DD Folio

Digital Design Portfolio Semester 1, 2019

Olivia Loh - 996079 Tony Yu - Studio 3 1

CONTENT:

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Precedent Study

Generating Design Through Digital Processes

Queen Victoria Garden Pavilion

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Education:

Reflection:

2018 - current Bachelor of Design 2015-2017 Ivanhoe Grammar School

Over the course of this semester, I’ve learned new digital skills and programs, such as Grasshopper and Unreal. It has pushed me to also further develop skills in programs such as Illustrator and Rhino. Through this subject learned some visual scripting and digital rendering, however, there is still a lot of space for improvement and additional skills to learn. I believe that my motivation for design is bad design. I think there are a lot of designs that are probably not as functional as it could be and so that what drives me to want to design well, which I continue to learn about. As a designer, I think I want to try everything at least once, to truly get a grasp on what style I prefer, though I do already find myself gravitating towards certain elements such as straight lines and sharp angles, as opposed to curved shapes. I probably don’t push myself as much as I

Work Experience: 2016

Yr 3 Class Mentor

2017

Volunteer work in a Nursing Home

2019 (ongoing) Mural at Ivanhoe Grammar School Awards / Exhibition: 2017

FOD:R Exhibition, Atrium

Skills: Rhino Grasshopper Unreal email: oloh@student.unimelb.edu.au

should and want to work towards that in the future, to continue to learn by trying things that are out of my comfort. A personal skill I want to continue to work at is to work more consistently, as opposed to working in bursts, then not touching the design, then later coming back. This is partly due to time management but also just keeping myself motivated throughout each project and to not feel discouraged when designs didn’t work out as well as I had initially imagined and instead to have been proud that I tried an option.

Photoshop Illustrator Indesign Fabrication French Mandarin Chinese

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DIAGRAMMING DESIGN PRECEDENT

Florian Holzherr, Afterparty, P.S.1 2009 Installation/MOS Architects, 2009, photo, https://www. archdaily.com/30329/afterparty-ps1-2009-installation-mos-architects/709_9_001_finmed.

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Olivia Loh - 996079

Through this project, I learnt some Rhino skills in modelling the pavilion from the plan as well as an attempt at analysing and diagramming functionality of the space.

The process of creating a clean and easily readable diagram was challenging and still has room to develop further.

MOS Architects - Afterparty, MOMA

The ‘Afterparty’ Pavilion

by MOS Architects for MOMA PS1 aimed to create a space that functioned as a resting place for individuals. Through the chimney structures they manipulated temperature, creating different microclimates within the structure. Taller chimneys with smaller openings were to be cooler, whilst the larger, lower chimneys, warmer.

The material of the fur skin also aided in manipulating temperature.

Isometric 1:125 0

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5000

EN

TR

AN

CE

Isometric of ‘Afterparty’ by MOS, MOMA PS1 Scale 1:125 @ A1 Chimney Structure

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Chimney Structure

NC

AN

CE

E

Chimney Structure

Chimney Structure Chimney Structure

Chimney Structure

Circulation paths

Circulation Private v paths Public Space

Private v Public Space

Public

Chimney Heat Distribution

Private

Thresholds

Chimney Heat Distribution Thresholds

Hot

CirculationDiagram 1:400 Circulation

Threshold Diagram Thresholds (Permeability) 1:400

Scale 1:400 @ A1

Scale 1:400 @ A1

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Thresholds (Perm

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GENERATING IDEAS THROUGH PROCESS

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SURFACE & WAFFLE

Panels are flipped in movement, creates a sense of continuity whilst allowing for interest in

The intent was to create a sense of movement which came from an iteration of the surfaces, creating these two symmetrical twisting surfaces. From this the paneling was developed to continue the flow of the surfaces, thus the panels moved from 2D to 3D and from closed to open along that line of movement. As a result of this paneling, the eye is drawn up, creating the feel of a monumental

its difference. Creates circular motion around structure.

Structure twists to create a sense of movement, mirrored in shrinking of waffle moving up. Creates a sense of distance and length from inside, almost vault-like

3D on both surfaces at the same corner to create drama through asymetrical paneling, breaking the symmetry of the surfaces. Mirrored in the bottom corner with the 2D panels Panels shift from 2D panels to 3D panels, mirroring the movement of the surfaces

Multiple fins and wide base to ensure stablity of the structure

Paneling moves from closed panels to open panels, mirroring the movement of the surfaces 0

50

100mm

Scale 1:1 @A2

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structure, enhanced by the tapering of the surfaces, making the top of the structure feel extremely small from the ground. This paneling however is different on the two faces to break from the symmetry, without it being extremely jarring whilst giving variation.

