Digital Design Portfolio by Saran Kim

O R

F DIGITAL DESIGN SEMESTER 1, 2018 SARAN KIM 904662 STUDIO 15 - JOEL COLLINS

SARAN KIM sarank@student.unimelb.edu.au https://s719244.wordpress.com/ EDUCATION 2017 - present

The University of Melbourne Bachelor of Design (Architecture and Landscape Architecture)

2018 - present

Harvard University The Architectural Imagination (EdX)

WORK EXPERIENCE 2014

Short internship at John Wardle Architects

AWARDS / EHIBITION 2018

32nd Dulux Colour Awards finalist

2017

Tongji Construction Festival Unimelb team member

2017

Global Foundations of Design Historical Building Analysis Exhibition

2017

VCE Season of Excellence Top Designs Exhibition at Melbourne Museum

SKILLS Adobe Illustrator Adobe Photoshop Adobe Indesign Rhinoceros Grasshopper Model making (paper)

REFLECTION The design has been a significant part of my life. I have been fascinated by its problem-solving nature and the conceptual ideologies it can introduce to viewers through visual communication. Studying architecture is a journey of understanding the design of space and ultimately the design of human experience and lifestyle. The ability to shape peopleâ&#x20AC;&#x2122;s lives through design has been my motivation to pursue my learning. Digital Design has become an essential aspect of the architectural practice. Undertaking this subject means getting equipped with practical skills including visual scripting on Grasshopper, real-time rendering on Unreal Engine and the physical fabrication using the laser cutter and a 3D printer. Skills and theoretical understanding of digital design I acquired through this subject improved the ways I communicate my ideas and concepts visually. As an architecture and landscape architecture student, I have interest in defining a visual and spatial connection between built environment and landscape. In the modern city where people are increasingly disconnected from nature, I find it important to take wellbeing of inhabitants into design consideration through the integration of nature in the fabric of the living space. Furthermore, I am also interested in shaping the spatial experience of people in the space. Architecture has the power to elicit particular emotional responses of a person in the space. The design of Queen Victoria Garden Pavilion reflects my passion in both creating a link between landscape and built elements, and designing the spatial experience of a visitor of the pavilion. It is clear that the design outcomes have room for improvement, such as the execution of the details and visual representation. Also, there are more skills to be gained in using digital software such as Grasshopper and Unreal Engine for the smooth and quick digital processing for the future projects.

INDEX

3 MODULE 1 D IAG RAMMING D E S IG N P RE CE D E NTS

5 MODULE 2-1 G E NE RATING D E S IG N THRO UG H D IG ITAL P RO CE S S E S : S URFACE AND WAFFLE

10 MODULE 2-2 G E NE RATING D E S IG N THRO UG H D IG ITAL P RO CE S S E S : S O LID AND V O ID

14 MODULE 3 Q UE E N V ICTO RIA G ARD E N P AV ILIO N

M O D U L E

DIAGRAMMING DESIGN PRECEDENTS

Isometric 1:100 0

2000

6000mm

2015 MPAVILION BY AMANDA LEVETE ARCHITECTS

Located in Queen Victoria Garden, MPavilion by Amanda Levete Architects explores the abstraction of trees in the context of the garden. The complexity of the foliage is simplified to the linear patterns on the translucent panels resembling canopy which overlap in a systematic manner. In modelling this pavilion, it was necessary to subdivide it into four key sections: the timber ground, vertical carbon fibre rods, panels and the rib structure connecting rods and panels. Since each component consists of repetitive, modular patterns, it was important to model one element of each section in full before duplicating it to cover the whole section. Gollings, John. MPavilion. Photograph. Dezeen. October 5, 2015. Accessed March 5, 2018. https://www.dezeen.com/2015/10/05/ amanda-levete-architects-mpavilion-queenvictoria-gardens-melbourne-australia-fibreglass-forest-petals/.

Circulation

Threshold

Since this pavilion does not have designated entrance and exit, users are provided with the open access to the pavilion space. The circulation within the space is created by the poles that support the petal structure, which encourage users to walk around them and to take time exploring the space rather than to walk straight through.

