Digital Design Portfolio - Sem 1, 2018

DIGITAL DESGIN PORTFOLIO SEM 1 l 2018

Miao Juan Toh 917893 Joel Collins + Studio 15

1

CONTENT

03 PRECEDENT STUDY 06 GENERATING DESIGN THROUGH DIGITAL PROCESSES 21 QUEEN VICTORIA GARDEN PAVILION

2

R E F L E C T I O N S

P R O F I L E Miao Juan Toh | 1997 |ARCH Y2 tohm@student.unimelb.edu.au SKILLS

EDUCATION

Rhino Grasshopper

Australia

Unreal Photoshop

2017 - current Bachelor of Design in University of Melbourne mid 2016 - 2017 Trinity Foundation Studies

The following designs were inspired by works of several serpetine projects done by Toyo Ito, Barkow Leibinger and Smiljan Radic. They demonstrated how the idea of their serpentine pavilion came to be with a simple base material - paper. Incorporating concepts of circulation and threshold learnt from this course’s lectures, I gathered ideas on how to design the Queen Victoria Garden Pavilion.

Gaining skills on design softwares such as Grasshopper and Unreal Engine, I was able to experiment with parametric designs and produce realistic and beautiful rendering.

Follies are a great way for designers to explore and display their creativity and architectural skills. I would like a create a space, within such structures, where one can experience the transpanecy of an enclosed space. In the night, the space would have luminous qualities that exhibits the materiality of the structure.

Illustrator Indesign

Singapore

Fabrication

2014 - 2015

Pionner Junior College

2010 - 2013

Fairfield Methodist School (Secondary)

EXHIBITIONS 2018

DD MSDx Exhibition

2017

FOD:R Exhibition

3

I experienced many problems with fabrication as the construct of my pavilion was not the most efficient and structurally coherent. With better understanding of structural design in the future, hopefully I woud be more successful with fabricating the full model. Further improvement is needed on diagrammatic represention for better clarity on lineweights and rendering.

DIAGRAMMING DESIGN PRECEDENT The design was derived from expanding and rotating a cube in an algorithm. This created a complex and irregular patterns of trapezoids and triangles. The intention was to transform an ordinary spatial form - the box - into someting extraodinary.

The key concept here is the penetration of light through the pavilion.

As the pavilion is made of solids and glazing, the pavilion can be well shaded and well light simultaneously. Furthermore, this pavilion has restricted points of entry, resulting in a more directed flow of circulation into the space. However, circulation within the space mostly free flow, other than the obstruction of furniture. Trhough futher research, it is inferred that people are attracted to areas of shade and space for rest.

I have gained insight on how the design of the threshold can influence the circulation into the space and how materialty can affect the way peopl interact with the interior space of a pavilion.

TOYO ITO

SERPENTINE PAVILION 2002 4

C I R C U L A T I O N The path lines represents the movement of humans within

S T RUC TURE

the space. The closer the lines

GLAZING

are, the higher the congestion of humans around the area. Different shades of grey are used to show density of High Density Medium Density Low Density

P R IM A RY CIRC UL A TI ON S P A C E

humans

in

the

circula-

tion space of the pavilion.

SOLIDS

Materials guides the threshold of the pavilion. The bottom diagram shows the amount of light in the pavilion. Areas with

Circulation Path

allow the most amount of light

Tables

to go through suggest pos-

P A T HW A Y S

sible entrance of the space.

