Digital Design - Portfolio Semester 1, 2018 Zachari Orelowitz 910231 Dan Parker - Studio 12
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email: orelowitzz@gmail.com
Content:
Education: 2017 - current
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Bachelor of Design
Precedent Study Work Experience:
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Generating Design Through Digital Processes
Queen Victoria Garden Pavilion
2018
Kisume
2019
Woods Bagot
Awards/Roles: 2019
Bachelor of Design Student Ambassador
Digital techniques of design have fundamentally restructured the way in which architecture must be approached in order to suit the complexities of the modern world. Through my undertaking of the Digital Design course at the University of Melbourne, this notion could not be more apparent. This subject has required me to tackle the various intricacies of the generative design process, giving insight into its implications for the future. The use of the parametric software, Grasshopper, provided a challenging, yet rewarding method of generating design, allowing me to conceptualise projects which would be impossible to create with other tools. Various fabrication techniques have also been taught to me, unlocking new possibilities in the way I may visualise and iterate my ideas. I understand that this subject has only been the first step into a new reality of design. By using the software and concepts show to me this semester, I hope to gain a further understanding and appreciation of digital design methods as I continue my architectural education, improving my skills as I do so.
Skills: Rhino Grasshopper Unreal Photoshop Illustrator Indesign
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Diagramming Design Precedent
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Carme’s 2018 interpretation of the space is poetically centred around the notion of interaction and unification; acting as a physical mediator with the aim of bridging discourse amongst people, nature and the broader city of Melbourne. Carme achieves this largely through the construction of floating planes which lie – at sharp angles – a top raised mounds within the park. In doing so she connects the structure directly within the city, simultaneously delineating the schism between roof, wall and floor as well as material, individual and natural; transitioning urbanistic mechanisms into broader ‘space’.
Moreover, she furthers this contention through the design of an interlocking geometric
The key concept alluded to in this precedent study is arguably the notion of interplay and connectedness; with Carme ingeniously inter-
roofing assemblage, in which two halves seem to effortless overlap into a unified while.
twining the seperate roof panels with one another and further, the respected landscape through the elelavtion of of terraformed mounds.
Within the roofing structure itself, Carme has strategically layered a combination of timber
Further, Carme has emphasised this connectedness through a semi-permeable structure allowing for the space to leak out leading to a
lattice work and transparent polycarbonate to master control over light. This semi-perme-
diffused threshold progression and ergo, diffused user interaction.
ability of view as well as diffused shading gives rise to a vestibular threshold which has no tangible edges; but rather radiates outward generating a broader transitional zone in which
Moreover, Carme prescribes no objective point of entry allowing for a cross pollination system whereby users interact at key spatial points
individuals function differently amongst the space depending on their relation to it’s central
and collectively create subconsious spatial openings allowing for affordances in occupation and presentation.
point.
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Circulation Diagram
Threshold Diagram
With no objective entry points users collectively develop a circulation pattern which
Carme employs an array of threshold techniques through her pavilion, all of which emphasis the distribution of
stabalises with a central and a three exterior cross pollination points, as well as cresent
public and private realm and divide such private realm into a collective public-private and interpersonal-private
shaped affordance zones which can be utilised for presentation or entertainment spaces space. In terms of public-private space, the roof layering and shadow de-velopment leads to a diffused but defined (these inherent forms arise due the calculated mound orientation). Moreover, thicker
concept of space, gently transitioning the progression fromoutside in - emphasised through strong enclosure withing
circulation lines around the seating array demonstrate seating ambulation and length of
the mounds. Additionally, the raised seatingand angled roofing creates a sense of intamacy with each incremental
stay relative to more dynamic ambulatory curves which illustrate shortest travel paths.
increase in height. Ultimately, these two techniques largely define the user behaviour whose connection the the space diffuses withthe shadow and roof inclines.