As the pavilion form reflects architectsâ&#x20AC;&#x2122; intent to mimic the idea of trees and canopy, the threshold of this pavilion is designed to be fluid just like getting into shade under the tree. This blurred boundary between inside and outside aims to make the pavilion fit in the landscape of Queen Victoria Gardens where it is located. MODULE 1 D I A GRA M M I N G D E S I GN P RE CE D E N T S

Lofts

1.1

1.2

1.3 {60, -150, 150}

{150, 0, 150}

1.4 {150, -120, 150}

{30, -150, 150}

{0, 0, 150}

{150, 0, 150}

{0, 30, 150}

{150, -150, 0} {-30, -150, 30} {-30, -150, 0}

{120, 150, 150}

{0, 0, 0}

{-150, -60, 150}

Key {0, 0, 0}

{60, 0, 150}

{150, 0, 90}

{150, 150, 150}

{-150, -150, 150}

Control Hidden

Isocurve

{0, -120, 150}

{0, 0, 150}

{0, -150, 60}

{90, -150, 0}

{-150, 0, 0}

{120, -60, 0}

{150, 90, 0}

{90, 0, 0}

{60, 0, 0}

{30, 0, 0}

{0, 0, 0}

{60, 0, 0}

{0, -90, 0}

{0, 0, 0}

{Index Selection}

2 - 1

Paneling

M O D U L E

Paneling Grid & Attractor Curve

2.1

3.1

Lofts

{150, 0, 150}

2.3

{522, 25, 201}

Panellin

{152, 215, 58}

{14, 249, 0}

{-68, 196, 0}

3.2

3.3

1.4 {150, -120, 150}

{150, 0, 150}

Two volumes with one opening {-30, -150, 30}

3: 3D panelling{-30, -150, 0}

{0, 0, 0}

{90, 0, 0}

{0, 0, 0}

{60, 0, 0}

Lofts

{Index Selection} 1.2

1: Cube

{60, -150, 150}

{150, 0, 150}

Paneling Grid & Attractor CurvePa

{0, 0, 150}

2.1

{30, -150, 150}

2.2

{0, 30, 150} {150, 150, 150}

{0, 0, 0}

{120, -60, 0} {236, 335, 60} {90, 0, 0} {152, 215, 58}

{150, 90, 0} {Index Selection} {14, 249, 0}

2.1

{0, -120, 150}

with

{60, 0, 0}

{30, 0, 0}

{0, -90, 0}

1.4

2.4

2.3

{-150, -150, 150}

Design Matrix 1:10

{0, -150, 60}

{457, 48, 201}

{-150, -60, 150}

600mm

Key {0, 0, 0}

{0, 0, 0}

{0, 0, 150}

I selected surfaces with two distinctive panelling unit designs: design 1 {-150, 0, 0} and design 4. While design 1 features geometries predominantly formed by triangular shapes, design 4 consists of {0, -90, 0} a series of triangular prisms which{0,ver0, 0} tices attracted in different directions.

2.4

200

{0, 0, 0}

{427, -55, 201}

{0, -120, 150}

{90, -150, 0}

3: Using ptSrfDomNum, ptOffsetGrid, ptCrvAtts, and ptMorph3D {30, 0, 0} of {0, 0, 0} with different combinations {60, 0, 0} series of values and attractors for panelling

Combinations of triangular prisms with varying angles

{60, 0, 0}

1: Constructing a point using Pt, creating a 150 x 150 Rectangle, extruding it, 1.3 capping it, and extracting edges using DeBrep {150, -120, 150}

Control Points (X,Y,Z) Hidden edges Isocurves

{-150, 0, 0}

{-68, 196, 0} 2.2

{0, 0, 0}

{0, 0, 150} Triangle-based volume on the flat surface

{90, -150, 0}

{-30, -150, 0}

{120, 150, 150}

Combinations of triangles {150, -150, 0} {0, -150, 60} Picture Frame

{60, 0, 150} 2: Selecting edges using List Item, {150, 0, 150} 2.3 dividing them into 5 segments, -70, 201} selecting points and{304,forming {150, -150, 0} {522, 25, between 201} Lines then Lofting edg{-30, -150, 30} es

{150, 0, 90}

Key

{-150, -60, 150}

{120, -60, 0}

{150, 90, 0}

1.1

{-150, -150, 150}

3.4

{60, 0, 150}

{150, 0, 90}

{120, 150, 150}

Control

Attracto

{236, 335, 60}

1.3

2: Surface

{0, 0, 0}

Original

{0, 0, 150}

{150, 150, 150}

{427, -55, 201}

{457, 48, 201}

Original

{30, -150, 150}

{0, 30, 150}

2.4 {304, -70, 201}

GENERATING DESIGN THROUGH DIGITAL 1.1 1.2 PROCESSES: SURFACE AND WAFFLE {60, -150, 150}

2.2

Control Points (X,Y,Z) Hidden edges Isocurves Control Points (X,Y,Z) Attractor Curve Original Grid on Surface 1 Original Grid on Surface 2 Panelling Grid on Surface 1 Panelling Grid on Surface 2

Two volumes with one opening

The nature of the forms of the panels influences their relationship with light and shadow; One panel (3.4) facing up receives full light while the other panel (3.1) on the down side gets tonal variations of shadows with light framed by openings.

