ARC30003-Architectural Communication 2 Folio

A:

Published by Swinburne University of Technology, School of Design, 2023.

Printed in Melbourne by Wendy Chang.

All rights reserved.

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.

Part C:

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 Wendy Chang Date 28 / 05 / 2023

Part D:

Wendy Chang (104007089)

Part A: Ideation

Introduction

Project 1 explores a mythological character; it converts an essential moment of their life, which has been told as a myth, into a system using two of the three mechanical systems, Skin, bone and muscle. For my exploration, I picked the Olympian goddess Athena, considered one of the most powerful Greek gods, almost as equal to Zeus, her father and the king of all Greek gods.

Greek gods had “Epithets”, meaning roles, but no other god had as many as the goddess Athena.

For my research, I concentrated on the myth of the founding of Athens, a competition between Athena and Poseidon, who was Zeus’ brother, Athena’s uncle. Through this myth, it shows one of the attributes Athena was well known for wisdom; her gift of an Olive tree was of great value to the people of Athens, resulting in declaring her the winner.

Athena was Known as a mighty, strong warrior and a protector; therefore, I concentrated on designing a system that would depict this characteristic by using the skin and muscle system.

Chang, Wendy. (2023).Athena the wise one, Midjourney generated image, [keywords: Powerful Athena planting olive tree].

fig. 1

Scenario Allegory References

ATHENA – The Founding Myth of Athens…..

Before Athen became a city, two powerful Greek gods, Athena and Poseidon, battled its destiny. A fierce competition judged by the twelve Olympian gods took place to determine who would have complete control over Athen. The two contestants met at the hill of the Acropolis to show their powers witnessed by all the people of Athen, the Greek gods and Zeus.

Poseidon struck his mighty trident on the hard rock of the Acropolis, causing the birth of an underground sea and releasing a saltwater spring.

Athena planted a tree that immediately grew its full size and was adorned with plentiful fruits with high nutritional values and several uses. The tree’s high-quality timber made Athena’s gift superior, declaring Athena the winner. Athena founded Athen naming the city after herself and becoming its protector.

The founding Myth of Athens sends a message not to be deceived by appearance; it reflects the power of womanhood and wisdom as Athena defeated the strong, mighty Poseidon with a gift that appeared insignificant compared to his. It depicts her as a powerful warrior.

The origami-shaped flower re-tells this Myth. The centre of the flower represents Athena. When the flower-shaped origami is close, it means the beginning of its blooming and depicting Athena as a robust and powerful god. As it expands, it shows Athena embracing the whole of Athen, protecting it. The velocity of its rotation symbolises Athena as a warrior, strong and courageous.

Reflection

ChatGPT is a handy tool. However, it is only sometimes accurate; the founding myth of Athens narrative was not precisely, compared to other sources such as Greek city times or Study.com; therefore, when creating the Scenario, I only used the information from ChatGPT that matched other sources. The most challenging aspect of poster one was creating the allegory, as it was difficult to summarise and obtain the story’s moral.

Reflection

Producing content in Midjourney was a new experience that opened the door to a foreign concept for me. To see that each word I wrote created an image that using traditional methods could take days to finalised made me aware of how technology has advanced. Using AI technology in Architecture can reduce the time it takes to produce a design or concept and have significant input in parametric methods. The amount of information you can obtain with a click of a button will take weeks to collect using traditional methods. By combining parametric design and AI, architects can develop that unthinkable geometry. However, AI can assist an architect with engineering by providing information stored as data but is incapable of understanding or assisting with the emotional aspect of a design. A crucial factor in the design process is the feeling/emotion the architect wishes to convey through its design which will reflect the needs of their clients as individuals

Poster Experimentation

Final Poster

“Myth of Athena founding city of Athen” (paraphrase from OpenAI’s ChatGPT AI language model, personal communication, March 01,2023)

Chang, Wendy. (2023).Athena Diagram, Midjourney generated image, [keywords: Olive tree Athena diagram].

Chang, Wendy. (2023). Athena and Athen, Midjourney generated image, [keywords: Athena Greek goddess, Athen Olive tree].

