D I G I TA L D E S I G N P O R T F O L I O
J E TA N | 9 1 5 9 5 9
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JE TAN
jet1@student.unimelb.edu.au Digital Design | ARCH20004 Semester 1 2019 | Tutor: Junhan Foong
EDU CAT ION University of Melbourne Bachelor of Design 2018-2020 Narrabundah College ACT Senior Secondary Certificate 2015-2016
E XHIBI T IONS MSDx Winter 2018 MSDx Summer 2018
S OF T WARE Abobe Photoshop Adobe Illustrator Adobe InDesign Rhinoceros 3D Grasshopper Unreal Engine
FABRICAT ION SKIL L S 3D Printing Processes Laser Cut Processes
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CONTENTS
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Diagramming Design through Precedent
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Generating Design through Digital Processes
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Queen Victoria Garden Pavilion
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Diagramming Design through Precedent
Photo Š John Gollings
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PRECEDENT Amanda Levete Architects M Pavilion 2015 Melbourne, Australia
The 2015 M Pavilion by Amanda Levete Archite c ts ser ve d as pre ce dent study in a diagramming exercise. The pavilion is comp ose d of rep e ating pane ls, arrange d at var ying heights. The pane ls sit up on thin ro ds which promote a de line ate d circulation of the spa ce. The transparency of the pane ls filters light, providing a canopy which defines thresholds of the pavilion.
Photo Š John Gollings
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ISOMETRIC VIEW
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DIAGRAMS
CIRCUL ATION DIAGRAM
Canopy.
Coffee table serves as attractor point.
Delineated circulation space due to rods.
This diagram describes the circulatory paths one may take when inside the pavilion. As the space inside is open, there are no prescribed paths and one must instead navigate around the many support poles. An attractor point also exists as the coffee bar, drawing people towards it.
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THRESHOLD DIAGRAM
Transparent panels allows light to filter through.
Panel support frame.
Pavilion bounds defined by canopy shade.
The threshold diagram shows the permeability of the pavilion. The open design means that the boundaries are blurred, however there is a strong tactile transition as one steps onto the wood flooring from the surrounding grass. Light also penetrates the canopy, further adding to a sense of openness.
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02
Generating Design through Digital Processes
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TASK A
Surface and Waffle Structure
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TASK A VARIABLE MATRIX
Module 2 was comprised of two seperate tasks. Task A involved the design of an object made from two panelled surfaces and a waffle structure. This object was to be fabricated from laser cut processes. Task B made use of boolean subtraction to create a objects suitable for 3D print fabrication. Both of these tasks were completed with the use of the parametric software, Grashopper, in which various designs could be effeciently iterated.
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SURFACE AND WAFFLE CREATION
PANELLED SURFACES AND WAFFLE
WAFFLE
SIDE A
The waffle structure of the final design employs a twisting form, developed from various iterations. One side of the waffle is closed, while the other opens up to reveal the interior structure.
Side A of the final design makes use of a single pane This panel is split into a 2D and 3D component. Th the use of an attractor point, the panels are pulled to the corner of the surface. The 2D component of the permits an exaggerated overlapping, which highligh intensity of the design.
Waffle laser cut template.
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el type. hrough owards e panel hts the
FABRICATION To create a laser cut file for this task, the waffle and panels needed to be seperately modified. Firstly, the waffle was seperated into its indiviual X fins and Y contours. These were then placed on the provided laser cut template and cut on 1mm white mountboard. To create the laser cut file for the surface, each panel was split into small groups, unrolled and tabbed. The panels were then adjusted on the laser cut template and cut on 290gsm ivory card.
Panel laser cut template.
SIDE B Side B uses multiple panel designs for form a congruent surface. Individual panels interact to form points, creating the illusion of larger panels. A set of 2D panels runs through the centre of the surface, while attractor points pull the panels in various directions.
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TASK A EXPLODED ISOMETRIC
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In contrast to Side B, Side A cre ates a comp e lling desig n through the exag gerate d pull of a single attra c tor p oint. This causes the pane ls to extend far b ey ond their original lo cation. In this orientation, the pane ls app e ar to b e casca ding downwards in a smo oth, uniform motion.
SIDE A | SIDE B Model Photographs
This image depic ts side B of the fabricate d str uc ture. In this orientation, the surfa ce flows from a 2D p oint on the ground into the larger pane ls. The variation in attra c tor p oints pulls these pane ls in different dire c tions, cre ating interesting sha dows throughout the surfa ce. The twisting waffle allows the str uc ture to lif t itse lf of the ground, reve aling the interior of the desig n.
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TASK B Solid and Void
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TASK B VARIABLE MATRIX
While iterating task B, an emphasis was put on the shape subtracted from the original volume. This matrix shows the process of constructing the models to the fabricated, from the selection of attractor points, manipulation of the subtracted shape and finally the chosen study area.
