Final Folio-Arc30003

HEPHAESTUS

ARC30003-Architectural Communication 2

By Media Duqman

Studio leader: Nadia Anam

Media Duqman (103944392)

Published by

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No part of this publication may be reproduced or transmitted in any form or by means, electronic or mechanical, including photography, recording or any other information storage and retrieval system, without prior permission in writing from Swinburne University of Technology.

Declaration of Originality

Unless specifically referenced in the bibliography, the mark and all other material in this book is the original creation of the author.

Copyright Agreement

I agree for Swinburne University to use my project in this book for noncommercial purposes including: promoting the activities of the university or students: internal educational or administrative purposes: entry into appropriate awards, competitions papers; use in research papers or conference presentations as student examples of co-design projects and other related non-commercial activities: as an example for future students on line and face to face and in lectures. In some situations, this may involve repurposing the work to meet the requirement of Swinburne’s use.

I agree to grant to Swinburne a worldwide, non-exclusive, irrevocable and freeof-fee license to use this project produced in ARC30003 in any way for noncommercial purposes.

Signed Your name Date 28/ 05 / 2023

Part A: Ideation

About Me

I graduated in 2021 with an advanced diploma in building design. This is my second and this is my last year of studying Bachelor of architecture. The most thing I like about architecture is that there are no limits and always learning new things. Designing sustainable buildings contributes greatly to society in controlling climate change and global warming.

Education

• Graduated from Certificate IIV Accounting & Bookkeeping

• Graduated from Advanced Diploma of Architecture

• Last year of Bachelor of Architecture

What do I need to learn?

• Improve my graphic design skills

• Get better understanding of how the mechanical system works

• Improve the my drawings highraky

Scenario

The Greek god Hephaestus, also known as Vulcan, was the god of fire, metalworking, and crafts. Hephaestus was an excellent example of how beauty and bad looks can be combined since he had both negative and positive physical attributes.

All Greek mythologies had strong bodies and attractive faces. Born on Mount Olympus with a deformity, he was physically unattractive and was born with bulging eyes, bulging ears, a scarred face, and twisted and scarred limbs. His mother refused to accept him because he was physically unattractive. As a result of these physical characteristics, he was often mocked and ridiculed by other gods.

Furthermore, Hephaestus was known for his exceptional artistic ability and intelligence. Known as the god of metalwork, he was the most skilled blacksmith among the gods. Due to his ability to design powerful and movable machines, he has been highly regarded throughout history.

Despite his physical appearance, Hephaestus was highly respected for his skills and intelligence. He was able to overcome his physical limitations and use his talents to create beautiful and valuable objects that were highly sought after. In this way, he showed that beauty and talent can come from unexpected places, and that true value lies in one’s abilities and character rather than in one’s appearance.

Allegory

Hephaestus’s story teaches us to recognize and evaluate people based on their abilities and character, rather than just their appearance, and to embrace our differences to achieve success.

The story of Hephaestus teaches us a valuable lesson about the true worth of a person. Despite his physical deformity, Hephaestus was highly respected for his skill and intelligence, proving that appearance is not the measure of a person’s value. His success in overcoming adversity and using his talents is commendable, as he was able to create beautiful and valuable items despite being banished among other gods. Hephaestus’s story highlights the importance of embracing differences and using our unique abilities to succeed. Instead of trying to blend in with the other gods, he embraced his unique abilities and used them to his advantage.

References:

Greek Stories about Hephaestus-The Revenge of Hephaestus on Hera. (2019). Greek-Gods.info. https://www.greek-gods. info/greek-gods/hephaestus/myths/hephaestus-revenge/

Hephaestus in Greek Mythology. (2019). Greek Legends and Myths. https://www.greeklegendsandmyths.com/ hephaestus.html

GreekMythology.com. (2018, March 13). Hephaestus - Greek Mythology. Greekmythology.com; GreekMythology.com. https://www.greekmythology.com/Olympians/Hephaestus/hephaestus.html

The Editors of Encyclopedia Britannica. (2018). Hephaestus Definition & Mythology. In Encyclopædia Britannica. https:// www.britannica.com/topic/Hephaestus

References

Duqman, M. (2023). Bad looks baby, MidJourney generated image, [keywords: Mount Olympus place, mother giving birth and refusing and pushing the child because he is bad looking and unattractive, the child is on the ground and crying, high detailed]