Chang, Wendy. (2023).Poweful Athena, Midjourney generated image, [keywords: Powerful Athena planting Olive tree].

Chang, Wendy. (2023).Poweful Athena, Midjourney generated image, [keywords: Powerful Athena white background].

fig. 2 fig. 3 fig. 4 fig. 5

fig. 6 fig. 7 fig. 8

Experimentation

Digital - Skin - Flasher Origami

Digital - Muscle Experimentation

Physical - Skin - Flasher Origami

Experimenting with Pulley system 1

Experiment one - Difficult to fold due to paper weight of 200GSM, broke easily.

Experiment two - was easy to fold, however the flower was too tall and narrow.

3D Printing size experimentation.

Pulley System oneThis system fails as the Skin component only open when it was next to the wheels component.

Experimenting with PapeThickness and shapes

Experiment three, easy to fold and the right height and width to represent Athena’s allegory.

Pulley System twoThis system was a success as the Skin component open in the middle of the pulley system. The vertical component gave the skin system stability.

Final Skin Prrototype

Pulley system 2 no vertival component

Steps to draw flower flasher Origami.

Exploded Axonometric

3D Printing Experimentation

fig. 9 fig. 10

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Experimentation

Pulley system 3

with vertical component - Testing

Final Prototype SequenceSkin and Pulley System

Final Prototype - Sequence

Skin and Pulley System

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Part B: Design

Design concept

The concept of the proposed installation is to reflect Athena’s characteristics. Athena, the protector goddess of Athens, a wise and strong warrior. Athena valued nature and considered it indispensable for survival. Athena is represented as a flower that from a delicate nature with soft, fragile petals transforms into a robust and sharp flower that spans its petals protecting the people of Athens. The rotation of the flower represents Athena as a fearless and strong warrior.

This installation will be in the Royal Botanical Garden near the Terrace Café, depicting Athena, the warrior and Athens’s protector. The installation will be composed of different size flower shape elements, representing Athena as the bigger flower in the middle of the installation protecting all the people of Athens been the smaller flowers.

The shape of the composition was to create a protective barrier for its visitors from the water element, reinforcing Athena as a warrior and protector.

The flower shape composition will rotate by a motor hidden away inside the base, and the controller of its base can adjust the rotation speed. fig. 50

Design precedents

Precedent 1

Precedent 2

Design precedents

Precedent 3

Monument Archaelogy of Desire

Marc Quinn’s Monument Archaeology of Desire was inspired by the “Phalaenopsis, a genus of the orchid family”. This art piece was made of painted bronze, making it appear paper-like and lightweight structure. The sculpture was designed to reflect every aspect of reality, giving the illusion of a real orchid. This composition is part of Quinn’s exploration of the concept “of ideal beauty” achieved through genetic modification.

Spring Garden Installation:

This installation is composed of 30,000 flowers which are suspended in Mid-Air. The artist of this installation is Rebecca Louise, who is known for creating flower installations worldwide, from New York’s Time Square to the Onassis Culture Centre in Athens. Her creations are supposed to convey a message of the spring season’s splendour or diversity and show the contrast between organic and man-made beauty.

Flower-Like Mesh Installation of Zhengzhou Metro.

This installation by Mask Architects is position in the line-7 rail transit which serves the northsouth axis of Zhengzhou. The Architects wanted to create a social space within the station where the commuters could have a space where they could interact with the environment and surroundings. This installation is composed of petals which form a canopy, with lights position within its leaves, which interacts with light, music, and movement.

fig. 51 fig. 52 fig. 53

Developing the design - Sketches

To explore and design an Installation that would reflect the allegory of Athena, the Warrior, wise and protector of Athens, I started sketching ideas to deliver this message. Firstly, I started exploring shapes and whether to position them on the ceiling or ground.

The initial exploration was to create a structure I could hang from the ceiling. However, I decided to attach the system from the ground to give the viewer a feeling that Athena was one with the people of Athens and that she could embrace and protect them all.

fig. 54

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fig. 59 fig. 62

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Developing the design

Developing the design - Digital

To develop the design, I started exploring the shape of a conventional flower; I isolated a petal and started to transform it into a more structural shape that would still reflect its original form but would relay the message of strength instead of fragility.