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TASK B ISOMETRIC
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ITERATIONS 1 - 3 Model Photographs
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ITERATIONS 1 - 3 Scale Potential
This iteration uses a sphere as the subtracted geometr y. Adjusting the size and location of these spheres yeilded a design which is defined by circular holes, creating a porous structure. The scale of this design has the potential to fuction as a small shelter in different orientations.
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The design presented her from the original volume cation and size of these given to their interaction As the rings intersect th appear on the interior, sti shape. The scale of this m as furniture, due to its two vide a solid base and top.
re uses a ring to subtract e. While adjusting the lorings, consideration was n with the cubic volume. he cube, curving columns ill readable as the original model allows it to function o square faces which pro.
This final iteration uses six combines tetrahedrons as the subtracted shape. This creates a multifaceted interior to the volume, with sharp angles which allow for dynamic shadowing. The strong contrast between the angular interior and planar exterior of the design created a threshold, which was taken into account when considering the scale of the model.
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Queen Victoria Garden Pavilion
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PRECEDENTS
Tadao Ando Hill of the Buddha Hokkaido, Japan
The approach in Ando’s Hill of the Buddah monument makes use of a buried tunnel, leading to a protuding statue. The mass and tension created in this structure in comparison to the light, flower filled field on top served as inspiration for the intended atmosphere in the pavilion.
The ribs in Calatrava’s building are oriented along a curve to create a sweeping, dynamic form. A sense of ethereality and lightness is given to the sturcture through the use of these elements. This was taken as precedent for the rib structure seen in the pavilion.
Santiago Calatrava World Trade Centre Transporation Hub New York, USA
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ITERATION AND SCRIPTING
To script the pavilion, an initial shell was first created. Ribs were then joined to the shell and oriented along an attractor curve. The landscape was also oriented along the curve, following the shape of the ribs. The generative design process allowed for a proportional massing to be achieved in the overall structure.
The script allowed for varying curves in the shell and ribs to create a dynamic form. Various designs were tried in order to find a form which gave the structure a proportional sense of mass. The design also allowed for a scale model to be fabricated, where the outer shell consisted of a 3D print, while the ribs and landscape could be laser cut.
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EXPLODED ISOMETRIC
The design of the pavilion was derived from several precedents including ideas explored in Module 2. The theme of contrast was developed from the surface and waffle in the form of a strong spatial and atmospheric threshold.
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The pavilion uses a singular entrance and exit which presents two contrasting spaces through the exterior and interior. On the exterior, the pavilion is low profile, blending into the landscape with its curving landscape and shell. The height of the pavilion is kept low, allowing visitors to see and walk over it. The timber ribs allow the shell to ‘float’ dynamically over the ground, curving to match the landscape. This imbues the exterior of the pavilion with feelings of spatial freedom and relationship to a human scale. In contrast, the interior of the pavilion is designed as an enclosed and monumental space. A sunken interior is preceded by a set of stairs. As a visitor enters the pavilion, the upwards curving shell and steep interior wall suggest that they are almost being swallowed by the pavilion. Views from the inside space are upwards focused, with people needing to look up to experience the space, thus transferring power from the visitor to the pavilion itself.
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SECTIONS
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These section views show the contrast between exterior and interior of the pavilion. The low, curved and dynamic exterior profile can be seen in Section A-A, while the opening into the interior space is demonstrated in Section B-B.
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RENDERS Renders were created in Unreal Engine in order to demonstrate materiality and the spatial qualities of the pavilion. These images show the form of the exterior and give a sense of the its interior space through light and massing.
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360 IMAGE
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Unreal Engine was also used to output a 360 degree image and VR package. These tools help to convey the atmosphere and thresholds of the pavilion’s interior and exterior spaces.
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MODEL PHOTOGRAPHS A 1:25 sectional model was produced for this module. Fabrication techniques developed throughout the course assisted in the construction of the model. The exterior shell was 3D printed, while the landscape and ribs were laser cut from 3mm boxboard and 290gsm ivory card respectively.
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REFLECTION Although it has been the most challenging, this semester of has been the most rewarding in my architectural student career. This is largely in par t to Melbourne University ’s Digital Design. The subject has not only pushed me beyond my comfor t zone in terms of designing, but has drastically reconditioned my idea of what it means to be a ‘designer ’. Throughout the semester students were required to explore and test the limits of series of design programs ranging from; unreal engine; grasshopper and various digital manufacturing techniques. In doing so, I have learnt what generative design means as a concept, and more impor tantly its future potential and role in the future of architecture. That being said, this semester has provided me with the basis of generative design and digital fabrication and I’m extremely excited to continue to explore these programs and improve my aptitude for them as I progress through my architectural education and future career.
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