I am passionate about architecture, construction and sustainable design. I am driven to innovate new systems and theories that push the boundaries of conceptual design. Architecture is constantly adapting to a transforming environment, and it’s this that drives my enthusiasm for designing spaces that creatively influence people.
part a - ideation
A1. introduction
A2. scenario
A3. references
A4. experimentation
A5. reflection
part b - design
B1. design concept
B2. design precedents
B3. design development
B4. design detailing
B5. design situation
B6. design attachment
C1. poster design part c- communication
C2. reflective practice
part d - conclusion
D1. conclusion
D2. list of figures
D3. bibliography
D4. appendices
fig. 1. Perseus beheading Medusa statue
The story that makes Perseus heroic is his victory in defeating Medusa. Medusa was a creature who could turn anyone who looked at her into stone. Perseus approached Medusa and used the reflection in his shield to view her without looking directly at her. Perseus was able to behead her and put her head in his satchel.
On his way home, Perseus encountered Andromeda who was bonded to a rock awaiting a sea monster to attack. Before the sea monster could attack, Perseus appeared and used the head of Medusa to turn it to stone, saving Andromeda and marrying her.
When he returned home, Perseus discovered his mother had been abused by King Polydectes. To protect his mother, Perseus uses the head of Medusa to kill the king. Perseus then presented Medusa’s head to Athena.
This answer was very similar to research done prior to using ChatGPT. Given it uses the internet to source its answers, this was to be expected. Although this is the main climax of his story, I need to provide a broader question to allow for more events in Perseus’ story to shine through. This includes the addition of other characters and their story arcs intertwined with Perseus’.
‘Perseus is indeed known for his victory over Medusa, but his heroism extends beyond just this one event.
According to Greek mythology, Perseus was the son of Zeus and the mortal woman Danae. He was prophesied to kill his grandfather, King Acrisius of Argos, which led to Acrisius locking Danae and Perseus in a chest and throwing it into the sea. Fortunately, they were rescued by a fisherman and taken to the island of Seriphos, where they lived as exiles.
As Perseus grew up, he became known for his bravery and cunning. One of his most famous exploits was his quest to slay Medusa, a gorgon whose gaze turned people to stone. With the help of the gods Athena and Hermes, Perseus was able to obtain a mirrored shield, a sword, and a helm of invisibility. her.
Using these tools, he was able to approach Medusa without being turned to stone and successfully beheaded But Perseus’s heroism didn’t end there. He also rescued Andromeda, a princess who had been chained to a rock as a sacrifice to a sea monster. Perseus used the head of Medusa to turn the monster to stone and save Andromeda.
In addition to these adventures, Perseus went on to become the founder of the city of Mycenae and the ancestor of the great hero Heracles. He also played a role in the Trojan War, providing the Greeks with the winged sandals he had used to slay Medusa.
So while Perseus is certainly remembered for his defeat of Medusa, his heroic deeds extended far beyond that one event.’
reflection
The AI suggested ‘middle of the bell curve’ answers and reaffirmed that myths can commonly be interpreted in multiple ways. The opposite would be strange, eg. an AI that has opinions and tells you what to think. Given the unbiased nature of the AI most answers are very safe. However, this is a great summary of the main story that also breaks it into main themes which can be further explored and be incorporated into the posters.
‘Perseus can be interpreted as an allegory for several themes and concepts in Greek mythology and beyond. Here are a few examples:
Heroism and bravery: Perseus embodies the archetype of the hero who faces and overcomes great challenges through his bravery and ingenuity. His victory over the monstrous Medusa is seen as a symbol of courage and determination in the face of seemingly insurmountable obstacles.
Divine intervention: Perseus’s success in his quest is due in large part to the help he receives from the gods Athena and Hermes. This can be seen as an allegory for the role that divine intervention plays in human affairs, whether through prayer, ritual, or other means of communication with the divine.
Self-discovery and growth: Perseus’s journey from a helpless infant to a powerful hero can be seen as an allegory for the process of selfdiscovery and personal growth.
He faces challenges and obstacles along the way, but through his perseverance and determination, he is able to develop his own strengths and abilities.