The next step was to explore variations that would best fit and convey the message in the intended Installation.

Variation 1:

This configuration explores an initial shape to represent Athena, the mighty warrior, as a protector of the people of Athens and explores its rotation movement to represent Athena, the warrior.

Variation 2:

This configuration combines variations one and transforms the shape to resemble a flower.

fig. 63 fig. 65

fig. 64 fig. 66

fig. 67

fig. 68 fig. 69

Developing the design

Developing the design

Variation 3:

This configuration changes to a circular shape to explore the rotation movement further, which represents Athena as Powerful warrior.

Variation 4:

This configuration combines variations three and four to enhance the flower shape and rotation movement.

Variation 7:

This configuration changes the middle element to a smaller circumference to facilitate it to be positioned in the middle of the base, which will house the details and mechanical aspects of the structure.

Model 1 Exploration:

This design explores having a flat base attached to the ground and a wider middle element to place the mechanical aspect. This design would make it difficult to achieve the rotation element of the Installation.

Variation 5:

This configuration multiplies petals to allow the Installation to have a better functionality both in rotation and appearance.

Variation 6:

This configuration combines variations five and six changing its shape to a Robust structured shape representing Athena, the wise, strong warrior, making its centre wider to allow for the rotation mechanism to be placed.

Model 2 Exploration:

This design explores having a circular base where the details and mechanical aspects of the structure will be located and positioning the flower element on the top of the base within an incision in the middle of the base, which facilitates its rotation element.

fig. 70 fig. 72

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Developing the design - 3D Exploration

Developing the design - 3D Exploration

Grasshopper Script

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Developing the design - 3D Exploration

Prototype 1 :

Developing the design - 3D Exploration

Prototype 2 :

Reflection:

Through the design process I learned the limitations and problems that can occur in the different variations, how to limit material waste and how to alter the design to achieve desire outcome.

fig. 86

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Detailing the Design

3D printing middle element to be glued to acetone petals to form a flower shape.

Attachment:

The base of the installation has been designed to be the element that will attach it to the ground by placing a peg into the plate in the base. It will also house the mechanical element.

Motor and Speed Controller to be connected to each other and USB to allow for rotation.

flower shape to be inserted in the middle of the base in the circle insition to allow for rotation.

fig. 92

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fig. 94

Situating the Design Situating the Design

When considering a site for the Installation, I study several locations within the Royal Botanical Garden. This Garden was chosen as the intend was to create an organic Installation that would compliment its surroundings.

This area is in front of the Ian Potter Foundation Children’s Garden; initially, I thought it had potential as the installation could be fun for young visitors; however, being at the back would mean it would not be easily visible.

The second option I considered was the entry of the Education Centre of the Shrine of Remembrance along the concrete balustrading. I thought it could bring colour and happiness to the space. However, this space was eliminated as it felt it would not honour what the shrine of remembrance symbolizes.

This option is near the Terrace Cafe, which has a wide flat space and is near water, which were qualities I was looking for. However, if the installation were placed in a large open space, it would lose meaning and give a feeling of insignificance.

fig. 95

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Situating the Design Attaching the Design

This location was chosen; it is next to the Terrace Café, which attracts various audiences. It is a smaller space, meaning that the Installation would be clearly visible, and its shape complimented the intended purpose of the installation.

The design will be attached to the ground by placing two pegs through the plates n the model’s base directly to the floor.

These renders demonstrate how the Installation will be positioned in the chosen space and how it creates a feeling of protection for the viewer to align with Athena’s allegory.

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Part C: Communication

Designing the posters

Project 1 - Ideation

At the beginning of Project 1, I needed clarification about what I had to design, what an allegory was, and what was expected on the Diagram poster. Thus, I started experimenting, and with the guidance of the tutor, the task became more apparent, and my variations improved.

