Digital Design - Portfolio Semester 1, 2018 Lilie Paxton-White 911118 Junhan Foong + Studio 13
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email: lpaxton@student.unimelb.edu.au
Content:
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Education:
Precedent Study
Reflection:
2017 - current 2016-2017
Bachelor of Design Shelford Girls Gramma
2012-2016
Dubai British School
Work Experience: 06
Generating Design Through Digital Processes
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Queen Victoria Garden Pavilion
2016
McMillain Adam
Awards / Exhibition: 2017
MSDx Exhibition
This subject has been a very interesting exercise in a more realistic and hands on approach to design than I have previously experienced. I have learnt a great deal in terms of CAD and fabrication, having really reinforced my knowledge of Rhino while also learning fundamental new skills such as Grasshopper and VR. The use of a 3D printing and more extensive use of the laser-cutter has also been interesting and very rewarding – I particularly enjoy the process by which a digital design becomes a 3-dimentional object, as it is very exciting to see something conceptual become a reality.
I was motivated this semester to create new and interesting spaces that prompt conversation, while also providing a relaxing place to sit and
Skills:
think. I aspire to be a designer who creates simple but elegant environments, using new technologies and a few curated materials to produce exciting structures, as seen in my Protea Pavilion, which is made from white concrete, Acrylic and reflective metal petals that appear to twist and grow from the hillside, creating a minimalist, clean, and engaging space.
Rhino Grasshopper Unreal Photoshop Illustrator Indesign
As with all creative pursuits, I believe my designs could have been pushed further. Foremost, I think my understanding and use of Grasshopper and VR should become more intrinsic to my designs, especially when generating ideas through the design process. Upon reflection, I also think I would have liked to utilize a waffle structure in my M3 pavilion instead of the transparent inner dome, as that would have created more interesting interplay of light and shadows, and it would have introduced timber to the structure, which would have added a bit of warm. Overall however, I am happy with my work this semester, and look forwards to continuing my exploration in other subjects in the future.
Fabrication add more ++
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Diagramming Design Precedent M PAVILION
The precedent study I chose to pursue in Module 1 was the M Pavilion by Amanda Levete Architects. This design is inspired by the organic forms found in nature, and as a result, the pavilion’s structure seems to emulate both flowers and trees, creating a canopy out of a repeating floral motif. The interplay of light and shadow is also very important in the design and is explored through the use of a transparent material. I learnt a lot through the diagramming process, especially how to present information in a clear and concise format and how to maintain accurate scale. Left: Ramon,. (2015). Amanda Levete’s Tree Canopy-Like MPavilion Opens in Melbourne. Retrieved from https://decor10blog. com/design-decorate/decorating-ideas/amanda-levetes-tree-canopy-like-mpavilion-opens-in-melbourne.html
Key - Planting/ground cover
Below: Isometric Diagram of the 2015 M Pavilion - Metal
- Timber flooring
- Turf - Perspex canopy
Isometric 1:200 0
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12m
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Isometric 1:200 0
4
12m
Key - majority of foot traffic from Swanston St - planted areas
- Timber flooring - Turf - Circulation Paths
Diagram 01 - Circulation The circulation of foot-traffic in this space is controlled in two ways - through the placement of columns throughout the space which slows ambulation, and through the placement of planted tiles on the ground which filter incoming traffic through four specific entrance and exit points.
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Isometric 1:200 0
4
12m
Key - gradation from exterior to interior space - planted areas
- Timber flooring - Turf - Main entrances
Diagram 02 - Thresholds As this space is formed predominantly of a canopy and flooring, the quality of the space is controlled by these two elements. One can be under the canopy but not yet within the structure, or on the flooring but not yet undercover. This ambiguity about where the “interior� space starts is controlled by these various thresholds.