Transformation and rebirth: Perseus’s encounter with Medusa can be interpreted as a symbol of transformation and rebirth. Medusa represents the destructive and chaotic aspects of the feminine, while Perseus’s victory over her represents the triumph of the masculine over these forces. This can be seen as an allegory for the process of transformation and rebirth that occurs in many spiritual and psychological traditions.
Overall, Perseus’s story can be interpreted in a variety of ways, depending on the context and perspective of the reader. As with any myth or allegory, its meaning is not fixed, but is constantly evolving and open to new interpretations.’
fig. 1-4. Midjourney images generated from the prompt “Perseus’ Journey”
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fig. 5-8. Midjourney images generated from the prompt “Perseus’ Shield”
fig. 9-12. Midjourney images generated from the prompt
“Painting of Perseus’ saving Andromeda”
fig. 13-16. Midjourney images generated from the prompt “Heroic Perseus”
17-20. Midjourney images generated from fig. 14 with variations.
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21-24. Midjourney images generated from fig. 16 with variations.
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fig. 25. Perseus rescuing Andromeda
fig. 26. Artistic interpretation of Perseus
fig. 27. Perseus petrifying the King’s guards
fig. 28. Painting of Perseus with Medusa’s head attached to his belt.
fig. 29. Painting of Perseus petrifying the King and his guards.
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fig. 30. Artist interpretation of Perseus on the cliffs where Andromeda was chained to a rock
fig. 31. Statue of Perseus with a winged helm and Medusa’s head.
fig. 32. Painting of Perseus slaying Medusa with the winged horse with Andromeda in the background.
reflection
The font style presented was to be expected, as many of the serif fonts are commonly associated with historic literature. It also gives an impression that the text read in these fonts is old and dated as modern fonts tend to be very minimalistic and rarely use serifs. It’s an interesting view of these fonts as minimalistic fonts were actually created first prior to the introduction of serifs and what we’d call “classic fonts”.
Choosing a font for a story can be a subjective decision based on personal preference, the intended audience, and the overall tone of the story. However, given the ancient Greek origin of the Perseus story and its mythical and heroic themes, a font that has a classic and timeless look might be appropriate.
One option could be a serif font, which can convey a sense of tradition and elegance. Some examples of classic serif fonts that could work well for this story are Garamond, Caslon, and Baskerville. These fonts have been used for centuries and are often associated with literature and the humanities.
Another option could be a calligraphic font, which can evoke a sense of craftsmanship and artistry. Fonts like Adobe Garamond Pro, Minion Pro, and Palatino Linotype could work well in this category.
specific context in which it is being presented, such as the format of the text (print or digital), the layout and design of the page, and the intended audience.
Ultimately, the best font for the story will depend on the
“What font would best suit this story”Garamond Baskerville Palatino Linotype Caslon Minion Pro
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Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptaspe-
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptasperuptis dolupta sperrum evendunt ut volupta cusam sum, tem ut utemoditio ma nis mod qui que volupti simpor ad qui vit eatur magnam nisqui quatusam aut quate nonsequo eiciisi occus volupture ne earumquiam, eveliat.
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptaspe-
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptaspe-
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptasperuptis dolupta sperrum evendunt ut volupta cusam sum, tem ut utemoditio ma nis mod qui que volupti simpor ad qui vit eatur magnam nisqui quatusam aut quate nonsequo eiciisi occus volupture ne earumquiam, eveliat.
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae consequas aut qui demporerae sereped etur apitaquis rem asi cusdanda sita int et prehend itiur, ut ratiost alicius, te omnisi cus alictem quis auda nem facerisquiam volo est, ne est, abo. Unt. Ehenient. Pa dolorporem alisciis reperae ma corat. Bus min enihilis imet everion remporum quatur seceptati utemolu ptaspe-
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
Odigendi gentet, optat. Omnitendero tes que enduntium quid que vendeliquam at volorum, simil invel modit dolo voloribusdae explaut emporep rehendunt aut facipid mostemporro od el mos expliquae sitaturem susdand endempe rchillaut oditia cupta volenim usciendae qui corae
The first option to layout the story of Perseus on Poster 3 was to play off the notions of relfections and mirroring. That was such a pivotal moment in Perseus’ journey to becoming a strong triumphant man and it was due to his quick and wise decision making that found himself victorious against Medusa. Although this is a relatively simple layout, I think its a strong foundation to built apon in future itterations.
