Portfolio

A L A N A

B R O W N

DIGITAL DESIGN PORTFOLIO, S1, 2019

A L A N A

B R O W N

brownalana35@gmail.com

My intrinsic interest in both the fundamental problem-solving characteristic of architecture and the aptitude to impact the human experience is what inspires and motivates me within my designs. I have always been interested in both the logical, calculative aspects of physical construction, as well as the concepts and motives behind the design. The cohesion of these two key points is vital to any design, and it is this interplay that keeps me fascinated and by architecture.This portfolio explores the possibilities of digital design, and how technology can be instrumental in cultivating and producing ideas under the scope of three distinct modules, with the overarching theme of the pavilion. Throughout the semester I have been inspired by the endless possibilities for creation under the briefs, once only limited by imagination, however through the scope of digital technologies broadening and expanding the possibilities.

EDUCATION:

WORK EXPERIENCE:

BACHELOR OF DESIGN, UNIVERSITY OF MELBOURNE 2018 - PRESENT

CENTRAL TILING – CLERICAL ASSISTANT, 2014 -2016

Majoring in architecture with engineering breaths

writing up daily takings, dealing with phone inquiries, process and prepare orders, and stock control.

OUR LADY OF THE SACRED HEART CATHOLIC COLLEGE, ALICE SPRINGS, 2004 - 2016 ATAR of 86.70

AWARDS / EXHIBITION:

Assisted with day to day administrate tasks, for example filing, Rhino

Grasshopper

Unreal Engine

Photoshop

InDesign

Illustrator

LJ HOOKER ALICE SPRINGS – PROPERTY MANAGER ASSISTANT, 2017 - 2018 Organised maintenance for approximately 600 residential properties, which involved liaising with owner, tenant and contractor.

Completed final and ingoing inspections.

Central Education Foundation Scholarship, 2018

Held open houses for perspective rentals.

MSDx Exhibition, MSD, 2019

Administrative tasks as directed.

Melbourne Mobility Scholarship, 2019

Autocad

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C O N T E N T 04

MODULE 1 DIAGRAMMING DESIGN PRECEDENTS

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MODULE 2 GENERATING DESIGN THROUGH DIGITAL PROCESS

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MODULE 3 QUEEN VICTORIA GARDEN PAVILION

ALANA BROWN DIGITAL DESIGN SEMESTER 1, 2019 STUDIO 13 - SEAN GUY 915496

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M O D U L E

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DIAGRAMMING DESIGN PRECEDENTS

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DANIEL LIBESKIND’S SERPENTINE GALLERY PAVILION, 2001 The project centered on digital modeling and analyses of Daniel Libeskind’s Serpentine Pavilion. The pavilion was based on the concept of an origami figure which is realized through the continuous form that gives the impression of wrapping around itself. The spiral aesthetic is further accentuated through the angular aluminum forms.

The pavilion was difficult to model as I found it hard to visualize the twisting arrangement of the structure. To resolve this issue a small physical paper model was constructed. Through this procedure I was then able to fully conceive how the form continually loops over and under itself to create an interesting arrangement of floor, walls and roof. Digitally the model was constructed using Rhino, and multiple images from various viewpoints as guides for the angular composition of the structure. The command rotate3D allowed me to produce the shape of the model, then dimensions where added to create depth.

Through the development of the digital and physical model I was able to cultivate a grater understanding of the pavilion. This understanding of the spatial information was then described in two exploded isometric diagrams. In my circulation diagram I explored how the angular planes of the structure informed and directed people’s movement through the space. In the threshold diagram I analyzed how the interplay between the canopy and flooring created exterior and interior space, yet also how Libeskind explores the ‘in between’ space, where there is a meeting of the two threshold conditions.

REFERENCES: Studio Libeskind, Serpentine Gallery Pavilion. 2001, photograph. Accessed 25/06/2019. https://libeskind. com/publishing/serpentine-gallery/

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ANALYSES OF DANIEL LIBESK

CIRCULATION DIAGRAM

Conopy

Partition

Flooring

Movement

ISOMETRIC D

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KIND’S SERPENTINE PAVILION

THRESHOLD DIAGRAM

Conopy

Thresholds Interior Space In Between Space

Flooring

DRAWING

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M O D U L E

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GENERATING DESIGN THROUGH DIGITAL 8

As a consequence of technological advancements, designers are now able to design iteratively through the use of parametric software. The ability to iterate rapidly allows the designer to push past the bounds of their own imagination and produce work that has never before been conceived. This module begins to explore this idea through the use of a parametric script produced in Grasshopper.

