Digital Design - Portfolio Semester 1, 2018 Katherine Leeson 915576 Joel Collins - Studio 19
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Katherine Leeson
Contents:
Education: 2017 - current Bachelor of Design
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04
Reflection
Precedent Study
2009 - 2011
Diploma of Retail Management
2005 - 2006
Diploma of Costume for Performance
Work Experience: 2018
2012 -2017 06
Generating Design Through Digital Processes
Sales Associate - Paul Bram Diamonds National Visual Merchandiser and
2006-2015
Retail Store Development - Scanlan Theodore Costume Maker and Milliner
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Queen Victoria Garden Pavilion
Awards / Exhibition: 2017 & 2018
MSDx Exhibition
2017
Dean’s Honours Undergraduate Award - Year 1
2017
Tongji International Construction Festival Team
2017
FOD:R Exhibition, AFLK Gallery
Skills: Rhino Grasshopper Unreal Photoshop Illustrator Indesign Fabrication Project Management Team Management
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Reflection
I am motivated by the multidisciplinary nature of design and how design merges creativity with practical application, and theory. I like to think with my hands, and the challenge of process driven problem-solving. The experience of practicing design through to prototyping during the semester of Digital Design has introduced me to new skills in parametric design – Grasshopper and real-time rendering – Unreal Engine. And with this, the importance of evaluating the parameters, their relevance and their application when developing and designing with Grasshopper, as well as an understanding of how data trees work in the computational design process. I have also further developed skills in Rhino3D including the advantages and disadvantages of modelling with poly surfaces or meshes. Additionally, my Adobe Illustrator and graphic communication skills have improved and I have learnt new approaches to laser cutting, digital fabrication and modelling. As a designer I hope to produce work that merges various disciplines of design together in both speculative and practical ways. I am interested in the application of skills, techniques, approaches and styles being interchanged between performance, fashion, art, jewellery and architecture and how these can generate different ways of approaching design solutions using digital and traditional tools. Designs produced in M2 explore the relationships between performance, the body and movement, and how this can be applied to architecture. Whereas M3 looks at tactile and sensory experience that uses site analysis, parametric design and fashion minded approach to fabrication of architecture. All skills can be improved as design is a lifelong learning process. Areas of improvement that have been highlighted by tasks this semester include real time rendering, in particular; selection of camera angles and lighting, and achieving specific times of day, being clear of design concept and defining parameters in early stages of development process, graphic communication and representation, need to refine skills of what information to include and best ways to represent it.
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Diagramming Design Precedent
Isometric 1:100 0
2000
Aires Mateus - Radix 2012
6000mm
The key concept of Radix is solid and void. Built on the water’s edge by the dock of the Gagglandre, Venice it creates a spatial experience that respects both the historical and physical characteristics of the site. The form of the pavilion is generated by the extraction of three ellipsoids from a cube leaving a single solid form with a curved faceted interior and archways at the positions where the ellipsoids overlapped. The elliptical negative voids become the positive occupation spaces. The corten steel exterior of Radix is contrasted with a gold faceted interior and makes it look lightweight. The change is materials changes our state of focus and informs our experience, forcing us to look up and around as we pass through the pavilion. However, as humans are natural connected to and drawn to water, upon arrival at the edge this view remains the focus of our attention and the pavilion becomes a backdrop, providing shelter for longer occupation by the water’s edge
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Diagrams Structure
Exterior
Interior
Loose Circulation Space Tight Circulation Space
Circulation Paths
Intensity of Focus Low
High
Circulation 1:200
Thresholds (Visual Transition) 1:200
Loose circulation space is formed in the open voids and tight circulation under and near the arches due to the limited gap. The circulation paths inform the design as the voids are positioned to welcome visitors from multiple directions, including the water. The main arch protrudes over the water’s edge above the steps acting as a canopy, it becomes and instinctive gathering point
The materials form a series of visual thresholds, the rustic, hard exterior emphasizes the reflective nature of the golden interior which draws people into the structure, moving them through the voids and arches to the water. Or alternatively if arriving by boat, the golden interior attracts people to the pavilion and leads them through to the other side.