Experiment 1 fig. 103 fig. 104

Designing the posters

Project 1 - Ideation

Experiment 2

Designing the posters

Project 1 - Ideation

Experiment 3

Arranging the sequence in one row demonstrates the opening of the flower effect more effectively.

fig. 105 fig. 106

fig. 107 fig. 108

Designing the posters

Project 1 - Ideation

Experiment 4

Designing the posters

Project 1 - Ideation

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Designing the posters

Project 1 - Ideation

Experiment 5

Note: same as fig. 110

Designing the posters

Project 1 - Ideation

fig. 114

fig. 113

Designing the posters

Project 1 - Ideation

Final Posters 1 to 4

Note: same as fig. 110

Designing the posters

Project 1 - Ideation

Note: same as fig. 113

Note: same as fig. 114

fig. 115

Designing the posters

Project 2 - Design

Experiment 1

Designing the posters

Project 2 - Design

Experiment 2

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Designing the posters

Project 2 - Design

Experiment 3

Designing the posters

Project 2 - Design

Experiment 4

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Designing the posters

Project 2 - Design

Experiment 5

Designing the posters

Project 2 - Design

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Designing the posters

Project 2 - Design

Final Posters 5 to 7

Designing the posters

Project 2 - Design

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Reflective practice

Reflectiving on Learning

1. Should architecture communicate a story? Why or why not?

When studying architecture’s history, we can observe its evolution from practical buildings whose purpose was to provide shelter or serve a means (i.e., government buildings) from being functional to a sanctuary that will tell a story of the intended dweller. But no matter how far back we study architecture, the built structure always tells a story; it can retain the history of a place and era. Therefore, I believe architecture should always communicate a story. It becomes the connection between the past, present and future.

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

Architecture is a combination of art and engineering. AI can assist an architect with engineering by providing information stored as data from previous jobs. However, it can’t consider the emotional aspect of the intended design. A crucial factor in the design process is the feeling/emotion the architect wishes to express through its design which will reflect the needs of their clients, something AI cannot comprehend now. It is safe to say that the role of an architect is still crucial to deliver a design and that AI is only a tool to make the process easier.

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

Using AI in architecture can reduce the time it takes to produce a design or concept and have significant input in parametric methods. The hours architects spend researching if their ideas are feasible, what materials to use, how to deliver their intended concept design, and so on can be drastically reduced using AI as the amount of information you can obtain in a click of a button by using AI will take you weeks to gather by using traditional methods.

Also, by combining parametric design and AI, architects can develop ideas that would be very difficult to design using conventional ways.

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

2D lines can assist us in portraying a 3D object by using contour lines. These lines help us transform a normal 2D shape into a 3D shape by manipulating how the viewer perceives the image. This can be achieved by producing a sequence of drawings that suggest movement or by using different viewports, such as Isometric drawings of a 3D object. We can also use 2D symbols, such as arrows, that suggest and give an illusion of directional movement.

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

An image, or images of a 3D object, can suggest movement by combining two or more images of the same object taken from different angles. For example, you could take several captures of a video at different time fragments and arrange them in order; by doing so, you can transmit the feeling of movement to the viewer. Photography could also assist in providing the viewer with an illusion of movement by taking different shots of a 3d object at different angles that would suggest movement.

Reflective practice

Reflectiving on Learning

6. How does video recording/photography provide designers with an opportunity to draw insights from the object/subject being photographed?

Video recording and photography capture a detailed image of an object/subject that 2D drawings cannot provide the designer. It allows the designer to observe the object/subject from different angles, assisting them in obtaining information that can be useful in their designs. It also assists them in considering the composition of the elements in the image, and how they affect or relate to the subject. It also gives the designer an opportunity to understand how light, colour and texture have an impact on the object/subject.

7.

(images only)

8.

(words only)

The biggest challenge during this investigation was making my skin system move how I wanted it to. I made a few assumptions that proved erroneous regarding how I perceived the skin system would react to my pulley design. Each experiment taught me a valuable lesson on how movement can be achieved, what elements were necessary to achieve the desired outcome, and how each pulley system I designed made my skin system react differently. All this experimentation led me to design a pulley system that provided me with the desired result.

What were your challenges in documenting your investigation

What were your challenges in documenting your investigation

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Reflective practice

Reflectiving on Learning

9. What were your challenges in documenting your investigation (line drawings only)

Architecture also uses materials to communicate emotively. It can create a refuge and a sense of protection for its occupants according to their needs by either integrating the external surroundings or blocking them, creating a sense of security for its occupant and a different emotion according to which material is used.

