D I G IFOLIO E S SEMESTER 1, 2018 Melissa Tan 912630 Xiaoran Huang #3
1
2
//about me
melissa tan email: melissa.ym.tan@gmail.com
+
EDUCATION
2017 - current 2011 - 2016
+
Bachelor of Design Korowa Anglican Girls’ School
work experience
2016
Icon Inc
2018
Junior Tan T-shirt & Menu design
+
exhibitions
2017
+
skills
Rhino Grasshopper Unreal Photoshop Illustrator Indesign Fabrication
FOD:R Exhibition
+
reflection
It is within the culmination of art and science that crafts my experience of architectural design. Through my life I have been drawn by not only the artificial landscapes but also by the unequivocal experiential disposition afforded by nature. Perhaps, it’s the symbiotic relationships of organic elements that catalyses my understanding of a functioning program, or the constraints of earth’s resources that spark my interest in optimising designs for minimal waste. Technology has acquiesced a new typology in design that allows for parametric thinking through modelling and prototyping. Through Digital Design, I have been able to explore many capabilities of the Rhino add-on Grasshopper, creating designs that were inconceivable beforehand. I found it particularly fun to experiment with environmental and atmospheric scenes in Unreal Engine 4 as the controls and editing tools seemed familiar to both Grasshopper and gaming commands. My focus in design reaches beyond the computations of a functional, aesthetically pleasing volume in space, rather a concentration on materials, form and program. In order to achieve a good design I believe in also looking into both its immediate and greater context, accomplishing its brief while also allowing opportunities for growth in the future.
3
M1
Precedent Study
M2
Generating Design Through Digital Processes
M3
Queen Victoria Garden Pavilion
//CONTENTS
m1
Diagramming Design Precedent
ISOMETRIC 1:250 Within the Kensington Gardens of London, Kazuyo Sejima and Ryue Nishizawa of SANAA designed a floating aluminium cloud for the 2009 feature of the annual Serpentine pavilion. The form of its metal structure wreathes between the trees of the park, furthermore enhanced by its ephemeral qualities with its reflective undulating roof suspended completely by delicate columns. Thus, an open plan is formed allowing the structure to be accessed from all angles, with exception to ground conditions. Through an exploration of the pavilion’s structure an understanding of the circulation space and primary assembly areas can be formed as well as the thresholds of the form.
4
Panelled surface
Structure
Primary Circulation Space
Supporting columns + glass enclosure
Areas of assembly + intermission
Ground Plane
Entry ways
THRESHOLDS (PERMEABILITY) 1:600
CIRCULATION 1:600
5
m2 generating design through digital process
Task one Interlocking four pointed stars and rectangular prisms coalesce to form the panels that undulate along the curved waffle structure. Through this connection of three-dimensional forms, square voids are generated, acting as ‘two-dimensional’ panels. It is through these voids that sunlight is able to be filtered into the interior volume, diffused in nature as the light refracts off the surrounding angular structure. As one walks through the form, they are guided through by the twisting surfaces, whilst simultaneously encouraged to draw their eye up towards the sky.
6
Surface and Waffle Surface extends past the waffle drawing the eye beyond the limitations of the structure.
Gaps within the mesh act as windows into the volume
Blocks follow the twist of the structure, enhancing and emphasising the curvature Square blocks create another facade that echoes the waffle structure
The Structure has an open top, creating a large volume within
Star structure connects square details whilst still allowing light in
7
Design Matrix Lofts
1.1
1.2
1.3
1.4
{Index Selection}
{Index Selection}
{Index Selection}
{Index Selection} 1.3 Rotated by 90*
Paneling Grid & Attractor Point Paneling
2.1
2.2
2.3
2.4
{Attractor Point Location}
{Attractor Curve Location}
(Random Attractor)
{Index Selection}
3.1
3.2
3.3
3.4
8
Deconstruct Brep into surfaces
Divide 4 curves into points
Draw lines and loft
Insert pt attractor
Morph 3D to create panel surface
Creating Srf
Copy and rotate srf at 90*
Create Brep to be panelled in Rhino
Srf Domain to create panelling grid
Generating panels
Computational process 9
panels
Deconstruct Brep into vertices
Contour along Z and X axis
Contours From srf
Z-Axis
Create curves from end points
Loft and intersections
Entwine (flatten)
X-Axis
Interlocking intersections
Cull Index and offset curve to form loft
Extrude curves to interlock
Move contours then loft
Trim each brep with another brep
Create edges to join curves to be laser cut
Computational process 10
waffles
laser cut X9
X18
Y8
X8
Y7
X7
Y6
X6
Y5
X5
Y4
X4
Y3
X3
Y2
X2
Y1
X1
Y0
X0
X17
Panels
X16
X15
X14
X13
X12
X11
X10
Waffle
Waffle laser cut
As both surfaces were symmetircal the waffle was resultantly a multiply of one another. SImilarly, the panels on each face were almost identical, however ranged very slightly due to the attractors used previously. Panel laser cut Complete
11
m2 generating design through digital process
Task two Within the confinements of a cylindrical form, a stellated octahedron and cuboid are constructed in series resulting in interestingly convoluted voids, heavily juxtaposing the barren four walls of the cube. This not only allows for the angular, geometric interiors to be accentuated, but also grants space for people to seek shelter. Once again, the notion of diffused, soft lighting is introduced through refraction, however, the octahedrons penetrate the cuboids, resulting in harsh cut out shadows. Interestingly, these cut outs acquiesce a view through to the other side of the structure, granting not only light but interaction.
