ARCH20004 (Digital Design) Portfolio

DIGITAL DESIGN PORTFOLIO 2018

SICHEN LI 914064

STUDIO LEADER: DAN PARKER STUDIO NUMBER 6

PERSONAL DETAILS *** SICHEN LI Education: 2017-current 2012-2016

Bachelor of Design Glenunga Int’l High School

Work Experience: 2017-current Ned’s MB pty. ltd.

Awards & Exhibitions: 2017 MSDx FoDR 2018 MSDx DD pavilion: Kloud Skill Evaluation: Rhino Grasshopper Unreal Engine Photoshop Illustrator Indesign Fabrication

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Design has always been the discipline I wanted to indulge in.

The aspect that motivate me in design would be the constant exploration of new ideas and translating them into forms and spaces. Also, being able to see my creation come into existence is a truly rewarding experience.

Digital Design has provided me with an array of useful new skills, most important of which would be parametric design and thinking. Through the three modules, I learned how to use visual scripting to construct forms with Grasshopper, as well as using an iterative process to develop my designs. The ability to generate many iterations in a very rapid manner is truly incredible. Further, my Rhinoceros 3D and illustrator skills were also developed throughout the subject, both of which are essential softwares in the realm of design.

My aspiration is to create architecture that provides an experience to its patrons. I believe that architecture is so much more than just forms and spaces, it is an art by itself.

With my pavilion design, I tried to create an atmosphere characterised by lightness and purity, allowing the patrons to experience the programs fully.

As parametricism is quite new to me, I believe that I still have much to learn in the said realm. Its potentials are truly unlimited, and I hope to integrate parametricism into my design process. Moreover, it is evident that real-time rendering has incredible potential in the near future, thus I would love to develop my skills in these emerging rendering tools.

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PORTFOLIO CONTENTS ***

MODULE 1 | Precedent Study

AA Bad Hair Pavilion 04

MODULE 2 | Generating Design Through Digital Processes

Task 01: Waffle and Panel 07 Task 02: Porosity 15

MODULE 3 | Pavilion Design

Kloud Pavilion 22

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MODULE 1: PRECEDENT STUDY *** AA BAD HAIR

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The ‘Bad Hair’ Pavilion Designed by the AA school of architecture in London, the ‘Bad Hair’ pavilion consists of overlapping slender timber members that form a semispherical shape. The name ‘bad hair’ comes from the designers insipration for the pavilion, which is, as the name suggests, messy hair. Though disorderly upon intial viewings, closer inspections show that the arrangement of said members are actually governed by mathematical principals. The design of the pavilion differs from that of a traditional pavilion, as instead of using the interior space to display artefacts, people are encouraged (by the materiality and form of the Bad Hair) to gather around the exterior. Such inverse of spatial relationships creates an interesting opportunity to explore the circulation of the building, as well as its unconventional threshold/permeability.

Axonometric drawing of ‘Bad Hair’ pavilion

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Circulation Diagram

Threshold Diagram

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MODULE 2 TASK 1 *** SURFACE AND WAFFLE

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The second module introduced students to the realm of parametric design, which involves the generation of geometry from parameters and algorithm. For the first task, my design process involved manipulating and modifying the given scripts to inject a sense of movement in the structure created. To achieve this effect, I opted for a twisted core form, where the two base surfaces seem to ‘dance’ with one another. Panels on both sides of the core progressively increase in size as they depart from their respective point attractors, furthering this effect. Whereas one side various complex triangular based geometries to create intense shadows, the other employs triangular openings to direct light into the waffled core. The resultant structure embodies movement and motion, whilst retaining a sense of order overall.

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Lofts

1.1

1.2

1.3

1.4 [0,150,150]

[0,75,15 [0,-60,150]

[0,150,150]

[0,0,15

[150,-60,150]

[150,0,150]

[150,0,150]

[0,0,0] [0,0,

[0,0,

[150,-75,0]

[150,-60,0]

[0,0,

[150,45,0]

[150,0,0]

Panelling Grid & Various Attraction Methods

Index Selection I

Index Selection II

Index Selection III

Index Selection IV

2.1

2.2

2.3

2.4

[150,300,0]

[85,85,65]

Point Attraction

Mean Curvature Attraction

Random Attraction

[300,-105,0]

Point Attraction (Final)

3.4

Paneling

3.1

3.2

3.3 +

+

+

+

+

+

Key {0,0,0}

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

Task 01 Design Iterations

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The solid panels creates a sense of contrast with the perforated panels, but also acts as a threshold between internal space and the exterior. Varying panel designs interact with light in different ways, with shadow intensity increasing towards the corner.

