T H O M A S
M A R T I N I E L L O
DIGITAL DESIGN PORTFOLIO, S1, 2018
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Content
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THOMAS MARTINIELLO DIGITAL DESIGN SEMESTER ONE, 2018 STUDIO 15 - JOEL COLLINS 843 955
M01 M02 M03
Precedent Study
Generating Design Through Digital Processes
Queen Victoria Garden Pavilion
Reflection Statement Looking back at the three modules this semester I have gained and developed numerous digital design techniques.
Education 2017 - 2020 2010 - 2015
Bachelor of Design Radford College
TEAM WORK
Work Experience 2013
Daryl Jackson Alastair Swayn (Canberra)
ORGANISATION
Awards / Exhibition 2017 + 18
MSDx Exhibition, MSD
2017
FOD:R Exhibition, AFLK Gallery
2017
Dean’s Honours Award
2015
ANU Engage Asia (Asian Languages)
2015
Rotary Citizenship Award
MANAGING CONFLICTING TASKS
INTERPERSONAL COMMUNICATION
Skills RHINO 5
PROBLEM SOLVING/ INNOVATION
GRASSHOPPER UNREAL ENGINE PHOTOSHOP ILLUSTRATOR
MOTIVATION
INDESIGN PREMIERE PRO
Reflecting on what motivated my design decisions, I found myself exploring how parametric modeling can be used to manipulate geometries based on various attractors. This was evident in both M02 and M03 where I utilised attractor points and curves to manipulate surfaces and geometries, aiding my design intention. From beginning the semester looking at the daunting task of presenting in VR for M03 through to having done so, I have gained so many valuable skills. I learnt how to use grasshopper and model parametrically which opened many new possibilities due to the rapid ability to prototype and iterate. I also furthered my fabrication skills with more laser cut and 3D printed models, forcing me to think about the limitations of the material, especially with the limit on 3D print time. Finally, throughout all of the modules I also continued to add to my knowledge and skill set in Rhino and the Adobe Suite. My aspirations at this point in my life are to explore the impact materials and light have on a space, and in turn the user. Throughout all of the modules I looked at materiality and light/ shadows, and utilised this knowledge in creating my pavilion which was to be a sensory experience.
MODEL FABRICATION AUTOCAD
Contact
JAPANESE
thomas.martiniello@gmail.com tmartiniello.wixsite.com/portfolio
MICROSOFT OFFICE
Looking back at my works I feel that I could improve upon pushing myself further to iterate and develop my designs outside of my comfort zone.
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ISOMETRIC 1:100 0
2000
6000mm
M 01 M01: DIAGRAMMING DESIGN PRECEDENT
AIRES MAETUS’ RADIX PAVILION
Module 1 looked at modeling a precedent study in Rhino and then producing axonometric drawings analysing threshold and circulation.
My precedent study being Aires Maetus’ Radix Pavilion is a unique pavilion designed through the subtraction of ellipsoids from the main cubic structure. The key concept in my precedent study is how people interact with the pavilion due to its form, materiality and location. From this module I learnt a lot
about analysing spaces in relation to human interaction. I observed how the structures form and surrounding landscape influence how people move through the space.
Aires Mateus, Radix Pavilion
Threshold Diagram
Circulation Diagram
5.
M 02 M02: GENERATING DESIGN THROUGH PROCESS SURFACE AND VOLUME
{30,26,191}
Module 2 looked at exploring digital fabrication and parametric software through iteration to create two models. Laser cutting and 3D printing manufacturing techniques were then utilised to physically produce them.
The key concept explored through the two models is how light and shadow play on surfaces and effect our interaction with the space.
Task 1 utilised panelling tools, weaverbird and lunch box plug-ins for grasshopper, as well as laser cutting for fabrication. Within my panels I looked at a highly volumetric form to create shadows and then a perforated form for light protrusion. The internal space created is evocative due to the two planes moving closer together at one end. The opening for light then filters down the internal surfaces. Task 2 looked at geometries which would intersect and cause interesting shapes whilst still being able to see hints of the original form. The space created would evolve throughout the day due to the protrusions allowing light penetration causing shadows to be cast and move around the space. There were also smaller scale spaces created within points of intersection. 3D printing was utilised for the fabrication.