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

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

A designer can use different forms, drawings, colours and compositions to communicate an idea accurately. It is important to select the right images/drawings that transmit the intended idea, as each image is the words, they use to deliver their ideas. It is important to highlight the important elements using captures or more details drawings on that specific section.

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

10. How can Architecture communicate emotively with its occupants?

An important role of Architecture is to trigger emotion in its occupants by using different means, such as height in a church that gives the occupant a feeling of Godliness, making them feel closer to God.

A designer can accurately represent their design by researching the intended materials, such as how they respond to what is intended to be used, their thickness, appearance, and so on, and representing it as accurately as possible, which will provide the audience with a clearer perspective of the intended design. It is also important that the annotations are clear and precise and provide the audience with valuable information that will assist in understanding the design intend.

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fig. 133A

Reflective practice

Reflectiving on Learning

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

The impact of variations in a design process assists you in understanding how you can improve your intended design, how to minimise waste, and what shapes would assist you in achieving the intended purpose and transmitting the intended message. Variations are a crucial design process that will direct you and give you the knowledge to create your final fabrication.

13. 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 assist you with understanding the world around you, as even abstract lines create emotion, deliver a message, and provide the viewer with important information. Line drawings also tell a story to the viewer by using different thicknesses, which dictates importance and hierarchy in composition, as shown in Gansterer’s drawings Fig. 02-19 and fig. 02-21.

14. 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?

There are several methods architects can use to transmit the experience to the occupants, such as integrating elements like water, and nature into their design. These elements create a unique space that transmit a feeling and emotion to the occupant.

Architects can also use height and materials to create an experience, such as height and acoustic materials in a theatre that enhances and assist the experience by producing a better sound and providing a feeling of grandiosity.

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

The art that my design is performing is to express through drawings Athena’s allegory of strength and protection; to do so, I used 2D drawings to represent and tell Athena’s myth, and with the help of video and photography, I was able to represent it by using 3D images/drawings to express the art of movement in line with the allegory of strength and protection I wanted to perform.

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

My biggest challenge in representing this art was that what I envisioned in my head was not easy to represent as an art form; I had to do several variations until I could express and represent the message I wanted to convey to the viewer. Another challenge I faced was understanding how important the sequence of images had to give the feeling of motion truly.

Reflective practice

Reflectiving on Learning

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

The technology I use in my design is a motor and a controller, allowing my design to rotate. To express this in my posters, I used 2D and 3d lines that represented the rotation motion and an exploded axonometric drawing to clarify the mechanical component of the design. I also used callouts to highlight and provide clarity for attachment and mechanical aspects.

18. What challenges did you face in representing this ‘technology’ on your posters?

The biggest challenge I faced in representing this technology on my poster was selecting the correct drawings/ images that would explain the viewer with minimum annotation what my intended ‘technology’ was. Thus, this prompted me in experimenting with several variations until I achieve my desire outcome. Each variations help me identify a problem and a solution.

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

As a designer you know the reasoning behind every part of you design, what you want to achieve and so on. As the viewer you come with no knowledge of the design, thus, it is of outmost importance that the drawings communicate relevant information to the viewer which will assist them in understanding the design. The designer should also refrain from verbally providing irrelevant information to the viewer as it only causes confusion that is why visual and verbal communication are two powerful tools for the designer to communicate and deliver the right message to the viewer.

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

It is important to structure how you textually describe your design process in folios as it assists the viewer with critical knowledge that will enhance the understanding on the information/images provided. It is also important to use relevant and minimum text as to avoid taking the focus on the images or the design process.

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

I have always made a conscious decision to structure my design communication in previous projects by arranging my drawings in a logical order, try to use different mediums to highlight important parts such as line hierarchy and colour, and I have tried to provide the viewer with relevant information that would make it clear to understand my design intend.

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

Even though I have always tried to structure my design communication previously, what I learned in this class took me to another level, it enhanced my understanding in creating different compositions in a layout to clarify and provide the viewer with a clear message, how smaller details that I previously was not even aware of, make your design communication more effective. I have already started to implement this structure in my other projects.