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Generating Ideas Through Process 5
SURFACE AND WAFFLE STRUCTURE Surface Creation
PANEL VARIANCE Brep: Taken From final surfaces in order to simplify the journal script Quad Grid: To take the mid points of the surface grid Surface Closest Point: To convert the points into UV locators Evaluate Surface: To extract surface normals at surface grid midpoints Line SDL: To take the vertical Z-Axis as a reference vector Angle: Generates a Radian angle between surface normals and the Z-Axis. These were then converted into Degrees. Bounds and Remap: To standardise angle magnitudes, allow the script to work effectively on all generated surfaces
OFFSET GRID MANIPULATION *Note similar method to above, however: Surface Domain Number: To take 5x5 panel grid points Bounds, Remap, Number Sliders: To standardise and exemplify angle magnitudes: Allows for control/exemplification over max and min grid offset values in relation totheir relative normal angles against the vertical. Offset Grid: Offset panelling grid in the direction of the surface normal, and as a percentage of the normal’s angle of attack against the vertical.
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SURFACE AND WAFFLE STRUCTURE Surface Creation
Number Sliders: Generate a decimal real number between 0 and 1 as angle values have been standardised between these bounds.
Larger Than/Smaller Than: Set boundaries for the number slider values in order to generate an adjustable domain to then tile specific panels across the grid, depending on surface angles.
And Gates: Set and internalise range of values larger than x1 and smaller than x2 as defined through number sliders and <> commands.
Mesh Brep and Morph 3D: To identify a rhino panel, mesh it (so it is developable) and then output it as a grasshopper object. Note that 5 components were used in order to achieve smoother transition over the surface angle change. Cull Pattern: To select, reject and allocate specific panels to tile at specific surface grid points; based on that specific grid points difference between the grid midpoint surface normal and the vertical.
My model posed various challenges in terms of scripting. Foremost of which, was the fact that one of my surfaces has 3 points within the same plane. Due to a mismatching set of contour lines, I was required to rescript of the waffle code in order to resolve data structure. However, this ultimately allowed my panels to be triangularly symmetrical in the sense that in both vertical directions the waffle met ground (or extended into space) through a single point on one edge and a row of fins on the other.
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Design Matrix
1:1
1:2
(0, 0, 135)
(0, 0, 150)
(150, 150, 150)
1:3
1:4
KEY (0, 0, 135)
Surface Edge
(75, 0, 150) (150, 0, 150)
(30, 150, 150)
(0, 150, 150)
Iso Cruve
(150, 150, 90)
(0, 150, 150)
Hidden Edge/Iso (150, 0 150)
Control Point
(150, 0,105)
(150, 90, 150)
Lofted Surfaces
(X, Y, Z)
(150, 0, 135)
(0, 0, 150)
(0, 0, 0) (150, 0, 60) (75, 150, 0)
(150, 0, 45)
(0, 0, 135) (150, 0, 0)
(150, 0, 0)
(150, 150, 90) (150, 0, 0)
(0, 150, 0)
(0, 0, 135)
(75, 150, 0)
(75, 150, 0) (0, 15, 0)
(135, 150, 0)
2:1
2:2
2:3
(0, 0, 0)
2:4
Surface Grid Point Offset Grid Point Surface Normal Vector
Offset Grid & Surface Vectors
Surface Edge
Left: (16, 6) Right: (6, 31)
Left: (36, 23) Right: (24, 28)
Left: (7, 40) Right: (56, 7)
3:1
3:2
3:3
Left: (34, 60) Right: (69, 42)
3:4
Offset Grid Bounds (MM) Left: (Max, Min) Right: (Max, Min)
The variable parameter in my matrix was largely the data manipulation of the surface normals; how this affected offset distance and panel culling. I found that iterations grew aesthetically stronger with lower offset
Panelling
values that allocated min values at lesser magnitudes of angle. Additionally, by adding 5 panels over 3, I could gradually and mechanically transition the panelling system Triangle Crop w. Single Pyramid
Slit w. Single Pyramid
Double Pyramid Pullback
Slit Rotation w. Pyramid Pullback
from one form to another over the differential angle change, giving the overall form a sense of cohesion and underlying order.
