Digital Design Portfolio Kim Huang 913199 Studio 19, S1 2018 Studio Leader: Joel Collins
Kim Huang
The process of design is captivating as there are endless possibilities and potential solutions to a single brief. In semester 1, 2018, I participated in the Digital Design studio, which is a subject that focuses on developing the understanding of digital processes and fabrication methods, and is comprised of three coherent projects based on the theme of pavilions. Within this subject, I learnt about the language of parametric design and its capability of generating a large variety of design iterations according to specific algorithmic rules. Overall, the subject assisted me to improve my technical skills in digital fabrication and strengthened my ability in developing cohesive design concepts and ideas that address the brief creatively.
kimhuang1997@gmail.com kimhuang.myportfolio.com
EDUCATION
EXPERIENCE
Bachelor of Design (Architecture)
Office Assistant
University of Melbourne
KB lighting, Guangdong, China
2017 - present
Nov - Dec 2017 (Holiday Casual)
Diploma in Music (Piano) University of Melbourne 2017 - present
2014 - present
Senior Music Captain
The Knox School, Wantirna
The Knox School, Wantirna
2013 - 2016
2016
MSDx Exhibition
Indesign
Grasshopper
Photoshop
Unreal Engine
Illustrator
Microsoft Office
Lightroom
Private Home Tutor (Piano & Chinese)
Victorian Certificate of Education (VCE)
EXHIBITION
Rhinoceros
Casual Interior Photographer Partystar Pty Ltd, Melbourne 2014 - 2016
Melbourne School of Design Winter & Summer 2017 1
Content
03 Precedent Study 07 Generating Design Through Digital Processes 19 Queen Victoria Garden Pavilion
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Precedent Study - MPavilion by Amanda Levete Architects The first project of Digital Design is a spatial analysis and diagramming exercise of an existing pavilion design - the 2015 MPavilion by Amanda Levete Architects, which was originally located at the Queen Victoria Garden, Melbourne, later relocated to Docklands. The pavilion is a light-weight and permeable structure, sheltered by a series of overlapping translucent petal-shaped glass plates, and supported by thin carbon fibre rods that are “internally amplified to capture the sounds of the lightly swaying structure”. The overall concept pays homage to nature and engages in a harmonious relationship with its surrounding natural setting. For this task, a site visit was carried out, and the pavilion was analysed in aspects such as circulation and threshold; the results were then recorded in the form of isometric diagrams.
Threads of carbon fibre are meticulously interlayered in a composite material, giving each “petal” its structural strength.
The architecture of the pavilion is conceived as a figurative tree canopy, offering a natural place to shelter and congregate.
The 2015 MPavilion commission by Amanda Levete Architects considered the pavilion itself and the context of its surroundings in equal measure. 4
Isometric Drawing Exercise
Scale - 1:100 5
Diagramming Exercise
Structure
Shelter Components
Primary Circulation Space
Transitional Space
Attractor Point
Inner Zone Outer Zone
Circulation paths
Circulation 1:250
Threshold (Zoning) 1:250 6
The second project is an exploration in the relationships among different elements that define space. The project is divided into two parts, and the first part investigates ideas about facade and structure. The brief is to create a model comprised of two curved panelled surfaces which are in a dynamic relationship with each other, and generate a waffle structure that would support the form internally.
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Generating Design Through Digital Processes - Surface and Waffle Design Iterations Matrix Lofts
1.1
1.2
1.3
Key
1.4
{0,0,0} {120,150,150}
{60,150,150}
{150,120,150}
Grid Points (Surface A)
{30,150,150} {0,90,150}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{150,30,150}
{0,120,150} {90,0,150}
{60,0,150}
{90,0,150}
Grid Points (Surface B)
{0,25,150} {30,0,150} {120,150,0} {0,0,107}
{150,90,0}
{0,0,120} {30,150,0}
{0,150,0}
{0,120,0} {0,120,0}
{0,120,0}
{60,0,0}
{90,0,0}
{60,0,0}
{30,0,0}
{0,30,0}
{30,0,0}
{30,0,0}
{30,0,0}
{139,71,85}
Paneling Grid & Attractor Point
2.1
Paneling
3.1
2.2
2.3
2.4
{78,83,54}
{78,83,54}
3.2
3.3
3.4
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The hollow waffle structure provides support to the facade while defining thresholds between the interior and exterior.
Three straight edges of the original 150*150*150mm cubic frame are used to loft the first curved surface that wraps around the waffle, upon which the 3D panels are developed.
The overall form of the two surfaces is inspired by the phenomenon of two skate dancers interacting with each other.
As the first surface is significantly larger than the second, it contains five rows of ten individual panels rather than the recommended five rows of five panels.
Perforations on the panels allow light to penetrate through the waffle structure, together with the solids they create an interplay between light and shadow within the interior.
