ARC30003 Architecture Communication Folio | Jesse Hill

Folio|JesseHill

ARC30003ArchitectureCommunication

SwinburneUniversityOfTechnology|SchoolofDesign

BachelorofDesign(Architecture)

JesseHill|102578774

ARC30003ArchitecturalCommunication

Folio

Semester1,2023

Tutor|SaibalDutta

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DeclarationofOriginalityandCopyright

Unlessspecifically,correctlyandaccuratelyreferencedindicatedabove,the publicationandallothermaterialinthisublicationistheoriginalcreationof thedesignersubmittingthisassignmentaspartoftheircourseworkforARC30003 ArchitecturalCommunication.While everyefforthasbeenmadetoensurethe accuracy,thepublisherdoesnotunderanycircumstanceacceptanyresponsibility forerrororomission.

TableofContents

PartA|Ideation

Introduction

Scenario

References

StoryDiagramming

Experimentation

PartB|Design

DesignConcept

DesignPrecedents

DevelopingtheDesign

Situatingthe Design

AttachingtheDesign

PartC|Communication

DesigningthePosters&ReflectivePractice

PartD|Conclusion

Conclusion

ListofFigures

Bibliography

PartA|Ideation

Throughvisualcommunication,concisemessagingandselfexplanatoryPartA requirestheseprimaryreasonstocommunicatefourcomplexpostersofaparticularmythicalcharacter,andafabricatedmechanicalsystemextractedfromacertain milestonewithinthestory.

Scenario

Fromideatoresearch,Idecidedto choosethemythologicalcharacter Narcissus.Withthe helpofAItool Chatgpt,Iwasabletogeneratean allegoryonNarcissuswhichIwas thenabletoextractaparticular importantmomentfromthestory anduseitasasourceforanidea.

HighlightedinblueweretheimportantpartsIextractedandused,these representedNarcissus,being. Self absorbed,showinga transformation andanimportant symbolic reference.

“What font would best describe the myth Narcissus”,inputingthis questiontotheAIsytemthiswas abletohelpmeselectafontformy postersthatwouldhaveaclearlink andrepresentationtomyallegory.

Ithenbeganextractingkeywords suchas, reflective, water features, natural materials, symbolic materials (beingaflowerfromthe myth,representingnewlifeand beauty),andsymmetry.Ithenused thesekeyordsfromAItoMidJourneytocreateamomentanddesign ideas.

Figure 5

Figure 4

Figure 3

Figure 2

Figure 1

References

Oncegettinganunderstandingfor thestorybehindNarcissusIwasable touseMid-JourneyanAIsystem thatturnsideasthroughtheusekey wordsintoanimage.Thishelped translatemychosenmythintoadesignideaandIwasabletovisulaise itasascene.

KeyWordsforAIGeneration

Surroundedbyapond,reflection, yellowflowersorplantsrepresenting Narcissusflower,reflective materials,polishedgold,natural backdropandgreysmoothstones.

MythicalGreekGodNarcissus, sittingbesideapond,revealing beauty,calmnessandthelookof utterdesire.

Abuilding,waterfeautures,polishedmetals,reflectivematerials, symmetricalelements,setina naturalenvironment,daffodilora narcissusflower.

Figure 8

Figure 7

Figure6

Story Diagramming

ThediagramwhichIcreated capturesthekeyvariablesofthe extractedallegoryfromthemyth Narcissus.Thediagramshowsthe maincharacter, Narcissus,theaction or sin inwhichwasamajorinfluence onthecharacterthroughthestory.A keylocationbeingthe pond andthe relationshipsbetweenthevariables areshown.Then resurrected asa reflection representingtheoverall messageofhimbeing resurrected into a flower

3KeyImagesfromAI

Usedforcreatingkeypartsofthe Diagram.

10)Thedistractionfromthebeauty ofhimselfleadimtodisconnect/ rejecthelpofferedbyotherscausing greatweakness.

11)Ahiddenmeaning,the reflection,reflectinghisoldselfwith hisressurectedself.

12)Theflower,showingresurrection.

Figure 13

Figure 12

Figure 11

Figure 10

Figure 9

Experimentation

Extractingthepartofthestoryin whcihIwanttoincorporateintoa design.Ibegansketchingideason howIwouldcreatethepartofthe storyintoamovingmechanical system.