Duqman, M. (2023). Mother’s refusal, MidJourney generated image, [keywords: full body picture, Greek mythology, refused, woman pushing child, attractive faces and body, mocked, ridiculed, people don’t like him and turn away from him]

Duqman, M. (2023). God of fire, MidJourney generated image, [keywords: Hephaestus_Greek_ mythology_the_god_of_fire_hammer_automat]

Duqman, M. (2023). A strong and intelligent man, MidJourney generated image, [keywords: full body picture, Greek mythology, refuse, unloved from his mother, attractive faces and body, mocked, ridiculed]

Duqman, M. (2023). A rejected and hated man, MidJourney generated image, [keywords: Hephaestus sad and frustrated, other geek gods in the back laying and refusing him, full body]

Duqman, M. (2023). Hephaestus face with scares, MidJourney generated image, [keywords: Hephaestus, twisted and scarred, beauty, bad looking, exceptional craftsmanship, physically unattractive, twisted and scarred]

Duqman, M. (2023). The sad side of Hephaestus, MidJourney generated image, [keywords: Hephaestus_god_of_fire_ physically_weak_or_lame_intelligen]

Duqman, M. (2023). Hephaestus face with many scars, MidJourney generated image, [keywords: person, long hair, deformities and scars, face with twisted and scarred, bad looking, forsaken, intelligent, physically unattractive]

By researching pictures of Hephaestus allergy. As a result of my research on Google, I gained a better understanding of the characters and how the story was filmed by the artists, which helped me create the Midjorney images and write the code.

Feuerbach, A. (1875). Academy of Fine Arts Vienna [Review of Academy of Fine Arts Vienna].

van Dyck, A. (1632). Thetis Receiving the Weapons of Achilles from Hephaestus [Review of Thetis Receiving the Weapons of Achilles from Hephaestus].

Schuch,

Velázquez, D. (1660). The Forge of Vulcan (C. QUARTERMAIN, Ed.) [Review of The Forge of Vulcan].

Mayor, A. (2017). The World’s First Robot: Talos (H. Tucker, Ed.) [Review of The World’s First Robot: Talos].

Madeleine. (2019). Greek God of Fire [Hephaestus Greek God of Fire].

W. (1918). In the Forge of Vulcan [Review of In the Forge of Vulcan].

Paul Rubens., P. (1635). Vulcan Presenting the Arms of Achilles to Thetis [Review of Vulcan Presenting the Arms of Achilles to Thetis].

Story Timline

Experimentation

Experiment 01

Through this experiment, we aimed to learn the bone system and how the basic connection works. We used rod and crank mechanism in this experiment and learnt the circular motion

During this experiment, I was translating Hephaestus’ story, which demonstrates how beauty and ugliness interact with each other. Furthermore, the aim was to understand how the gear wheel system works and the direction of movement.

Due to the corona design and dimensions, they were not rounding correctly, and the system did not work properly.

Experiment 03

Compression symbolizes ugliness which is represented by the crumpled paper

Expansion symbolising the beauty of a flat and clean paper, while creases symbolise the ugliness and rejection of the past.

My bone system is a wheel system, which represents the complexity of Hephaestus’ allegory as well as his ugly side. In contrast to the bone system, the skin system represents the beauty and intelligence of Hephaestus as well as how these two systems affect each other.

Part B: Design

Precedent Study

Al Bahr Towers, located in Abu Dhabi, UAE, is known for its unique and dynamic façade system that responds to the local climate and provides shading to the buildings. The façade system is inspired by traditional Arabian mashrabiya and comprises over 2,000 lightweight composite elements arranged in hexagonal modules. Each module contains several mashrabiya-style screens that can be opened and closed independently, allowing occupants to adjust the amount of light and ventilation entering the building. The screens are controlled by a computerized system that adjusts their angle and position in response to changes in the weather, optimizing shading and minimizing solar heat gain. The hexagonal modules create a dynamic and visually striking honeycomb-like pattern that gives the towers a unique identity. The façade system of Al Bahr Towers is not only functional but also aesthetically pleasing, demonstrating the potential of innovative, sustainable design in creating functional and visually stunning buildings.