In this option of Poster 3, it centers around Medusa’s head with tendrils of her serpant hair becoming the canvases for monumental scenes in Perseus’ story. This adds a literal representation of the story into the poster which could be a welcome addition. I need to incorporate these ideas together to produce the final poster as this wouldn’t do the story justice alone.
This poster I sketched out built from the previous verison with Medusa’s head in the center of the poster. Sketching this out I began to realize that although the head plays a huge part in the story, the poster appears to circulate around Medusa more than Perseus. I dont want the message of Perseus’ story to be hidden in the text, therefore I need to find a solution that highlights the hero of the story.
Building from the last itteration, I began to layout the events dictated by pre and post Perseus slaying Medusa. These categories work well as the scenarios that transpire before and after are entirely different and it would be great to subtily incorporate that in the diagram. This would double as displaying the rise of the character with the conclusion of when Perseus founded the glorious city of Mycenae and birthed Hercules.
The final itteration of the poster combines all the positives from the previous versions into a layout I believe is excellent to represent Perseus’ story. Amongst other minor adjustments, I have mirrored the Medusa head in the center of the poster to reflect Perseus’ face. This excentuates the points I mentioned previously as well as resolved the issue of the poster lacking the correct identity. From this sketch, I will begin developing the poster by overlaying images, sketches and text to complete the final presentation of Poster 3.
When creating the final iteration of this poster, I quickly recognized that I had lost many of the design elements that drove the concept. Along with this, the poster feels cluttered and confusing. Although I knew I would have to completely redesign this poster, I received feedback to see what I could extract and guide the next version. I was advised that the poster contained too much information and retold the story in an unnecessary amount of detail. Therefore the next poster will strip back the story and only outline key events in a few sentences. The other important piece of feedback was to write a small description of what the poster illustrates. This text would provide a clear path for me to design towards.
When creating the final iteration of this poster, I quickly recognized that I had lost many of the design elements that drove the concept. Along with this, the poster feels cluttered and confusing. Although I knew I would have to completely redesign this poster, I received feedback to see what I could extract and guide the next version. I was advised that the poster contained too much information and retold the story in an unnecessary amount of detail. Therefore the next poster will strip back the story and only outline key events in a few sentences. The other important piece of feedback was to write a small description of what the poster illustrates. This text would provide a clear path for me to design towards.
Experimenting with the bone models was confusing at first as I didn’t fully understand what factors qualified it as a ‘bone’ model. After experimenting with its function and applying some research, I had a few concepts that could be applied to Perseus’ story. This example was a simple model and did not function very effectively. But it prompted the idea of using leverage as a key mechanism in my model.
The skin models seemed so simple from the outset yet proved to be extremely fiddly and confusing. After countless scrunched up sheets of paper, I began to understand precise folding and methods to achieve various outcomes. Having a clear idea of my final model’s motion consisting of expansion, I trialed various folds that could open and close.
In my final model I will create a concealed box with ‘automata’ mechanisms inside that would allow a crank to expand and contract a skin layer on top. The aim of this model is to illustrate the pivotal moment in Perseus’ story, seeing his reflection in the shield Athena gifted him. This reflection allowed him to be victorious in his battle but his life also drastically shifted. His reflection on his life before setting out on his journey led him to become a strong and respected king in his future.
After creating the 3D model in Rhino I produced a set of documentation drawings and began laser cutting the components out of 7mm plywood. Many of the parts were simple panels that made up the box, but the inside components needed to be glued together in place once the cube had been assembled.
fig. 1. reflection model expanding and contracting
The model came together quickly and easily but I was concerned the glue wouldn’t be strong enough to withstand the force of the two discs rotating into each other. Thankfully the model hasn’t malfunctioned after constant use and operates exactly as I intended. As the crank is rotated the oval shaped plate rotates against the column’s plate, forcing it to raise as it reaches the shape’s high point.
reflection: bone + skin model
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It was challenging to capture the correct image that displays the motion of the mechanism inside the box. The first problem being the crank is located on the front of the box which requires a hand to operate, therefore obstructing the view of the camera. The second problem was capturing the frames at the right moment where it results in a blue between the start and end of the motion. The images displayed are a range of photographs that show the variation in motion blur. Eventually I captured the image perfectly and shows clear movement of the plates and skin layer.
