Digital Design - Portfolio Semester 1, 2019
Manasi Chopdekar 935401
Joel Collins, Studio 15
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This subject has been a valuable learning experience in learning the different digital design tools and techniques and ways of rendering and fabricating my ideas. As an urban planning student, my motivation to design is to provide for the people around me, so that they can benefit from the place designed, one that they can use, which they feel comfortable occupying and one that pleases them as they see it and experience it. This subject has definitely been a step forward towards that aim in terms of learning the skills to showcase my ideas and pitch them forward.
[CV]
In learning the basics of parametric modeling tools like Grasshopper and rendering software like Unreal Engine, I have gained the skills of actually being able to build my ideas, to take it forward from just conceptualization, and even render it with different textures and effects to see how it could be experienced and percieved in the real world. I have also gotten the opportunity to improve on my fabrication technique throughout the semester.
email: mchopdekar@student.unimelb.edu.au wix site: https://manasichopdekar.wixsite.com/ddportfolio Education: 2018 - current
Bachelor of Design
2015-2017
Major: Urban Planning Central Board of Secondary Education (Singapore)
As a designer, my aspiration is to design places that would allow people to share pleasant experiences. This has been explored in my final module, in designing the Queen Victoria Garden pavilion, wherein my concept was to design a pavilion that would serve as a relaxation retreat within the city setting. While this subject has helped me learn new tools and softwares, much of the learning from here on is based on self-improvement and practice in order to build up further on these skills. My fabrication technique still needs a lot of improvement in terms of
Skills: Rhino
producing crisp and clean models, and since I have just started learning Unreal Engine this semester, much is yet to be explored in terms of learning and gaining experience in the rendering software.
Grasshopper Unreal Photoshop Illustrator Indesign Fabrication AutoCAD ArcMap QGIS
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[CONTENTS]
Task A MODULE 1 Precedent Study
04-05
Task B
MODULE 2 Generating design through digital processes
06-10
11-14 3
MODULE 3 Oueen Victoria Garden Pavilion
15-24
PRECEDENT STUDY
[MODULE 1]
DIAGRAMMING DESIGN PRECEDENT
My precedent study for this module was Amanda Levete’s MPavilion (2015). This pavilion recreates the experience of being within a forest, with its long slender carbon fibre stems that sway in the wind and high-tech paper thin petals that form the canopy and glow with LED lights. In using these elements, it responds to the weather conditions and site surroundings. The pavilion is designed in such a way that the unique experience, from lighting to sounds, that is associated with it, can only be experienced once one is within the pavilion, similar to the experience of being in a forest that can be felt only when one is physically within that space. The aim of this module was to recreate the pavilion model on Rhinoceros 6.0 with its given plan and section images.
Source for image: Gollings, John. MPAVILION. 2015. Photograph. Melbourne. Accessed June 9 2019 http://2015.mpavilion.org/mpavilion2015-al_a
In this module, by 3D modeling the pavilion on Rhino 6.0, I was able to understand the complexity of the MPavilion, and notice its finer details that I would not have, just by looking at images of it. With the help of this module, I was able to understand the relation of a pavilion with its landscape, the concept and thought that goes behind making it and how people use and experience the created space. Through understanding and recreating the MPavilion model, I was able to understand concepts like circulation and thresholds, both real and abstract, and how that contributes to the overall expereince that the pavilion offers.
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CIRCULATION AND THRESHOLD DIAGRAMS Diagram 01
Diagram 02
CIRCULATION DIAGRAM
THRESHOLD DIAGRAM
The different structural elements of the MPavilion define how people move within the space. The long thin stems of the pavilion allow for defined circulation paths and create a more private, enclosed expereience than the open landscape surrounding it, much like a forest. The flower beds surrounding the pavilion also define and limit how people enter the pavilion as they restrict entry from certain spots. All these elements together create a space that allows for people to walk in and around the pavilion, encouraging them to take their time in experiencing the space.
The structural elements of the pavilion together create a blurred space that is neither fully open, nor completey enclosed, much like the space under a forest canopy. This experience is enabled by the flower beds bordering the pavilion, the change in floor materiality to timber which act as thresholds to seperate the exterior open landscape from the interior of the pavilion. Spatial thresholds are created by the long stems that hold up the canopy and the seating elements that allow for gatherings and conversations. All these together strive to recreate the experience of being under a forest canopy.