The Kolding building at the University of Southern Denmark (SDU) has an impressive facade design that combines artistic expression with practicality. Henning Larsen Architects created the structure.

The Kolding building’s façade is distinguished by a mix of textures and materials. It is made up of numerous vertical aluminium louvres arranged in a pattern to produce an animated visual effect. The louvres have two main functions: they provide solar shading to limit the amount of sunlight entering the building and they give the exterior depth and movement.

The facade’s design draws inspiration from its surroundings and pays homage to Kolding’s maritime past. The building gains a visual connection to its surroundings and a little bit of regional identity thanks to the Louvre pattern that is reminiscent of the waves of the nearby fjord.

Part B: Design

Site Selection

The proposed architectural insulation would be located in the AMDC building at Swinburne Hawthorn Campus on the ground level on the west side. As there is a glass curtain wall that needs to be shaded

Part B: Design

Variations

The system has been thoughtfully designed to automatically respond to the presence of solar light. The unique facade of the structure has been conceptualized as an origami-inspired design that possesses the incredible property of being able to close down when sensors detect the incidence of solar light.

The origami structure is not only visually appealing but also serves a practical purpose in shielding the interior of the building from the harsh effects of solar radiation. The responsive mechanism of the facade ensures that the interior remains cool and comfortable, even during the hottest hours of the day.

The link of this system to the story of Hephaestus is by highlights the idea of transforming something that may appear unattractive or imperfect into something beautiful and functional.

In the myth of Hephaestus, he was considered an unattractive god with a limp, which led to his exclusion from social events among the gods. However, despite his physical imperfections, he was highly skilled in metalworking and engineering and was able to create beautiful and functional objects that the other gods highly valued.

Similarly, the origami-inspired design of the facade may not appear conventionally beautiful at first glance, yet it possesses a unique and functional property that allows it to react and respond to changing environmental conditions. This innovative approach provides a sustainable solution for maintaining a comfortable indoor environment and showcases the beauty of integrating function and design.

Part B: Design

During the initial phase of testing (V1), I explored various movements and folding techniques for the facade system (skin system). I investigated how the number of corners within a particular degree of force could impact the height of each fold. Based on my observations, I discovered that the folds with four and three corners (V1.1-V1.4) were the most effective. When multiple corners closed together, these folds provided complete shaded areas, resulting in a fully functional and aesthetically pleasing system.

In V2.1 the frame has been designed to hold the structure of the facade system and to connect the facade to the existing wall system. However, it has higher material waste.

In V2.2, the frame has been repealed to reduce the material west however the system was not storage enough to open and close the facade system.

In V 2.3, more holes were added to the weel to create more flexible movement

In V2.4, the corners were reduced (to three corners) to test the skin system and how to maximize the shading of the building and at the same time reduce the material waste

In V2.5 the number of corners was maximized to five corners to test how the facade system will work together and the result was having a facade that not closing properly which mean not a fully shaded area.

Part B: Design

Exploded Diegram

5mm x 35mm Bolt used to attach the paper (the facade) to the crank and rods system

Crank and rods system attached together by using 5mm x15mm bolt

Part B: Design 3D view &Plan

The proposed architectural insulation would be located in the AMDC building at Swinburne Hawthorn Campus on the ground level on the west side. As there is a glass curtain wall that needs to be shaded

Part B: Design

The Hephaestus-related system inspires thought about enhancing flaws in beauty. It defies expectations and exhibits elegance in unexpected shapes, much like Hephaestus. It fosters awe in the extraordinary potential of creativity while challenging societal standards of beauty and encouraging appreciation for human ingenuity.

Section A-A

Front Elevation

1. 230x230x5mm Steel frame of the facade.

2. 44x5mm U-Shap Mounting connecting bracket

3. 10x10mm flat steel plate

4. M5x65mm bolt & nut with rounded head

5. Bolt with a steel hanger and nut.

6. 50x50mm curtain wall steel million

Part B: Design

Final Design

Through this experiment, the system worked but I was not able to attach them together as the side of the bone system need to be wider. I also, I need to used screws to fix the crank and rod so I can turn them easier and more efficient.

Part B: Design

Part C: Communication

Week 1: Form Idea to research

Should architecture communicate a story? Why or why not?