The complexity of the panel increases as the surface approaches the corner, creating a sense of graduation that is coherent with the general form of the structure.

Perforated triangular panels, each representing a repetition of the same form. However, the panels, as well as the size of the its perforatoin, iteratively reduce in size in accordance with the attractor points.

The waffle, situated between the two panelled surfaces, creates an implicit orthogonal plane. Thus, in this peripheral centre structure, interior volume is generated.

Exploded Axonometric Diagram of Task 01

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Grasshopper Script for Surface & Panelling

Group 1: Creating Bounding Boxes The first group of components creates a bounding box, acting as the parameters within which the construction lines can lie in. Two boxes were created - one for each surface.

Group 2: Forming the Surfaces Each surface was formed from two construction lines, each of which are fromed from the points that lie on the vertices of the bounding box. The two lines were then lofted to create a surface.

Group 3: Panelling the Top Surface A panelling grid was created with the point attraction method. By using a triangular prism as the base mesh, the weaverbird pictureframe component was then applied. Such created the openings of various dimensions.

Group 4: Panelling the Bottom Surface Four various 3D panels of various complexity were created, which were then panelled onto the surface using the Morph 3D command in a transitioning manner.

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Grasshopper Script for Waffle

Group 1: Creating the Contours The first group of components contours the two surfaces created previously, generating curves in both Z axis and X axis from which the following waffle structure can be constructed.

Group 2: Lofting the Contours The contours generated previously are then lofted 10mm to create the contours. Note that the extra Z axis waffle piece created was removed using the ‘cull index’ component.

Group 3: Creating the Slots Small slots were created so that the individual waffle members can slide into one another.

Planes were created, from which small pipes were generated. Such formed the basis for the slots.

Group 4: Trimming and Completion The waffle structure was completed after trimming the pipes against the waffle members.

This allows the structure to be constructed by means of 3D printing on 1mm mount board.

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The intial step in the fabrication process of the M2 model involved the production of each 3D module. The laser etched lines fold lines are further widened using an awl, creating more defined fold lines. The folding itself was completed using a steel ruler, ensuring maximum accuracy.

The individual 3D modules are joined together using UHU glue, as well as multiple steel pegs to ensure it dries in the correct position. This reduced the gaps between each module, resulting in a clean, defined exterior for the model.

Laser Cutting Linework (Black = Cut, Red = Etch)

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MODULE 2 TASK 2 *** SOLID AND VOID

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For the second task of module 2, students were introduced to the idea of occupying porosity. Such encouraged me to explore whether the concepts of thresholds as well as public & private space can be incorporated into a booleaned form. In my design, I chose to create the porous spaces through dodecahedrons, as their complexity generates a series of interesting angular spaces within which bodies can occupy.

The wide opening represents the more public portion of the structure, which funnels towards portruding forms that represent the threshold between public and private. The narrowing interior, coupled with the introduction of an overhead plane, creates a very intimate private space.

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Grid Manipulation

1.1

1.2

1.3

1.4

[72,68,0]

Random Attraction

Point Attraction

Dodecahedron Distribution

2.1

Point Attraction

[112,258,0]

2.2

Random Attraction (Final)

2.3

2.4

[43,15,190]

Dodecahedron Manipulation

Random Attraction

Point Attraction

Random Attraction

Centroidal (Final)

3.1

3.2

3.3

3.4 [-40,50,150]

[-40,50,150]

[-40,50,150]

[180,175,150 ]

Multiple Point Attraction

Consistent Scale

Reverse Point Attraction

Point Attraction (Final)

Key {0,0,0}

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

Task 02 Design Iterations

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If the massing were to be reversed, that is, the current form takes the role of interior space, a very intricate network of angular spaces would be generated.

Sharp points in the geometry provides the form with a sense of continuity.

By slicing the side of the mass away at an angle that is cosistent to the rest of the form, a sense of coherency is created.

Narrowing booleaned volume, the introduction of a overhead plane, and the transition between light and dark creates a visual threshold between a more open space and one that sis characterised by intimacy.

Exploded Axonometric Diagram of Task 02

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Grasshopper Script for Task 02

Group 1: Bounding Box The first group of components creates the bounding box, setting the boundary within which the boolean geometries will be created.

Group 2: Points Matrix The second group creates a points matrix by firstly dividing a surface into a 3x3 grid, and then moving the geometry four times. The point matrix forms the basis for further manipulations.