The script subsequently allows for multiple iterations in turn resulting in a greater exploration and more refined ideas. From these explorations two models where produced.

TASK 1 - SURFACE AND WAFFLE STRUCTURE The first task of this module was comprised of two panelised surfaces with a supporting waffle structure produced from a parametric script. Through the initial intuitive process, I found myself drawn to a skin in which had a dramatic warped effect, and one in which appeared to relate and curve with the opposing surface. The final result captures my initial intrigue. I then produced a panelised surface in which I wanted to interplay between two dimensional and three-dimensional forms, blurring the line between these two proportions. Through the similarity of the two panels and strategic undulating pattern that follows the diagonal sweep a surface condition was produced that I believe transcends dimensionality.

The internal supporting waffle structure gave greater focus and emphasis to physical construction, and with it the challenge of incorporating a structural system successfully. The internal system was further complicated by the dynamic form of the composition which was then refined to produce a developable surface, whilst not compromising the dramatic peeling effect.

Overall throughout this process I was intrigued by the produced canopy of the peeling effect, and the interplay and integration of structure to the design piece.

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DESIGN MATRIX Lofts

1.1

1.2 {120,30,150} {90,0,150}

{150,90,150}

1.3 {0,90,150,}

{120,150,150}

{150,30,150}

Key

1.4

{150,150,150}

{0,30,150}

{60,150,150}

{150,30,150}

{120,10,130} {150,0,120}

{120,130,150}

{150,90,150}

{150,150,150}

{120,10,130}

{150,0,90} {0,150,0}

{120,120,0}

{0,150,0}

{0,20,2}

{30,0,0}

{0,150,0}

{0,120,0}

{0,150,0}

{0,0,0}

{150,0,0}

{0,0,0}

{120,20,2}

{150,0,0}

{150,0,0}

Paneling Grid & Attractor Point

{Index Selection}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

{Index Selection}

2.4 {0,30,150}

{165,168,172}

{150,90,150}

{165,-5,133}

{85,29,0} {-3,30,0} {250,190,-50}

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

{150,0,120}

{150,0,0}

{0,0,0}

EXPLODED ISOMETRIC 1:2 Perforated panels allow for light and ventilation into internal structure Interplay between two dimensional and three-dimensional forms through similarity of panels blurring the line of dimensionality

Attractor point informing the flow and direction of the panelised surface

Exposed waffle structure conveying a readable structural system to observer

Gradation between two dimensional and threedimensional forms along the diagonal axis creates a merging effect

Central waffle structure informing movement and directions of flow within the formation through its response to the opposing surfaces

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COMPUTATION WORKFLOW 4. SURFACE CONTOURS 9. NUMBERING 1. BOUNDING BOX A bounding box was created by extruding a square. The edges of the three-dimensional form where then deconstructed and divided into 10 points.

The surfaces where then contoured in both the x and y direction

The waffle structure was then arranged for laser cutting 6. FINS Creating fins by offsetting contours, and lofting lines.

Unnecessary fins where then culled.

2. BASE SURFACES

3. PANELISED SURFACE

Surfaces where then produced from varying these points, creating a line, then lofting these two lines

A grid was then applied to the surface, which was then altered through the use of an attractor point. Two different panels where then simultaneously applied to the surface and then subtracted using inverses of the cull pattern.

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7. NOTCHES Notches where then produced to allow for construction

5. Z CONTOURS

8. FINAL WAFFLE

From the points of the surface contours, line where then created in the z direction

By trimming the notches from the fins the final waffle was produced.

FABRICATION PROCESS

UNROLLING PANELS

NESTING

LASER CUTTING TEMPLATE FOR SURFACE PANELS

LASER CUTTING

ARRANGING

ASSEMBLING

LASER CUTTING TEMPLATE FOR WAFFLE STRUCTURE

Arranging panelised surface

Assembling waffle structure

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TOUCH UPS

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TASK 2 - SOLID AND VOID The spatial qualities and intrinsic relationships of solid and void spaces are explored in this module. A sectional Boolean model obtained through the subtractive method of removing solids from a cubical form was the end result of this process.

I began this module using the simple geometry of a circle to crate interesting patterns and forms within the cube. As I began increasingly proficient with parametric software, I then increased the complexity of my geometry as well as varying the scale according to an attractor point. I found that the overlapping geometries when removed created interesting, versatile forms that could be interpreted on multiple scales, different angles, as well as varying rotations.