Should architecture communicate a story? Why or why not?Check out Deep dive material #1
“Architecture should communicate many different ideas because I believe it is the fundamental difference between a typical structure or building and architecture. A story should be conveyed in a building to communicate its purpose and overall goals for its occupants. When creating a vision for a structure, a number of influences are considered and this will help make decisions throughout the design process. This should flourish at the completion of the project and justify the space it has created.”
“AI will change the role of architects by aiding in time consuming tasks. It is already common for architects to use resources such as ChatGPT to brainstorm and write copy, as AI continues to develop it will completely reduce those tasks to a simple cross check. With developments in other areas such as AI rendering, the usual long process to create a perfect composition to highlight a project will be substituted and completed through technology. Rendering software has already developed extremely fast over the years and it will continue to grow into something entirely different in the near future.”
“Following from the previous prompt, rendering software has transformed into a device that is used throughout the design process with the introduction of live updates. Previously renders were only used at the end of a project to produce the final product, but has been quickly adapted to a constant live and realistic representation of the model. With the
introduction of AI, other tasks have become quicker such as mass modeling. Through grasshopper, it is already possible to set up parameters to produce an unlimited amount of possible massing options on a site. AI will continue to remove these tasks from the design process and allow architects to focus on decision making and problem solving.”
If done correctly, 2D drawings will communicate all the information needed to understand a 3D object. The only area where 2D drawings fall short is the visualization of the object. Most architects and creatives can picture a 3D image in their head whilst developing a concept, however seeing a physical or digital 3D representation will always uncover additional aspects that wouldn’t be usually considered or simply missed. This is evident with the conversations around AI as well. These tools will aid designers to produce better products in a more efficient manner, but will still require the human to navigate the ideas, decisions and critical thinking.
There are many methods to convey movement in an image, with the two most common being a blur effect or indications through symbols (arrows, lines etc.) One isn’t better than the other, but can be used in various ways depending on its context. In line drawings, it would be strange to distort or blur the image, therefore arrows and line weights are commonly used to create a hierarchy and show multiple frames of the same view. But in renders arrows would be very strange, allowing the blur effect on pedestrians and vehicles to be mostly used.
How does video recording/photography provide designers an opportunity to draw insights from the object/subject being photographed? - Check out Deep dive material #1
Similar to my statement regarding rendering software with live updates, photographs and video are excellent resources to draw on when analyzing or describing a subject. Any resource such as descriptions and data will always be fundamental when describing a subject, but additional media such as photos and videos will add another layer of information which will help in creating and decision making.
What were your challenges in documenting your investigation (see last week Homework, #1.2) with images only?
Images only show a snapshot in time of the subject. With additional methods such as blurring through long exposure it can help slightly in conveying movement but an image can only display a certain amount of information. Therefore when documenting, photography isn’t enough to describe the many required factors needed such as size, materials, scale, view, function or detail. The challenge was trying to cram as much information into the images as possible.
What were your challenges in documenting your investigation (see last week Homework, #1.2) with words only?
Similar to the previous response, writing can provide a decent description of the investigations but is still missing any subject or imagery/graphics to refer to. This leaves a large void in the overall effectiveness of the documentation. Where writing can be more effective than imagery is that it is able to describe actions, information and details about the subject that would be otherwise lost with still images. The challenges arise when proofreading the text to assure the subject is outlines clearly and the reader is able to understand exactly what the body of text details.
What were your challenges in documenting your investigation (see last week Homework, #1.2) with line drawings only?
This was the simplest of all the methods to document the investigations because line drawings can create an entire picture by itself. Other media and graphics are great at building upon line drawings, but without the foundation of proper documentation it can be difficult to effectively describe an idea. Although this is a dry method and lacks engagement, the subject is able to be understood and fabricated accurately.
B1. design concept
B2. design precedents
B3. design development
B4. design detailing
B5. design situation
B6. design attachment