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Surface In essence, this model was an attempt at self-referential and systemic design. As such all data used to manipulate the panels â&#x20AC;&#x201C; both in variation and offset - was extrapolated and reinforced back within the surface topography itself. In order to accomplish this, the angle between the Z-Axis (Vertical) and the surface normal at each of the panelling grid midpoint was evaluated and standardised â&#x20AC;&#x201C; this data was then put back into the system by varying the panels via their angle of attack against the vertical. A similar process was undertaken for the offset grid which enabled strong control of the panel offset based their individual angles of aggression. I found this particularly interesting as the outcome is now an internalised system of design. As a result, I would argue that there is an objective, inherent and underlying cohesion and a sense of emergence as the structure is designed from within itself â&#x20AC;&#x201C; conceptually and aesthetically beyond what I may have generated without the data itself and my own subjective design choices.
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Waffle The concept I wanted explore through panelling was the notion of threshold and circulation via light porosity and visual transparency. As a result, I developed 5 progressing panels which were built of two components; a double pyramid and slitted section. Both of these components act in unison with one half generating and the other dispersing light through the design outcome. Moreover, I attempted to reference the notion of ‘blossoming’; with the increasing angle of aggression at each panel grid prescribing the double pyramid segment to pull back further, engaging greater light penetration through the slits. Further, the slits themselves gradually rotate from horizontal to vertical throughout the surface – again based on the normal angle – subtly enhancing and implying the curvature of the surfaces as well as generating additional visual complexity.
This ties in nicely with the waffle structure as the panelling outcome is now just a systemic extension of its form. In doing so, the waffle appears to meld between the two surfaces with the structure just emerging at points beyond the surface overlap. Additionally, as mentioned prior, the waffle itself is vertically symmetrical with each end meeting the ground at a point on one edge and structural row on the other. Isometric 1:1 at A3 5 10
20
50mm
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Structure develops threshold through light porosity, with overhanging panels â&#x20AC;&#x2DC;buddingâ&#x20AC;&#x2122; as their 9 angle increase - an intermediary/vestibular spatial form. Conversely, the opposing surface offers affordances for seating and tangible engagement.
1:1
1:2
2:1 2:2
1:3
2:3
1:4
2:4
1:5
2:5
The unrolling process when preparing this model was particularly cumbersome. Each individual panel had to be exploded so the pyramids could unroll separate to the flat slitted segment in order to avoid overlapping. Additionally, when meshed the slitted segments were triangulated into 60+ sections, making accurate unrolling impossible and a non-developable surface. In order to overcome this constraint, I was required to bake a non-holed slitted area with the same form as my segments; unroll that; overlay it atop my slitted unrolled panels and then manually trim out the holes/ place fold lines in the most accurate representation possible.
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Visual Scripting of Parametric Model
BASE OF MOBUIS SCRIPT *Note that for my development, sliders were occasionally replaced with bounds and remap values and varied through a form of an attractor
Radius of Base Circle
Number of Frames
Radius of Perpendicular Polygon Frames
Define amount of polygon edges
Perp Frames: Generate a series of frames that are perpendicularly mapped along the base circle. Polygon: To define the form of the mapped Perp Frames. Allowed for generation of mobius strips with 3+ faces and the variability of their radii. Rotate, Series and Division: To gradually rotate the specified count Perpendicular Polygons so they complete a 360 degree rotation across the base circles perimeter. Each recurring rotation was an iterative value by dividing 360 degrees by the count of the frames. Loft: To loft the polygon frame edges in order to generate mobius surfaces. Brep: Output the crafted Mobius strip as an object to bake into Rhino.
The mobius script above was used in conjunction with the workshop script. Bounds and remap values allowed for interesting scaling and rotation opportunities.
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SOLID AND VOID
Pictured on the left is the final iterative section of my Boolean Modelling process. Whilst it offers underlying spatial qualities; its function, porosity and permeability are largely dependent on its scale. As demonstrated in the images above, at a larger scale the space is orthogonally permeable with a centralised crossing point. Additionally, the large openings and sweeping columns which emerge from the horizontal induce ground porosity by offering views through and guiding users into the structure. On a smaller scale, the model can be duplicated/stacked, ergo acting as a larger system. In doing so, the congregated model now acts as physically impermeable structure; whilst allowing for light penetration and visual porosity.