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DESIGN MATRIX Grid Manipulation

1.1

1.2

1.3

{538,-1050,680}

{-2250,1110,450}

1.4

{Attractor Point Location}

{Attractor Point Location}

Surface Transformation

2.1

2.2

2.3

2.4

Surface Boolean

3.1

3.2

3.3

3.4

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Key {0,0,0}

{-397,-1420,0}

{Attractor Point Location}

{538,-1050,680}

{Attractor Point Location}

Attractor / Control Points (X,Y,Z)

ISOMETRIC, 1:1

IntUndulating form of convexities and concavities crating an interesting surface condition

Curvature of floor and ceiling guiding flow of circulation

Canopy dividing the form into two predominate thresholds, as well as providing protection and sheltered

Raised platform indicates change of threshold

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COMPUTATION WORKFLOW

1. BOUNDING BOX

6. BOX CENTROIDS

Created with domain box command

Using the volume command the point centroids are extracted 4. ADJUSTED POINT GRID

8. APPLYING MODE Mode applied to box grid points tracted

Grid altered according to a point attractor

7. ATTRACTOR POINT 3.BOOLEAN FALL THE POINT GRID 2. SELECT SURFACE Select surface using list item command and create a point grid with surface domain number command

Grid altered by point attraction

Boolean fall the point grid by moving in the y direction

5. 3D BOX GRID 3d boxes created from the adjusted point grid

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9. SCALING MODE Mode scaled to an attractor point

FABRICATION PROCESS

BOOLEAN

MESH

IMPORT

3D PRINT

REMOVE SUPPORT

TOUCH UPS

Makerbot Screenshot after calculation

Removing the structural support from the 3d print

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M O D U L E

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QUEEN VICTORIA GARDEN PAVILION 24

PERSPECTIVE PAVILION The brief of this module was to design a pavilion for the Queen Victoria Garden using parametric software that functionally would be able to accommodate 30 people for functions such as an evening string quartet, and daily lecture. This module draws on ideas and concepts from previous studies to explore the spatial qualities of threshold and circulation. Throughout this process I explored parametric modelling, real time rendering and virtual reality as well as creating a physical model.

At the beginning of the design process I was heavily inspired by Bjarke Ingels’ serpentine pavilion, its overall composition lending greatly to my own. I was particularly interested in the continuous perforations blending the inside and outside world of the structure into one cohesive whole.

Using my knowledge of Grasshopper a parametric script was produced which allowed me to iteratively design. Throughout the iterative process I was focused on functionality and gave attention to both threshold and circulation condition that was derived and refined in each reiteration. The idea of the merging of interior and exterior thresholds to create a space that was in between, discussed in module 1, became a driving concept in my design. I believe that this is accomplished in the surface condition of the pavilion.

A dialogue with the surrounding landscape is also conveyed through the seating, which where design to morph from the change in terrane condition. This change in the terrane also creates a sense of enclosure for the pavilion, acting as a clear transition space into the design.

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ISOMETRIC, 1:50

Threshold Circulation

The structure was created using a rectangular grid which was then offset The perforations are varied with an attractor point creating a sweeping variation with the surface condition

seating is defined by the terrain, defining the threshold

unprescribed circulation

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threshold is defined by how the observers reacts the surface condition

THRESHOLD DIAGRAM

perceived interior space

perceived exterior space

perceived interior space

in between space

In this design threshold is defined by the observers perceptive and interaction with the surface condition. Starting from one angle as you move throughout the design the openings become more visible and a connection to the exterior space is created. This is the in between threshold, where the viewer is within the structure yet has a sense of the exterior, merging the two thresholds.

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COMPUTATION WORKFLOW 3. BOUNDING SURFACE TO

5. OFFSET GRID

RECTANGULAR GRID The rectangular grid was then mapped to the bounding surface

Using the centroids of the points geometry was created and offset 8. LOFT

1. RECTANGULAR GRID

The geometry was then lofted to produce the end result

Rectangular grid produced on the x, y plane

4. POINT GRID TO SURFACE

2. BOUNDING SURFACE

7. CULL PATTERN

Through the average of the discontinuity and with the command shift paths a project point grid was created that mapped to the surface

Every second geometry was culled to produce a stacking effect 6. ATTRACTOR POINT The centroids of the geometry is used to vary the openings according to an attractor point

From the original surface a bounding box was created and deconstructed into a single bounding surface

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FABRICATION PROCESS

LASER CUTTING 1.

Contoured evert 1mm

3D MODELLING 1.

Closed open surfaces

2. Nested

2. Mesh

3.

3. Imported

Laser cut

4. Assembled

POST PRODUCTION 1. Sand 2.

4.

3d printed

5.

Removed support

Makerbot Screenshot after calculation

Spray paint

Nesting for laser cutting

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360 Image Output

Digital Design Semester 1, 2018