Architecture Communication 2 - Folio

ALEX TERZAKIS 103593121

TUTORS: NADIA ANAM

SEMESTER 1, 2023

Alexander Terzakis

Published by Swinburne University of Technology, School of Design, 2023. Printed in Melbourne by Your name.

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.

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 free-of-fee license to use this project produced in ARC30003 in any way for non-commercial purposes.

Signed : Alexander Terzakis Date 26 / 03 / 2023

Apollon/Apollo

Olympian God of:

Prophecy

Oracles

Music Poetry

PROJECT 1 (WEEK 1-4)

Healing Plague

Disease

Archery

Zeus being his father, is the ‘source of the powers exercised by his son’ all different powers, but are all interlinked with one another

(Apollo, Theoi Greek Mythology, 2023)

In Greek mythology, Apollo was one of the most important gods, associated with music, poetry, prophecy, and healing. The story of Apollo and the python is one of the most famous myths associated with the god.

According to the myth, Python was a huge serpent or dragon that lived in a cave at the foot of Mount Parnassus. Python was feared and revered by the people of the region, who believed that it had the power to predict the future.

One day, Apollo came to Delphi, a town at the foot of Mount Parnassus, and discovered the cave where Python lived. He killed the serpent with his arrows, and from its body rose the fumes and vapors that inspired the oracles of Delphi.

Apollo then took over the cave as his own shrine, and he became known as the god of prophecy and the patron of the arts. He was also known as Pythian Apollo, in honor of his victory over the python.

The story of Apollo and the python has been interpreted in many ways over the years. Some see it as a symbol of the triumph of light over darkness, while others see it as a metaphor for the triumph of reason over superstition.

In modern times, the story of Apollo and the python has been referenced in many ways, including in the naming of the programming language Python. Guido van Rossum, the creator of Python, was a fan of Monty Python’s Flying Circus, and he named the language after the comedy troupe. However, he has also said that he was inspired by the story of Apollo and the python, which he saw as a metaphor for the power of technology to vanquish its enemies.

Python was a huge serpent or dragon that lived in a cave at the foot of Delphi. Python was feared and revered by the people of the region, who believed that it had the power to predict the future. He hunted Leto while she was pregnant with Artemis and Apollon, sent by Hera to kill Leto.

One day, Apollo came to Delphi, a town at the foot of Mount Parnassus, and discovered the cave where Python lived. He wanted to avenge his mothers’ trauma and troubles from the Python, he then killed the serpent with his arrows, and from its body rose the fumes and vapors that inspired the oracles of Delphi, where Apollo created and built it, on the site of the Python’s death.

Apollo then took over the cave as his own shrine, and he became known as the god of prophecy and the patron of the arts. He was also known as Pythian Apollo, in honor of his victory over the python.

Allegory

Allegory is a story symbolising power and new beginnings. I found inner power to be a rich and symbolic area of focus, as it symbolises new beginnings for the python who is dead, and also Apollon who becomes the Pythian Apollo, god of many things, almost a new identity is created due to his fearless act. I want to transfer this into a design where the snake skin opens up into a central void creating and symbolising the new beginnings of Apollon.

CHARACTERS

Apollo, Python, Gaea, Leto

LOCATION/PERIOD

Delphi (town at the bottom of Mount Parnassus) Phocis, Greece

C6th BC - Artwork found in Louvre, Paris of Apollo and the Python

CHAIN OF EVENTS

Leto pregnant with the children of Zeus being both twins Apollo and Artemis, Hera found out and was not impressed

Hera sent the Python to persue and kill Leto but didn’t achieve it

Years later, Apollo drank ambrosia, the immortal beverage and ultimately became a man

Apollo set out to Delphi to kill the Python for the trouble it caused his mother Leto

Apollo entered the creatures cave and eliminated it

Burried the Python, and built the oracle of Delphi

MESSAGE

- Inner Power

- Symbol of triumph over light and darkness

- Triumph of reason over superstition

- Led to Apollo being associated with battle and victory

Historical layout of Delphi, where the Temple of Apollo is central, as well as the oracle Apollo in battle with the python artwork in the Met, New York

Oracle cave today and graphic above representing’the historic site back in its period

Leto with the two boys pursued by the Python

F2 (The Oracle of Delphi, 2023)

F3 (Apollo killing the Python, 2023) F4 (The Oracle of Delphi, 2023)

F5 (Python, 2023) F6 (My Unusual Journeys, 2023)

Terzakis, A. (2023). Battle of the Cave, MidJourney generated image, [keywords: Apollo eliminating the python in a dark cave].