Creatingapulleysystemwasmy firststratergy,althoughthiswasnot reflectingthemovementofmusclein whichIwasaimingfor.Idecidedto addaspringcomponent,whichwhen pulledbythe cabletiewouldrelease andpopthe floweroutreferencing moreamusclemovement.

Figure18showsthemovementsand forcesfrompullingthecabletie, whichshowsthecompressionofthe springandopeningoftheflower.

Figure 17

Figure 15

Figure 16

Figure 14

Figure 18

Experimentation

Aftercompletingthediagramsand troubleshootingwhichdirectionI wouldenduptakingIbegan collectingmaterialsthatwouldbest representthestoryinmechanical form.

Theflowerconsistedofafolding techniquefromaseriesoflines,then paintedyellowtofullyrepresentthe daffodilflower.Thestemneededto beofcylindertypetobeabletofit thespringsysteminside,andneeded abasetoattachtobeabletostandup straight.Oncesetupthespringwas placedinsideandthenthecabletie andtheflower.

Figure20showsthreelongexposure shotsonhowthemodelisusedand thereactiontowhenthecabletieis letgoof,forcingthespringupwards andtheflowertoopen.

Figure 19

Figure 20

PartB|Design

Demonstratingideasthrough2and3dimensionalmodelsandsketchestoshowarchitecturalcommincationwhileidentifyingpointsofsustainabilityandresourceful zerowasteeffectswithinarchitecturalsystems.Throughvariationsofthecurrent designaninstallationanditsintendedmovingaffectswhilebeshownthroughthe useofdrawnandrendereddiagrams.

DesignConcept

Fromexploringthedesign,shwonin theexperimentationsectionofthis journal.Iwasmotivatedbykeeping mostofthegeometryofthedesign itwasmoreexploringthetechnicalmovementsandfinalmotion/ effectsthedesignwouldhavewhen exhibited.

IhaveexploredhowIdeveloped thedesignthroughmanysketches andCADgenerateddrawings,also goingintodetailwiththemechanical andgeometrymovementsaswellas exploringdifferentideasofsituating thedesignintwoverydifferent spacesandhowthedesignwillbe attachedtothedesiredlocation.

Figures21and22areearlyideasof howIoriginallythoughtthedesign wouldlookanditslocationbut afterinvestigationitshowsamajor difference.

Figure 22

Figure 21

PrecedentStudy

Meadow|StudioDrift

AfeatureoftheIndianapolis MuseumofArt’s.Thisinstallation featuresanupside-downmeadow withcolourfulplantsandflowers. Thedesignaimstoprovidevisitors withanimmersiveexperience,the installationencouragesthemto viewnaturedifferentlytakingthem throughthedifferentseasonsand presentingnaturalgrowth.

LinkingthistomydesignI,themain movementsofthefloweropening andclosingrepresentthesame movementsbutexpressdifferent backgroundstories.

Figure 25

Figure 24

Figure 23

Developingthe Design

Throughtheprocessofquick sketchesIwasabletoslowlyget aguideintowhatIwantedto develope.

Fromthepreviousexperiementation Iwantedtokeeptheflowerdesignas itwasthemorerepresentitiveofthe narcissusstoryandthesymbolismof thedafodilflower,althoughthe arm techniquewasjustasasignificant approachtheflowerwouldbecome moreofaneyecatchingdesignwhen inanexhibitionenvironment.

Theflowerdesignanditsintended motion/effect,italsocompliments theoverallshapeofthe installation itselfwhereasthearmmovementor thecombinationofbothwaseither tooheavy/lightlookingatthetopof thestem.

Thestemofthedesignstayed throughouttheprocesstherewasa brieftouchondifferentideasbutthe cylinderstembestcomplimentsthe floweranditisntmeanttotakeaway fromthemainpartofthedesign.

Figure 26

Figure 26

Detailingthe Design

Figure27showsthefinaltwo variationsthatwereexploredforthe finalinstallation.Thefirstvariation exploresusingabevalgeartotravel ashaftupwardsraisingtheflower, thisideawasstrongbutthefinal locationinwhichtheinstallationg wouldbeexhibitedthebevalgear designwouldntwork.