Isometric 1:1 at A3 5 10
20
50mm
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Design Matrix
Cullulate Manipulation
1:1
1:2
1:3
KEY
1:4
Cube Edge Boundary Cellulate Wires Hidden Edge
(59, -103, 73)
Attractor Curve (X, Y, Z)
Attractor Point Volume Centroid Pts
(16, 59, 107)
(88, 97, 37)
(0, 75, 0)
(Point Attractor)
2:1
(Point Attractor)
(Point Attractor)
(Point Attractor)
2:2
2:3
2:4 (100, 57, 118)
Centroid Point Differentiation
(-6, 70, 142)
(106, 53, 0)
(63, 109, 0) (86, 91, 0)
(63, 109, 0)
(Point Attractor)
(Point Attractor)
Object Variency
3:1
(Curve Attractor)
3:2
Sphere; Varying Scale
(Curve Attractor)
3:3
3:4
Quadrilateral Mobius Strip; Varying Scale and Rotation
Hexagonal Mobius Strip; Uniform
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Quadrilateral Mobius Strip; Varying Rotation
Whilst I experimented with a range of iteration manipulations in terms of rotation and scaling; ultimately the complexity in the Mobius geometry left the cross sections with the least rotation and scaling variation to be the most effective. Whilst this was an unexciting realisation, the end forms of this end up having a greater sense of order and spatial presence.
M2 Task 2 3D Printing
Thickness Analysis
Rhino Render View of 5x5x5 Volume
Print Preview of Model; using DD Makerbot settings; Replicator+ and True White Fillament
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O PAVILION
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Preliminary Iterations
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Isometric
Central â&#x20AC;&#x2DC;atriumâ&#x20AC;&#x2122; for orchestral chortet, panels bud/rotate in accordance to their movement during performances. Allowing the structure to ebb with the act.
Panelised, dual-mobius strip geometry. With no user interaction, acts as a closed self referential film - blocking visual acuity through the system (basal metabolism)
Panalised system engages as user approaches, nicreasing in rotation as user proximity nears. Openiing up views to the user as they feed the system metabolism.
Underlying structural system off 30mm diameter metal pipes which enable panel rotation mechanism.
Overhang allows for performer entry route and user slipthrough.
Platform edge at 400mm high, offers affordances for user seating.
Diagrammatic Isometric 1:25 0
500
1500mm
Metabolic/Interactive Radius range limited to platform, forcing users to raise themselves to the pavilionâ&#x20AC;&#x2122;s level in order to engage in its systsem.
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The cantilevered concrete platform elevates the structure beyond the landscape, emphasising the monolithic, ethereal and self referential form.
Through the conclusion of and feedback for my second module for Digital Design, I was clear on which pathways, concepts and ideas were needed to develop in development for my M3 pavilion. Emerging out of my panelised system for Part A was the concept of self referentiality and systemic design, looking at how structures can perform when using internalised sets of data. Additionally, through my Boolean processes for Part B, I could further my exploration of Mobius geometry and how a system can multiply upon itself in order to develop threshold and ground porosity.
Irritation Response
After my presentation, I was introduced to and found great inspiration in Andre Reichel’s article, “Technology as a system: towards an Autopoietic theory of technology”. Whilst some of his language was beyond the scope of my design, it was largely his comments on ‘technological irritation’ and self-referentiality which I sought to explore. The basis of such theory takes the observer as the “pivotal starting point” and argues that all systems of complexity are inherently self-referential in nature as they naturally refer-back on themselves to evolve, adapt and change. What allows for this process to occur at basal level is communication. It is such, that communication acts as both the observer and creator, both informing and being informed by societal data as a transferable currency. It would be important to note here that the idea of communication is termed on a much broader definition, encapsulating stock market fluctuations as economic descriptors and titles such as ‘President’ as communicable social addressors. The challenge then arises in how to place an observer within an environment to create a broader system shared between the two entities but simultaneously ensuring that each unit is a distinctly different realm. Reichel argues that, “distinct systems develop their own distinct core processes and codes of conducting them. In order to exert some influence over another, a mutually agreed upon mechanism needs to evolve”, terming such a concept as structural coupling. It was his example of this through an organism’s metabolism, which I found the fundamental inspiration for my pavilion. Reichel demonstrates that the metabolism of an entity is structurally coupled with its food environment, contending that the food can only be consumed in accordance with the metabolism’s rules, leading to an inherent irritation between food source and the organism’s metabolism. However, as the food cannot redevelop the workings of the metabolism and the organism seeks for food which benefit itself – the food will naturally adapt to in order to communicate and relate with the organism’s metabolic requirements. This underlying irritation and unspoken communication hereby allows for the systematic relation between the organism’s metabolism and the food source; simultaneously with clear distinction between the two individual references.
