Digital Design - Portfolio Semester 1, 2018 Renqi Cao 904925 Alex Wong Studio10
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Content: A
Precedent Study
B
Generating Design Through Digital Processes
C
Queen Victoria Garden Pavilion
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Introduction
Education:
Reflection:
2017 - current Bachelor of Design 2014 - 2017 PFLS
I was inspired by the idea of Zen-like designs, which connect the space with the natural environment and use minimalist materials to show the beauty of simplicity. As it is revealed in Peter Zumthor’s pavilion, he created a space between the exterior and the interior which merged the user and the landscape together. His design gives people the experience of perception, inspiration and imagination. In M2 and M3, I attempted to implement this idea in my designs. I created buildings with open spaces which generated thresholds between the interior and exterior, users and environments. And the overall structure of the building and the choice of material is designed to be minimalist. Simple triangular shapes forms the body of the model in these two modules. The material defines the Zen-like ideas of the design through increasing the transparency of it and enabling the reflection of lights. Model making is a main part that I need to improve. I need to pay more attention on proceeding physical models that could express my design concepts.
Awards / Exhibition: 2017
FOD:R Exhibition, AFLK Gallery
Skills: Rhino Grasshopper Unreal Photoshop Illustrator Indesign Fabrication Photography
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A/
Diagramming Design Precedent As it is explained by Peter Zumthor, the aim of his design is to “help its audience take the time to relax, to observe” ,and the concept is “the hortus conclusus, a contemplative room, a garden within a garden”. This pavilion is minimalise in its funcitionality, providing only a long bench along the gard for people to rest and corridor around the lanscape. Through offering places to sit and enough potential spaces in the corridor, it achieve its aim of “to relax” and “to observe” and engage with the surrounding environment.
Zumthor’s pavilion, 2011
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Isometric-section
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Threshold As stated by Peter Zumthor, this pavilion is a “contemplative room, a garden within a garden�. The thresholds are defined through two sections. Because of the asymmetrical arrangement of the entrances, it can hardly be seen through from the exterior of the building. The hallway, the in-between area of the outer wall and the inner wall, creates a dark threshold which seperates the pavilion from outside. After entering the inner section of the garden, another threshold is defined through shadowing and lighting. People and the lanscape are seperated and yet connected. Plants are surrounded by the corridor and exposed under sky while people are sheltered from sunlight. People colored by blue represent the transition from the exterior to the interior of the garden. Pink silhouette shows the activities of people within the interior of the garden. The second threshold is the boundary between pink silhousttes and the plants. Those thresholds forms a enclosed garden with a strong constrast of light and darkness which gives a unique interpretation of exterior and interior.
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Circulation Structure(supporting
Zumthor’s pavilion concludes six entrances for the outer structure but only four for the inner structure. Population are forced to converged at the four inner entrances. And the circulation are mainly focused in the inner cloister-like space, which is indicated through the grey recutangular path.
frame)
Primary circulation space
Circulation paths
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B/ Generating Ideas Through Process Generating Ideas Through Process Generating Ideas Through Process
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B/1
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Design Matrix Lofts
1.1
1.2
1.3
Key
1.4
{150,28.8,150} {150,50,150} {48.2,20.5,150}
{148.3,121.4,150}
{150,75,150}
{75,0,150}
{38.4,78.5,150}
{146.7,3.2,0}
{124.5,135.15,0}
{3.3,53.8,0}
{75,134,150}
{150,25,0}
{130,124,0}
{130,124,1}
{0,34,0}
{4.57,41.7,0}
{0,75,0}
{1.14,92.6,0}
Paneling Grid & Attractor Point
{Index Selection}
{Index Selection}
{Index Selection}
{Index Selection}
2.1
2.2
2.3
2.4
{106,66,117}
{-45,-52,104}
{170,-50,-5}
{-65,99,125}
Paneling
{Attractor Point Location}
{Attractor Point Location}
{Attractor Point Location}
{Index Selection}
3.1
3.2
3.3
3.4
+
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Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
{75,134,151}
{150,0,0}
{0,0,0}
{75,0,150}
{150,109,151}
{150,25,0}
{143.5,145.9,0}
{150,50,150}
{150,109,150}
{143,118,150}
{45.4,126.7,150}
{0,0,0}
{100,0,150}
{0,0,0} {0,34,1}
g
Surface and Waffle +
Design Matrix 1:5
The combination of solid panels and hollow panels creates the transition between open space and private space
Perforations on two faces allow both nature light to go through into the interior and artificial light to go through from the interior.
The triangular shape of the panel provides space with the potential of functional uses
A large hollow waffle structure provides the potential for the creation of large interior volume and allows the interaction of the interior lights.
Exploded Axonometric 1:1 0
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60mm
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The panel defines the threshold through the boundary of light and shadow
Computation Workflow
Curves of the wraffle structures are developed through lists of offset points based on the two surfaces
Wraffle structures are developed through cutting out the intersections of them.
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Each layer of the wraffle is labeled for laser cutting
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Laser Cutting
Most of the panels are joined and unrolled together. I intended to build panels that could be unrolled together easily for the purpose of making clean paper model.
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B/2
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SOLID AND VOID
This geometry features in its large hollow spaces on one side which allows enough light to go through into the structure, angular geometry created by the boolean geometries that forms a contrast with the smooth inner spaces, trimed boolean geometries on the left side which give complete open spaces and spaces with varied sizes and depth.
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Design Matrix Grid manipulationS
1.1
1.21
.3
Key
1.4
{0,0,0}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points
{110,152,129}
{47,112,24} {-12,83,0} {Attractor point location}
phere distributionS
2.12
{Attractor point location}
.2
{Attractor point location}
2.32
.4
{86,47,164}
{18,-13,86} {-18,38,86}
{Point Attraction}
phere transformation
3.13
{Cruve Attraction}
.2
{Random Attraction}
{Volume gravitational centers}
3.33
.4
{-7,185,60} {-12,83,0}
{-12,83,0} {Consistent scale}
{Attractor point scale}
{Attractor point scale}
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{Attractor point scale}
Computational Process
A box is constructed and divided into three sections on each grid.
The grids are remapped through the use of point attractors
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3d geometries with varied sizes are generated based on the distorted grids. The model is made through the boolean difference between the 3d geometries and the box.
3D Printing
Screen shot of makerbot file
Physical model
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C/ Cloud Forest
PROJECT TITLE Queen Victoria Garden Pavilion
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Render
Vignette 01
Vignette 03
Pavilion in the daytime. The semi-transparent material connects the natural scene to the pavilion. It allows the sunlight to go through, and the shadow of the plants reflects on the surrounding landscape.
Night view of pavilion lighted with colored lights. The reflections on the landscape and the translucent skin make the pavilion different from the daytime.
Vignette 02 View of the details of the structure and the material of the pavilion.
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Computational Process
The pavilion is generated based on two surfaces. Surfaces are divided by 4x4 grids. Grids are moved and offset.
Points are linked by lines to generate the skin and the supporting structure.
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The upper surface is redeveloped in rhino to achieve a distort shape.
360 Image Output
Digital Design Semester 1, 2018 27