throughout a design and about the use of digital fabrication techniques in the late 20th century and early 21st century.
Rhino Grasshopper
Skills:
Unreal Photoshop Illustrator InDesign Fabrication
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Academic Services Intern, University of Melbourne
MODULE 01 Diagramming Design Precedent
Diagramming Design Precedent | Isometric
Gollings, John. MPavilion 2015. Photograph. Dezeen. October 5, 2015. Accessed 12 March 2019. https://www.dezeen.com/2015/10/05/amandalevete-architects-mpavilion-queen-victoria-gardens-melbourne-australiafibreglass-forest-petals/
Considered Melbourne’s response to the Serpentine Gallery Pavilion, the MPavilion is a temporary pavilion placed in Queen Victoria Gardens that offers a range of free events ranging from talks to workshops, performances and exhibitions. Inspired by a forest canopy, the 2015 MPavilion by Amanda Levete Architects blurs the lines between interior and exterior spaces and provides its visitors with a contemplative experience as they walk through the pavilion. AL_A’s MPavilion features a canopy of fibreglass supported by a system of carbon fibre ribs and stalks. The pavilion dons a timber flooring partially surrounded with plants that provides safety and shelter to those who enter.
Isometric - Scale: 1:125
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Diagramming Design Precedent | Diagrams
Circulation Diagram
Threshold Diagram
Given the Pavilion’s placement in Queen Victoria Gardens, there are three general
Amanda Levete Architects designed the MPavilion to emulate the feeling of entering
directions from which a visitor can approach the structure: from the rest of the
a forest and subsequently blurred the lines between being inside and outside the
Gardens to the south, from the City to the north and from the NGV / Art Centre
structure. I interpreted the intensity of the feeling of being within the forest as a
directly to the west. This informs where people would approach the Pavilion during
product of the density of the canopy overhead and the ground texture.
the day as opposed to at night.
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MODULE 02 Generating Ideas Through Process Part 1: Surface and Waffle
Generating Ideas Through Process | Iterative Process and Fabrication
Surface and Waffle 4.3
5.4
Patterning
{105,150,53}
{67,0,63}
3.2
3D Panelling
{35,0,108}
2.4
2D Panelling
{147,60,150}
Offset Grid & Attractor Points
{15,150,150}
Base Grid & Attractor Points
Surfaces
1.3
Key
6.3
{0,0,0}
Attracto
Grid Poi
+
{87,149,0} {139,61,63}
{14,0,0} {101,0,34}
{Index Selection}
{Weaverbird Reroute Faces + Tile + Picture Frame}
{Weaverbird Tile + Picture Frame}
{Attractor Curve, Magnitudes: -1.7, -0.8, -0.1, +0.5, +1.4}
{Attractor Point Location, Magnitude: +0.9}
{Pattern: T, F, F, T, F, F, T, F}
Solid and Void 4.3
5.2
Geometry Rotation
3.1
Geometries
Centroid Attraction
2.3
3D Grid Manipulation
Box Subvisions
Surface Point Grid
1.3
6.4
{66,48,0} {85,70,70}
{Surface Domain Number: 4}
{Subvisions: 3, Distance: 50mm}
{Attractor Curve, Magnitude: +1.2}
{Attractor Point, Magnitude: -0.5, +0.5, -0.5, +0.5}
Using Grasshopper for Rhino 3D, I was able to quickly iterate through designs in order to find the most appropriate geometries, patterns, and compositions for the briefs we were given. For Part 1: Surface and Waffle, I used Weaverbird components to subdivide and perforate geometries. These geometries were then panelled onto surfaces using PanelingTools. For Part 2: Solid and Void, geometries were placed onto points within a subdivided cube. These geometries were manipulated (oriented, scaled, and distorted) based on curve and point attractors. During this module, subtractive and additive fabrication techniques (lasercutting and 3D printing) were explored as iterative tools that enable the realisation of CAD models into physical form.