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DESIGN MATRIX 1:5 Lofts
1.1
1.2
1.3
{100,0,150} {150,133,150}
{0,0
{150,25,150}
{150,50,150}
{100,150,0}
Key
1.4
{37,150,0}
{150,0,90} {0,0,129}
{0,0,130}
{150,86,0}
{0,0,150}
{0,0,150}
{129,150,150}
{107,150,150}
{0,60,150}
{150,38,0} {107,150,150}
{50,0,0}
{150,107,0}
{94,0,150} {0,100,0} {17,150,0}
{0,75,0}
{150,100,150}
{27,150,0}
{0,129,0}
{0,150,0}
{Index Selection}
Paneling Grid & Attractor Point
2.1
2.2
2.3
2.4
{0,0
{-40,16,196}
{76,76,83}
{150,0,0}
{50,237,69}
{Attractor Point Location}
Paneling
3.1
3.2
3.3
3.4
+ Triangular 2D panel using Lunch Box and Weiver Brid
Design Matrix 1:5
3D panel using created geometry
3D panel with picture frame and 2D panel using created linework
+ Combination of 2 Lunchbox and Weiverbird 2D panels (3.1) and 3D panel using created geometries (3.2)
neling
EXPLODED AXONOMETRIC 1:2 0
20
SURFACE AND WAFFLE TASK ONE
60mm +
{0,0,0}
Attractor / Control Points (X,Y,Z) Hidden Edges
Triangular 2D panel using Lunch Box and Weiver Brid
3D panel using created geometry
3D panel with picture frame and 2D panel using created linework
+ Combination of 2 Lunchbox and Weiverbird 2D panels (3.1) and 3D panel using created geometries (3.2)
Iso Curves Surface Outline Panelling Grid Points Surface 1 Panelling Grid Points Surface 2
A larger opening at the top of the structure acts as a funnel for light and also creates interest in the internal space as it opens up.
Angle and location of tip shifts with each individual section as defined by the attractor points. ‘Windows’ on one face allow controlled light to enter the inner structure.
Panels are twist along the bottom edge to follow the curve of the base surface.
Solid 3D panels are more exaggerated in the way they morph along the surface as the second surface is not as curved allowing for this to take place.
Variation in the protrusion length creates a dynamic 3D surface with interest in shadow.
Variation in 2D panel types allows for a dynamic surface which can bend to the curve of the base surface.
A hollow waffle structure allows for the creation of an interior volume.
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COMPUTATIONAL PROCESS
Box Creating the bounding box using an extruded rectangle. Then using DeBrep, List and Divide to get individual points.
Horizontal Waffle Creating the internal horizontal waffle structure by joining horizontal contour lines and offsetting.
Vertical Waffle Creating the internal waffle structure by offsetting contours in the Unit-Y direction.
Notches Creating notches to cut out of the waffle structures for fabrication using the intersection of 2 bereps.
Associate Output
Waffle Structure Trimming the Notches into the Waffle using Trim Solid.
Input
Base Surfaces Number sliders were utilised for fast design iteration when selecting points to loft between.
2D Panels Creating the 2 different 2D panels utilising Weaverbird and Lunch box plug-ins as well as the Frame tool.
3D Panel Applying a Brep to the Panelling Grid.
3D Panelling Grid Creating a 3D Panelling Grid using Panelling Tools, Point Attractors and Remapping with a Series.
Numbering Laying out the waffle structure and creating reference labels to laser cut using Text Tag 3D.
11.
