Digital Design M3 Visual Journal

T A N G L I NG P A V I L I O N

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TANGLING PAVILION .

My concept for this project is to create a high sense of transparency and permeability with distorting the inside and outside space, which eventually leads to a pavilion that is breathing and congruous with the environment.

Like Toyo Ito has described his National Taichung Theatre --- “are in some ways inside and in some ways outside the body� I started form-finding with the idea Minimal surface, and later shifted to Voronoi pattern to mimic the spatial quality yet with more control. The landscape is elevated to celebrate the sculpture-like pavilion, so that visitors can enjoy its beauty even from a far distance. Considering the circulation, I divided the visitors into two types---one is the life-time visitor, for whom I want to ensure them get full experience of the pavilion. So there is a circular pathway designed no matter entering from any entry. The other is the local visitors, a spread-out circulation is designed for them to enter and exit based on their interest. The landscape is also sharing the same concept, with an overall radial shape and extended space for lingering on.

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M3 - Tangling Pavilion

Keys:

DIAGRAM.

Occupied space

Spread-out circulation

Radius Circulation

Module Structure Detail 1:25

Stainless steel mesh enhances the high sense of transparency and permeability, allowing light to access the space. This gives the pavilion a sense of heaviness when stepping inside but transparency when viewing from outside.

The structure is generated using Voronoi 3d.

The distortion is achieved through parametric design tool Grasshopper using point attractors.

Yichen Cao - 900359

The threshold and circulation of the pavilion are generated through culling points inside the voids I formed.

The step-down creates space for lingering on, allowing people to view the sculpture-like pavilion from outside as well as enjoying the performances held inside the pavilion.

27 The hollow space forms a transitional space as well as distorting people’s perception of interior and exterior when approaching the pavilion.

The steps elevated creates a threshold helping to differentiate the landscape from the pavilion itself.

PROGRESSION PERSPECTIVE. UNREAL ENGINE 4 .

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DESIGN ITERATIONS .

Design Iteration

I first came up with a waffle structure that is booleaned out to form circulation and seats.

Then I created a script to grow semi-enclosed surface from curves I draw.

However I want to challenge myself how far I can go with parametric design tool.

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I made the surface mor this wavy effect, which c However circulation and are very ambiguous.

re complex by adding creates dynamic space. d threshold in this space

I continued exploring how can I take what I learnt from Toyo Ito’s pavilion---permeability and redefining architectural elements until I found the idea of Minimal Surface. This is a Gyroid Surface I made in Grasshopper using plug-in Millipede.

I came up with this wavy envelop in which some of the slope extends to the ground and became support structure.

I simplified the space by extracting its smallest unit. I attempted to control the openings using a plug-in called Kangaroo. However, it’s still very difficult to rationalize the distinct structure to form ideal circulation for pavilion.

This shows the 31 exploration I made in designing the perforation of the skin, using Weaverbird.

I attempted to mimic the materiality of steel mesh, by changing the thickness using Weaverbird.

TANGLING PAVILION. PHOTOGRAPHS.

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LANDSCAPE .

Image captured from Google Map

The pavilion is to be located in the Queen Victoria Garden. Through research, I noticed that there are a few water features--- The Yarra River, Ornamental Lake and a small pond. Their sinuous shape inspired me to design the landscape that is congruous with the context. To do so, I researched on ARM’s Elizabeth Quay project, in which they simulated the process of dropping a virtual egg into virtual water, and recorded the water disturbance pattern, using it in the paving.

I created the landscape using metaballs in Grasshopper, which formed an overall radial shape and extended space for people to linger on.

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PRECEDENT STUDY .

MATERIALS.

The NonLin/Lin pavilion designed by Marc Fornes is made of white Aluminum sheets using CNC cutting and engraving. This gives it a sculptural look and high sense of permeability.

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Felix Raspall + Carlos Baùón installed a 3D-printed mesh pavilion at SUTD university. It was composed of 3D-printed nodes and 10mm diameter aluminum bars.

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PRECEDENT STUDY .

MATERIALS.

Sou Fujimoto’s Naoshima pavilion in Kagawa, Japan. It was made of white stainless steel mesh, which gives it high sense of transparency and allow view from any angle.

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Based on the precedents research, my pavilion is made of stainless steel mesh of 10mm diameter. I made the reflective, grey-silver texture in Unreal Engine. Its distinct materiality evokes a connection to the skyscrapers in the city, however also blends into the environment seamlessly.

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Parametric Design Process .

Grasshopper Script showing the control over final pavilion generated from Voronoi pattern

Using point attractor component from Nudibranch to control the angle to which the structure is distorted

Using dispatch to cull the points inside the breps, which forms ideal openings and circulation for the inhabitation.

Through scaling the faces extracted from the voronoi to control the size of the openings. ( f = scaling factor )

f = 0.212

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f = 0.618

FABRICATION PROCESS.

Removing support from 3D printed model

Making waffle structure inside the hollow contour model of the landscape

For the section pavilion, I used 3D printing to fabricate its organic form. Since the support is a big problem, I first remove it with a pliers, then use sand paper to sand the surface. For the landscape, I used 2mm white perspex as the material for lasercutting. Then I spray paint the model after it was glued.

43 Spray paint over white perspex for a clean, matte look

360 IMAGE OUTPUT. For the 360 image I chose a perspective that best show the distortion of space and permeability.

DIGITAL

Semeste

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DESIGN

er 1, 2018

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REFERENCE LISTS.

ARM Architecture, n.d. Elizabeth Quay, viewed 10th June 2018, < http://armarchitecture.com.au/projects/elizabeth-quay/> Cooper, 2015, Sou Fujimoto debuts a white stainless steel pavilion for the 2016 Setouchi International Art Festival in Japan, viewed on 10th June 2018, < https://archpaper. com/2015/04/japanese-architect-sou-fujimoto-debuts-white-stainless-steel-pavilion-2016-setouchi-international-art-festival/> Deleu, 2002, Toyo Ito Serpentine Pavilion, photograph, viewed 10th June 2018, < http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion2002-toyo-ito-and-cecil-balmond-arup> Frearson, 2011, NonLin/Lin Pavilion by Marc Fornes/ and The Very Many, viewed on 10th June 2018, < https://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marcfornes-the-very-many/> Gadanho, P. (2016). A Japanese constellation. New York: The Musuem of Modern Art, p.21.

Gilardi, 2016, felix raspall + carlos bañón installs 3D-printed fibrous pavilion at SUTD Singapore, viewed on 10th June 2018, < https://www.designboom.com/architecture/ felix-raspall-carlo-banon-vmesh-pavilion-sutd-singapore-open-house-06-21-2016/> Hecht, viewed on 10th June 2018, Sou Fujimoto’s Naoshima Pavilion, photograph, < https://archpaper.com/2015/04/japanese-architect-sou-fujimoto-debuts-whitestainless-steel-pavilion-2016-setouchi-international-art-festival/> MAXXI, 2016, Superstudio 50, viewed 10th June 2018, < http://www.maxxi.art/wp-content/uploads/2011/06/MAXXI_SUPERSTUDIO50_PressKit.pdf>

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