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Attracto
{Custom Lofted Surface from Bezier Curve }
{Rotation range: 5° - 45°}
Generating Ideas Through Process | Part 1: Surface and Waffle - Design Iteration Matrix
Surfaces
1.1
1.2
1.3
Key
1.4
{15,150,150}
{0,0,0}
{9,143,125}
{39,144,150}
{57,141,132}
Grid Points
{111,131,150}
{147,60,150} {2,23,82}
{35,0,108}
{25,9,81}
{51,5,116} {66,5,98}
{76,136,23}
{13,143,22}
{92,143,42}
{37,11,72}
{118,14,128}
{105,150,53}
{42,140,38} {149,62,128} {76,149,22}
{142,141,28} {67,0,63}
{87,149,0}
{98,9,54} {126,126,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{17,133,128}
{141,131,0}
{71,11,0}
{3,23,0} {42,34,0}
{14,0,0} {101,0,34}
Base Grid & Attractor Points
{Index Selection}
{Index Selection}
{Index Selection}
{Index Selection}
2.1
2.2
2.3
2.4
{87,73,94}
{54,42,45} {139,61,63}
Offset Grid & Attractor Points 2D Panelling
{No Attractor Point, Magnitude: +0.0}
{Attractor Point Location, Magnitude: +1.5}
{Attractor Point Location, Magnitude: -1.6}
{Attractor Point Location, Magnitude: +0.9}
3.1
3.2
3.3
3.4
{Attractor Curve, Magnitude: +2.0}
{Attractor Curve, Magnitudes: -1.7, -0.8, -0.1, +0.5, +1.4}
{Attractor Curve, Magnitude: -1.5, +2.0}
{Attractor Curve, Magnitude: +0.0, -2.5}
4.1
4.2
4.3
4.4
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Attractor Points
Generating Ideas Through Process | Part 1: Surface and Waffle - Design Iteration Matrix
2D Panelling Surfaces
{Attractor Curve, Magnitude: +2.0}
{Attractor Curve, Magnitudes: -1.7, -0.8, -0.1, +0.5, +1.4}
{Attractor Curve, Magnitude: -1.5, +2.0}
{Attractor Curve, Magnitude: +0.0, -2.5}
4.1 1.1
4.2 1.2
4.3 1.3
4.4 1.4
{15,150,150}
Key {0,0,0}
{9,143,125}
{39,144,150}
{57,141,132}
Grid Points
{111,131,150}
{147,60,150} {2,23,82}
{35,0,108}
{25,9,81}
{51,5,116} {76,136,23}
{13,143,22}
{92,143,42}
{37,11,72}
{66,5,98}
{118,14,128}
{105,150,53}
{42,140,38} {149,62,128} {76,149,22}
{142,141,28} {67,0,63}
{87,149,0}
{98,9,54} {126,126,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{17,133,128}
{141,131,0}
{71,11,0}
{3,23,0} {42,34,0}
{14,0,0} {101,0,34}
3D Panelling Base Grid & Attractor Points
{Weaverbird Tile + Picture Frame} {Index Selection}
{Weaverbird Tile + Split Triangles + Midedge Subdivisions} {Index Selection}
{Weaverbird Tile + Picture Frame} {Index Selection}
{Weaverbird Tile + Quad Split Subdivision + Picture Frame} {Index Selection}
5.1 2.1
5.2 2.2
5.3 2.3
5.4 2.4
{87,73,94}
{54,42,45} {139,61,63}
Patterning Offset Grid & Attractor Points 2D Panelling
{Weaverbird Faces + Picture {No AttractorReroute Point, Magnitude: +0.0} Frame}
{Weaverbird Stellate + Picture Frame}+1.5} {Attractor Point Location, Magnitude:
{Weaverbird Split TrianglesMagnitude: Subdivision + Picture Frame} {Attractor Point Location, -1.6}
{Weaverbird Reroute Faces + Tile + Picture {Attractor Point Location, Magnitude: +0.9} Frame}
6.1 3.1
6.2 3.2
6.3 3.3
6.4 3.4
{Pattern: F,Curve, T, F, F, Magnitude: T} {Attractor +2.0}
{Pattern: F,Curve, F, F, T,Magnitudes: T, T} {Attractor -1.7, -0.8, -0.1, +0.5, +1.4}
{Pattern: T,Curve, F, F, T, Magnitude: F, F, T, F} {Attractor -1.5, +2.0}
{Pattern: F,Curve, T, F, T, Magnitude: F, T, T, F, T, T}+0.0, -2.5} {Attractor
4.1
4.2
4.3
4.4
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Generating Ideas Through Process | Part 1: Surface and Waffle - Exploded Isometric
The bases of the panel structure and the waffle structure are based on the same surfaces. When assembled correctly, the panels should fit within the curvature of the waffle structure.