Terzakis, A. (2023). Battle of the Cave, MidJourney generated image, [keywords: Apollon greek god, dark render, shining on him, thorns, shining crown].

Terzakis, A. (2023). Battle of the Cave, MidJourney generated image, [keywords: Apollo eliminating the python in a cave, dark sketch render].

Terzakis, A. (2023). Battle of the Cave, MidJourney generated image, [keywords: Apollon greek god, dark render, shining on him, red spots on face, shining crown].

F7-10

F11-14

F15-18

F19-22

Gold and white I clearly relate to elegance and class, as well as the Greek God concept style and stereotypically clothing they wear. I totally approve of this as a colour pallet.

Red also links to Apollo and his devotion to battle and the challenges he has overcome in my opinion, also the blood he has on his hands from the python.

I agree with the font choice of a serif typeface to represent the historical, elegant and formal nature of Apollo and overall Greek mythology.

Possibly a modern style serif font would be more aesthetically pleasing for the posters, and makes the user more welcome into reading and interacting with it.

Restricted movement was created with the clips both A and C

C clip restricted movement at ground level in horizontal direction

A clip restricted the same as the C, as well as at an elevated level, which could be great for a specific element of our design.

CAM AND FOLLOWER

Effective system but I feel the size of the follower is too small and ie. too limited in rotation for bigger projects, and would be great for smaller systems. But this could also be adapted with a bigger scale follower.

CRANK AND ROD

This system is affective but I feel the joints (dowels) have to be accompanied by an improved material for the final. Maybe even bigger sized dowels can create more fluid movement for the system.

bone experimentation

Boxboard is definitely a experimental material due to the quality factor, and for the final acrylic or plywood would be a better material functionally and to communicate the idea.

bone outcomes

Clip C Clip A

F25-27 F28-30

F31-33

Muscle movement is useful for wider and simpler ranges of movements across the design.

Could be effective in panning the skin in and out, as well as peeling the system.

Definitely need to be explored in how it impacts the skin system and its range of movement together.

muscle experimentation

yoshimura origami

good in replication a snake skin element of my design.

Aesthetically pleasing being symmetrical, and love the triangular sharpness which makes the model more powerful, and more relative to the story

Experimented with other skin patterns, however I found this the most relevant and symbolic to the story, immitating the python and its sharp and evil endevours, but when opened up, it is like everyone else.

Skin template

skin experimentation

F34-38

F39-41

Early line sketches to produce the concept and overall shaped idea of the systems working together

Decided to propose the skin on its almost levitating wire, being pulled in and out to create more and less tension on the card origami, creating tense dark spaces compared to open new beginnings.

model concept

Model is a simple and effective system in creating direct movements in the skin system via the pulley (bricklayers line) muscle system.

Possible next step could be to increase the tension and scale of the model for a better outcome?

Thicker skin card would be needed for the larger scale model

F42-45

F46-51

Final outcome for project 1

Possibility of adding a second skin to contrast the orginal and create a even bigger opening and closing system?

final model

PROJECT 2 (WEEK 5-8)

KINEMATIC PAVILLION

Design was part of an

GARDENS BY THE BAY, SINGAPORE

Largest climate controlled glasshouse in the world.

Retractable tiles to prevent and absorb sunlight for the plants growth and overall health.

F57

F58

F59

F60

F61

Spinning system of skins, creating an experience within and out, almost like you are trapped within the snake skin. Then when it opens up, you experience the effect the after the story, and the enhanced social profile he has with the new beginnings.

Modular system so to convey the overall feeling and motion of the model, I decided to elimate the extra walls, and keep one moving wall and one constant wall, for contrast effect and an insight into the environment it is located in, and how the public would interact with it.

possibility of different skins? circle base? circle roof system to enclose the model?

Feel it links closely to the allegory and would be suitable on the site and its interaction will facelift the environment. Various skins being used may create contrast between the walls and evoke various feelings amongst the audience. But would it change the snake relation and aesthetic.

2 parallel rails

constant skin

adaptable skin

rod used to tighten and retract the skin

Outdoor space on campus, an open green space which can nest this pavillion wall enclosed environment.

Will be inviting and also enclosing within, and when the walls open up, the audience will engage in the environment with the greenery and wider natural environment of the setting.