DESIGN MATRIX 1:5 Grid Manipulation
1.1
1.2
1.3
Key
1.4
{0,0 {30,26,191}
{366,317,0276}
Curve Attractor
Random Attractor
{Attractor Point Location}
2.2
2.3
2.4
{Attractor Point Location}
Curve Attractor
Random Attractor
Standard Centres
3.1
3.2
3.3
3.4
Random Attractor
Different Object, Standard Centres
Morph
{Attractor Point Location}
{121,267,0}
Object Distribution
2.1
{5,184,244}
{250,256,0}
Object Transformation
{5,184,244}
{Attractor Point Location}
Design Matrix 1:5
{0,0
AXONOMETRIC 1:1 0 {0,0,0}
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SOLID AND VOID TASK TWO
30mm Attractor / Control Points (X,Y,Z) Attractor / Control Curves
The solid external boundary on the opposite side suggests the space is solid and not hollow, which is then revealed to be false as you progress around the space.
Surface Outline Internal Grid Lines Grid Points 3D Geomerty
Due to the attractors and grid used the booleaned geometries pull to one side leaving the original cube from visible.
Openings and light wells are created where the geometries intersect with the surface envelope.
Internal spaces which do not interest with the surface envelope are darker and create another layer of threshold as you move further in. Intersection points of triangular geometries creating holes for light to penetrate into the main internal space.
The network of intersecting geometries create pathways into the internal spaces and distort views.
Booleaned sections create unique spaces which could be used as rooms or small niches dependent on the scale.
Dynamic shadow cast from the intersection and boolean of shapes creating interest as they move, as well as defining a blurred threshold.
13.
COMPUTATIONAL PROCESS
Base Surfaces Deconstructing the faces of the box to get out working plane.
Input
Box Creating the bounding box using a Box Rectangle.
Internal Geometries Creating the geometries using the lunchbox plug-in, and then scaling and morphing them down to the final size using attractors.
Base Grid Creating the base grid to be manipulated using Surface Domain Number from Panelling Tools.
Associate Output
Transformed Grid Transforming the base grid using curve attractors.
Creating Internal Boxes Adjusting the centroid and positioning of each individual box using random attractors, to be used as the centroid of the geometries.
Scaled Geometries Transforming the final geometries using constructed domains, remapping and scaling using PlatoTetra geometries.
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FABRICATION PROCESS - TASK 1
Waffle Structure cut on 1mm Mount Board
Labels referring to position on 3D model for construction
Objects sharing same line to save on cutting time and cost
Testing nets before laser cutting.
Dashed lines etched for folding
Failed laser cut due to incorrect etch layering of tabs.
Paneled Surface cut on Ivory Card
Detail images of Task 1.
Joining the panels to the waffle.
Nets for laser cutting.
3D PRINTING PROCESS - TASK 2
Detail images of Task 2.
Testing different section cuts to 3D print.
Section set up using the MakerBot software to 3D print.
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M 03 M03: SONOROUS SPHERE QUEEN VICTORIA GARDEN PAVILION
Module 3 was about exploring parametric modelling, digital fabrication techniques, virtual reality and real time rendering to develop a generative design addressing the notion of ground and envelope, threshold and circulation. The key concept explored within my design is sound, with the use of scalloping in the internal structure of the pavilion to manipulate and reverberate sound. The design was then furthered looking at how light and shadow effect the use of a space.
The space accommodates for both the lunchtime seminar and evening quartet through the large shell like structure which provides a covered internal space. Seating forms around this space for people to participate in both events.
Circulation is defined by the articulation of the ground, as it pulls down into the pavilion from a far and behind. The materials used are very tactile to invite touch and stimulation. The harshness of the concrete is offset by the warm tones of the timber.
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KEY
Qu
ee
Primary Circulation Space Circulation Paths Spatial Thresholds Ground Contours
nV
ict
or
ia
Ga
rd
en
s
Threshold Bounds #1: Attraction to the pavilion through form + shadows. Threshold Bounds #2: Flowing into the pavilion via the sloping terrain being attracted by sound. Threshold Bounds #3: Being immersed within the pavilion’s dome structures in reach of the scalloping, being immersed in the sensual experience of the pavilion.
i St K lda d
Roa N Image source - nearmap
M3 - Sonorous Sphere
Scalloping of the internal shell enables sound reverberation from the evening quartet to the wider audience.