Architecture is undoubtedly a form of visual art, and like any form of art, good architecture should effectively tell a story. Every building has a unique history that may influence how people perceive how they can live. There are many ways to communicate the story in architecture which is through materials, aesthetics and context and these could convey the meaning and ideas of each building’s hidden story. However, some buildings are purely functional and follow the “form follow function” and their design is driven solely by practical considerations.

How do you think AI will change the role of architects?

AI as a language model cannot replace the human role (architect). Architects will play a critical role in the design process, providing creative input and critical thinking.

However, it is a tool to help architects to focus on creativity, exploring more design and construction options, and high-level tasks to design sustainable and innovative buildings by providing analysis of building performance, design assistance, customization, automation and other collaboration tools

How do you think AI will change your architectural design process?

AI is expected to make a big difference in the architecture design process by providing architects with a high range of resources and tools that could help them work more efficiently and create more innovative and sustainable buildings.

Also, AI could help architects to explore new design options and increase building performance. These assistants would lead to a more simplest design process and more sustainable and environmentally friendly buildings.

Week 2: From research to experimentation

How does a 2D line drawing suggest an image of 3D object?

Through visual cues, a 2D line drawing suggests a 3D object. Converging lines produce perspective, which gives the appearance of depth. Volume and form are suggested by shading and shadows, while shape and curvature are shown by contour lines. Intermingling objects show spatial relationships and depth. Distance is indicated by size and proportions, with larger objects appearing closer. Line patterns that convey texture imply surface characteristics. Foreshortening distorts proportions to show objects moving closer or farther away. We can produce a drawing that causes our brain to interpret it as a threedimensional form by deftly combining these techniques.

How does an image, or images, of a 3D object suggest movement over time?

By using techniques like motion blur, dynamic poses, and multiple frames, images of a 3D object can imply movement. By purposefully blurring specific portions of the object, motion blur produces the appearance of motion. Dynamic poses capture the subject in positions that emphasise movement. Animation is produced when several frames are placed in order. Speed lines indicate direction and speed. Movement and changes in posture are implied by body language and gestures. Environmental cues like dispersed objects increase the perception of movement. Images are arranged in a sequential composition to show progression. Through the use of these visual cues, we are able to perceive movement within still pictures of 3D objects.

How does video recording/photography provide designers an opportunity to draw insights from the object?

Designers can capture and document objects/subjects in detail using video recording or photography, which enables them to observe and evaluate different aspects like form, texture, lighting, and movement. These recorded visuals serve as useful resources for designers to use as sources of knowledge and inspiration.

Part C: Communication

Week 3: From experimentation to documentation

Week 5: From experimentation to design

What were your challenges in documenting your investigation with images only?

Images are useful for capturing an object’s visual characteristics, but they are limited in their ability to depict motion and mechanical characteristics. They do a great job of displaying form, shapes, components, and materials, but they struggle to show how a system functions and operates. It is easier to comprehend an object’s inner workings and mechanisms with a presentation that is supplemented with drawings and captions. Images may not be as clear in expressing the functionality of the object as other methods, despite the fact that they can show movement through multiple shots and provide close-up details.

What were your challenges in documenting your investigation with words only?

Although text-based descriptions of machines and their characteristics may be educational, they lack the visual details required for efficient comprehension. Visual learners might have trouble understanding the system, even though some readers can get the gist of it from text alone. A complex system can be difficult to describe entirely through text. Thus, it is more readable and efficient to convey the complexity of the subject by combining descriptive text with pictures and drawings.

What were your challenges in documenting your investigation with line drawings only?

Components, mechanical properties, and system composition can all be easily and effectively illustrated using line drawings, such as those found in technical drawings and diagrams. These illustrations may, however, fall short in fully capturing the intricacies of an object because certain techniques may introduce distortions or prevent a thorough understanding of the system.

How can architecture communicate emotively with its occupants?

With careful design, architecture can move its occupants on an emotional level. An emotive experience is influenced by a variety of factors, including spatial composition, material choice, lighting, colour psychology, sensory engagement, and contextual integration. Taking into account user requirements and incorporating symbolism and stories, architects can strengthen the bond between the occupants. Awe, comfort, tranquilly, and excitement are just a few of the emotions that can be evoked through the thoughtful application of space, materials, lighting, colours, and sensory elements. Emotionally engaging architecture improves wellbeing, enriches daily life, and creates spaces that are memorable and have a lasting effect on the occupants.