Also open up a social setting and environment for students to engage

Being a general open space I feel that wind will definitely be a factor in regards the movement and speed of the wall rotation. Main axis of wind going between the buildings into this green space, may limit possibilities on a windy day.

Feel that weather will also affect the potential of the area and exhibit, and therefore may need a canopy above the walls to eliminate any rain or weather conditions that will one decrease the performance of the machine, but also decrease the experience that the user undertakes.

F69

variations during the day variations during different wind patterns

yoshimura extracted base extracted skin design

walls start to open as people arrive to the location and use the space

walls open as the weather will not be a restriction on experience

diagram explanation of how the rail system works, and how the walls are rotating

walls are clearly divided and opened up to create clear circulation between the enclosed area as well as surrounding interaction with lowered walls.

diagram explanation of how the walls at a constant state, are moving up and down to create movement and experiences between interior and exterior spaces.

walls start to close while still being able to enter the space, but no direct circulation to the otherside

weather restriction creating the need for high walls and one side entry/.exit

weather restriction creating the need for high walls and one side entry/.exit

CIRCULATION OUTCOMES:

1. Height of wall alters amongst different times and weather patterns

2. Therefore, circulation between the space and the exterior alters depending on shape of the walls

3. Alternative weather patterns has created uncertainty between the user experience within, and therefore the need for a roof system type canopy to cover the space and ability to be used in all times of the year

variations of base size and form shape

variations of rail system, curved, circular and linear

OUTCOME:

1. Circular base is the most effective as it emulates the round nature of the curving skin

2. Rail system is in the same mannor, circulate fashion, only depending if it be semi circular or a complete circular system offsetting the base

F75-79

F80-84

general design concept of the walls enclosing the interior environment, via the python, and how opening and movements of the walls create and symbolise new beginnings amongst the user and the environment.

1 circular base

2 Addition of the 2 rail systems

3

Addition of the wall support beams

4 Addition of the wall base rail to increase movement and structural space

5

Addition of skin walls, lifted up from the rail

structural diagram

plan view of the design at a steady state, where the walls are at default position. I reflects the story and how it flows on from the python and opens into bright surrounding nature, and increasing that experience of new beginnings after you leave the space.

rail system

moveable rail system piece (inner section) base

detail showing how all sections of the design are connected, by the central rail system, and all of its layers.

1:10 scale

skin facade skin beam: attached to rail system

F89

skin facade

two walls

1. 4500

2. 5200 (height)

thought this would be the best section cut for the system, demonstrating both exterior and interior elements of the space.

final section demonstrates how the space has been used directly, at a 1:25 scale

rail system

top: moveable & dynamic part of the system

bottom: structural permanent section that holds the dynamic system in place

circular base

8000 diameter

F91

F92

visualisations that directly relate to the site and its location regarding the surrounding pathways and vegetation.

I feel the natural environment enhances the design as well as creating an easy flow in and out of the space

Believe the experience of leaving the space and stepping into the grass, itself is the new beginning, the reconnection the user gets with the natural environment, evoking positivity and focus for the students in class.

PROJECT 2 (WEEK 5-8)

1. heading icons have a border, need to make transparent 2. this applies for both red and gold icons

3. delphi and delos typeface is stretched and doesn’t portray any message

updates are effective and make the layout or aesthetic cleaner and even more of a quality poster typeface complements the graphics well, effectively portraying the messages of the story.

F97-99

new beginnings

black outline on red identifies that the new beginnings are part of the structure, and therefore confusing and needs to be removed. Opacity can also be decreased to create the clear contrast between structure and experience

Render was affective in its scale and physical relation and user experience, however it didn’t link to the rest of the poster theme. Therefore, the decision to only render the form, and use linework and silhouettes to portray the same message is effective, whilst also relating to the wider aesthetic of the project.

new beginnings

effective outcome and easily identifiable differences between variables

F100

F101

F102

F103

Further development removing the base as it looks weird in context to the rest of poster 7. Then I thought that it was too basic and therefore added the footpath to add the context into the render.

Identified that the axonometric is off Rhino, and doesn’t link straight to the line work theme across the posters.

I feel this needs to be updated.

First linework drawing I feel is squashed, and the spacing must be increased between elements.

The final works well, evenly distributed across the drawing, therefore efffective in nature.

Laser cutting the pieces that construct the base of the structure.