Group 3: Grid Manipulation The point matrix is manipulated using various attraction methods and manitudes. The resultant points are then cellulated to create a structure that consists of 27 individual cells.

Group 4: Geometry Manipulation Geometries are placed at the centre of each cell, and then further manipulated using various attraction methods. Platonic dedecahedrons were chosen as the geotry.

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MakerBot 3D Print Calculations

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MODULE 3: PAVILION DESIGN *** KLOUD PAVILION

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Within the pastoral context of Queen Victoria Gardens, the Kloud pavilion melds the orthogonality that has become associated with man-made structures with the flowing curved forms that mirrors nature’s creations.

Such achieves a sense of unity between the traditionally contrasting concepts of man and nature. The upper structure of the pavilion consists of a steel lattice structure, which is fixated against flowing and ‘liquid’ semitransparent polycarbonate shells, giving the space a sense of lightness and purity. The stepped base tapers towards the structure above, blending the form into the landscape.

Also acting as casual seating for the programs prescribed, the heaviness provided by its materiality gives the pavilion a sense of stability. The opening above the pavilion allows the midday sun to project the circulation path onto the ground, whose shape is followed by the concrete base. As such, movement of patron, is suggested, but not enforced, which falls in line with the philosphy of the design.

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The opening at the top allows sunlight to project the circulation path onto the ground.

The delicate, three dimensional lattice structure formed by fine steel bars implicitly describes the form of the pavilion, while simultaneously providing a sense of lightness and order.

The concrete stepping contour makes the pavilion seem as if it is ‘rising’ out of the ground. The heaviness of concrete also adds a sense of stablity to a pavilion charactersed by lightness.

Semi-transparent shells describe the flowing form of the pavilion, which adds a contrast of softness to the strict order of the grid. The shells provide a sense of lightness to the pavilion, and ‘glows’ under the use of upwards projecting lighting. Further, the patrons will be able to see the an outline of the grid structure whilst inside.

The stepping concrete base forms casual seating.

Axonometric Diagram of the Kloud Pavilion 24

Plan View

Elevation View

Circulation Diagram

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Iteration 1: Inhabitation of Porosity In this iteration of my design, I aimed to create a unit form that can be varied parametrically and repeated to create more complex structures. Such form would allow patrons to occupy its many porosities, creating a complex sensory experience.

Though this design was not chosen due to the small scale of the Queen Victoria Gardens site, the natural curves and the the considerations for porosity were applied to following designs.

Iteration 2: Subtraction In the second iteration, I experimented with subtractive design.

The proportions of the intial block was carefully considered, where the relationship between its height and width are coherent with the golden ratio. After many trials of achieving the most balanced and natural curvatures, the above design was chosen.

The four cantilever surfaces as well as the remaining massing formed the basis for my pavilion design.

Iteration 3: Implied Solidity Deciding to use iteration 2 as the basis for further development, I experimented with various methods to break up the heaviness of the remaining massing. By introducing a lattice structure in its place, I was able to retain the pre-existing orthogonality and sense of order whilst making the pavilion light and airy. Such can be referred to as ‘implied solidity’. After experimenting with different lattice spacing and thickness, the above teration is decided on as the finalised pavilion design.

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Grasshopper Script for Lattice Structure

Group 1: Forming the Lattice Structure The first group of grasshopper components were used to divide a the block form and create the X, Y, Z lines that formed the basis of the lattice structure.

Group 2: Creating the Pipes The second componentry group consists of three sub groups, each creating capped square pipes in their respective directions and moving the geomtry into the correct position.

Group 3: Trimming the Pipes The last group consists of only one component, which is ‘trimsolid’, in order to trim the pipes against the cantilevered surfaces.

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3D Printing As the ‘liquid’ like shells of the pavilion featured rather complex curvatures, 3D printing was the obvious choice in materialising it. As the shells are rather large, many arrangements were trialled and only one orientation was able to be printed within the 9 hours specified. The time-saving came at a cost however, with the backs of the parts being rather rough.

Laser Cutting & Lattice Structure As the lattice structure consisted of very thin members, the only option to consturct it was to laser cut the components. The X and Z direction pipes were combined into a series of grids, while the Y direction pipes were separated into small, individual parts.

Though this process was extremely time consuming, the end result was a close representation of the lattice structure.

Putting it Together After completing the lattice structure, UHU glue was applied to the pipes that connected to the shell to fix it in place. The upper structure was then lowered into the slot on the laser cut base.

This process created a rather sturdy model despite the large cantilever sections.

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Digital Design Semester 1, 2018

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