12
SOLID AND VOID Views of the geometric depressions are also afforded through holes on the other side
Insert at least 100 words on your process of creating your task 01 of Module 02.
Tessallated, geometric volumes within the structure cannot be traversed Light is still able to permeate through small openings that are connected to the cubic volumes
13
Large gaping entry ways allows this structure to be navigated
Design Matrix Grid Manipulation Distribution Testing Shapes
1.1
1.2
1.3
1.4
{Curve + Point Attractor}
{Point + Random Attractor}
{Random + Random Attractor}
{Random + Point + Curve Attractor}
2.1
2.2
2.3
2.4
{Basic}
{Point Attractor}
(Random Attractor)
{Random + Curve}
3.1
3.2
3.3
3.4
{Sphere}
{Dodecahedron}
{Stellated Octahedron}
{Stellated Octahedron}
14
Computational process Form bounding box
Divide box surfaces into individual breps
Random attractors through middle grids
Further customise through curve + pt attractors
Create Grid through Srf Dom num
Form Grid
Cellulate Grid into mesh
Randomising Grid Interior
Scale distance by factor and point attractor
interior volumes
Platonic Octahedron
Platonic Cube
15
3d printing
Stellated octahedrons interact with cuboids
Although a great tool in 3D modelling, I found some difficulties in extracting support material out of my model (however, this was greatly anticipated). Using PLA 3D Printing is often a fast and relatively inexpensive way of showing prototypical models but is less accurate than powder printing. The cylindirical prism cuts through the stellated octahedrons at various points, crafting multifarious views into the volume.
16
m3
This 4900mm x 4900mm metal grid cube structure is divided into 700mm3 boxes. Within sits a timber tessellated form that molds to create a walkway between spaces, flooring, seating and shelter. Two main volumes construct the interior, dictated by both built-in wooden elements and voids within the grid. Undulating stairs run within the structure itself acting as both steps and seating depending on the time of day, and the events/functions that are occurring above or below. A quartet easily fits within the lower volume, playing out towards an open audience. Similarly, the seminar may occur in the same space or directly above. As the structure is highly permeable, sound is able to travel easily even to those that sit beyond the pavilion itself. The ground
queen victoria garden pavilion
plane and podium echo the geometric nature of the cube, ranging in heights to accommodate for seating and loitering, whilst also gradually stepping down in accordance to the terrain.
matrice 17
isometric Box grid acts as the supporting structure for internal volumes.
Despite large voids in space, the structure retains weight and heaviness in the rigidity of its form. Interior volume is formed by gaps in the grid structure, thus no formal walls and boundaries.
Full cubes are divided into half and are integrated into the structure. They retreat as they move upwards, creating a combination of steps and levels to rest. Each step allows for a different framed view of the landscape and pavilion.
Stepped podium creates variances within the ground plane that allows for seating and gathering.
SCALE 1:100
18
Diagrams Stair panels
Second storey
Interior volumes + Grid supporting structure
Stair navigation
Panelled interior
CIRCULATION + occupation 1:150
Entryways of ground floor
THRESHOLDS (PERMEABILITY) 1:150 19
Hazy Dusk
s c e n e 1
VR Rendering This proved to be one of my more enjoyable aspects of the module. Experimenting with a range of different lighting as well as materials granted me the opportunity to realise my pavilion design. Although it is still technically a digital render, it has given me a solid idea into how it would appear in real life.
s c e n e 2 Winter Day
20
photos Tessallated triangles juxtapose both the structure and surroundings. Thus, a sense of familiarity in organic, soft forms encourage people to venture in.
21
Lo
Computational Process
Rectangle grid points moved in series
3D grid is formed through vertices
Pipe complete curve - to be edited in Rhino
Wb’s join mesh, loop division, offset mesh
Wb’s picture frame to create triangular panels
Form Piped Grid
Brep is random reduced from previous grid
Interior volume
Boolean interior volume from piped grid & vice versa
Boolean
22
fabrication
Process
3D Printing this model proved to be a challenge as a great deal of support material was needed for the thin columns to be formed. As the rods were the minimum radius, many were susceptible to breaking when removing the support material
I chose to laser cut a section of my podium. Due to the geometric nature of my pavilion, there were only five different combinations of shapes to be sent through. These shapes were then pasted onto one anot=her to create the contours.
23
360 image output
Digital Design Semester 1, 2018
24