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CHAT GPT MIDJOURNEY

Chat GPT is an extensive language model trained by OpenAI. It is an artificial intelligence program designed to understand and generate human-like language based on the patterns and relationships found in vast amounts of text data. Chat GPT can engage in conversations with people, answer questions, provide information, and perform various language-related tasks [1]

MidJourney is a platform developed by the company “MIDAS Lab Inc” that specializes in AI-based image and video synthesis. It uses advanced machine learning techniques, such as Generative Adversarial Networks (GANs), to generate realistic and high-quality images from textual descriptions.

The system is designed to help creators, designers, and businesses generate custom images for their projects or products without the need for expensive and time-consuming photo shoots. MidJourney allows users to describe an image in natural language, and the system generates a unique image based on that description.

MidJourney has a variety of use cases, including product design, digital marketing, and creative content production. [1]

The use of this technology saw a vast investigation into the open nature of the collection of information. The AI system was able to provide deep insight into information; which regularly, would require large amounts of time to learn and condense.

MidJourney’s exploration ran similarly to that of ChatGPT. The system was able to provide a service beyond comprehension, creating near to anything based upon as few or as many prompts. These prompts may extend anywhere from verbs, adjectives, nouns etc. providing endless possibilities for creative outcomes.

DEMETER

Characters

Demeter

Persephone (Daughter to Demeter)

Zeus (Father of Demeter)

Hades (Uncle of Persephone)

Actions

Primary actions/themes were happiness and loss.

These two travelled in a cyclical manner, like a revolving clock

Location: Ancient Greece

Time: Ancient Greece

Chain of Events:

As follows;

Demeter and her daughter are living happily in Ancient Greece

Persephone is abducted by Hades and taken to the Underworld

A deal is struck; through Zues, between Hades and Demeter, allowing Persephone to spend half the year with her mother and the other half with Hades as his queen

FIG 4: The Council of the Gods by Michelangelo Maestri

COLOUR PALETTE EXPLORATION TYPEFACE EXPLORATION

Colours most commonly associated with Demeter include:

In the context of representing the goddess Demeter, it would be appropriate to choose a font that conveys a sense of elegance, grace, and timelessness. Serif fonts, which have small lines or flourishes at the end of the strokes, can convey a sense of tradition, history, and formality, which would be fitting for a figure associated with ancient Greek mythology. [1]

The chosen Typeface was Garamond. This was chosen through a process of elimination.

Green: As the goddess of agriculture, Demeter is often associated with the colour green, which represents growth, abundance, and the natural world. [1]

Brown: The colour brown represents the earth and soil, which are essential elements for agriculture and fertility. As such, Demeter is sometimes associated with this colour. [1]

Bodoni:

Bodoni holds bold stems with heavy contrast, making it visually loud for the viewer. This would ultimately distract the viewer from the imagery due to the overall amount of noise on the page.

T JAN:

Trajan’s use of descenders in its application of capital letters made the typeface once again very distracting for the viewer.

Yellow: The colour yellow represents the sun, which is necessary for the growth of crops and plants. As a result, Demeter is sometimes associated with this colour as well. [1]

Overall, the colours associated with Demeter reflect her role as a goddess of fertility and agriculture and emphasize the importance of nature and the earth in the cycle of life.

Garamond:

Finally, Garamond presented a well-balanced nature of the three, in visual and spatial balance, making it the winning contender for the final choice of typeface.

FIG 8: Typeface Typology

FIG 9: Garamond Characteristics

WEEK 1 REFLECTION

Should architecture communicate a story? Why or why not?

Architectures roles has found its way from a linear era of composition to a more abstract and holistic method. The pioneers at the forefront are now communicating through their design in a more inclusive way to a variety of individual viewers. This communication is essential to create more meaningful and experimental spaces to involve the experiences of its users better. Storytelling in architecture is a beautiful concept that is forever growing and better meeting the stories of individuals.

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

AI has been a phenomenon to the general public for an incredibly long time. It is only now that its incorporation is being effectively utilised. Whilst many fear the overthrow of AI, for the architects’ world (and any other field) it is an opportunity to better incorporate a collective of various ideas. AI has this collection, incorporated from a collaboration of users. All that is required of the architect is to utilise this collection and expand what is currently only a glimpse of the design soundness.

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

Once the AI potential is fully understood, collaborators will be able to access a library of resources; usually scattered, to better organise their design process. AI will further be able to assist in design decisions all the way from site analysis to the incorporation of the design, relevant internally/ externally to the context.

‘SKIN’ SYSTEMS

Pleat

The pleat is the most basic of folds, formed by creasing paper up and down forming a series of mountains and valleys, and yet has so many crucial applications. The logic of this pattern is undeniable. In fashion, pleats in ruff collars were representative for the power and wealth of aristocrats and added flexibility and warmth to the formal kilts of the Scottish [2].

PLEAT

Natural Folding: Flat with bi-directional force, up and down.

In technology, the folded mechanics of bellows made it possible for the first time to produce enough heat for forging, smelting, and welding metal. Also, the pleat allowed the camera bellows to shield light while remaining transportable and provides the accordion and concertina their musical breath. Until today the pleat is essential in many technical and mechanical applications like gaiters in trains and motorcycles or the folding technique for airbags. The simple pleat is fundamental to thousands of years of artistic, social and scientific advancements [2].