Perforations promote cooling within the structure as air is compressed within the holes and heat is diffused - based on the effects of a jali.
Light is able to enter the structure through the perforations. Patterns can be projected and observed if a focussed light is applied.
Waffle rings and fins based on surface contours of a set distance. When the distances between the contours match, the structure is able to be fabricated as the curves reside on the same plane.
Exploded Isometric 1:2 0 40
120mm
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Generating Ideas Through Process | Part 1: Surface and Waffle - Surface Script
Generate two surfaces based on points within a bounding box.
Panel the geometries onto the original lofted surfaces using PanelingTools’ Morph3D component.
Use Weaverbird to create a series of 2D and 3D perforated geometries.
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Generating Ideas Through Process | Part 1: Surface and Waffle - Waffle Script
Generate two surfaces based on points within a bounding box.
Create fins and rings by offsetting and lofting contours on the two surfaces.
Through selecting the lines closest to the ground and lofting them with curves on the ground plane, a pseudo-surface is made which allows the waffle structure to stand.
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Orient fins and rings to the XY plane in order to streamline lasercutting process.
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15
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Generating Ideas Through Process | Part 1: Surface and Waffle - Lasercutting Output
Some tab lines were changed from cut to etch in order to avoid having to tape the material after laser cutting.
Panels were joined and lasercut in strips of 5 to ease fabrication and to aid in the curvature of the surface.
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MODULE 02 Generating Ideas Through Process Part 2: Surface and Waffle
In solidified void spaces, columns of void are created, allowing for light to travel into the open and accessible space.
Generating Ideas Through Process | Part 2: Solid and Void - Isometric This tube shape left behind from the BooleanDifference could potentially be used as a skybridge or an enabler of movement from one space to another.
Stacked geometries create vertical tunnels within the solid, subsequently producing skylights that filter light through the structure.
Through representing the void space as a solid space, new textures and spatial qualities can be explored.
The cinching and undulation of the walls facilitate the intensification of threshold. They also create a sense of opening and contracting space, which may also enable the production of enclosed semiprivate spaces.
SOLID Isometric 1:2 0 40
VOID
120mm
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Generating Ideas Through Process | Part 2: Solid and Void - Design Iteration Matrix
Surface Point Grid
1.1
1.2
1.3
1.4
Key {0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
Box Subvisions 3D Grid Manipulation
{Surface Domain Number: 2}
{Surface Domain Number: 3}
{Surface Domain Number: 4}
{Surface Domain Number: 5}
2.1
2.2
2.3
2.4
{Subvisions: 6, Distance: 25mm}
{Subvisions: 5, Distance: 30mm}
{Subvisions: 3, Distance: 50mm}
{Subvisions: 2, Distance: 75mm}
3.1
3.2
3.3
3.4
{85,70,70}
{85,70,70}
Centroid Attraction
{Attractor Point, Magnitude: -0.5, +0.5, -0.5, +0.5}
{Attractor Point, Magnitude: +1.0, +0.5, +0.0, -0.5}
{Attractor Curve, Magnitude: -1.5, -0.5, +0.5, +1.5}
{Attractor Curve, Magnitude: +1.5, +0.5, -0.5, -1.5}
4.1
4.2
4.3
4.4
20 {78,56,47}
