Digital Design - Portfolio Semester 1, 2018 JOSHUA TSANG
868673 Siavash Malek - Studio 20
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email: htsang1@student.unimelb.edu.au wix: https://joshuatsang1128.wixsite.com/dd-portfolio
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Education:
Precedent Study
Generating Design Through Digital Processes
Reflection:
2017 - current
Bachelor of Design
2014 - 2016
Major: Graphic Design & Digital Technologies International Baccalaureate
2012 - 2014
Cambridge IGCSE
Work Experience: 2016
United Technologies
2014
Goldrich Planners & Surveyors Ltd
Queen Victoria Garden Pavilion Awards / Exhibition: 2018
Undergraduate Dean’s Honours Awards
2017
MSDx 2017 Exhibition
2017
Loop Exhibition
2017
FOD:R Best Module Three Award
2017
FOD:R Exhibition, AFLK Gallery
Skills:
What motivates me to design is the vast range and depth of things one can convey through a design, along with the responses a piece of design can generate. Regardless of the type of design, may it be architecture, product, graphics or user experience design, it astonishes me how instructions, aesthetics, emotions or feelings that would be hard to express through words, can be simply expressed, and or conveyed through a piece of good design. The most notable design element I have learnt from this subject was the control of Space. From the Precedent Study, I have noticed how big of an impact the control of space may have on a design. The way thresholds are created and separated by transitional spaces can dramatically change one’s response to a design. I have tried to implement this element in my subsequent modules, most notable in M2’s Task 2 and my M3 Pavilion Design. Through manipulating the form of my designs, I was able to create spaces that were not only open or closed, light or dark, public or private, but a combination of the above.
Rhinoceros 3D - Grasshopper Cinema 4D
As I have little experience in fabrication, this is one area that I believe needs improvement. While graphic design is usually printed, it is important to know the means of fabrication if I would like to ever fabricate a 3D design physically.
Blender Unreal Engine Substance Painter
Photoshop
Arnold
Illustrator
Redshift
Indesign
Octane
Premiere Pro
V-Ray
Fabrication
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Precedent Study 3
Diagramming Design Precedent
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Serpentine Gallery Pavilion (Hufton+Crow 2011)
I believe that the true threshold of this pavilion starts from the very beginning of the paths that slowly elevates and lead to the pavilion. Surrounded by vibrant green grass and trees, it starts to transition you away from the hustle and bustle of the big city. The corridor with offset entrances serves as a transitional space that forces the visitor to be in the traditional space longer. The corridor not only blocks off the view to the outside world but also to the inner garden. The viewer’s minds are not given visual content to process, in preparation for their entrance to the inner garden, where there are dozens of colourful plants waiting for the viewer to fathom over. Although the offset entrances prevent the visitor from entering the inner garden directly, it does not force the visitor to take a specific path into the inner garden. The key concept of the pavilion is to provide a space that is separated from the busy city life for contemplation. The design of the paths, to the multiple offset entrances, allows visitors to ‘transition’ between the two spaces at their own pace.
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In Zumthor’s pavilion, the black painted corridors that separate the inner garden from the outside world will heavily affect how visitors will transition from the outside into the inner garden. In addition, the corridor lights’ heavy contrast with the black pavilion structure plays a large role in how the viewer will perceive the main transitional space, the corridors.
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Diagrams Circulation Diagram The diagram to the right is a circulation diagram that shows some of the paths a viewer may take. The lines in the corridor are straight and uniform while the lines in the inner garden are wavey which is used to shows the types of movement each space allows for in the pavilion.
Circulation paths Entrance/Transition
Threshold Diagram Starting from the bottom up. The first layer shows each area’s exposure to light. While the dark corridors are completely enclosed, the sides of the inner garden are shaded by the protruding roof, and the centre of the garden along with the outside is completely open. The second layer displays the density of people across the pavilion. While the limited attraction and space in the corridors leave the corridors less occupied, the inner garden is mostly occupied by people sitting on the bench surrounding the sides. Lastly, the third layer illustrates how the offset entrances create the transitional space which may lead the viewer to be in the corridor different amounts of time depending on the path they take. Together, this diagram shows the thresholds of Zumthor’s Serpentine Pavilion.
Density
Light & Dark
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Generating Ideas Through Process - Task 01
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Design Matrix
Design Matrix 1:6
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Surface and Waffle With this structure orientated with the skin facing east and west, depending on the time of day, the lighting created inside can be just pure diffuse light entering the perforations of the panels, or broken down strong direct light from the top during midday. (10, 70, 150)
Perforations on faces that face downwards control the type of lighting that can enter the volume. Only diffuse light/bounce light from the top and or side of each panel will be able to enter the volume from the side.
Not only is the waffle structure designed to enforce the spiralling movement upwards. The waffle structure connecting the two skins is also designed to create interesting broken down direct light from the sun during the day.
Like scales, each individual panels’ tips are directed downwards towards the bottom left of each skin(as shown by the vector lines). However, overall it creates a directional movement towards the top right of each skin, as the most prominent face appears to be pointing towards the top right.
Perforations are smallest at the top right and increase in size towards the bottom left of each skin when viewed from the exterior. Together with how the wholes faces downwards and towards the bottom left of each skin, This enforces the spiralling movement that is created by the scale like panels.
The waffle structure connecting the skins are designed to be aligned with the diagonal lines that run through each panel. This creates a stronger, more coherent and movement in the entire structure.
Exploded Axonometric 2:1
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Computation Workflow
This group of Grasshopper definition defines the two base ruled surfaces from a set of points.
This group takes the base panels I created and morphs it to the base ruled surfaces with a set of attractor points controlling the direction of each triangle based pyramid.
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This group creates the 3 axis of the waffle structure and notches required for construction. The 3 axis are from contouring the based surfaces across the z-axis and the surface’s UV coordinates.