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MATRIX Lofts
1.1
1.2
{150,150,150}
1.3
{60,0,150}
1.4
{75,0,150}
{0,0,150}
{105,150,150}
Key
{0,0,150}
{0,0,0}
{0,150,150}
{150,0,150} {90,150,150} {75,150,150}
{120,150,150}
{150,0,60}
{0,90,0}
{150,75,0}
{0,120,0} {0,75,0}
{150,150,0}
Paneling Grid & Attractor Point/curve Paneling
3.1
{150,0,0}
{150,0,0}
{0,150,0}
{30,150,0} {60,150,0}
{105,0,0}
2.1
Grid Points
{90,150,150}
{105,150,150}
{0,0,60}
{0,0,150}
{45,150,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{150,0,150}
{150,60,0}
{0,120,0}
2.2
{150,135,0}
2.3
2.4
{54,64,92} {25,83,92} {54,64,92}
{54,64,92} {-23,35,145}
{163,170,0}
3.2
3.3
[MODULE 2 - A]
3.4
My task A matrix shows an exploration of different lofted surfaces that can be created from using parametric modeling software. It shows the different base grid patterns obtained from using grasshopper to remap the grid based on point and curve attractors. Finally, it also shows the different panel iterations applied on the remapped base grid. My concept for Task A was to show a continuity and relation between the two surfaces and the panels that would be applied on them. Therefore, I ultimately decided to go with a combination of 2D and 3D panels, all of which are shown in my matrix. In order to exercise more control over the size and angle of the panels, I used multiple point attractors instead of a curve attractor.
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PARAMETRIC SCRIPT FOR PANELING Lofted surface stored in brep container
Curve attractor system
Meshing the different 3D panels used
Generating offset grid
Point attractor system Generating 5x5 base grid on surface
Remapping 5x5 grid according to point attractor
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Generating panels across grid using Morph3D and Morph2D
FINAL SURFACE 1. 4 CHOSEN WITH A COMBINATION OF ALL 4 PANELS USED IN THE MATRIX
PARAMETRIC SCRIPT TO GENERTE WAFFLE STRUCTURE
Surface 1 vertical and horizontal contour line generator
Surface 2 vertical and horizontal contour line generator
Making surfaces out of vertical
Fins to remove
contour lines and their offset
using ‘fin cull’
WAFFLE STRUCTURE
Using ‘fin cull’ to remove unnecessary vertical contour surfaces - generate final vertical contours Creating slits by trimming out the extrusions from the contour surfaces
I wanted my waffle contours to show the curve of the surface so that when I would stick my paper panels on it, it would respond to the curve and give as close an effect to what is observed when I would rotate my model on Rhino 6.0. Hence, I have 7-8 vertical and horizontal contours, for added stabiliy as well as to accentuate the curve. Due to the positioning of the lofted surfaces on the coordinate plane, I had to have two seperate vertical contour codes on grasshopper for both surfaces.
Generating extrusions to mark slits at the intersection of horizontal and vertical contours
Making surfaces out of horizontal contour lines and their offset
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ISOMETRIC Surface 1 - a mirror of surface 2 NOTE - different point attractors Vertical contour structures: Provides a skeletal framework for the paneling
Horizontal contour structure for waffle - vertical contours will be slotted into these x2 perforated 2D panels + x1 perforated 2-pyramid 3D panel + x1 2-pyramid solid 3D panel + x1 1-pyramid 3D panel angled towards direction of surface 1 x3 perforated 2-pyramid 3D panels + x1 solid 2-pyramid 3D panel + x1 1-pyramid 3D panel angled towards direction of surface 1 Direction of panel angles
x4 Solid 2-pyramid 3D panels + x1 1-pyramid 3D panel angled towards direction of surface 1
were used for both surfaces. Therefore, even if panels are ‘mirrored’, the angle and grid sizes are different.