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Generating Ideas Through Process
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Design Matrix Lofts
1.1
1.2
{0,0,100}
1.3
{90,150,150}
1.4
{0,150,90}
{75,0,150}
{150,150,150} {150,120,150} {107,150,150}
{150,150,150}
{150,50,150}
{125,0,150}
{107,150,150}
{0,150,56}
{150,0,150}
{0,100,150}
{0,45,0}
{150,150,75}
{150,150,100}
{133,0,0}
{133,0,0}
{150,0,0} {150,150,0}
{0,0,0}
{75,0,0}
{75,0,0} {100,0,0} {150,150,0}
Paneling Grid & Attractor Point
{Index Selection}
{Index Selection}
2.1
2.2
{150,0,0}
{Index Selection}
{Index Selection}
2.3
2.4
{0,90,0}
{0,75,0}
{159,175,153}
{89,75,90}
{58,-19,92}
(-0.785)
(0.500) (-0.550)
(-0.500)
Paneling
{Attractor Point Location}
{Attractor Point Location}
(Curve Attractor Distance)
(Curve Attractor Distance)
3.1
3.2
3.3
3.4
+
Key {0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
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+
Surface and Waffle The concept for the project was inspired by the dynamic push/ pull relationship of two dancers. This expression of a central contraction points and extension at the edges became the parameters for developing the surfaces and then the application of the paneling. The parametric process allowed for testing of multiple surfaces and options of pattern variation. It was important to keep scale in mind during the process as some options would be difficult to fabricate at such a small scale. Pattering was also evaluated on the spatial qualities it would create and it relationship to the waffle. The final options were chosen as the solid pattern side provides a more definite barrier at the same time as articulating the differences between each pointed panel whereas the open pattern one on the other side blurs the boundaries between surface and waffle and has interesting effects of light and shadow.
Open scales bur the boundaries between the waffle structure and the external cladding. They allow dappled light and shaow into the structure in addition to making it feel more lightweight.
Solid patternation gives sense of privacy and protection. Varying size and depths of scale extrusion created with a graph mapper continually distort the form creating movement and texture.
Exploded Axonometric 1:2 0 20
Cavernous internal waffle structure twists and warps.
60mm
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Computation Workflow
First section of definition to this point is surface creation. Script allows for manipulation of each endpoint for the lines that make up the surfaces.
Second section of script applies panels to each surface. Points at angled to apposing attractors to create a sense of movement. Panels heights and direction of panels are transformed with the graph mapper and weaverbird.
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Third section of script produces waffle between surfaces on z and x planes. Notches and added and final section lays pieces out ready for laser cutting.
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Laser Cutting and Fabrication Process
i)
iii)
The panelling was laser cut ivory card, to make it easier to fold a combination of solid and dashed lines cut were used as opposed to solid cut lines and etched lines. This also helped to achieve a smoother surface overall and with the surface connection to the waffle. The waffle was cut in mount board for structural strength, it was easy and quick to assemble. Laser cutting not only saves time, the result is much cleaner and neater than hand cut card however minimizing the burn marks presents another challenge and difficult to control variable.
Images:
iv)
ii)
v)
i) Panelling layout cut in ivory card ii) Waffle layout cut in mount board iii) Waffle preparation iv) Waffle assembled v) One side of panelling applied to waffle
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Solid and Void This task was firstly driven by the parametric process, as it enabled freedom in generating forms without preconceived ideas. Many iterations of each of the were tried before adding in the rotation component (graph mapper with sine curve) to the grasshopper definition. This extra level of parametric control and variation allowed for more interesting variations between the positive and negative space of the voids and solid. The final section presented a journey of openness and compression through the voids, directional light and an element of repetition. A solid geometry was added back into the section to continue the push/ pull relationship that was explored in task 1.
Whilst the arragement of the geometry prior to the boolean function was dertermined using the sine cruve graph mapper there is also a sense of order and continutiy in the voids.
Chambers are connected to form a series of interlocking spaces that contract at inversion points creating light and shadow.
Depending on scale and use of material the solid could have characteristics of heavy set monumental form that further articulates the direction light or rather it could be an overall form that blends into or sits on a landscape.
Axonometric 1:2 20 0
Interuptions in the perimeter of the form alter the circulation and create private spaces for retreat. Almost spherical voids manuiplate the experience of sound.
Solid boolean using 3.1 Scale and Rotate Sine Curve 60mm
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Volume added back in to add an element of surprise and asymmetry changing the overall form.