Applying the base pieces and completing the railing system.

Final model outcome, with skin applied to the top of the rail, one that rotates too. Rope applied to pull the skin across the base.

model development

Final outcome, effective in portraying the overall story and message of the Apollon and the Python.

Rope makes it effective to move the outer skin across the rail, and it moves quite smoothly across the surface.

final model photography

F110-115

F116-119

Architecture should tell a story as the Ted talks suggest, form follows not only function but fiction that he means which was a unique way of playing on that statement we hear on and on in the industry. I immensely enjoyed the insight he brought to the table and can use that moving forward in concept creation. I believe AI will not change the manual aspect but could replace us in the fact of quick concept creation and generation, with AI printing out communication in a matter of minutes on end, is very scary moving into the future.

A 2D line drawing replicates the visualisation of a 3D object at an important point to acknowledge between the two dimensions. 2D drawings can emulate 3D elements via perspective drawings, as well arrows and annotations depicting points of motion and rotation amongst the space. At a point of motion and heavily important to the duration of the movement, perhaps a change in direction of the story. I feel photos at different stages to movement and processes can implicate what happens next and how the stages are interconnected in the time frame. I feel this sequence is necessary to fully understand the complete story and complexity of the design. Video and photography is basically in my opinion another set of eyes to look at, where the point of view may be different to your own personal thoughts, due to different camera angles and hidden messages missed when performing the act previously.

Challenges in documenting my investigation in photos only were not seeing the range of motion that the video provides, but I found that annotations work in portraying this motion across the stop frame photos. Still, for myself being a visual learner I would find it beneficial to use the video tape. For written analysis, visually not there, but regarding analysis of pros and cons it is outstanding in communicating for the folio, and with my peers in my studio. Line drawings alone with no context cannot be understood by anyone. Lines indicate movement, and without a context image or sketch, it is pointless to communicate to the viewer. But, with clear annotations and descriptions, plus visuals and signage to indicate areas of interest and key concerns, it can be understood. I feel the more information you provide on paper, while the visuals should be able to communicate effectively alone, some written context assists and benefits the reader.

I feel architecture can evoke feelings through design via creating an experience within the space and forcing an action, or a motion that has a flow on affect and motion on the viewer or audience. My program is all about creating the new experience once you enter the walls, as well as when you leave the space, and therefore, it is more important regarding the feelings and experienced emotions the audience recieves, due to purposely designed systems and located well on the site. Designers can also make sure there idea is communicated effectively via diagrams and short captions displaying the key message of their design. I personally find annotations effective in my design process to further punch and grow my design which maximises the best outcome, as I visually represent it. Visualisations and illustrations must be displayed clearly and easily identifiable variables and sections for the audience to understand the wider picture.

The impact of design variations and their affect on fabrication is huge when coming up with a final product. I feel that the variations have to be completed to realise and develop the design further, in regards to its location and surrounding environment, and how it is imposed and effects the design dramatically. Line drawings apart from displaying a design, can also be random geometry and lines that influence a design, and “reverse engineering of a theory” to discuss potential outcomes and overall design layout. Also can be interpreted many ways, and may evoke different meanings for all parties involved if not a finalised product drawing.

Aside from the design, architects can communicate experience via enhancing the surrounding habitat with natural flora and fauna, as well as indigenous nature enforced in the environment. I feel this brings the user closer to the natural world, rather than being enclosed by the walls that surround us. Experience and evoking feelings out of the audience I feel is what forces design to be successful, and therefore the base of our design is how it makes the user feel amongst the space.

I feel the art that my design is performing is evoking feelings amongst the user, with the interior interaction, the skin walls create a unique experience and perception when you leave the space. As well as the skin itself, being of an art form, Yoshimura origami and its sharp façade yet warm and comforting interior. I feel like it was challenging to translate this art onto a poster due to the nature of it being an experience based form of art, rather than strictly being of physical importance, and rather social and spiritual emulation of the original story. But this was translated with the help of descriptions across the posters. The technology that my design is using to perform the experience of the new beginning is the rail system, and its simple yet effective connection across all layers of the design. It is two rails parallel to each other, one for each rotating skin wall on the site base. The challenges I faced was not that I could show how it is made and where it fits as that was easily applicable through a detail as well as a section, but it is more a a challenge to describe how the user engages with it. This was the main challenge faced, whether they acknowledge it or completely ignore it.