{78,56,47}
pulation
Generating Ideas Through Process | Part 2: Solid and Void - Design Iteration Matrix {85,70,70}
{85,70,70}
Centroid Surface Point Attraction Grid
{Attractor Point, Magnitude: -0.5, +0.5, -0.5, +0.5}
{Attractor Point, Magnitude: +1.0, +0.5, +0.0, -0.5}
{Attractor Curve, Magnitude: -1.5, -0.5, +0.5, +1.5}
{Attractor Curve, Magnitude: +1.5, +0.5, -0.5, -1.5}
4.1 1.1
4.2 1.2
4.3 1.3
4.4 1.4
Key {0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
{78,56,47}
{78,56,47}
Geometries Box Subvisions Geometry 3D Grid Manipulation Rotation
{Attractor Point, Magnitude: {Surface Domain Number: 2}+0.0}
{AttractorDomain Point, Magnitude: {Surface Number: 3} -1.3}
{Attractor Curve, Magnitude: {Surface Domain Number: 4} +1.2}
{AttractorDomain Curve, Magnitude: {Surface Number: 5} -2.0}
5.1 2.1
5.2 2.2
5.3 2.3
5.4 2.4
{Octahedron6,Surface, Radius: 45} {Subvisions: Distance: 25mm}
{Custom Lofted Surface30mm} from Bezier Curve } {Subvisions: 5, Distance:
{Torus Surface, C Parameter: 6} {Subvisions: 3, Distance: 50mm}
{Extruded Enneper Surface, Scale: 40} {Subvisions: 2, Distance: 75mm}
6.1 3.1
6.2 3.2
6.3 3.3
6.4 3.4
{66,48,0} {85,70,70}
{66,48,0}
{66,48,0} {66,48,0}
{85,70,70}
Centroid Attraction
{Rotation - 90°} -0.5, +0.5, -0.5, +0.5} {Attractorrange: Point, 0° Magnitude:
{Rotation range: 60° - 90°} +1.0, +0.5, +0.0, -0.5} {Attractor Point, Magnitude:
{Rotation - 180°} -1.5, -0.5, +0.5, +1.5} {Attractorrange: Curve,60° Magnitude:
{Rotation range: - 45°} {Attractor Curve,5° Magnitude: +1.5, +0.5, -0.5, -1.5}
4.1
4.2
4.3
4.4
21 {78,56,47}
{78,56,47}
Generating Ideas Through Process | Part 2: Solid and Void - Boolean Script
Create bounding box from which geometries will be boolean’ed out. Orient geometries to points within the 3D grid. In this case, the geometries were rotated in relation to an attractor curve.
Generate a 3D grid and manipulate the spaces within through curve and point attractors.
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Use BooleanDifference to remove the intersecting geometries from the original bounding box.
Generating Ideas Through Process | Part 2: Solid and Void - 3D Printed Models These are my four attempts to fabricate a model via 3D printing. They helped to deepen my understanding of space as a product of form. All the models investigate the idea of level change and the ability for the top of a structure to faciliate a different program than the bottom (movement and sightseeing on top, passage and crawling underneath).
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25
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Generating Ideas Through Process | Part 2: Solid and Void - 3D Printing Output
Makerbot 3D printers were used to fabricate our design iterations. Shown here is the UI of the Makerbot Print software, indicating type and amount of filament used (PLA), the estimated print time (2h 23m) and the regions where support material will need to be printed (orange material).
Support material and the raft, while printed to facilitate the fabrication of overhanging geometries, must be removed after printing in order to reveal the finished product.
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MODULE 03 Queen Victoria Garden Pavilion
LEAFCUTTER PAVILION This pavilion functions to benefit the local ecosystem within the Queen Victoria Garden. Named after the Leafcutter Bee, a type of Australian native bee, the Leafcutter Pavilion aims to ameliorate native bee pollination in the Garden. It seeks to educate visitors about the importance of native bee populations through tree and leaf-inspired forms and patterns.