Combinations of triangles with Picture Frame

Triangle-based volume on the flat surface

Combinations of triangular prisms with varying angles

Panelling design 3.4 for the first skin. The panelling units are narrower and elongated towards the upper end of the panel, providing a wide variation to the form of the panel unit.

The directions in which vertices of the panel units are attracted construct the sense of movement. Due to the way offset grid points formed, the rows of the panel units became interlocked and united as a single panel rather than individual units.

Panel design 3.1 for the second skin. The vertices of panelling units are attracted by a curve to produce a dynamic movement to the composition of the panel.

The openings of the panelling units expose the internal sides, creating the relationship between inside and outside of the panel.

Two selected surface panel designs explore the aspects of juxtaposition and contrast between two different structures, characteristics and the spatial qualities. One panel (3.4) consists of the series of triangular prisms interconnected, and the other panel (3.1) features openings to the twisted forms. Panel 3.4 focuses on the solid-

ity and a sense of movement, whereas panel 3.1 has a sense of sensitivity and gradual transition. These also present different approaches to their relationship with light and shadow. One panel 3.4 facing up receives full light while the other panel 3.1 on the downside gets tonal variations of shadows with light framed by openings.

The relationship between two panels is supported by the configuration of five types of fins. The triangular base filling the gap between the bottom of the first skin and the ground level provides stability to the waffle structure.

Exploded Axonometric 1:2 0

120mm

MODULE 2 - 1 GE N E RA T I N G D E S I GN T H RO UGH D I GI T A L P RO CE S S E S : S URF A CE A N D WA F F LE

GRASSHOPPER SCRIPT FOR WAFFLE

2 Original parametric surfaces set in the Brep containers

Rectangles to prisms Skeleton

Contouring the surfaces in the Y direction and X direction

Extruding rectangles in Z/X/Y directions and Capping Holes

Boundary Curves

Subtracting prisms from fins using Trim Solid, extracting edges by Brep Edges, and Joining curves

Numbering

Creating a Series of integers and using Concatenate to link them with unique labels, and placing numbers by Text Tag 3D

Rectangles on planes Vertical fins of surfaces Offseting contours on planes(XZ / YZ), Lofting offset and original lines and Culling unnecessary elements

Horizontal layers

Extracting edges using Brep Edges, then taking points by Dividing Curve, connecting points using Line, Joining Curves, Offseting and Lofting

MODULE 2 - 1 GEN ERA T I NG D E S I G N T HR O U GH DI GI TAL PR OCES S ES : SURFA CE A N D W A F F L E

Brep|Brep to find intersections of fins, locating Planes (XY/XZ/YZ) and constructing Rectangles

Orient

Finding centroids by using Area, referencing a point and making Rectangles and orienting boundary curves to the centroids of rectangles by Orient Direction

The complex, parametric relationship of two surfaces required the waffle structure to have a triangular base which provided stability to the model.

Triangular base

Waffle (1mm mountboard)

Panelling unit (design 1)

8 Panelling unit (design 4)

Unrolled waffle and panels FABRICATION Unrolling surfaces Nesting

Rhinoceros

Lasercutting Folding panels Fixing Assembly

Physical fabrication

Laser cut waffle fins

Completed waffle structure

Panel surface made in rows

Attaching panels onto the waffle structure MODULE 2 - 1 GE N E RA T I N G D E S I GN T H RO UGH D I GI T A L P RO CE S S E S : S URF A CE A N D WA F F LE

MODULE 2 - 1 GEN ERA T I NG D E S I G N T HR O U GH DI GI TAL PR OCES S ES : SURFA CE A N D W A F F L E

1. Panel design 3.1 2. Side of the model 3. Detail of panel design 3.1 4. Panel design 3.4

Grid Manipulation

1.1

1.2

1.3

{103,83,197} {103,-69,197} {-49,-49,159}

Key

1.4

Centre {149,19.6,90} R = 48.6

{133.7,-81.1,108.5}

{330.5,42.4,37.7}

Centre {35,-9,72} R = 30

{332.3,232.9,112.1}

{8,191,25} Centre {0,150,33} R = 86

Curve attractors

Centroid Distribution

2.2

GENERATING DESIGN THROUGH DIGITAL PROCESSES: SOLID AND VOID

{8,191,25} {8,191,25}

Curve attractor + Point attractor

3.1

3.2

This is composed of two pyramids with 3 faces and a pyramid with 4 faces on 1.2 top, and two pyramids with1.3 4 sides on bottom side, pro{133.7,-81.1,108.5} {103,-69,197} {330.5,42.4,37.7} viding complexity to the sub{-49,-49,159} {332.3,232.9,112.1} tracted volumes.