As a creator, it may appear obvious how your idea transformed into the design. For a viewer, this may not be a case.

How can designers make sure their design communicates the idea accurately?

By using efficient visual representation techniques, like sketches, renderings, and prototypes, designers can make sure that their ideas are accurately communicated. In order to ensure accurate and effective communication of the design concept, clear and succinct explanations as well as visual aids help close the knowledge gap between the creator and the viewer.

How can designers make sure their visualisations and representations of the design communicates the idea accurately?

By concentrating on clarity, attention to detail, and alignment with the design concept, designers can make sure that their ideas are accurately communicated through visualisations and representations. Designers can effectively communicate their vision and guarantee that viewers will understand it by utilising accurate scales, realistic textures, suitable lighting, and clear annotations.

Part C: Communication

Week 6: From design to development

Design varieties may help customise the design to specific site-specific needs. However, what are the impacts of design variations on fabrication processes?

Design changes may affect waste generation in addition to fabrication processes. Custom design modifications based on site-specific requirements may result in more fabrication waste due to the use of non-standard components and extra materials during production and construction. However, through optimisation and efficiency, design changes can also cut down on fabrication waste. Investigating different design possibilities can result in resource-saving solutions like modular construction or prefabrication, which reduce wasteful or unused materials. Designers can simulate and analyse design variations using cutting-edge technologies like CAD and BIM, identifying potential waste and making educated decisions to reduce it. By reducing overall waste, proactive design tactics and optimisation work can support sustainable fabrication techniques.

By now, you should have attempted to use Gansterer’s Key Lines on analysing and interpreting your design What else can line drawings do, apart from representing a design?

Line drawings can be used for more than just displaying a design, as noted in Gansterer’s Key Lines Preface. The use of line drawings as a tool for investigation, experimentation, and thought is possible. Beyond simple visual representation, they can depict spatial relationships, express concepts, capture movement, and convey emotions and ideas. Drawings in lines can be used to map ideas, record observations, and come up with new possibilities. For artists, designers, and thinkers, they provide a flexible and dynamic medium through which they can engage with their subject matter, consider various viewpoints, and inspire creativity. In this setting, line drawings take on the roles of both a way of thinking and a visual enquiry process.capturing the intricacies of an object because certain techniques may introduce distortions or prevent a thorough understanding of the system.

Week 7: From development to attachment

An architectural experience is more than just the design itself. It is also the atmosphere of the space. Aside from the design, what other elements in an architectural representation can architects use to communicate experience?

In architectural representation, architects can use a variety of additional elements in addition to the design to convey the feel and ambience of a space. The desired mood and tactile qualities are conveyed with the aid of lighting, materiality, scale, and proportions. Contextual integration places the project within its surroundings, whereas colour choice affects how an environment is perceived. Focus is directed by composition and framing, and the space is given life by the presence of people and activities. A connection to nature is established by natural elements. By taking into account and incorporating these factors, architects can produce representations that transcend the actual design and successfully convey to viewers the intended experiential qualities of a space.

Part C: Communication

Week 9: Architecture performing art through technology

Week 10: Design as storytelling and as reflective practice

What is the ‘art’ that your design is performing, and how did you explicitly represent this in your posters?

The allegory of Hephaestus, which represents the dynamic relationship between perceived flaws and beauty, served as the inspiration for the idea behind my design. After being scorned at first for his appearance, Hephaestus eventually won admiration for his intelligence and creativity. In my design, I investigate the mechanisms by which ostensibly ugly elements can possess efficacy and allure. Additionally, I show how even seemingly lifeless elements can convey potent and readable visual narratives by using the contrast of black lines. Thus, my design embodies the ability of architecture to transform society by upending conventional ideas of beauty and illuminating their hidden beauty.

What challenges did you face in representing this ‘art’ on your posters?

Representing the intricacies of the design’s abstract concepts, such as interconnectedness, cyclical cycles, and futility, posed a significant challenge to the posters. The emphasis on motion and the ever-changing form of the design required careful consideration to capture the dynamic essence within the static, two-dimensional medium. Ensuring the accurate depiction of themes and moving parts became crucial to convey the essence of The movement’s Journey effectively.