Peforated 3D panels will gradually lead to the perforated 2D panels, while the presence of previous panel designs keep it linked to the rest of the paneling as well
Aimed to show a break in the soliditiy of large 3D panels and a gradual shift to smaller 3D panels
x5 Solid 1-pyramid 3D panels angled towards direction of surface 1
Upper row shows all 4 different paneling objects used and there is a clear transition from 3D to 2d from bottom to top. Also, they are all angled towards surface 1
Direction of panel angles Surface 2
My aim for Task A was to use my panel and waffle combination to show a ‘sense of flow’ and ‘continuity’ - sense of flow in terms of direction and angle of panels that relate it to each other and continuity in terms of relating the two surfaces to each other based on the use of panels. The waffle structure accentuates the curves of the two lofted surfaces and my aim was to have my panels reflect that as well. Hence, there is a gradual flow of panels on one surface from 3D to 2D in a diagonal direction that follows the curve of one lofted surface, angled towards the other. This concept is mirrored on the other side to create a sense of movement as when the waffle and panel structure is rotated about its vertical axis, the panels of one surface appear to curve and lean towards the panels of the other, thus relating the two surfaces together.
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LASER CUTTING and fabrication
LASER CUTTING PANELS OUTPUT ON IVORY CARD FABRICATED WAFFLE STRUCTURE
LASER CUTTING NEST FOR WAFFLE STRUCTURE
PANEL FABRICATION PROCESS LASER CUTTING NEST FOR SURFACE PANELS The material used for laser cutting the waffle structure was 1 mm white mountboard and 290 GSM ivory card was used for panel structures. A seperate grasshopper code was used to obtain the 2D linework for the waffle structure that could be laser cut and fabricated to form the 3D model. The burn marks were erased a little using cotton buds and water and panels were carefully glued onto the waffle structure. Time was of utmost importance during this process because the model needed to be completed on time, but at the same time, it had to be fabricated meticulously as well. I took extra caution with panel labeling to make sure I glue the right panel in its correct position. The unrolling process for panels was initiated as soon as I had the final waffle and panel combination, to make sure that they unfolded correctly.
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FABRICATED MODEL
The fabricated model shows the panels at the desired angles, accentuated by the vertical contour support at the back. There is a clear transition from 3D to 2D panel geometry and a relation between the two surfaces - the panels are a mirror of each other and they are angled in the direction of the opposite surface to create a sense of movement as the model is rotated. The grid panel sizes also change from big to small, from bottom to top, further highligting that sense of continuity and movement. The panels transition from bottom to top diagonally - directs eye to move along that direction, and change from solid single pyramid 3D panels to perforated 2D panels. The resultant panel and waffle combination came together with an aim to create a relation between the paneling, and between the panels, surface curve and waffle.
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MATRIX Cube with point/curve attractors
1.1
{-9,76,212}
1.2
1.3
Key
1.4
{0,0,0}
Grid Points {66,144,86}
{65,73,75} {-4,185,67}
{36,129,-113} {Attractor Point Location}
{Attractor Point Location}
{Attractor Point Location}
{Attractor Point Location}
Geometry used for boolean difference
2.1
2.2
2.3
2.4
Section cut across boolean cube
[MODULE 2 - B]
Attractor / Control Points (X,Y,Z) Hidden lines for resultant boolean cube
{32,44,135}
3.1
3.2
3.3
3.4
My task B matrix focuses on three main variables - the centre point locations for grid depending on different point/curve attractors, the geometric shapes used for boolean difference from the basic cube and the difference in section cuts made after boolean difference between the shapes and the cube. Geometric shape 2.2 is chosen for my 50x50x50 boolean cube because it produced geometric hollows or voids which I found more interesting to rethink over in terms of use on a smaller scale and on a larger, more human scale (like a pavilion). The shape used in that case is weaverbird’s platonic dodecahedron. This matrix shows my exploration on the use of point vs curve attractors, the different geometric shapes used for boolean difference and the different section cuts across the resultant boolean difference which influenced my choice of final 50x50x50 boolean cube.
PARAMETRIC MODELING SCRIPT Storing all 4 final/edited 3x3 Creating a 150x150x150 cube and dividing one of its faces into a 3x3 grid
Storing 3x3 grid points into a seperate point container for efficient data organization
Copying and moving 3x3 grid 3 times to divide all 6 faces of cube into a 3x3 grid
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grid points into seperate point containers for efficient data organization
Storing all 4 3x3 grid points into seperate Manipulating 2nd and point containers 4th 3x3 grid points for efficient data set according to point organization attractors
Generating 3D grid cells
Obtaining centroid of grid cells
ISOMETRIC Another window opening - provides more light into space Absence of cieling plane provides more light, opens up space Presence of solid wall creates sense of enclosure and provides space for gathering
Acts as a window - opening to let more light into the space
Double-celled open space created by platonic dodecahedron geometry
More private space defined by walled enclosure
Acts as a door - threshold opening between outside space and space within the solid
Gap in between is the only entrance to a more walled enclosure
Circulation
My Task B isometric is a section cut through my platonic dodecahedron boolean geometry. The reason why this iteration was chosen is because it not only shows the shape of the boolean geometry that was subtracted from the 150x150x150 cube but it also starts to show space and the idea of threshold and circulation when it is looked at, at a human scale. The solidity of the walls act as non-permeable thresholds and the openings are the only way to allow people and light in. Large rectangular openings act as windows and allow more light in, thus making the interior, enclosed space appear more light and open. The gap as marked in the isometric is the only entrance to the leading space which is more private due to lack of openings and walled enclosures. However, lack of cieling plane makes it appear more open and permeable.