Part D: Conclusions

Conclusion

When I started this class, I needed clarification on what was required to do the assigned task. But with the help and guidance of our tutor, I began to understand, and everything became clear.

Through this subject, I have acquired much knowledge on how to use Adobe software, which helped me in the production of the posters; the more I learned how to use this program, the better the variations of my Posters became, and it helped me produce better work on my other subjects as well.

One of the biggest challenges I initially faced was knowing how to represent my allegory in a diagram, as I had never done one before. I started experimenting by making a few diagrams, and the feedback from the tutor was critical in helping me achieve my desired outcome.

Experimenting with 2D drawings, 3d objects, and the 4D motion was vital in understanding how to represent movement and clarify the message I wanted to portray in my poster 1 to 4.

I did a few experiments on how to represent the motion effect as a drawing form; I found out that the sequence of the Photograph/ drawings was imperative in delivering this action accurately.

Another challenge I faced was to link my design idea in Poster 5 to 7 to my original allegory. Once again, I did several variations until I was satisfied that I had achieved the desired outcome.

I learned how “lines can communicate representation,” an essential skill to have as Architect; this skill also proved very valuable for my studio classes.

Conclusion

Something that I found very interesting was learning that my design could communicate with the audience and vice versa. Initially, when planning my Model, I needed to improve the design. Through the lectures and tutor feedback, I produced a Model that could tell the viewer Athena’s allegory of strength and Protection without words.

Choosing a location was an educational exercise; I initially thought it was simple. Still, when I started understanding how the immediate environment could affect my design intent and how vital choosing the appropriate spot for my installation was, it opened my eyes to understand and consider factors that I would not have been aware of in the past, once again a beneficial exercise which can be very useful in other subjects.

The lecture on how Architecture performs as artwork and is communicated through technology was very interesting as, in a way, the installation we designed spoke a message to the audience you could almost declare as an art piece. It made it more explicit by using technology to achieve motion to convey the message more clearly.

In conclusion, Communication 2 was a fascinating subject that taught me that even small details make a difference in your design when conveying a message to the intended audience, how the Importance of representing and organising your work in Your Poster (composition) is to deliver your message at a glance avoiding confusion.

List of figures

Chang, W. (2023). Athena the wise one, Midjourney generated image, figure 1, pg.2

Chang, W. (2023) Midjourney generated Image, figures 2 to 8, pg 4

Chang, W. (2023). Rhino Genarated images, figures 9 to 16, pg. 5

Chang, W. (2023). Photographs, figures 17 to 31, pg. 6

Chang, W. (2023). Photgraphs, figures 32 to 43, pg. 7

Chang, W. (2023). Photographs, figures 44 to 49, pg. 8

Chang, W. (2023). Enscape genarated images, figure 50, pg. 10

Shakeri, S. (2022a, April 9). Flower-like mesh installations of Zhengzhou Metro by Mask Architects. Parametric Architecture. https://parametric-architecture.com/ flower-like-mesh-installations-of-zhengzhou-metro-by-mask-architects/, figure 51, pg. 11

designboom, nina azzarello I. (2016, July 25). Rebecca Louise Law suspends a Spring Garden within Bikini Berlin retail space. designboom. https://www.designboom.com/art/rebecca-louise-law-bikini-berlin-flower-garten-03-30-2016/, figure 52, pg. 11

The Archaeology of Desire. Marc Quinn. (1970, January 1). http://marcquinn.com/ artworks/single/the-archaeology-of-desire figure 53, pg. 12