EXPLODED AXONOMETRIC 1:50 0
500
1500mm
The rear of the pavilion is unassuming with only a hint of something more from behind. This is the first threshold layer where people are drawn from within the gardens towards the pavilion.
Thomas Martiniello - 834 955
Mounding of the landscape behind the pavilion creates a transitional space upon approaching to the pavilion from which one can then move down and into the pavilion.
Penetrations through the top of the pavilion allow for specific evening sun to enter the pavilion lighting the backdrop of the stage.
Shadows dance along the internal surface of the pavilion adding to the internal atmosphere.
The structure is created using a layering of spheres and ellipsoids which have been subtracted from a main body to create the internal spaces.
Circulation is defined by the landscape, orientation of the pavilion and its seating, with people being enticed down into the depression in the landscape and then into the seating areas via the gentle soaps between.
A defined blank surface of the pavilion forms the backdrop for the lunch time speaker to present and the evening quartet to play in front of.
KEY Primary Circulation Space
Concrete arcs cut into the terrain creates a seating space to allow for viewing of performances inside the pavilion as well as defining a threshold from the outside to within.
Circulation Paths Spatial Thresholds Sun Angles Sound Reverberation The step down creates a threshold helping to differentiate the landscape from the pavilion itself.
The front of the pavilion is orientated towards the road where the main thoroughfare of people will be traveling. This is to attract people to the space within.
21.
DESIGN ITERATION
Taking a section and applying panneling
This initial iteration was about inverting what is seen to be the typical pavilion form. I found it was impractical for providing enough shelter for the function within the space restrictions.
This iteration looked at sinking a spherical section into the landscape to act as the pavilion. I liked the concept of the curved roof but not its simplicity and how it interacted with the landscape.
Looking at applying paneling to the shape.
I further advanced this idea of intersecting surfaces for my final design
Looking at applying scalloping to the shape.
Iterating with multiple intersecting surfaces.
This iteration looked at using spheres to intersect a solid mass to create the interior surfaces of the pavilion. I liked some of the forms created but I found it difficult to develop a form which suited the brief. Experimenting with protrusions for light
Late afternoon view of pavilion from St Kilda Road approach.
Mid-day view of pavilion showcasing the transition around the space.
Evening rear view of the pavilion when approached from inside Victoria Gardens showcasing the organic form of the structure.
Side view of pavilion showcasing manipulation of ground terrain.
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25.
COMPUTATIONAL PROCESS
Base Surfaces Base surfaces imported as Breps.
Attractor Grid New offset grid using point attractors and changed using random attractors.
Sun Angles Creating lines representing the sun paths for 5:00, 5:30 and 6:00pm for the pavilions location.
Mapping Spheres Adding Spheres to the centroid points of the grid.
Associate
Output
Input
Associate
Output
Input
Base Grid Applying base grids to the surfaces using Surface Domain Number from Panelling Tools.
Creating Cells Mapping cells onto the surfaces to add grid points, which are then morphed by attractor points.
Morphed Spheres Morphing spheres and moving into or away from the main mass to be subtracted into. This was used to create the blank space desired on the internal wall surface.
Applying Spheres Spheres were arrayed along the sun angle curves.
Morphing Spheres Transforming the spheres using remapping and scaling.
FABRICATION PROCESS
Due to the time restrictions of the 3D printer I needed to slice my model so that it would be quicker to print as less supports would be required. I also needed to reduce the infill settings to speed up the printing time. To save as much money as possible with the laser cutting section of the model, I spent the time laying out my pieces as efficiently as possible to reduce the amount of cuts needed. I also added etched sections on the cut lines so that masking tape was not needed as I found that it tended to rip the mount board when removed. Nets for laser cutting.
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D I G I T A L S E M E S T E R
D E S I G N O N E ,
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