What is the ‘technology’ that your design is using to perform, and how did you explicitly represent this in your posters?

The central element of my design is a responsive, kinetic facade that responds dynamically to its surroundings, especially sunlight. I used a consistent colour scheme inspired by the sun in my posters to explicitly depict this technology and emphasise its importance. Additionally, I added the iconic representation of the sun to emphasise how it affects the system and highlight how the facade and solar conditions interact.

Why is important to structure how you visually and verbally communicate your design in your presentations?

Effective design communication requires both a clear verbal and visual structure. It directs focus, improves comprehension, and arouses the desired feelings. Organised presentations make collaboration and feedback easier, promoting understanding among participants and fruitful debates. It guarantees that our message is effectively communicated to the audience.

Why is important to structure how you textually describe your design process in folios?

It is crucial to organise the textual description in folios. It improves comprehension, clarifies the design process, and makes effective communication easier. It demonstrates professionalism, simplifies feedback, and acts as an invaluable resource for upcoming changes.

Did you, and if so how consciously structure your design communications in previous projects?

In earlier projects, I’ve combined deliberate effort and the occasional lack of structure to approach design communication. I have made a lot of diagrams while enjoying the processes, and because I enjoy the process, I occasionally catch myself getting bogged down in extraneous details or cluttered text. Despite my conscious efforts to structure my design communications, I am aware that there is room for improvement in terms of upholding a focused and clear approach.

Will you, and if so how, consciously structure your design communications in future projects?

In order to achieve greater clarity and focus in future projects, I will purposefully organise design communications using learned techniques like Gansterer’s Key Lines and “Naming, Framing, Moving, Evaluating” principles.

Posters 1st Submission

Posters 1st Submission

Posters 1st Submission

Posters 1st Submission Posters 2nd Submission

The Scenario

The Greek god Hephaestus, also known as Vulcan, was the god of fire, metalworking, and crafts. Hephaestus was an excellent example of how beauty and bad looks can be combined since he had both negative and positive physical attributes.

All Greek mythologies had strong bodies and attractive faces. Born on Mount Olympus with a deformity, he was physically unattractive and was born with bulging eyes, bulging ears, a scarred face, and twisted and scarred limbs. His mother refused to accept him because he was physically unattractive. As a result of these physical characteristics, he was often mocked and ridiculed by other gods.

Furthermore, Hephaestus was known for his exceptional artistic ability and intelligence. Known as the god of metalwork, he was the most skilled blacksmith among the gods. Due to his ability to design powerful and movable machines, he has been highly regarded throughout history.

Despite his physical appearance, Hephaestus was highly respected for his skills and intelligence. He was able to overcome his physical limitations and use his talents to create beautiful and valuable objects that were highly sought after. In this way, he showed that beauty and talent can come from unexpected places, and that true value lies in one’s abilities and character rather than in one’s appearance.

Allegory

Hephaestus’s story teaches us to recognize and evaluate people based on their abilities and character, rather than just their appearance, and to embrace our differences to achieve success.

The story of Hephaestus teaches us a valuable lesson about the true worth of a person. Despite his physical deformity, Hephaestus was highly respected for his skill and intelligence, proving that appearance is not the measure of a person’s value. His success in overcoming adversity and using his talents is commendable, as he was able to create beautiful and valuable items despite being banished among other gods. Hephaestus’s story highlights the importance of embracing differences and using our unique abilities to succeed. Instead of trying to blend in with the other gods, he embraced his unique abilities and used them to his advantage.

References:

Greek Stories about Hephaestus-The Revenge of Hephaestus on Hera. (2019). Greek-Gods.info. https://www.greek-gods.info/greek-gods/hephaestus/myths/hephaestus-revenge/ Hephaestus in Greek Mythology. (2019). Greek Legends and Myths. https://www.greeklegendsandmyths.com/hephaestus.html

GreekMythology.com. (2018, March 13). Hephaestus - Greek Mythology. Greekmythology.com; GreekMythology.com. https://www.greekmythology.com/Olympians/Hephaestus/hephaestus.html

The Editors of Encyclopedia Britannica. (2018). Hephaestus | Definition & Mythology. In Encyclopædia Britannica. https://www.britannica.com/topic/Hephaestus

Posters 2nd Submission

Posters 2nd Submission

Posters 2nd Submission