Grid Manipulation
Design Matrix 1.1
1.2
1.3
1.4 {-130,91}
(-0.8)
{218,-148} {Curve Attractor}
{Random Attractors}
2.1
2.2
2.3
Object Transformation
{218,-148}
Object Variation
{Point Attractor}
3.1
3.2
3.3
3.4
{Scale and Rotate Sine Curve}
{Scale, Rotate and Centroid Curve Attractor }
{Scale and Rotate Sine Curve}
{Scale, Rotate and Centroid Curve Attractor }
Key {0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
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{Opposing Point Attractors}
{65,77}
2.4
Computational Process
Top grouping of definition generates a rectangle, de constructs the points to create individual cells that are manipulated with curve and pint attractors
Rotate 3D is the result of geometry fitting to the cells, scaled then rotated with the use of the sine curve on using the graph mapper
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Solid difference enables multiple iterations of the subtraction of volumes from the original cube prior to bake into Rhino
M2 Task 2 3D Printing
ii) 3D model horizontal voids and surface slits
i) Makerbot printing calculation
iii) 3D model vertical sequential voids
Additive manufacturing technique of 3D printing clearly communicate the relationships between solid and void. Having a small physical model was helpful when speculating on scale, thresholds and circulation as there is a greater freedom in movement and the effects of light and shadow become more evident. This section printed very cleanly as due to the flat planes of the section printed little support was need for printing, supports also came away easily.
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Jezebel Delias
The concept and design for Jezbel Delias is a response to the site, Queen Victoria Gardens and an exploration in pattern and light. The site informed the design parameters and geometry. A combination of two dimensional and three dimensional patterned panels are applied almost obsessively to create a lightweight feathery structure. The form making geometry originated from circulation observations, and in turn, the voids produce a space large enough for a lunchtime seminar and extend out towards the north of the site to accommodate for an evening quartet performance. The pavilion is embedded into the landscape, which is terraced through the central axis to increase opportunities for seating and to facilitate clear circulation paths. Ethereal and ephemeral materials of bronze for patterned surfaces, stone for pavilion base and rammed earth for floor further support the pavilions integration with the landscape, lightness and tactility. Patterned shadows change throughout the day altering the intimacy of the space so that a unique experience can be had upon every visit.
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Paneling angles light directing in down into the space and across the ground. A porous threshold is generated and changes throughout the day.
Pavilion Design
Base of pavilion is embedded into the terrain grounding the base and enhancing the ethereality of the paneling.
Gradual sloping of the landscape from the pavilion reflects the language of the existing site.
Copper Paneling Detail 1:25
Orientation acknowledges site features where people usually congregate - the northern mounds.
Key Changing ground textures from grass to rammed earth forms a distinct axial threshold.
Primary Circulation Circulation Paths Spatial Thresholds Exploded Isometric 1:25 0
500
1500mm
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The terracing creates formal axial thresholds to enter the pavilion.
Scooping into the landscape around the pavilion creates opportunities relaxation around the structure.
Design Process and Iterations Yarra River
Geometry
Alexander Gardens
Site Details
Site Analysis
City
NGV
Site
Three Palm Trees
High Volumne Access Route Botanical Gardens St Kilda Rd South
Public Toilets
N
Low Volumne Access Route
Two Grass Mounds
Attractor Point on Curve = Access Route
Form Landscape Form has interesting shape with many sides, would not pattern well, other texture would need to be applied, landscape unravels like ribbons from the pavilion, however it competes with the structure.
Pavilion form has good opening and clear silhouette, landscape still doesn’t fit with the language of the pavilion and is too sharp.
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Interior form is tight and has wide openings however feels too compressed. Landscape iteration is more refined and has smoother transitions with current site
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Computational Process
Each abstracted palm from is ‘attracted’ to a site access route or one of the two mounds on site. Each is then sized according to volume of circulation observed on site visit to each.
Two spheres are manipulated in size and positioned then a solid difference is performed easily allowing for form iterations to be made quickly and easily. Forms are first judged on openings then exterior removed in Rhino.
New definition for panelling. Each surfaces for the 3D (left column) and 2D (right column) panels were referenced in so they could be manipulated individually to site attractor points and to ensure they were all developable.
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Fabrication Process i)
iii) Top 3D panels made from laser cut ivory card
2D panels and base fabricated from 3D printing
Top of landscape made into pattern pieces then laser cut in ivory card Sides of landscape base and internal support structure laser cut in white mount board
iv)
ii)
Model constructed from a combination of laser cut ivory card and mount board and 3D printing. The two fabrication process were integrated in order to achieve effects of pattern, a smooth connection between landscape and pavilion and to give the model a lightweight feeling. Images: i)Model anatomy ii)Ivory card laser cutting layout iii)3D printing iv) Mount board laser cutting layout
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360 Image Output
Digital Design Semester 1, 2018 25