Design Matrix Surfaces

1.1

1.2

{0,0,150}

{0,105,150}

1.3

{0,150,135}

{60,0,150}

{0,60,150}

1.4

1.5

{60,0,150}

1.6

{0,0,150}

1.7

{120,150,0}

{0,105,150}

{150,105,150} {150,90,150}

{45,150,150} {150,105,150}

{150,0,150} {0,105,0}

{0,0,45}

{150,30,150}

{150,90,0}

{150,75,150}

{60,150,150}

1.8

{0,135,150}

{150,0,150}

1.9

{0,150,135}

{0,150,45}

{0,0,0}

{0,0,0}

{60,0,0}

{120,0,0}

{150,150,75}

{75,150,0}

{0,120,0}

{0,120,0}

{0,135,0}

{0,90,0}

{90,150,0}

{0,105,150}

{150,90,150}

{150,0,45} {150,0,60}

{150,0,45}

{135,150,0}

{0,75,150}

{150,45,150} {150,75,150}

{150,60,150} {0,0,0}

{150,0,0}

1.10

{0,60,150} {0,90,150}

{15,150,150}

{150,0,105}

{45,0,0}

{150,150,135}

{0,0,0}

{150,150,30}

{0,150,120}

{0,0,0}

{150,0,60} {150,150,105}

{0,120,0}

{0,120,150}

{15,150,150} {150,0,120}

{120,0,150} {150,0,150}

{0,150,0}

{0,150,0}

{150,105,0}

{150,120,0}

{150,135,0}

{150,120,0}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

Single 2D Paneling

2.1

2.2

2.3

2.4

2.5

2.6

2.7

2.8

Single 3D Paneling

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

2D & 3D Panel Mix

4.1

4.2

4.3

4.4

4.5

4.6

4.7

4.8

Different Panels

5.1

5.2

5.3

5.4

5.5

Flip Version

6.1

6.2

6.3

6.4

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{0,150,0}

{150,0,0}

{150,0,0}

{150,150,0} {Index Selection}

4.9

{0,150,0}

{150,150,0} {Index Selection}

4.10

Computation Workflow

A 150x150x150 box was created and its edges were used

Four edges could be selected, with ten points along each edge. One point along each edge would make one of four corners of a surface

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The surfaces were divided into a grid, and panels were placed along this grid, conforming to the curve of the surface

Computation Workflow

The surfaces are used as the base

Each surface is divided along the X

These curves are extruded

for the internal waffle structure

and Z, so that the waffle pieces will slot together

and given a thickness. The fins interesctions have cut outs for assembly purposes, then the pieces are unrolled

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FABRICATION Both the paneling, on ivory card, and the waffle structure, on mountboard, were laser cut.

Some edges were left as etched so taping was not needed, to produce a cleaner model. Tabs were folded inwards to reduce the amount of gap between panels and only one tab was used at each edge to reduce the thickness of material at corners.

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The structure creates a grand impression due to how the base is wider than the top. Thus, the structure when viewed from the ground will feel bigger and taller, both from the outside and the inside of the structure. This sense of monumentality is enhanced by the paneling that draw the eye up, with the 3D panels that almost loom over the base. The size of the panels also give a sense of grandness, as they are quite large.

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SOLID AND VOID Small openings create windows for spotlights

Intersecting geometry create interesting

and frames for different spaces

multifaceted interior spaces Different angles and slants to surfaces creates interesting shadows with how it intereacts with light

Sharp angles and corners disrupting movement through the space, creates a sense of the unknown around every corner

Height differences between different planes encourage vertial movement and exploration

Hidden interior spaces allowing exploration and curiority, obscured from the outside

Different shaped and sized thresholds to envoke a sense of curiosity and exploration

0

50

100mm

Scale 1:1 @A2

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This design was achieved through different iterations and exploration of different elements.

From earlier iterations, I had explored the framing of views and then the intersecting of faces.

Thus, this was achieved through the further exploration of these two ideas. Using two geometry types, reducing the size, and increasing the overall number, more intersecting faces were created. This resulted in a structure that would have an interesting play with light, and had many different thresholds. These surfaces also created spaces that would encourage vertical circulation with the various levels, potentially inciting a sense of exploration and discovery.