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Generating Ideas Through Process - TASK1
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Design Matrix
Lofts
1.1
1.2
1.3
1.4
Key
Grid Points
Paneling Grid Paneling
{Index Selection}
{Index Selection}
{Index Selection}
{Index Selection}
2.1
2.2
2.3
2.4
{Attractor Point Location}
{Attractor Point Location}
{Attractor Point Location}
{Index Selection}
3.1
3.2
3.3
3.4
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This diagram depicts the process by which I arrived at my final panelized surface. I knew I wanted the two surfaces to sweep towards each other thus creating an interior volume, however I struggled at first to find a configuration that would be both buildable and aesthetically pleasing. I eventually decided upon the form shown in 1.4 which, when joined with the waffle structure, becomes a self-supporting object.
Surface and Waffle The creation of this structure began by a process of elimination as I experimented with different configurations of surfaces in Grasshopper. Once I had decided on one I liked, the panelling process began. As we were working with a waffle structure, I wanted to be a bit ironic and try to emulate the pattern of a waffle through my surfaces. I eventually decided to use the truncated, square-based pyramid shapes seen below, however with a bit of variation to add interest and to filter light differently depending on the location of the light source.
Exploded Isometric 1:2 0
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12cm
The upwards sweeping shape of the two surfaces is meant to mimic the sails of a ship and create a sense of movment. A hollow waffle structure allows for the creation of an interior volume. Perforations are wider towards the centre of both surfaces, with smaller holes at the top and bottom of the structure. Perforations of varying size on both surfaces allow for penetrations of light at all times of day and in all light intensities.
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Computation Workflow
X and Y contours
Z contours
Slots
After referencing in my surfaces to Grasshopper, I divided them vertically by 8 and then lofted these lines to make the contours.
These were more complicated as they didn’t follow a rectilinear path. To make it clean, I removed a few malformed contours using the cull index command.
The final challenge was creating a way to join the contours together because initially the y contours didn’t intersect with the z, so no slots could be made.
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Fabrication and Construction
Due to the shape of my panelised surface, I was unable to roll each row of five out in a single go. Instead I had to do each panel individually. This made the process more time consuming, but also arguably more accurate.
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Generating Ideas Through Process - TASK2 11
When designing and creating this model I wanted to look at the interplay between various Euclidian geometries to create interesting facets and shadows. I used a truncated diamond shape for my Boolean geometry and distorted it only slightly using attractor curves to create a slightly distorted and more organic, crystalline form. As the Boolean was so intricate, I decided to keep the overall form of the 3D print quite simple, leaving it as a cube. I like the juxtaposition this creates.
Intersecting shapes within the cube itself create cross-sections and perforations that allow veiwers to see through it, making it seem lighter.
The cube is constructed of eight slightly different iterations of a single geometric shape, giving it a crystaline appearance.
The geometric edges create interesting shadows and planes in different lights, with the outer, planar surfaces being quite reflective and the interior becoming dark and deeply shadowed.
Sharp geometric edges and faces form intersecting triangles and squares that create an almost organic looking shape.
Despite much of the surface of the structure being cut away, the overall cubic shape remains clear because each of its corners is defined by a smaller polygon.
Isometric 1:1 0
20
60mm
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SOLID AND VOID
Design Matrix Grid attractor points
1.1
1.2
1.3
1.4
Key {0,0,0}
Attractor / Control Points (X,Y,Z) Volume centroids
(x 105.07, y -34.24, z 0.0)
(x 179.9, y 26.46, z 0.0)
(x -42.1, y -20.5, z 0.0)
Volume centroids
2.1
Boolean shapes
3.1
(x 179.9, y 26.46, z 0.0)
(x 179.9, y 26.46, z 0.0)
(x -42.1, y -20.5, z 0.0)
(x -42.1, y -20.5, z 0.0)
1.2
3.2
2.3
2.4
3.3
3.4
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This depicts the thought process I went through to get to my final 3D-printed shape. Initially I used a high level of attraction to two points, which resulted in highly distorted internal shapes, seen most clearly in 3.2. I liked this when I was using smooth forms such as spheres, however I wanted to use a more geometric form, so I instead used a simple grid of shapes as seen in 3.3. This was the Boolean geometry I eventually went with.