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3D PRINT MODEL
Parametric SCRIPT FOR 50x50x50 BOOLEAN GEOMETRY SHAPE PLATONIC DODECAHEDRON
Using point and curve attractors to obtain different boolean difference 150x150x150 cubes
Generating dodecahedron geometry for boolean difference Custom print settings - Digital Design
3D PRINTED ITERATION MODELS
BOOLEAN GEOMETRY GENERATED
The time limit for individual print file was maximum 2.5 hours per student. Almost all of my geometries when placed alone on makerbot interface, generated a time of approximately 2 hours maximum to make. However, due to cost and time limitations, I could only print 3 cubes in total, two of them being iteration cubes whereas the last being the final 50x50x50 boolean geometry cube.
3D PRINT
Platonic dodecahedron was an interesting shape to use for the final 50x50x50 boolean cube because when boolean differenced from the box, it produced geometric voids that on a human scale, would resemble occupiable spaces that varied in terms of function depending on what scale it was at. When placed on its 4 protruding points, the boolean cube above forms a sheltered, enclosed structure that is too dark, but when placed as in the image above and on a slightly smaller scale, it can be used as a sculpture element for people to lean against or sit and gather together.
The iteration models explore the different boolean geometry shapes as shown in the matrix. The sillouetes in the model images show the model in terms of human scale and thus, how the model can be used and occupied by people.
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FINAL 3D PRINT MODEL
My final 50x50x50 3D printed shape uses platonic dodecahedron geometry for boolean difference. My initial idea was to present it as a pavilion with the solid walled side as a roof and the small hole as an opening or a skylight to let light enter the enclosed space within. But after much consideration, I decided to reduce the scale of the model until, while it was still on a human scale, it would become an object that people can interact with (as can be seen in the photograph). This is because on a pavilion scale, it creates small, tight and dark interior spaces with limited circulation, only illuminated by the little skylight at the top. My aim for this task was to create a booleaned space that could be further thought about on human scale, in terms of circulation and the way people would occupy it. This iteration shows people occupying it as a gathering space. The limitation for this iteration is that it does not provide any shelter at its scale and angle and is too open in terms of public-private spaces.
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THE CANOPY - QUEEN VICTORIA GARDENS
[MODULE 3]
The Canopy, located in Queen Victoria Gardens, is a pavilion that offers a relaxation retreat in a city setting. It recreates the experience of being under a dense forest canopy, with its long and slender steel branches of different radii and perforated copper sheeting on top, that represents the canopy foliage. The cocrete structural elements of the pavilion serve as not just retaining walls for the raised relaxation grounds but also as steps and seating for the general public to enjoy and relax under the shade of the canopy. The large, circular ramp serves to encourage people to walk around the pavilion but also acts as additional seating space during an evening quartet performance. The main seating space directly under the Canopy can seat no more than 15 people so additional seating space has been incorporated into the landscape which stretches beyond the shade of the pavilion. The Canopy is open enough to be used for a lunchtime seminar and an evening quartet, with the performance space at just the right distance from the seating space in order to make sure that the quartet/ speaker can be heard by the audience. Its evening ambience shows the tranquil and peaceful atmosphere created within the pavilion by soft yellow-orange lighting built into the concrete structures. These serve to illuminate pathways at night, as well as act as stage lights, creating a soft and peaceful atmosphere for an evening quartet. They also illuminate the metallic texture of the paviion, making it shine in the dark.
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EXPLODED ISOMETRIC The 2D perforation panel is an offset of the original lofted surface created using grasshopper. It forms the very top layer of the canopy, acting as the foliage.