Chang, W. (2023). Sketches, figures 54 to 57, pg. 13

Chang, W. (2023). Sketches, figures 58 to 62, pg. 14

Chang, W. (2023). Sketches, figures 63 to 66, pg. 15

Chang, W. (2023). Rhino generated images, figures 67 to 69, pg. 16

Chang, W. (2023). Rhino generated images, figures 70 to 73, pg. 17

Chang, W. (2023). Rhino generated images, figures 74 to 76, pg. 18

Chang, W. (2023). Grasshopper generated images, figures 77 to 81, pg. 19

Chang, W. (2023). Grasshopper generated images, figures 82 to 85, pg. 20

Chang, W. (2023). Rhino generated images, figures 86 to 88, pg. 21

Chang, W. (2023). Rhino generated images, figures 89 to 91, pg. 22

Chang, W. (2023). Rhino generated images, figures 92 to 94, pg. 23

Chang, W. (2023). Photograph, figure 95, pg. 24

Chang, W. (2023). Photographs, figure 96, 97pg. 25

Chang, W. (2023). Photograph, figure 98 to 99, pg. 26

Chang, W. (2023). Rhino generated images, figure 100, pg. 27

Chang, W. (2023). Enscape genarated images, figures 101 to 102, pg. 27

Chang, W. (2023). Indesign, figure 103, pg. 29

https://www.ancient-origins.net/human-origins-religions/athena-0017109, figure 104 A, pg. 29

https://www.in2greece.com/english/maps/athens-map.html figure 104 B, pg. 29

Chang, W. (2023). Athena and Poseidon, Midjourney generated image, figure 104C, pg.29

https://learnodo-newtonic.com/athena-powers, figure 104D, pg.29

List of figures

https://www.google.com/search?q=zeus+and+trident+image&tbm=isch&ved=2ahUKEwio46H9mJP_AhUaA7cAHYjSAhYQ2-cCegQIABAA&oq=zeus+and+trident+image&gs_lcp=CgNpbWcQAzoECCMQJzoICAAQgAQQsQM6BQgAEIAEOgoIABCKBRCxAxBDOgcIABCKBRBDOgcIABAYEIAEUKEpWJdpYPpsaABwAHgAgAHNAogBkxySAQgwLjIyLjAuMZgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=OcJwZOjiOJqG3LUPiKWLsAE&bih=758&biw=1344&rlz=1C1CHBF_enAU1043AU1043#imgrc=RGFWBdMTTQSNcM, (2023) figure 104 E, pg. 29

https://www.pngegg.com/en/png-zodil, (2023), figure 105 A, pg. 30

https://www.theguardian.com/world/2021/mar/12/century-old-olive-trees-felledas-spains-farmers-try-to-cut-costs (2023), figure 105 B, pg. 30

https://www.afar.com/magazine/americas-tuscany-9-amazing-olive-oil-orchardsto-visit-in-the-us (2023), figure 105 C, pg. 30

https://www.alamy.com/stock-photo/poseidon-trident.html?blackwhite=1&sortBy=relevant (2023), figure 105 D, pg. 30

https://www.hellenic-art.com/the-12-olympian-gods-2072.html (2023), figure 105 E, pg. 30

https://unsplash.com/s/photos/athena, (2023), figure 105 F, pg. 30

https://free3d.com/3d-model/poseidon-statue-v2-7364.html, (2023), figure 105 G, pg. 30

https://www.pinterest.com.au/pin/245868460882062590/, (2023), figure 105 H, pg. 30

Chang, W. (2023). Photgraphs, figures 107 to 108, pg. 31

https://fruittreelane.com.au/growing-tips/factors-affecting-pollination-fruit-set-olives/, (2023), figures 109, pg. 32

Chang, W. (2023) Midjourney generated Image, figures 110, pg 32

https://www.pngwing.com/en/free-png-ysopu, (2023), figure 111A, pg. 33

https://www.alamy.com/stock-photo/olive-branch-illustration.html?blackwhite=1&sortBy=relevant (2023), figure 111B, pg. 33

https://www.istockphoto.com/vector/zeus-greek-sculpture-head-vintage-illustration-in-engraving-style-jupiter-hand-gm1358707703-432249082 (2023), figure 111C, pg.33

https://www.definitelygreece.com/greek-gods-chart/, (2023), figure 111D, pg.33

https://favpng.com/png_view/poseidon-zeus-greek-mythology-clip-art-png/HNMHy4JU, (2023), 111E, pg. 33

https://www.deviantart.com/pumpkinsoup/art/Poseidon-s-Trident-Tattoo-207625501, (2023), 111F, pg. 33