Istillwantedtoincorporatesome sortofgearmovementsoadvancing onfromthe originalmodelusingthe cabletie asapulleysystem,Iused agearwhichwhenturnedwould pullthecabletiegivingitmoreofa mechanicalmovement.

Themechanicaldesignofthe installationdoesnteffectthemotion design(theflower),meaningifIwas tochangeoneofthepartsIwasable tofreely.

Figure 27

Situatingthe Design

Thenextchallangewassituating theinstallation,inthebeginning shownonposter7theoriginaldesign wassituatedonthestairsbesidea universitybuilding.Takenonfeedbackthiswaschangedtoaninterior installation.

Ahallwayoraexhibitionroomis wherethedesignwouldbeplaced, attachedtothesidewallsforpeople tointeractwiththroughpressing orphysicallypullingthegearthe flowerswouldmoveinandoutofthe stem,andwhenlinedupwithnumerousitcreatesafieldandrepresenting flowersmovinginthewindand naturalgrowth.

Thesymbolicrepresentationtothe mythicalstoryispicturedthroughthe growingoftheflowergoinginand outofthestem.

Figure 29

Figure 28

Attachingthe Design

Havingthedesignsituatedinplace therewasneedforhowthedesign wasattachedtothedesiredspace.

Originally,showninposter7,the originalinstallationwasa moveable featurecreatingawaste freedesign, whentheinstallationhadcometoits timewithinaareaitwasabletobe movedtoanotherlocationcreatinga newexperienceinthatarea.Iwanted tostillgoaheadwiththemovebale idea.

Theuseofscrews,screwingthe installationintothewallandhaving thecablegoingdowntheinsideof thewallwasthebestoptionand directiontotake.Thisstillmadethe installationmovebalebutwould createminimalwastefromthe screws,ididexploreotheroptions whichincludedsiliconeorgluebut thistookawaytheideaofa moveableinstallation.

Figure 31

Figure 30

PartC|Communication

Communicatingtheprocessofdesigningtheposterscollectiongandpractices takentoreflectandaddressstrengthsandweaknesseswithinthepostersandthe processofchangingforacompletedset.Thissectionshowsthecourseofdesigningeachindividualposterandthereflectivepractice.

DesigningthePosters&ReflecivePractice

Highlightedredmeanstheposterhasbeenredesigned/toucheduppostfeedback

Poster1 Scenario

FromthefirsteditionofPosteroneto thefinaleditionofPosteronethere isnorealchnages.themainpartthat iwantedtofocusonanditdrawsa readerinfromtheeffect,isthe mirroredtxtexplaingthemythical storyofNarcissus.

Themirroredtextrepresents Narcissushimselflookingintothe waterandcapturinghisownbeauty,I wantedthetexttoreadbackonitself.

Figure32showssomeearlyiterationsofhowiwantedtoaddthe text‘GreekMythology’alongthe sideofthetextactingasaborder andpresentingitselfasasubheading tothereadersotheycouldidentify straightawaywhattheywereabout toreadabout,butafterexperimenting,IbelievehavingNARCISSUS asthemainheadingandnpthingelse arounditmakesitamoresignificantpieceofwritingwhichalso representsthecharacter.

Figure 33

Figure 32

Poster2 References

Throughouttheexperimenting processforpostertwo,Iexplored differentwaysonhowtopresentthe postermainlythroughthetext.

Ibegainwithmakingsignificant wordslargerandleastsignificant wordssmallertoshowhierachy,as icontinuedandasshowninfigure 35showsthetwodifferences,the smallerfonttextwasmorebeneficial forthepictureswhichwerethemain attractionpointoftheposter.

Figure36showstheuseofagridand presentingthepostersusingthesame gridthroughoutmakingsure everythingisinlineandflows throughoutthewholeposter collection.

Figure 36

Figure 35

Figure 34

Poster3 StoryDiagramming

Iwantedtopresentthestoryof NarcissussimilartotheAIgenerated pictureswhichalwayshadafewkey featuresineachphoto.whichwere alwayshavingareflection,showing astrongandbeautfulfaceandthe dafodilflower.