LEGEND - PRIMARY ZONES MOVEMENT ZONE
The thin pipes act as the thinner branches at the top of the canopy and together with the foliage, form the top layer of the pavilion. Multiple iterations of pipe patterns were created using grasshopper to obtain a good, printable branch pattern. This side of the ramp is the only part where the surrounding landscape is at level with the pavilion and hence becomes the primary entry point into the pavilion
PERFORMANCE ZONE (minor | major) SEATING ZONE (minor | major)
NCE
ENTRA
Earth mound bounded by concrete retaining walls that act as steps down to the performance zone this space can be used as additional seating/ for relaxation.
The thick pipes act as the thicker branches of the canopy and are made using the same technique as the thinner pipes, using grasshopper. Primary seating space for watching performance/speech. Can accomodate 15-20 people under the canopy. Acts as retaining wall for earth mound in the middle. Primary performance/speech space
Stairs that can be used as seating and for access to lower performance level.
Raised concrete block to support the pavilion structure but can be used for leaning, seating (step up from ramp) and as a general gathering space.
Large round concrete block, along with the concrete stairs create a semi private space here that is bounded also by the raised surrounding landscape level. 0
250
750 mm
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CIRCULATION AND THRESHOLD DIAGRAMS Roof structure
Roof structure
directs circulation of people along the round concrete seating and around the pavilion space rather than straight into the interior pavilion space
also acts as a threshold to seperate exterior open space and pavilion space
Circulation
Spatial threshold open public space of the pavilion, gradually sloping down from surrounding landscape level
Main circulation space Grass patch for open space relaxation Additional seating/gathering space
open but more private space created because of lowered height from surrounding landscape and the large round concrete block
Main seating space for watching speech/performance
boundary area of pavilion, can be seen as its exterior almost
Different entrance and exit routes
Interior of pavilion, can be seen as part of internal pavilion space Objects that create the thresholds
Pavilion floor structure Surrounding landscape (not on level with pavilion space)
Functional threshold
Main entrance of pavilion (because it is on level ground with pavilion space)
Surrounding landscape Pavilion circulation and seating space acting as threshold Performance/speech zone
CIRCULATION DIAGRAM
THRESHOLD DIAGRAM
The concrete structural elements define how people move within the pavilion space. While the pavilion landscape itself is planar, the surrounding landscape is curved and hence the there is only one part of the ramp in the pavilion landscape that is on the same level as the surrounding landscape and this becomes the major entrance. The grass beds meant for relaxation are bound by concrete retaining walls which act as steps and seating and contribute to determining how people move around in the space. The shadows cast by the roof structure and angle of shade offered during daytime also determines the circulation of the people in and around the pavilion.
The major thresholds are the large concrete elements which have been shown in the diagram above. They not only blur the boundary between interior and exterior of pavilion space but also form more private spaces for seating and gathering. The pavilion structure itself acts as a threshold because it limits access from the northern entrance side - people would have to go around along the ramp to access the space within the pavilion canopy.
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DESIGN ITERATION
In order to obtain the general form of the pavilion, I decided to use grasshopper knowledge from M2 to generate lofts from bounding boxes. Above 3 iterations show the result. Out of the 3 shown above, I chose the one highlighted in a red box as my final pavilion form because I was looking for a fluid form that would fit in with my concept of linking the pavilion form with the landscape, an idea that I brought forth with me from M2 Task A. The finzalized pavilion form showed a smoother curve while having 3 balance points spread out accordingly on the landscape, to ensure that the form would balance and stand upright on its own (which is one of the brief requirements).
My M1 precedent study was Amanda Levete’s MPavillion 2015 which recreated the experience of being in a forest. Inspired by that idea, I thought about how I wanted my pavilion form to relate to my landscape setting, the gardens. Hence, I thought of recreating the experience of being under a dense forest canopy (similar but opposite to my precedent study concept).
This is my earliest landscape design iteration. It was done in order to get an idea of how much seating space would be taken up by 15 people, to determine whether my pavilion form fits the design brief. Since early on, I knew that I wanted to incorporate the seating in the ground as opposed to building layers on top of the landscape. The image to the left shows my early design thinking on how the seating should be arranged according to pavilion form, and the general circulation of and around the seating arrangement, and how it leads to a performance podium. This exact arrangement was discarded later in favour of more curved geometry.