Chang, W. (2023). Photgraphs, figures 112, pg. 33

https://www.pngegg.com/en/png-zodil, (2023), figure 113 A, pg. 35

Chang, W. (2023) Midjourney generated Image, figures 113 B, pg 35

https://www.pinterest.com.au/pin/26669822765612374/, (2023), figure 113C, pg. 35

https://www.hellenic-art.com/the-12-olympian-gods-2072.html (2023), figure 113 D, pg. 35

https://www.quora.com/What-material-was-Poseidons-trident-made-from, (2023), figure 113 E, pg. 35

https://www.istockphoto.com/photo/trident-on-a-dramatic-backgroundgm462159617-32349238, (2023), figure 113 F, pg. 35

Chang, W. (2023). Photgraphs, figures 114, pg. 35

List of figures

Chang, W. (2023). Rhino Genarated images, figures 116 to 117, pg. 38

Chang, W. (2023). Rhino Genarated images, figures 118 to 119, pg. 39

Chang, W. (2023). Rhino Genarated images, figures 120 to 121, pg. 40

Chang, W. (2023). Rhino Genarated images, figures 122 , pg. 41

Chang, W. (2023). Rhino Genarated images, figures 123 to 124, pg. 42

Chang, W. (2023). Rhino Genarated images, figures 125, pg. 43

Chang, W. (2023). Rhino Genarated images, figures 126 to 127, pg. 44

Chang, W. (2023). Rhino Genarated images, figures 128, pg. 45

Chang, W. (2023). Photographs, figures 129 to 130 pg. 48

Chang, W. (2023). Rhino Genarated images, figures 131 to 132, pg. 49

Chang, W. (2023). Rhino Genarated images, figures 133 to 134, pg. 50

Chang, W. (2023). Photgraphs, figures 135 to 139, pg. 66

Chang, W. (2023). Photgraphs, figures 140 to 145, pg. 67

Chang, W. (2023). Photgraphs, figures 146 to 148, pg. 68

Chang, W. (2023). Photgraphs, figures 149 to 153, pg. 69

Chang, W. (2023). Photgraphs, figures 154 to 156, pg. 70

Bibliography

Shakeri, S. (2022a, April 9). Flower-like mesh installations of Zhengzhou Metro by Mask Architects. Parametric Architecture. https://parametric-architecture.com/ flower-like-mesh-installations-of-zhengzhou-metro-by-mask-architects/

designboom, nina azzarello I. (2016, July 25). Rebecca Louise Law suspends a Spring Garden within Bikini Berlin retail space. designboom. https://www.designboom.com/art/rebecca-louise-law-bikini-berlin-flower-garten-03-30-2016/

The Archaeology of Desire. Marc Quinn. (1970, January 1). http://marcquinn.com/ artworks/single/the-archaeology-of-desire

Martin, N., & Gct. (2021a, June 27). The ancient, Sacred Olive Tree of the acropolis that never dies. Greek City Times. https://greekcitytimes. com/2021/06/27/olive-tree-acropolis/

Chang, Wendy. (2023).Poweful Athena, Midjourney generated image, [keywords: Powerful Athena planting Olive tree].

Chang, Wendy. (2023).Poweful Athena, Midjourney generated image, [keywords: Powerful Athena white background].

Chang, Wendy. (2023).Athena Diagram, Midjourney generated image, [keywords: Olive tree Athena diagram].

Chang, Wendy. (2023).Athena and Athen, Midjourney generated image, [keywords: Athena Greek goddess, Athen Olive tree].

“Myth of Athena founding city of Athen” (paraphrase from OpenAI’s ChatGPT AI language model, personal communication, March 01,2023)

Appendices

Making the Model -

Experimenting and Testing

Testing Petal element with Cardboard.

Testing Midle Element

Testing attaching the motor to model base

Final Model Sequence

Flower Element

fig. 135

fig. 136

fig. 137

Testing attaching the Motor

fig. 138

fig. 140

fig. 143

fig. 141 fig. 144

fig. 142

fig. 139

fig. 145

fig. 146 fig. 148

fig. 147

fig. 149

fig. 150

fig. 151

fig. 152

fig. 153

Final Model Sequence

Mechanical Element

fig. 154

fig. 156

fig. 155

fig. 157