It is important to structure how you visually and verbally communicate your design in presentations in order to have a complete flow and story for your project. You must really sell what you have created with both mediums to achieve a successful design, and to also engage and distract the audience to keep them interested. It is also important to structure how you describe your design process in the folio and have a clean layout because that is how one, you continue to grow your concept by constantly reviewing it, and to present your folio and have the freedom for anyone to understand your complete design process. I feel like in the past I structured my design process, but it was also quite messy and rushed in foilo, mostly focusing on the outcome and presentations or models, as they were the focal point of my design. But I feel from now on, learning from this unit, It is a must to have a clean and effective structured communication pallet across all areas of projects. This starts from a clean folio, easily readable and flow is adjacent to the design process. As well as having a well-designed and structured outcome, depending on the project and its capacity to produce a desireable outcome for not only myself but the audience I am presenting to.

Overall, in this unit, I believe I have come a long way. My first project focusing on the Allegory and the storyline was successful and I was bound upon the journey of creating my communicative design. This started with the research and ideation of the skin and the way it interacts with the user. The sharp exterior of the Yoshimura I felt was a good fit for the Python and embarking inside to a smooth surface and interaction.

This created the need for the new experience to be the outcome of the design, and the new beginnings of those after their interaction with the space, both interior and exterior interactions. I feel once Project 2 was completed, even though it took some time to realise the intended outcome and notion of the design, this made it clear of the steps moving forward. This was even more tunnel-visioned to the outcome where the precedents were showing the same identity and nature of the design.

This was developed to the point of difference in my design, where the rail took the design to another level. This then took even further time and factors into how the design works and how it will work effectively in communicating the message of the story. I feel now upon final submission that I am satisfied with my design and overall work across the board, where I feel like this new graphic style I have chosen has actually been effective.

Apollon headshot

Delphi Diagram

Apollon killing the Python

Oracle of Delphi Interior

Python and Leto Interaction

Oracle Today

Midjourney Imagery 1

Midjourney Imagery 2

Midjourney Imagery 3

Midjourney Imagery 4

ChatGPT 1

ChatGPT 2

Cam/Follower Experiments

Crank/Rod Experiments

Bone Experiments

Muscle Experiments

Skin Experiments

Model Concept

Model Development

Project 1: Final Model

Precedent Sketch

Precedent Sketch

Precedent Sketch

Precedent Sketch

Precedent Sketch

Design Development

Design Development

Design Review

Diagram of Design on Site

Site Photography

Site Circulation

Design Origin Diagram

Wall Rotation Diagram

Wall Movement Diagram

Circulation Diagrams

Circulation Design Diagram

Base Variations

Rail Variations

Render 3D Imagery

Step by Step Evolution

Plan

Rail Detail

Axonometric

Rhino Section Cut

Section

Exterior Renders

Original Poster 3

Updated Poster 3 Parts

Original 3D Imagery

Updated 3D Imagery

Render

Render Update 1

Render Update 2

Render Update 3

Apollo - Greek god of Music, prophecy & healing (no date) Theoi Greek Mythology. Available at: https://www.theoi.com/Olympios/Apollon.html (Accessed: March 3, 2023).

Staff, B.A.S. (2022) The oracle of delphi-was she really stoned?, Biblical Archaeology Society. Available at: https://www.biblicalarchaeology.org/daily/ancient-cultures/daily-life-andpractice/the-oracle-of-delphi-was-she-really-stoned/ (Accessed: March 4, 2023).

Possibly by Robert Willemsz de Baudous Netherlandish and Netherlandish, A.H.G. (no date) Possibly by Robert Willemsz de baudous: Apollo killing the python, The Metropolitan Museum of Art. Available at: https://www.metmuseum.org/art/collection/ search/398703 (Accessed: March 4, 2023).

Ugc (2013) The oracle of Delphi, Atlas Obscura. Atlas Obscura. Available at: https://www. atlasobscura.com/places/the-oracle-of-delphi-greece (Accessed: March 4, 2023).

(no date) Python. Available at: https://www.hellenicaworld.com/Greece/Mythology/en/Python.html (Accessed: March 4, 2023).

Parametric (2021) Kinematic Pavilion, Parametric House. Parametric House. Available at: https://parametrichouse.com/kinematic-pavilion/ (Accessed: April 4, 2023).

F106-109

F110-115

F116-119

Axonometric Updates

Model Development

Model Final Photos