Computational Process
To start off the Boolean process, we began
This section was where we got our variation from,
Finally we filled the centre of each grid with
with a simple box and divided each surface into a 3x3 grid.
as we used attractor points - as seen in the image below - to distort the grid.
a volume - in my case I chose the platonic Tetrahedron as I liked its’ geometric form.
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M2 Task 2 3D Printing
Task 02 3D Printing Makerbot Screenshot after calculation.
The 3D printing process was very precise and easy to get wrong, however by following the specified guidelines I found it relatively straight-forward. The blocky nature of my model required little support structure and was withing the required 9 hour print time, likely due to the use of MinFill, which resulted in a very lightweight model.
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Following on from the exploration of shadows in M1 and the use of dramatically sweeping geometries in M2, the concept of my pavilion began as three twisted sheets that created a simple interior volume. However, as my exploration continued, the shape of my pavilion changed from cuboid to a hemisphere, and its form took on something resembling a flower. The tiered seating is recessed into the ground to form a sort of amphitheatre, with access provided primarily by a ramp but also via the seats themselves, which act as steps and can easily seat the required thirty people. The use of a transparent material for the interior dome allows light to penetrate while also providing protection from the elements, and the metal finish of the petals was to used to reflects the surrounding, helping it to further blend into the landscape.
PROTEA PAVILION
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Isometric diagram showing thresholds and circulation
Isometric 1:100 0
2
6m
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Design Iteration
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2
This was my initial design for the pavilion, based on the sweeping geometries of Module 2 task 1. However, due to its concave shape, I wasn’t able to fit the required people in while also keeping the pavilion within the 5x5 m size limit.
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I wanted to continue the use of sweeping surfaces, so I changed the design to a hemisphere to maximize the habitable space. The twisting motion gives it greater interest, however at this level, the openings are not large enough for access.
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While playing around with the Loft command in Grasshopper, I made this shape. Although I love the complex geometries and how it responds to various transformations, I didn’t think it would be buildable.
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In order to further open up the space and link back to the sweeping shapes of my initial design idea, I decided to peel back the petal forms to create an opening in the ceiling, which is also similar to my second design iteration. Twisting this shape slightly is how I reached my final design.
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Key - Surrounding hillside - Turf - Concrete - Brushed aluminium - Perspex
- People
This diagram depicts the space during the mid-day seminar, showing the ease with which thirty people can fit into the space, with ample room to spare. Whether seated or standing, on the steps or on the grass, this space is incredibly flexible, and allows for a relaxed and inviting atmosphere.
Plan 1:50 0
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1
3m
This diagram depicts the space during the orchestral performance. The area of the stage is just under 3.5m squared, which is ample room for the small qurtet. It also shows the detail of the petal forms, which are made of a lightweight brushed aluminium, and will be welded together and anchored into the ground through some form of concrete foundation. Instead of attaching the petals to the Acrylic or Perspex inner dome, I believe having them simply resting against the structure will be sufficient, as long as the foundations are sturdy enough. This will create a seamless and elegant appearance inside the structure, as well as preventing any distortion of the materials if they expand and contract at different rates. Key - section cut
- concrete
- Turf - surfaces seen through Perspex
Section 1:50 0
1
3m
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Computational Process
Interior Dome
First Petal Layer
Second Petal layer
This structure was created by arraying a curve around a point then using them to split a dome, creating concentric arches.
These were made by arraying a section of a dome around a point and then transforming it by uding the bend and twist commands.
Like the first petal layer, this was created by arraying a shape around a curve, however I had some issues with ensuring the seperate layers joined.
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Fabrication process
For M3 I decided to make the exterior skin of my Pavilion self-supporting, and therefore the main part of my design. By 3D printing it I was able to make it a single, rigid surface. Placing it vertically reduced the support material and thus the print time. The base I constructed out of 42 layers which were laser-cut out of 1mm moutboardwhich,. They make up the contours of the surrounding hillside, as well as the tiered seating and the ramp leading up from Swanston St.
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360 Image Output
Digital Design Semester 1, 2018 26