LIGHT DIRECTION

T H R E S H O L D 5

I S O M E T R I C DRAWING l RENDER

6

GENERATING IDEAS THROUGH PROCESS

7

LOFTS

DESIGN MATRIX 1.1

1.2

1.3

{150,75,150} {150,0,150}

{150,150,150}

{25,0,150}

1.4

{25,150,0} {150,0,150}

{0,75,150}

{0,150,150}

{151,150,-1}

{150,50,150}

{0,150,100}

{0,150,150} {150,150,0}

{151,23,4} {150,150,50}

{150,150,150}

{150,0,150} {150,0,0}

{150,0,50}

{150,150,50} {150,150,125} {0,125,150}

{0,100,0} {0,0,0}

{150,150,150}

{0,100,0}

{151,150,-1}

{125,0,150}

{100,150,0}

{150,75,0}

{151,23,4}

{150,75,150}

{0,100,0}

{0,0,150}

{150,0,100} {0,150,150}

PANELLING GRID & ATTRACTOR POINT

{Index Selection}

{Index Selection}

2.1

2.2 {93,121,207}

{25,145,296}

{Index Selection}

{Index Selection}

2.3

2.4 {77,-29,190}

{131,-56,196}

{99,165,173} {148,-42,195} {226,208,161} {-12,181,130}

{152,-49,8} {20,3,8} {-56,218,-2} {-17,119,-84}

PANELLING

{Point Attractor}

{Curve Attractor }

{Curve Attractor}

{Point Attractor}

3.1

3.2

3.3

3.4

+

KEY {0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Point

{Weaverbird}

+ {Weaverbird}

TASK 01

8

S UR F A C E A N D WA F F LE

The waffle structure is built with a bigger gap here to suggest a main point of entry. The most amount of light passing through the hollow waffle structure comes from this side.

Variation of 3D and 2D panels allowing different penetrations of light through the structure.

The direction of the 3D panels are attracted in a specific direction.

They are designed to let light pass through on one side of the structure and the other.

Hollow side of the 3D panel.

I explored with different attractors such as the point and curve attractor. I designed simple 3D shapes to complement the complex loft surfaces. I chose iteration 2 as I prefered the interior space created by the loft space. I knew that constructing the physical model would be a challenge due to its twisted nature.

Mixture of 3D and 2D panelling. The 3D panels are attracted in a specific direation to only show openess on one side of the structure. With the twisted design of the waffle, hollow cut outs of the 2D panels allow light to pass through.

Hollow side of the 3D panel.

Exploded Axonometric 1:10 0

20

Even though the waffle structure is built with a smaller gap here, the hollow cut-outs of the 3D panel surface gives a sense of openness on this side as well.

Waffle structure is built from 2 loft surfaces. Due to the twisted nature of the loft surfaces, the vertical components had to be scripted outside of the horizontal components. The placement of the loft surfaces created a wider gap on one side of the waffle structure and

60mm

9

Selecting Points to Loft Surface

CO M P UT AT IO NAL P RO CESS

Deconstructing Box 3D Extrusion

Deconstruction a box and dividing it

Choosing specfic points on different

By inputing a self created 3d shape,

into 6 points on each line

lines will produce different iterations of surfaces

this formula will create multiples of the same 3d shape on a surface domain, controlled by numeric inputs.

10

CO M P UT AT IO NAL P RO CESS Contours

Creating Planar Contour Surfaces

Rectangular Cutters Intersecting Curves Trim Solids

LaserCut Prep

Extracting contour lines from both surfaces in X and Z direction

Intersecting curves are dervied from X contours and Z contours when they are joined together Creating lines to join contours from both surfaces, able to create contour surfaces

Changing the oreintation of the lines and inputting vector movements, it creates surfaces that align to the ground and suitable to send in for lasercut Cutters are subtracted from contour surfaces

11

12

CLO SE

U P

U P

LE FT

PERSPECTIVE IMAGE 02

PERSPECTIVE IMAGE 03

C L O S E

PERSPECTIVE IMAGE 01

R I G H T PERSPECTIVE IMAGE 04

13

LASER CUTTING P A N E L S | W A F F L E This is created by unrolling the panels that I have designed. As the surface, that the panels was form on, was twisted, the unrolled panels had to be fixed to prevent faces from overlapping. This is necessary to prevent folding issues after lasercutting. I mirrred the unrollled panels at the end as I wanted the etch lines to be on the inside of the fold.