Grid Manipulation

{-56.8,-22.9,61.7}

Point attractors

Bottom

Curve attractors

3.4 {103,-69,197}

I selected design 3.4 as it had a dynamic relationship with the original cubic volume. The boolean units for design 3.41.4were rotated Centre {149,19.6,90}and X twice in the Z direction R = 48.6 direction using the radian input of the distance between a reference point and cenCentre {119.7,150,127} troids, which gave unique R = 66.7 characteristics to individual boolean units.

{378.7,-81.1,197.6}

Centro

2.1 {188.2,-22.9,150.9}

2.2 {188.2,-22.9,150.9}

Random attractor 2.3

Curve attractors 2.4

{215.9,78.2,169.1} {203.2,177.1,215.6}

Rotate 3D (x axis + z axis) + Scaling based on the distance between centroids and the point

Design Matrix 1:10 0

200

600mm

Key Centre {35,-9,72} R = 30

Centre {0,150,33} R = 86

Curve attractors

{103,-69,197}

Rotate 3D (x axis) + Scaling based on the distance between centroids and the point

{8,191,25}

Point attractors

{97.3,171.5,217.3}

3.3

XYZ Scaling based on the distance between centroids and the point

Top

Isometric

{128,-66,72}

{103,-69,197}

The geometry unit

{103,83,197}

{215.9,78.2,169.1} {203.2,177.1,215.6}

Scaling based on the distance between centroids and the point

1.1

2.4

Centre {35,-9,72} R = 30

Unit Transformation

2 - 2

2.3

Curve attractor

M O D U L E

Curve attractors

{188.2,-22.9,150.9}

Random attractor

{378.7,-81.1,197.6}

2.1

Attrac Attrac Grid P

Geom Centre {119.7,150,127} R = 66.7

{-56.8,-22.9,61.7}

Point attractors

{0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points Geometry Unit for subtraction

GRASSHOPPER SCRIPT FOR BOOLEAN VOLUME Attractors

Combination of Curve Attraction and Point Attraction to manipulate volumes of boxes

Geometry

Creating pyramid forms by referencing points and surfaces and extruding surfaces to points, then combining them using Solid Union, and allocating them within boxes using Volume and Orient

Boxes

Select surface Deconstruct Brep to extract surfaces then selecting it by List Item

Box

Creating a box by forming a Rectangle and extruding it by Box Rectangle

Using Cellulate 3D Grid to create boxes from manipulated grid

Attractors

Moving grid

Create a grid by Surface Domain Number and creating 9 cubes by moving points in X direction 3 times

Attracting points by Curve Attraction with referenced Curves

Unit transformation Manipulating geometry through rotation (Distance, Bounds, Remap Numbers to acquire angles) in X and Z axis, and change of scales by Scale NU, then Boolean Difference to subtract volume

MAKERBOT

FABRICATION

Top: parts in orange shows the support material

BooleanDifference

Bottom: the imported 3D model

Mesh

Rhinoceros

Export as TSL file Calculation 3D Printing Removing support

Makerbot

Physical fabrication

MODULE 2 - 2 GE N E RA T I N G D E S I GN T H RO UGH D I GI T A L P RO CE S S E S : S O LI D A N D V O I D

Unit transformation 3.4 is used for the dynamic relationship between the cubic volume and the extraction of the triangular mass.

The subtraction of the volume on the corner creates a link between the adjacent surfaces.

The voids inside the volume interact with multiple surfaces, enhancing the relationship between sufaces of the volume

The edges of volume carved out present the angular and geometric nature of the subtracted mass

Solid Boolean Axonometric 1:2 0

120mm

I decided to trim the cube in the triangular prism form as it has a connection with the form of the boolean unit made of triangular surfaces. Two of three surfaces (visible in the isometric view) presents the dynamic relationship between different forms of voids. The variations of the volumes of voids give a rhythmic movement.

The complexity of the negative volume is emphasised by the angular edges. Voids are interlocked, which allows the flow of air in terms of the permeability. In conveying the form of the volume in the isometric view, I decided to highlight three visible sides in three different shades for the clarity of the form.