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BASE METABOLISM
Design Metabolism DUAL USER SYSTEM
SINGLE USER SYSTEM
QUARTET SYSTEM
MASS VIEWING
As a non-orientable, self-defining and infinitely self-informing shape, I believe that the Mobius strip serves as the utmost formative encapsulation of self-referential geometry. More so, the nature of the shape – appearing to have 2-sides but in actuality is one self-responding edge – ties well to Reichel’s theory of structural coupling, looking at what appears to be two distinct systems aligning within a systemic whole. As such, I used grasshopper to manipulate and generate a duo-mobius strip structure, which acts as the formative foundation for my pavilion design.
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Vignette 01
This is then broken down into a
Pavilion atop cantilevered slab, at basal metabolism
cladding system of 1627 panels, which rotate around their respective structural piping. Using a series of infra-red camera’s this rotation degree is then defined by user proximity to the structural system; with basal panel rotation set at 0 when a user is 2.75m away, gradually blooming to a total of 130 degrees when a user is standing closest to the panel. In doing so, the pavilion takes direct appropriation from Reichel’s example, with the pavilion itself acting as an organism, panel rotation here serves as the system’s metabolism and it is now the user of the pavilion who simultaneously acts as both the irritant to the pavilion’s system as well
Vignette 02
as the food – their locus of proximity
External View Inwards, demonstrating panel rotation as user feeds the structure - opening up visual acuity into central space.
feeding energy into the system and and acting as the communication between the two realms.
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At basal metabolism the structure appears closed, with panels locking in an aligned grid, blocking any visual transparency into the pavilion internals. It is only when the user actively decides to convert their curiosity to look inside into a communicable language, in this case distance, that the pavilion system will engage to allow for blooming internal views. Moreover, as the panel rotation is a direct response to the user, visually, the structure will appear to mimic, respond and entangle with the user themselves – further blurring the line between observer and actor – and allowing for two distinct self-referential systems to act in a continuous synchronisation. This extends further to the quartet performance, who could act in the central opening of the pavilion and it would be their performance ambulation and movement to which the building responds – as such the pavilion itself becomes both an observer and actor; encapsulating, outputting and acting as a dynamic physical embodiment of the performance. In doing so, this links the user, pavilion and the pavilion’s metabolism itself within the broader landscape in a communicative way, with the rotation metabolism altering structural breathability in terms of air and light flow.
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Conversely, when at basal metabolism the structure itself acts completely self-referentially and is entirely separated from the landscape. This is heightened through the use of a cantilevered concrete slab at which the pavilion centrally rests. As such, the structure appears to be closed off and hovering above the surrounding landscape as a monolithic form. Appearing out of place and with no clear instruction the pavilion generates inherent curiosity and entices users to approach, seeking out foo to feed itâ&#x20AC;&#x2122;s metabolism. The floating plinth on which it rests acts as both an ethereal separator and the boundary for metabolism interaction, as such, it forces users to physically raise themselves to the systemic level of the pavilion in order to structurally couple with it. As such, the plinth communicates a systemic separation between the border of the pavilion and the edge of the landscape, forcing the generation of new and contained system which both rests within the surrounding Queen Victoria Gardens but is completely isolated from it at the same instant.
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360 Image Output
Digital Design Semester 1, 2018 24