Ibeganwithhavingthefaceof Narcissus,andindrawndiagrams aroundhisheadshowinghimrejectingofferings,whichslowlyturend intoweakness.Thewaterripples representthelocationbeingthelake/ riverhehasalwaysbeencaptured aroundthisalsorepresentsthereflection.Thereflectionwouldusuallybe thefaceasthatswhatislookinginto thewater,butIwantedtoshowthe reflectionbuthaveNarcissusface turnedintoaflowerwhichrepresents howhediedfromobsessionof himself,andfallingintothewater totheothersidehewascreatedinto thisflower.

Fromfeedbacktheposterhasbeen changedpresentingmoreofa timeline,usinganumberedorder andalsoaddinginitslocation.This makesiteasierforthereaderto understandwhatishappeningwithin thediagram.

Figure 37

Poster4 Experimentation

Posterfourshowsworkingdiagrams ofthefinishedinstallationandhow everythingmovesanditseffect movementsclearlyindottedred linesandthemovementstheycreate insolidredlinesonthesideofthe diagram.

Thediagramswerestrongbut havingthelongexposureshotsofthe modelinactiongavethepostermore strenghtandthereadercanclearly picturethediagramsinreallife.

Poster5

Geometry&Effect

Figure39showstheoriginal approachtothisposter,whichs howsthemechanical,flowereffect andthedifferentvasefeatures.Itall becametobusyandwasn’t displayingwhatIintendedtoshow onthisposterwhichmadeithard toread.

Ichangedthelayoutshowninfigure 26,andmadeitmorereadable. Goingbacktotheorignalshape oftheinstallation.Poster5now clearlyshowsthegeometryandsome variationsoftheflowerpart.The varationsexploredweretheflower, thedanglyarmsandthecombination ofthemboth.Italsoclearlyshows theirmovementsinlightershaded linemakingiteasytoreadhowthe flowerpartofthedesignmoves.

Figure 26

Figure 39

Poster6 Variations&Mechanisms

Figure40showstheorignaldesign oftheposteraftertakingonfeedback andexperimentingfurther,idecided tofocusontwovariationsinsteadof creatingnewandconfusingones.

Figure41showsanaxonometricof thefinalinstallationandallitsparts labelled,thetextalosonthisposter explainsthedifferentparts.

Figure27showsthetwomain variationswhichIwantedtoexplore ingretaerdetail,itmakesiteasierto understand.Italsoclearlyexplains howthetwomechanicalvariations workandmove.

Splittingupthegeometry/effect variationsfromthemechanisms variationsreadsbetterasaposter collectionandbecomesmore understanding.

Figure 40

Figure 41

Figure 27

Poster7 Attachment&Impact

Poster7hashadacomplete makeoverfromitsoriginaldesign asshowninfigures42and43.The wholeideaofthemovebalestructure wasagoodapproachbutitwasnt correctfortheinstallation.aswellas showingthepeopleintheredner,the peopleandthebackgroundbuilding tookalotofthedetailawayfromthe intendeddesign.

ContinuingforwardIdecidedto showamorereadableconnection diagramwhichstillexplainshowit isstillmovebaleandwastefreebut bettershowsthelineworkused.

Figure29appearsontheposteras themainrender,goingbacktobasics andshowinglinedrawingspresents thepostermoreclearerandadding thesinglehumanintothedesign clearlyshowshowtheyinteractwith thedesign.The designalsoread betterasyoucanclearlyunderstand wheretheinstallationsitsinthe location,beingonawall.

Figure 31

Figure 43

Figure 42

Figure 29

PartD|Conclusion

Throughvisualcommunication,concisemessagingandselfexplanatoryPartA requiredprimaryreasonstocommunicatefourcomplexpostersofaparticular mythicalcharacter,andafabricatedmechanicalsystemextractedfromacertain milestonewithinthestorywhichisdisplayedthroughoutthefinalposters

Demonstratedideasthrough2and3dimensionalmodelsandsketchestoshow architecturalcommincationwhilehavingidentifiedpointsofsustainabilityand resourcefulzerowasteeffectswithinarchitecturalsystems.Throughthevariations presentedofthecurrentdesignaninstallationanditsintendedmovingaffects whilebeingshownthroughtheuseofdrawnandrendereddiagrams.