Red Lines - Etch Lines Black Lines - Cut Lines

14

The waffle structure was easier to produce for laser cutting.

Straight edges are aligned together so that I could save money on lasercutting.

Only Black Lines - Cut LInes

15

SIDE

OEP NING

PERSPECTIVE IMAGE 01 ENTRY

U NDU L AT I NG

C EI L I NG

PERSPECTIVE IMAGE 04

0 1

A N D

S H A D O W

PERSPECTIVE IMAGE 05 T U N N E L

PERSPECTIVE IMAGE 02 ENTRY

L I GH T

C I R C U LA T I O N

PERSPECTIVE IMAGE 06

0 2

PERSPECTIVE IMAGE 03

16

SO LID

AND

V O ID

I explored with different attractors such as curve, point, random and gaussian cuarvature attractor. I also created my own geometric shapes to explore different types of interior spaces. I chose iteration 3 due to the interesting intersection created by the geometry used.

This boolean structure is carved with the use of 2 donuts combined together.

I chose iteration 3 as the scaling and distribution of the geometry created interesting intersections within the box.

Leveled interior spaces are created, could be used as comfortable gathering space.

With the geomerty I used to boolean, it created an intersecting spiral tube through the center of the boolean model. It also created leveled interior spaces, which could be used as gathering spaces. The spiral tube

The intersecting geometry creates a spiral tunnel down this structure.

connects to all enclosed spaces, allowing for accessibility within the model.

Certain areas of the section created private pockets of space.

Where the box is sectioned, it creates interesting openings above base level. This provide a variation of viewing point around the structure.

One point of entry from base level.

I sectioned the boolean model in a way which created ‘window’ openings above the base level of the model and only allowing one point of entry through the boolean model.

Axonometric 1:10 0

17

20

60mm

GRID MANIPULATION

DESIGN MATRIX

OBJECT DISTRIBUTION

1.1

1.2

1.3

1.4

{Point Attractors}

{Curve Attractor}

{Random Attractor}

{Gaussian Curvature}

2.1

2.2

2.3

2.4

{115,-56,173}

{27,-127,150}

{133,255,134}

{34,199,16}

OBJECT TRANSFORMATION

{Point Attractor}

{Curve Attractor}

{Random Attractor}

{Gaussian Curvature}

3.1

3.2

3.3

3.4

{68,72,65}

{25,197,0}

{Reverse Attractor}

KEY {0,0,0}

{Point Attractor}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Point

{Point Attractor}

18

{Reverse Attractor}

TASK 02

CO M P UT AT IO NAL P RO CESS

Deconstrucin Box Attractors

Custom Geometry Attractor 3D Scaling

Box is divided into 3 horizontal and

By inputing a variable attractor or

This affects the scaling of 3d shapes

Custom geometry is great here as it

vertical planes. Points are then extract by a 5 by 5 grid

any other attractor, it would change the celluate grid as the point grids are being attracted to an input

that will be used to boolean the box. A curve or point attractor can be input here.

helps to expand the different types of iterations one can get, instead of simple 3D shapes

19

P rin tin g

2

3D

Task M2 Oreintation of the print model is essential as it can greatly reduce print time and production cost. The 3D print went smoothly and was successful and the structure does not require much support material and the edges are thick enough for printing.

20

G L A S S F L O W E R

21

The frosted glass panels are purposely position in mid air at different heights to allow for wind to pass through the structure. It gives the structure a lighter presence.

Panel Structure Detail 1:100 The creation of the structure is inspired by hyperbolic parabolic surfaces.

The use of material for the panels adds on to the lightness of the structure.

The spine of the panel is created with grasshopper. Connecting it to several points set out in rhino forms the surface.

Truss panels provides support to the floating panels as well ass connect the structure as a whole.