Design Matrix

Attractor Points {76,4,102}

{182,-161,67}

{-20,131,101} {92,-36,57}

{116,36,68}

{101,101,89}

{105,164,54} {195,99,48}

Adjusted Grid Points Geometry

A.1

B.1

C.1

Booleaned Geometry

A.2

B.2

Area of Study 1

A.3

E.1

F.1

G.1

H.1

I.1

J.1

K.1

L.1

C.2

F.2

G.2

H.2

I.2

J.2

K.2

L.2

C.3

F.3

G.3

H.3

I.3

J.3

K.3

L3

D.1

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Computational Process

In a 150x150x150 box, a grid was created along the faces, dividing

The centroids of the smaller cubes were then moved and affected by

Geometry was placed on the centroids and rotated. Their size was

the box into smaller cubes.

multiple attractor points

determined by an attractor point.

The geometry was then booleaned from the box.

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FABRICATION Sections or study areas of three iterations were 3D printed, as highlighted in the matrix. Each was rotated to minimize the amount of scaffolding needed, and reduced the overall printing time.

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The final section could be at a larger scale, almost building sized and more monumental. This allows for more communal and public spaces.

Alternatively, the structure at a different orientation could be smaller and more sculptural or pavilion sized, with different spaces that could be appropriated at a private scale.

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This small section shows multiple intersecting faces, and creates different spaces depending on the orientation. The multifaceted faces create spaces of different sizes as well as different microclimates, which can accommodate different uses of that space.

The various levels and corners allow for exploration, fueled by curiosity, encouraging and allowing individuals to move in every direction. These intersecting surfaces also creates spaces of multiple scales, both at a private scale, as well as at a bigger, more communal scale. The varying angles of the surfaces also allow for an interesting play of light. While the different openings frame different views and can create spot lights.

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QUEEN VICTORIA GARDENS PAVILION

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THE JEWELLERY BOX The goal was to create a sense of surprise upon the approach to the structure, through orientation and contrast. The interior space has seating along the interior corner which can accommodate audience members.

The podium that the pavilion sits upon can potentially also function as a stage, with the landscape elements acting as potential seating.

Movement from the main street is forced around the box to enhance the sense of surprise and anticipation.

The solid cube cladding faces the main street and conceals the intricate interior crystal detailing. Paired with the contrast in material for the cladding and interior, further pushing the element of surprise.

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Isometric

M3 - The Jewellery Box Olivia Loh - 996079

The solid steel cladding creates an obscructed view from the main street. Creating a simple and sleek impression, which can evoke curiousity.

The gem-like material creates an element of surprise in its contrast to the external cladding. The multiple angles and faces of the interior, allows for the interaction of light, specifically the reflection and refraction of light throughout the day

Crystal Detail 1:25 0

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1000mm

Landscaping around the back of the pavilion facing the street mirror the orientation and language of the pavilion to enhance the element of surprise, revealing only its steel cladding

The steps up create space for seating, sheltered by the pavilion. The design mirrors that of the pavilion at a smaller scale

The platform separates the pavilion from the landscape, defining a new space

The landscape elements at the front, mirror the geometry of the pavilion’s interior, as if pieces fell out and became part of the surroundings. These ‘giant gems’ can be appropriated to provide additional seating or elements of play

Exploded Isometric 1:40

Scales given @ A1

0

500

1500mm

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Design Iteration

1.1

2.1

3.1

4.1

5.1

2.2

3.2

4.2

5.2

2.3

3.3

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The chosen design takes aspects of the previous iterations. I liked the idea of the exterior concealing the interior, which was carried forward from the beginning. The chaos of the second set was something I came back to, after the later iterations seemed to move away from the idea of surprise and creating that feeling.

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The model is a section cut of the pavilion design at 1:25, showing both the interior, the exterior, as well as some of the integrated seating. The digital renders show various times of day and the play of light with the pavilion’s materials.

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The model using different lighting created different effects, which could be interesting physically with the crystal material that is translucent. Diffused lighting could potentially be put between the crystal material and the external cladding to light up the pavilion’s interior.

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Computational Process

Two boxes were created and

The points on the three surfaces

The geometry was then booleaned

booleaned to get the exterior. The three surfaces were selected and used to place the points for the interior

were used as centroids for 3 different geometries which were randomly assigned and rotated based on attractor point distances

with the interior box to create the interior surface. Seating was a variation of the pavilion at a smaller scale.

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FABRICATION The interior crystal material was 3D printed as a whole. Helper discs were used in the print to minimize warping.

The exterior cladding and landscape was laser cut and as the landscape was flat, it was done as a box, as opposed to contours, to save material.

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360 Image Output

DIGITAL DESIGN SEMESTER 1 2019