Queen Victoria Garden Pavilion | Leafcutter Pavilion - Concept
The Leafcutter Pavilion seeks to promote the cohabitation between native Australian bee populations and humans. The pavilion derives its name from the Leafcutter bee, a solitary bee that belongs to the family Megachilidae. Contributing to the roughly 1,700 native Australian bee species, Leafcutter bees play a vital role in the pollination of Australian wildflowers amongst other native flora. Given the bees’ heightened importance within the local ecosystem, the Leafcutter Pavilion aims to educate its visitors about native bee populations not only through its programme but also its form. The pavilion’s forms and patterns are biomimetic of the Leafcutter bee’s wing structure, the venation of leaves, and the patternation of tree bark. Leafcutter bees, unlike the invasive European honey bee (Apis mellifera), do not form hives. Instead, they are solitary and build nests in the ground, in tree bark, amongst other natural cavities. Each of the pavilion’s three corten structures simultaneously resemble a tree, leaf, and bee wing. Together, they form a larger gesture and reference the overlapping leaves of a Leafcutter bee’s natal cell. The top layers of each corten leaf have been designed to facilitate the nesting of Leafcutter bees. The structure is modified to include artificial crevices for the bees to build their nests - establish a new typology for the usage of public space and urban beekeeping.
Leafcutter Bee (Top): O, Peter. Leafcutter Bees (Megachile). Photograph. Aussie Bee. 2008. Accessed 14 June 2019. https:// www.aussiebee.com.au/leafcutter_bee.html Leafcutter Bee Natal Cell (Above): Aussie Bee. Leafcutter Bees (Megachile). Photograph. Aussie Bee. Accessed 14 June 2019. https://www.aussiebee.com.au/leafcutter_bee.html Bee Hotel (Right): Heiling, Christian. Photograph. Shutterstock. Accessed 14 June 2019. https://modernfarmer.com/2017/02/ build-native-bee-hotel/
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Queen Victoria Garden Pavilion | Leafcutter Pavilion - Isometric and Detail
Corten structure perforations designed to resemble a bee wing and leaf. The folding of the three structures allude to the Leafcutter bee’s brood cell.
Detail 1:5
Leafcutter bees and other Megachilid species are able to form their nesting cells in the upper layers of the corten structure.
Planter boxes promote bee-driven pollination. The triangular holes are based on the structure of a bee wing. Bees will also cut the leaves of the flowers for use in the making of their brood cells.
Isometric 1:100 0 2000
Patterning logic of the seating ensures that pockets of closed seating arrangement are creating, producing areas where groups may it in semiprivacy. Other areas allow someone to walk all the way through the seating.
N
6000mm
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Queen Victoria Garden Pavilion | Leafcutter Pavilion - Diagram
Whereas human circulation is defined by boundaries and obstructions, bee circulation is bound by accessibility to flowering plants and trees.
While the planter boxes provide visual interest to human occupants of the pavilion, they serve a greater ecological purpose. Their ready accessibility to the bees residing in the pavilion ensure that the bees are able to establish themselves within the local ecosystem.
Plan (Not to Scale) This drawing demonstrates the ecological impact of introducing a pavilion designed to faciliate bee populations into the Queen Victoria Gardens. The bushes and trees to the south and the planter boxes to the north are only a small portion of the plants to benefit from the Leafcutter bee.
Bee Circulation Bee Function - Ground
Bee Function - Air Human Circulation Threshold Gradient
Isometric 1:75 0
1500
N
4500mm
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37
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Queen Victoria Garden Pavilion | Leafcutter Pavilion - Grasshopper Script Part 1 (Leaf Form)
Use Graph Mapper to construct points. Then interpolate a curve based on the points.
Duplicate and rotate the curve to create a lofted surface.
Duplicate and rotate the lofted surfaces to produce a form that resembles overlapping leaves.
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Queen Victoria Garden Pavilion | Leafcutter Pavilion - Grasshopper Script Part 2 (Corten Structure)
Through triangulating a surface and creating hexagon and quad panels into the subdivisions, a leaf venation-inspired design can be made.
Extrude the subdivided surfaces and boolean half-boxes to create differing levels of permeability. Panel the surfaces using PanelingTools plugin, differing the arrangement of panels based on cull patterns.
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Queen Victoria Garden Pavilion | Leafcutter Pavilion - Grasshopper Script Part 3 (Seating)
Using point attractors and cull patterns, vary the height of seating and flooring areas.
Triangulate the surface and then create hexagon cells within the triangles to emulate leaf venation.
Project the leaf forms onto the ground plane.
Extrapolate the outermost curves of the projected surface and generate surfaces based on the offset.
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Digital Design Semester 1, 2019 42