MODULE 2 - 2 GEN ERA T I NG D E S I G N T HR O U GH DI GI TAL PR OCES S ES : SOLID A N D V O I D

The accidental quality of the composition of the subtracted forms produces the complexity to the possibility of circulation and thresholds

2 1. Right hand side view 2. Placed on the side way 3. Left hand side view

MODULE 2 - 2 GE N E RA T I N G D E S I GN T H RO UGH D I GI T A L P RO CE S S E S : S O LI D A N D V O I D

Design development

Scripting Fermat’s spiral using parametric equation

M O D U L E

Closing curves by using End Points, Polyline, Cull Nth and Join Curves

Project curves onto a torus form

QUEEN VICTORIA GARDEN PAVILION

r 2 = a 2θ

Culling unnecessary curves by using List Item

Evaluating surface to find centroid and then extruding to point

Solid Difference with a smaller torus with the same centroid

Parametric equation of Fermat’s Spiral x = a· θ1/2· Cos θ y = a· θ1/2· Sin θ

Fermat’s spirals are utilised as the starting point of the design process as a reference to the mathematical representation of the natural pattern found in the arrangement of sunflower seeds.

Using Split Brep to separate top half from bottom half

Rotate and and Cull Index to get the top half

Lifting each brep using z axis Move based on Series

The threshold is defined by the change in the elevation; the circular platform is embedded below the ground level to create a sense of enclosure.

The intersecting spirals on the ground are constructed of Corten steel and vegetation. Use of Corten steel for the pavilion structure and the landscape creates visual connection between them. Having vegetation as a part of pavilion allows it to be seamlessly integrated into the landscape.

This Pavilion focuses on taking patterns from nature for establishing a connection between the pavilion and the natural landscape. The arrangement of sunflower seeds inspired me as it could be defined by the parametric equations of two spirals. The pavilion consists of the curvy, helical structure. The half-embedded pavilion is visible from the outer land-

scape, and extruded spirals invite visitors to sit, becoming extra seating during seminar and quartet performance. The circulation is indicated by spirals as they lead visitors to get closer to the pavilion. The integration of the pavilion in the landscape is achieved by the consistent use of Corten steel for the pavilion structure as well as for the spiral on the ground.

Overall Isometric 1:100

St Kilda St side of the pavilion is opened up by cantilevering spiral extrusions. This attracts people from the arts precinct as they see the opening of the pavilion from distance.

2000

6000mm

The threshold is defined by the change in the elevation; the intersection of spiral forms with changing heights creates nonuniform negative spaces and encourages people to approach the pavilion freely.

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

Pavilion

Clockwise spirals (Corten steel)

Spirals above ground level

Anticlockwise spirals (vegetation)

Thresholds based on the ground level

Platform under the ground

Ground

Threshold

Overall threshold defined by the elevation of spirals above ground & embedded platform

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

Circulation

Spirals indicating the directions & complexity through intersection of two spirals

1. Vignette 1 - Approaching towards the pavilion 2. Vignette 2 - Following the spirals 3. Vignette 3 - Entrance to the pavilion

3 MODULE 3 QUEEN VICTORIA GARDEN PAVILION

1 1. South-West view 2. Landscape details 3. Pavilion section details

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

5 4. South-East view 5. South-view

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

GRASSHOPPER SCRIPT FOR THE PAVILION

Closing curves

Finding End Points, drawing Polylines, exploding, culling unnecessary lines and joining them

Solid difference

Using Solid Difference to trim the torus off by extruded curves then culling unnecessary elements

Projection

Projecting curves onto the torus

Volume of outer torus Creating a large torus using Torus Surface

Culling

Selecting elements by List Item -> Not used

Culling

Selecting elements by List Item

Culling

Selecting elements by List Item

Closing curves

Finding End Points, drawing Polylines, exploding, culling unnecessary lines and joining them

Trimming Extrude

Volume of inner torus Spirals

Referencing curves forming clockwise and anti-clockwise spirals

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

Creating a small torus using Torus Surface

EvalSrf to find normal directions of the large torus, changing amplitude, moving surface points and extruding curves to the points

Manipulating form Changing the rotus form using Panel Origin and Scale NU

Creating a Rectangle, moving it, extruding it for trimming bottom section using Solid Difference

Unrolled base (top surface)

Laser cut parts on the ivory card

Constructing the base with landscape

FABRICATION Spliting spirals Rhinoceros

MAKERBOT The imported model (green) with support material (orange)

Makerbot

Physical fabrication

Mesh

Unrolling surfaces

Export as TSL file

Nesting

Calculation

Lasercutting

3D Printing

Folding panels

Removing support

Fixing

Fixing spirals

Assembly

Rhinoceros

Physical fabrication

Fixing elements of 3D-printed spirals

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

360 VIEW

MODULE 3 QUEEN VICTORIA GARDEN PAVILION