Fabtrication
These Images illustrates the construction of the skin for Task 1
These Images illustrates the construction of the waffle structure, and attaching the skin to the waffle structure.
The above two images are the templates of my laser cutting submission.
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Generating Ideas Through Process - Task 02 11
Design Matrix
Design Matrix 1:6
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SOLID AND VOID
Areas where the smaller intersecting geometry interacts creates a more dynamic and nonuniform exterior that would create abnormal interior room shapes
This thicker space can be interpreted as the area that would be filled with interior rooms. Due to its irregular shape, many interesting spaces such as exhibition spaces or communal spaces, can be created in this space.
The solids left behind can be interpreted as a structure of some kind. This subtractive method was able to create skylight, windows, entrances, and difference in levels together at the same time
The direction of this structure also allows a really dynamic change in lighting in the open areas of the structure throughout the day
Areas where the boolean object did not intersect with each other created geometry that connects the two ends of the structure. Which can be interpreted as overhanging bridges/walkways. The intersecting geometry is placed so that it leaves a thin layer of material behind, that creates this facade, which creates a boundary between the interior and the exterior of the structure
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Even with the boolean geometry protruding the original shape, the twisting form of the base shape is still highly visible as a form. 60mm
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Computational Process
This group of Grasshopper definition defines the base shape of the Task 2. I’ve created my base shape based on the two surfaces from Task 1.
This group defines the 3*3*3 point grid where the boolean objects are created on. The grid points are attracted by attractor points
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These two groups defines the geometry that would be boolean out of the base shape.
3D Printing
This is an render of how the chosen section of task 2 should look like.
This is an image of the final 3D Print with the supporting material removed. Using Replicator+, module 2 task 2 is fabricated by 3D printing.
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Under the Wings Queen Victoria Garden Pavilion
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Design Iteration
Design Matrix 1:150
After deciding the key concept of my design, I have decided to create my pavilion based on a series of frames that iterates and transforms from one end to the other. These frames would create dynamic openings across the pavilion which would create interesting lighting and enable different parts of the pavilion to be seen depending on the position of the visitor. From the first row, you can see me iterating through different base shapes for the frames along with different ways to transform the base shape from one end to the other. In the second row, you can see me iterating through different ways to further expand the design. In the end I have decided to go with a hexagon frame with only 3 of the sides, which are rotated and scaled from one end to the other based on a curve(2.5).
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Isometric Seating is created integrated into the form of the pavilion.
As the angle of each frame is constantly changing across the pavilion, the frames create dynamic openings that reveal a different part of the interior or the surrounding landscape depending on the position of the visitor. The dynamic openings further create interesting lighting and shadows throughout the day. The single continuous form of the pavilion creates entrances, openings, shelter and seating for visitors.
An opening is created as the frames lift off the ground, this creates an area that is inside but also half exposed to the exterior.
The continuous form of the pavilion transitions from a closed to an open space as the frames transitions from being a wall that encloses the interior threshold, to a wall that separates the pavilion into two spaces. Creating an exterior threshold that is still under the same structure.
The frames across the pavilion that are connected to the ground holds up the spine that in turn, holds up the floating frames. The form of the pavilion is constructed by a series of planar frames. This area is slightly elevated to give performers and presenters a slightly higher position. Areas with a few bushes and tall grass that creates a threshold helping to separate the landscape from the pavilion and guides the visitors towards the pavilion, but still sparse enough for people to use this space.
Being part of the pavilion, this space is part of both the exterior and the interior of the pavilion. While shade is provided and it is connected spatially with the interior, it is also separated by the frames.
Areas with short grass that creates a threshold that paves the way to the pavilion.
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Diagrams
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Shadow Diagram 1:100 0
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Threshold Diagram 1:100 0
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This is a shadow diagram that illustrates the dynamic shadows that are created by the transforming frames across different periods of the day. The shadows diagram also illustrates how the same gap between two frames enables a different amount of light to pass through depending on the time of day.
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This threshold diagram illustrates zones of different levels of privacy and openness. While the pavilion frames can be seen through as long as you are parallel to the frames, as the direction of the frames constantly change, depending on one’s position, the amount of the exterior or the interior that can be seen would depend on the position of the visitor.
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Computational Process
This group of the Grasshopper definition defines the Seating created off of the base hexagon frames and adjusts the frames so that it turns and supports the seating.
This group defines the supports that goes through each of the frame in order to support the frame’s that are lifted off the ground
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This groups defines the sectioned part of the model that is chosen for fabrication and create contours.
Fabrication process
Laser cutting templates
During the first fabrication attempt of my pavilion, I have overlooked how the frames enter the contours at an angle. As the contours are fabricated by laser cutting, it is only able to produce vertical cuts through each layer of the contours. This resulted in the frames not being in the right angle after being inserted into the contours, and thus I had to force my support to all in place. This experience reminds me that every 0.1mm is very important when it comes to assembling a multi-part model. I’ve since changed the design of the supports that fits better and is overall less intrusive to the design. The three images above illustrates my laser cutting template for fabricating the frames and the contours for the physical model. The image on the right illustrates the 3D printing calculation done by MakerBot for the supports that are 3d printed. MakerBot Calculation of the 3D printed support
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Unreal Engine Renders
Exterior low shot of the pavilion.
Interior head height view from inside the pavilion
Interior head height view from the end of the seating.
Interior shot of the frames’ transition from seating.
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360 Image Output
Digital Design Semester 1, 2018 26
Bibliography Hufton+Crow. 2011. Serpentine Gallery Pavilion. Image. http://architecturenow.co.nz/articles/a-garden-designed-by-dutch-master-piet-oudolf-takes-centre-stage-inside-this-years-pavilion/.
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