I thought about how combing a Voronoi structure with pipes/branching would make it look like dense foliage. If I had another layer of 2D paneling with perforations at the very top, I could recreate the forest canopy experience with beams of sunlight streaming in through the perforations. The reason why this exact iteration was discarded was because neither the pipes nor the Voronoi structure was a good mesh on Rhino 6.0. This meant that my structure could risk not being 3D printed for the 1:25 sectional model, and thus I had to either rethink my entire design idea or somehow refine the structure elements to get it 3D printed.
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RENDERED IMAGES The rendered images show the shadow effects cast by the warm and soft yellow lighting that has been incorporated within the concrete ramp, steps, and seating. The seating and performance space is adequately sheltered (as can be seen in top view image). However, the circular geometry of the landscape and the fluidity of the pavilion itself seems to contrast and upon further improvisation on the model and the rendering, this contrast could be potentially mellowed to create a wellintegrated pavilion and landscape. The main concept driving this pavilion is the idea of a relaxing retreat in a city setting. The pavilion recreates the experience that is similar to standing under a forest canopy (inspired from M1 precedent study). However, it is also functionally driven, in terms of how much space it shelters and how the placement of the perforations along with its varying sizes react to the sun and shadow angle and shade shelter. The lighting serves to illuminate important pathways but also give a warm atmosphere to the evening quartet so that the audience, as well as the performers, could have a pleasant and soothing experience within the pavilion space.
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1:25 SECTIONAL MODEL IMAGES
This image shows the shadow effect that can be observed in the pavilion when natural light streams in through the perforations. The effect is similar to the beams of light streaming in through dense canopy foliage in a forest. Some of the perforations are deliberately placed over pipes because, as it can be seen in the shadows projected in the image, some of the branch outlines are also visible, giving it a more natural look. The setting here is daytime, during a lunchtime seminar where a presenter is speaking to the people seated in front of him. The shade of the canopy shelters the audience as well as the presenter.
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1:25 SECTIONAL MODEL IMAGES
This image shows the sectional model from the opposite angle so the arrangement of steps and seating can be properly seen. As it can be seen from the figures placed in the model, the seating is at an optimum height to comfortably seat the audience, while allowing some leg room at the back for upper row seating. The stairs are at an appropriate height to allow easy accesibility into the performance space. The distance between the speaker and the audience is also of appropriate measure so that he can be heard and seen well by the audience. The pavilion canopy shelters the audience and the presenter within that area and provides a more enclosed space so that the seminar can be conducted.
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PARAMETRIC SCRIPT FOR OBTAINING PAVILION FORM
PARAMETRIC SCRIPT FOR generating pipes along loft For innermost layer of pipes
Creating a bounding box of 5m x 5m x 3.74 m and then
For thinner pipe layer -
deconstructing it to obtain
essentially the same code, only
edges
the radius of pipe has been changed Above code remains the same for 1:25 model, only the radii of pipes are divided by 25 to maintain scale at 1:25. The reason for having 2 seperate scripts for 1:1 and 1:25 model is so that the mesh arrangement is 3D printable.
PARAMETRIC SCRIPT FOR generating perforations Using loft script from M2 to obtain a lofted form from
Final lofted structure/
3 lines
pavilion form
The lofted surface is plugged in and through a point attractor, the radius size of each circle generated along the loft is controlled - the nearer the circle is to the point attractor, the smaller its size. This was necessary to have varying perforation sizes in the panel sheeting.
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3D PRINTING AND FABRICATION
LASER CUT NESTING FOR LANDSCAPE
LASER CUT LANDSCAPE AND 3D PRINTED PIPES
PLACEMENT OF 2D PERFORATED PANELS ON TOP
The pipes were sent for 3D printing immediately after modeling, so that in case there were any issues with 3D printing in terms of mesh arrangement or any other problem, they could be dealt with early on. The landscape was laser cut from 1 mm white mountboard while the 2D panels were cut from 290 GSM ivory card. Overally, the arrangment of the innermost branch layer was pretty easy as the seperate pieces could be glued together easily due to larger radiius. However, fabrication skills were tested while gluing the thin pipes togteher and making sure they were not only stable but securely glued onto the thicker branch layer.
LASER CUT NESTING FOR 2D PERFORATED PANELS
SETTINGS AND AMOUNT OF TIME NEEDED TO 3D PRINT LOWEST BRANCH LAYER
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360 Image Output
Digital Design Semester 1, 2019
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