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email: cheungt4@student.unimelb.edu.au
Content:
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Education:
Reflection:
2017 - current Bachelor of Design 2010 - 2016 Glen Waverley Secondary College
I’ve always had a passion for architecture and being able to bring
Precedent Study - Bair Hair Pavilion
to life the extent and capacity of design is something truly empowering. I enjoyed learning new software like Grasshopper and Unreal Engine 4, which really brought out the gaming side of me. I
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Generating Design Through Digital Processes
Awards / Exhibition:
believe the key aspect to take away from Digital Design though,
2017
is not so much the technical skill involved, but rather the impor-
FOD:R Exhibition
tance of design thinking and the approach of doing iterations in the design process that can greatly benefit the final outcome. The
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addition of parametric design makes it increasingly easier to push
The Pinch - Queen Victoria Garden Pavilion
many developmental prototypes out in a short span of time, and
Skills:
the tools we are given are powerful if used correctly. An area of
Rhino
improvement for me has always been understanding the tools that
Grasshopper
I have been taught and given, especially with Grasshopper’s para-
Unreal
metric design. I experimented with new plugins such as Kangaroo
Photoshop
and Weaverbird, however as much as I have pushed using these
Illustrator
programs, there is always more to learn and more efficient ways to
Indesign
process scripts and parameters.
Fabrication Model Making
I have an interest in the way space and volumes are created sculpturally or can be juxtaposed in different dynamic contrasts for both functional and aesthetic effect. In my third module, “The Pinch”, I used two different shells of material as a ‘system and response’ programme, and my mantra to maximise the use of space is a balance I am constantly striving towards. I have aspirations to incorporate landscaping design into architecture as well and will be aiming to complete the Architecture / Landscape Architecture double major in 2019.
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Diagramming Design Precedent
The pavilion resembles a curved, laminated wood strip structure that embodies the imagery and moods of a messy, ‘bad hair’ day. The pavilion is built upon layers of fourteen rotated pieces that make up the frame, and while there is an unusual contrast with the human scale, circulation spaces and usable spaces are plentiful. I found remaking this project a good refresher into using Rhinoceros as a tool to help visualise and study the pavilion, and I like the sculptural qualities of the curved wood pieces. While they may be odd if inspected individually, as a whole the compositional effect of the pavilion shows real design intent and an interest in challenging the ordinary; something I am striving towards as well.
Isometric of the Bad Hair Pavilion
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Circulation Diagram
Threshold Diagram
The pavilion is near-symmetrical in four directions, and hence the circulation of the space follows a loose, windmill shape. The presence of a pathway (as seen in the precedent image) holds a heavier influence on the circulation direction, joining and exiting from the left.
The pavilion is cut at approximately 1.5m in height, and the top is lifted up. The grey spots on the dotted grid and cut base represent the thresholds or qualities of the space where human activity is the most frequent.
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Design Matrix
Lofts
1.1
1.2
1.3
Key
1.4
{0,125,150}
{0,0,0} {75,150,150}
{0,50,150} {0,0,150}
{150,125,150}
{125,150,150}
{150,105,125}
{0,0,100}
{0,150,25} {150,25,150}
{75,150,150}
{150,150,125}
{0,0,125}
{25,0,150}
{50,0,150}
{0,150,0}
{150,0,150}
{0,68,0} {150,150,0} {150,125,0}
{50,0,0}
{25,0,0}
{150,47,0}
{100,0,0}
{75,150,0}
{0,0,25}
{0,75,0}
{150,25,0} {150,75,0}
{100,0,0}
Paneling Grid & Attractor Point
{Breps}
{IBreps}
{Breps}
{Breps}
2.1
2.2
2.3
2.4
{-18, 60, 135} {75, 185, 55}
{105, 157, 64} {-5, 45, 35}
{100, 100, 80}
{37, 6, 22}
{160, 25, 55}
Paneling
{Skewed Attractor Points}
{Attractor Point Locations}
{Attractor Curve}
{Panel Point Grids}
3.1
3.2
3.3
3.4
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{50,150,0} {75,150,0}
Attractor / Control Poin
Attractor / Control Curv Grid Points
Surface and Waffle
The top corner region has holes directly above but not horizontally, controlling the amount of incoming light. The other iteration of the panel has the same shape, but holes reversed, providing open light from a lower horizontal direction
2D Panel grid constructed as a response to dynamic curvature of 3D Panels to stabilise the structure.
A hollow waffle structure forms an internal space while simultaneously linking together both panel faces.
Exploded Isometric 1:2 0
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60mm
Panels located lower protrude out more and increased complexity; a higher degree of morphing occurs closer to the top right corner.
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This task was an exploration of having a dynamic skin to one side of the waffle and a responsive 2D paneling grid on the other side. This was an idea of a ‘to-and-fro’ compo-sition, where two very different skins are compiled together in a rigid waffle structure to form unity. The complexities of the 3D geometries are contrasted in the flattened 2D sur-face, and I cut holes in both sides to maintain a sense of continuity. This was an intro-duction task to the parametric software Grasshopper.
Computation Workflow
Managing data structures, and
Waffling and lofting between the
Using PanelingTools to morph a
dealing with grafting, simplifying and flattening trees.
original two surfaces to interlock between the X and Z axis.
square based pattern onto the control points. Several iterations were stitched together.