Scale - 1:2
Exploded Isometric Drawing 9
Computation Workflow - Surface Generation & Panelisation surface 1 - curved surface loft from three edges
surface 1 - box frame creation surface 1 - 3D surface panelling
surface 2 - curved surface loft from two edges surface 2 - box frame creation surface 2 - 3D surface panelling
surface 1
surface 2
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Computation Workflow - Waffle Structure
original surfaces
generate horizontal and vertical contours
offset contours to create waffle elements
create thin tubes where horizontal & vertical elements intersect
generate 2D linework from model and separate the horizontal and vertical elements in preparation for fabrication
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trim tubes from waffle elements to create connection joints
Fabrication - Laser Cutting
template for surface panels
After the CAD models of both the panelled surfaces and the waffle structure were completed, they were unrolled, and the resulting 2D templates were laid out and organised in preparation for laser cut fabrication. Once the laser cut process was completed, these templates were folded, arranged and assembled by hand in order to create the final physical model.
template for waffle structure
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The second part of this project explores the ideas and relationships between solid and void. The brief is to create a 3D-printed section model that shows the result of a field of solids carved out from a uniform cube, creating voids that evoke unique spatial qualities.
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Generating Design Through Digital Processes - Solid and Void Design Iterations Matrix Grid Manipulation
1.1
1.2
1.3
Key
1.4
{0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Centroids
{150,111,182}
{-3,-263,-25}
{19,317,79}
{Point Attractor}
{Curve Attractor}
{Point Attractors}
2.1
2.2
2.3
{Random Attractor}
{139,71,85}
Sphere Distribution
2.4
{291,41,87}
{150,111,182}
{-3,-263,-25}
{19,317,79}
Sphere Transformation
{Point Attractor}
{Original Centroids}
{Point Attractors}
{Point Attractor}
3.1
3.2
3.3
3.4
{291,41,87}
{19,317,79}
{Reverse Point Attractor}
{Consistent Scaling}
{Random Scaling}
{Point Attractor}
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Areas where the dodecahedrons penetrate the original cube’s surface result in trapezium-shaped openings, through which light travels through onto the faceted internal walls. A series of dodecahedrons were subtracted from the original cubic solid, which creates faceted interior walls in the booleaned geometry.
As the internal space transitions from one dodecahedral void to another, the solid walls converge towards the middle, creating a narrower threshold. Each internal void the subtracted dodecahedrons create in the cubic solid can be interpreted as an individual chamber or room; yet chese chambers are not entirely enclosed, they are interconnected due to the intersections between the subtracted dodecahedrons.
Scale - 1:1
Isometric Drawing of Section Model 15
Computation Workflow
original box / cubic frame
boolean function
create uniform 3D grid
manipulate the scale of dodecahedrons
grid manipulation
create dodecahedrons at centroids of grid 16
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physical model outcome
Fabrication - 3D Printing
As the computation workflow within Grasshopper was completed, a section was cut out from the original cuboid model. In preparation for 3D printing, the section model was converted to meshes and imported into the Makerbot Print software, which helped to customise print settings and estimate the amount of time and cost of fabrication, making it into a printable file format. Finally, after the printing process was finished, the physical model was polished with sand paper by hand.
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The final project is a design for the Queen Victoria Garden Pavilion. It draws on the concepts explored from previous modules and focuses on creating a pavilion that engages in a dialogue with its surrounding natural context, as well as satisfying the brief’s functional requirement to accommodate for lunchtime seminars and intimate classical quartet performances. 19
Queen Victoria Garden Pavilion
CIRCULATION AND THRESHOLD: M3 Pavilion Digital Design Studio19 - Joel Collins Zhexing Huang (Kim) - 913199
The dark-coloured units are not as reflective as the white units, creating a slightly darker, more private atmosphere for the areas they cover.
The configuration and form of the pavilion creates a dialogue with its surrounding natural environment by mimicking a field of trees / mushrooms.
Smooth white fibreglass allows for the transfer and reflection of light. This helps to illuminate the pavilion at night and create a glowing effect when light touches the surface.
Structure
Circulation space
Attractors / stationary points
The walkpath suggests an entry point and creates a transitional space upon approaching to the pavilion.
The boundary of the polished concrete platform indicates a change in ground materiality and creates a clear visual threshold between the pavilion area and its surroundings; however, the pavilion remains physically permeable from all sides.
The base of each unit creates a seating space to allow for viewing of performances inside the pavilion. Vegetation as threshold
Scale -
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Overview of the pavilion and its furrounding landscape
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Renders
Close-up internal view of the pavilion, showing shadows of foliage casted onto its smooth reflective surface
In preparation for the renders, texture / light maps were applied onto the CAD model of the pavilion. The model was then imported into Unreal Engine, where the surrounding context, materials, lighting and figures were added, modified and refined.
Pavilion approach from walkway 22
Physical Model
Top view showing the undulating heights of the mushroom-like canopies 23
Corner view showing the pebble-shaped bases of the pavilion units designed for seating
Additional image 24
Computation Workflow / Form-Finding Process
FORM-FINDING PROCESS: M3 Pavilion Digital Design Studio19 - Joel Collins Zhexing Huang (Kim) - 913199
Regular point grid
Transformation from surfaces to solids
Curve attraction
Manual adjustment on heights for overlapping surfaces
Voronoi distribution
Variation of heights on each unit using graph mapper
Scale and translation of curves
Surface loft (all units at same height)
Scale - 1:100
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Grasshopper script
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Digital Design Portfolio
Kim Huang - 2018