The surface is panelized by lunchbox with diamond patterns. Truss panels follows this pattern as well.

I S O M E T R I C

The form of the structure influences the circulation of space. There are only 2 entry into this spaces even though the structure may seem open due to its transparency and lightness.

The base is rised a level higher to seperate the threshold of the pavilion from the landscape.

Part of the structure is pulled apart to show the interior space.

Exploded Isometric 1:100 0

22

500

1500mm

OC C UP A TI ON OF S P A C E

S TRUC TU RE HIGH

D E N SI TY

GL A ZI N G

LOW

The main concept of the Glass Flower is lightness. With the look of floating panels and the use of glass, I wanted the main concept of the Glass Flower to be ‘lightness’.

The base of the pavilion is separated into 2 platforms.One will provide space for performances and seminars. The other will provide space for seating.

Ciruclation into the pavilion requires one to step up into the space. This seperates one’s senses of the surrounding nature and the man-made experience of the pavilion.

With the use of glass panels, it allows for transpanecy. Even though one would still be able to feel the enclosed space, it does not feel too crowded in the pavilion as transpanecy allows the interior to extend itself to its exterior.

During the night, glass is great for creating a beautiful luminous effect when there are lights shining into the pavilion space. This enhances the quality of space within the pavilion for evening quartet performaces.

CI RC UL A TI ON PAT H

T HRESHOL D 23

D I A G R A M

D E S I G N

FI R S T I N T ER A T I O N

I N T E R A T I O N

SE COND INT E R AT ION

P ANELS

P A N E LS

This was done with only using Rhino, which did not fit the brief of the assignment. I wanted to test how many panels I would need to

This was done with Rhino and Grasshopper. I prefered this as Grasshopper created more uniform shapes, which I could easily rotate or mirror to get repeated shapes. The construction of panels was easy to alter and I could easily trace back my steps to alter the pattern of a panel if I did

FI R S T I N T ER A T I O N

SE COND INT E R AT ION

WAFFLE

W A FFLE

This waffle structure was complicated to do as I had to create several cull patterns to be able to lasercut and put them together later. Unfortunately, this

This truss support was created by offseting line curve edges of all the panels and connecting them individually. I prefered this as the form of the pavilion remained and it still allows for transpanecy into and out of the pavilion.

24

UNREAL RENDER IMAGE 01 ENTRANCE OF THE GLASS FLOWER

UNREAL RENDER IMAGE 02 INTERIOR OF THE GLASS FLOWER

UNREAL RENDER IMAGE 03 DAY VIEW OF THE GLASS FLOWER

25

26

27

CO M P UT AT IO NAL P RO CESS

DAMIOND PANEL [LUNCHBOX]

DEVELOPING THE SPINE ROTATION AND VECTOR MOVEMENT

PETAL GEOMETRY This grouping creates the spine

With this grouping, I can change the

This grouping allows me to build

This grouping helps me to move

curve where it allows me to shape the panel in whether I want it to point up/down.

edge shape of the petal. I could have a wider front/ wider medium.

developable panels with a pattern.

panels orderly. Afterwhich, I duplicate these formulas to get multiple panels. This is also a great way for me to trace back my steps.

28

FABRICATION PROCESS P A N E L S & BASE | 3D P R I N T This is created by unrolling the panels that I have designed. I mirrored several panels as I wanted the browness of the laser etch cut to appear on the outside of the pavilion. This would allow for better visualisation of the trigulation on the panels. Fabrication of the panels and base went smoothly and successfully.

Red LInes - Etch Lines Black Lines - Cut Lines

29

Facing difficulty with trying to 3D print the full model due to time constraints and the fragileness of the truss support. I solved this by reducing the truss to its most important element.

The most important part of the truss support is the spine of the panels. Just with the spine, I could build the model to its diferent degrees and heights of each panel.

360 IMAGE OUTPUT DIGIT AL D ES I G N Semester 1 | 2018 30