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The laser cutting process was straightforward on the mount board waffle structure, however unwrapping the 3D and 2D panels required some slight modifications. I set a lower tolerance to account for the doubly curved surface (which resulted in very minor warping) however the materiality of the ivory card resolved this issue.
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Task 02 Full Page Photo
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Differentiation in scaling of size and rotations of the boolean geometry create various pockets of space, separated by thresholds of physical barriers
Larger boolean pockets are more reserved and harder to enter, explored by the limitation of geometry intersections and further back into the square
SOLID AND VOID This second task was much more of an experiment on thesholds and circulation patterns within rigid pockets of space. Larger, more open areas were more public and would have more movement and traffic, while the restricted, closed off areas were much more intimate. This study helped me understand better of the ‘in-between’ space, evaluating the effectiveness and capacity that open and secluded spaces have on thresholds, movement and privacy.
Porosity of boolean geometry creates a lofty, light appeal to the space. Planar surfacing juxtaposes this to form rigidity and a foundation for the pockets.
Points of interest created by the intersecting spaces left by the boolean geometry and the square box edge. Creates a more open atmosphere to emphasis a public front, free for easy circulation.
Isometric 1:1.8 0
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Radial nature of icosahedron geometries allow at least one position in boolean envelope to be exposed to light and also hidden from view.
Solid boolean using 3.2 morph iteration. 60mm
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Design Matrix
Grid Manipulation
1.1
1.2
1.3
1.4
Key {0,0,0}
{165, 80, 155}
Attractor / Control Poin
Attractor / Control Curv Grid Points
{45, 55, 150} {212, 22, 0} {-50, 172, 190}
{47, 170, 58} {-35, 43, 6}
Centroid Distribution Geometry Morph
{3 Point Attractors + 1 Curve}
{3 Curvature Attractors + 1 Point}
{Randomiser}
{Point Cloud Attractor}
2.1
2.2
2.3
2.4
{Internal Mesh Volume}
{Internal Mesh Volume}
{Internal Mesh Volume}
{Mesh Centroids}
3.1
3.2
3.3
3.4
{Tetrahedron}
{Icosahedron}
{Stellated Dodecahedron}
{Spheres}
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Computational Process
Mixture of point and curve attractors
Using the Move container to scale
Final brep output is then booleaned
used to create the volumes of the grid within the boundary cube.
the icosahedrons into the centroids based on their attraction distance from the cube.
into the cube, and sliced sequentially. Below is an exposed top, several more cuts are to be done.
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M2 Task 2 3D Printing
Material Properties under a direct light
The 3d Printing time added up to less than 8 hours. Printing the model base down was the most efficient, and did not require any support to be printed.
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Human Figures added into model space
The concept of this pavilion, named ‘The Pinch’ is to use a ‘pinching’ or pulling script from anchor points to create a dual-shell dynamic structure than responds to each other. The ground plane is subtracted the same height as the pavilion is lifted up, utilising an auditorium area that reaches from below to the exterior landscape. Adequate seating is dispersed both inside and outside of the pavilion, accounting for various levels of privacy and intimacy depending on the current function of the space. The planar nature of the surfaces is to accentuate the tinted metallic surface of the inside skin, creating a prismatic light effect, while the outer mesh skin is to form a sculptural plasticity from white PVC.
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Isometric
Key Circulation Paths Threshold Heatmap Points of Interest
Second ‘skin’ as a dynamic response to the first internal layer, pulled up higher. An opened, triangulated mesh modulates visual continuity with the base pavilion Triangulation of the planar surfaces creates the gradation of a curved, plastic form. Internal ‘grotto-like’ volumes are spatious and form motifs of landscape into the pavilion
Different heights and radii forming a field for gathering space outside the lunch seminar/ quartet functions
Circular seating is moveable and dynamic, catering for varying attraction sizes when necessary
Contour-like seating subtracts from the landscape, allowing an interal theatre space to form with adequate height
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Design Iteration
Constructed using Kangaroo, and anchor
Made from 7 anchor points, while the sides were
Undulating planar surfaces like a geometric
points to ‘pinch’ the mesh down. Movement
left free. Would be suitable for a roof, integration
ocean surface. No real focal point or clear
and thresholds feels restricted thtough.
into ground plane slightly awkward.
path of circulation, steepness is restricted.
Large tarp like Sidney Meyer Music Bowl.
Smoothing out the ground plane as a gradual
Single direction surface, from one side is
While suitable for larger scales, the 5m
subtraction, with defined landing zones flattened.
parallel, perpendicular axis wavy. Usable for
restriction is awkward and does not fit.
Smooth surfaces for ground hard to articulate.
ground plane but not as the pavilion.
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Computational Process
Kangaroo script requires a mesh
The top slider is the speed in which
Piping for the outer skin, which
input (surface to be warped) and the anchor points, which pinch down on the mesh.
the script applies the load to the mesh, and the bottom controls the stiffness of the mesh. Sample iteration below.
creates it the triangular opening in the shell. Also gives the shell a sense of plasticity.
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Fabrication process
To account for the depth of the ground plane subtractions, I cut several sheets of MDF equating to 36 layers on the model. This was then glued together, sanded and painted on top in a white acrylic finish. The result was a full white model which matched the top 3D printed pavilion.
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360 Image Output
Digital Design Semester 1, 2018 24