Communicatingtheentireprocessofdesigningtheposterscollectiongand practicestakentoreflectandaddressstrengthsandweaknesseswithintheposters andtheprocessshownthroughoutthejournal.

ListofFigures

Figure1 AI(2023).PersonalCommunicationAiGenerated P5

Figure2 AI(2023).PersonalCommunicationAiGenerated P5

Figure3 AI(2023).PersonalCommunicationAiGenerated P5

Figure4 AI(2023).PersonalCommunicationAiGenerated P5

Figure5 AI(2023).PersonalCommunicationAiGenerated P5

Figure6 AI(2023).PersonalCommunicationAiGenerated P6

Figure7 AI(2023).PersonalCommunicationAiGenerated P6

Figure8 AI(2023).PersonalCommunicationAiGenerated P6

Figure9 Hill,J(2023).ARC30003Communication2Folio P7

Figure10 AI(2023).PersonalCommunicationAiGenerated P7

Figure11 Ceil.(2010)Digitalycreatedimage P7

Figure12 AI(2023).PersonalCommunicationAiGenerated P7

Figure13 Hill,J(2023).ARC30003Communication2Folio P7

Figure14 Hill,J(2023).Handdrawnsketches P8

Figure15 Hill,J(2023).Handdrawnsketches P8

Figure16 Hill,J(2023).Handdrawnsketches P8

Figure17 Hill,J(2023).Handdrawnsketches P8

Figure18 Hill,J(2023).Poster4ExperimentationDetailDiagrams P9

Figure19 Hill,J(2023).Poster4ExperimentationMaterialCollection P10

Figure20 Hill,J(2023).Poster4ExperimentationLongExposureShots P11

Figure21 Hill,J(2023).Handdrawnsketches P13

Figure22 Hill,J(2023).Handdrawnsketches P13

Figure23 Gordijn,L(2019)Upside-downmeadowblooms P14

Figure24 Gordijn,L(2019)Upside-downmeadowblooms P14

Figure25 Gordijn,L(2019)Upside-downmeadowblooms P14

Figure26 Hill,J(2023).HanddrawnsketchesandCADdiagrams P15,24

Figure27 Hill,J(2023).Flowerdiagramsandmovement P16

Figure28 Hill,J(2023).Handdrawnsketch/possiblelocationfordesign P17,25

Figure29 Hill,J(2023).Finalattachmentrenderandinteractiondiagram P17,27

Figure30 Hill,J(2023).Drawnattachmentdiagramsandmaterials P18

Figure31 Hill,J(2023)FinalCADattachmentdiagram P18,26

Figure32 Hill,J(2023).Draftposterideas P20

Figure33 Hill,J(2023).Draftposterideas P20

Figure34 Hill,J(2023).Draftposterideas P21

Figure35 Hill,J(2023).Draftposterideas P21

Figure36 Hill,J(2023).Draftposterideas P21

Figure37 Hill,J(2023).FinalPoster3 P22

Figure38 Hill,J(2023).Draftposter4 P23

Figure39 Hill,J(2023).Poster6Originalpostermaterial(prefeedback) P24

Figure40 Hill,J(2023).Poster6Originalpostermaterial(prefeedback) P25

Figure41 Hill,J(2023).Poster6Finalaxonometricdiagram P25

Figure42 Hill,J(2023).Poster7Originalpostermaterial(prefeedback) P26

Figure43 Hill,J(2023).Poster7Originalpostermaterial(prefeedback) P26

Bibliography

Gordijn,Lenneke.“Upside-downmeadowbloomsatNewfieldsIndianapolisMuseumofArt.”IndyStar,21February2019.Availableat:[https://www.indystar.com/ upside-down-meadow-blooms-newfields-indianapolis-museum-art]

StudioDrift.“Meadow.”AccessedonMay20,2023.Availableat:[https://studiodrift.com/work/meadow/]

Ceil.“Narcissus.”DeviantArt,AccessedonApril25,2023.Availableat:[https:// www.deviantart.com/ceil/art/Narcissus-150317927]

OpenAI.“ChatGPT.”AccessedonApril18,2023.[Availableat:https://openai. com/]

Midjourney.“AILanguageModel:Midjourney.”AccessedonMay28,2023. Availableat:[https://www.midjourney.com]