In technology, the folded mechanics of bellows made it possible for the first time to produce enough heat for forging, smelting, and welding metal. Also, the pleat allowed the camera bellows to shield light while remaining transportable and provides the accordion and concertina their musical breath.

Can you work out how a bellows can be folded from a pleat?

PLEAT

Natural Folding: Flat with bi-directional force, up and down.

In technology, the folded mechanics of bellows made it possible for the first time to produce enough heat for forging, smelting, and welding metal. Also, the pleat allowed the camera bellows to shield light while remaining transportable and provides the accordion and concertina their musical breath.

Can you work out how a bellows can be folded from a pleat?

PLEAT

Pleat system exploration.

Geometry: flat/layered

Force: linear opposing top and bottom forces

The pleating system is shown to create relatively minimal variety in its movement as it translates one side to the opposite, demonstrating a linear range of motion. This observation is made redundant when materiality is varied. Those of more malleable structure may allow for varying movement in both the Y and X axis rather than the X exclusively

Natural Folding: Flat with bi-directional force, up and down.

In technology, the folded mechanics of bellows made it possible for the first time to produce enough heat for forging, smelting, and welding metal. Also,

https://orilab.art/natural/pleat mountain valley

FWF PEEK AR590 https://orilab.art Art & Science of Origami & Robotics botics

FWF PEEK AR590 https://orilab.art On the Art & Science of Origami & Robotics ORI*botics

FIG 11: Pleat Pattern

FIG 10: Pleat Example

‘SKIN’ SYSTEMS

Flasher

The flasher was designed and named by Californian origami artists Jeremy Shafer and Chris Palmer. The natural folding pattern can be created by placing a cloth on a table and turning a cylindrical object with some downward pressure, forming radial pleats spontaneously. The most common application, beyond origami magic tricks, is for wrapping solar sails. NASA engaged origami experts and engineers, including Robert Lang, to design an origami-based solar array. Huge polygonal folded surfaces wrap around a central cylinder to fit within the small size of a spacecraft. An essential quality of origami patterns is to allow the expansion and contraction of geometry in a very programmable way[3].

FLASHER

Natural Folding: Rotation of a cylinder or polygon on a sheet

FLASHER

The flasher was designed and named by Californian origami artists Jeremy Shafer and Chris Palmer [1]. The most common application is for wrapping solar sails. NASA engaged origami experts and engineers, including Robert Lang, to design an origami-based solar array [2].

References:

1. Shafer, J. (1995). Flasher. BARF 1995 Spring. Bay Area Rapid Folders Newsletter. Jeremy Shafer.

2. Zirbel, S. A., Lang, R. J., et al (2013). Accommodating thickness in origami-based deployable arrays. Journal of Mechanical Design, 135(11).

https://orilab.art/natural/flasher

mountain valley

ORI*botics

FWF PEEK AR590 https://orilab.art

On the Art & Science of Origami & Robotics

Flasher

system exploration

Geometry: flat

Force: rotation of a cylinder or polygon on a sheet

The Flasher system is shown to have an intricate structure in which the object is able to fold within itself. This system however allows for minimal adjustment to movement within the X and Y axis regardless of potential factor changes i.e. material. Whilst this is limiting the application is interesting, allowing the potential for large-scale items to adopt this system to enhance their abilities.

FLASHER

Natural Folding: Rotation of a cylinder or polygon on a sheet

The flasher was designed and named by Californian origami artists Jeremy Shafer and Chris Palmer [1]. The most common application is for wrapping solar

Natural Folding: Rotation of a cylinder or polygon on a sheet

The flasher was designed and named by Californian origami artists Jeremy Shafer and Chris Palmer [1]. The most common application is for wrapping solar sails. NASA engaged origami experts and engineers, including Robert Lang, to design an origami-based solar array [2].

References:

1. Shafer, J. (1995). Flasher. BARF 1995 Spring. Bay Area Rapid Folders Newsletter. Jeremy Shafer.

2. Zirbel, S. A., Lang, R. J., et al (2013). Accommodating thickness in origami-based deployable arrays. Journal of Mechanical Design, 135(11).

https://orilab.art/natural/flasher mountain valley

ORI*botics

FWF PEEK AR590 https://orilab.art

On the Art & Science of Origami & Robotics

FIG 13: Flasher Pattern

FIG 12: Flasher Example

‘SKIN’ SYSTEMS (EXTENDED)

Starshades

A starshade works similarly to the way one might block out the sun with their hand in order to shield their eyes. In the greater context of starshades, the device shades the view of a distant star in order for the eye (telescope) to observe greater space. This allows scientists to capture images of surrounding planets in order to study and learn from them.

Experiment 1

Starshade design was concevied using very primitive shapes.

How Does it Work

Star shades work very similarly to the system of the ‘flasher’. The device itself spans tens of meters in diameter, this is where the engineering system develops. The system’s practical use is fundamentally used for launching the device into orbit. Without this, it would be impossible. Once in space the spaceship; which is also purposed as the telescope launches the starshade to a distance of (approximately) four earths, it is then that the shade is expanded, blocking the light of the star, allowing the telescope to capture its required images.`

Experiment 2

Starshade design was concevied using similar linework from initial design. Adjustments were made to projecting lines, curving them to create a more natural close for the syetem

Observations

Material struggled to open and close due to compound structure

Linework (laser cut) Red for cut, black for hatch

Experiment 3

Starshade built upon previous iteration, compensating for further structural allowance along triangular faces

FINAL OBSERVATIONS

Observations

Changes allowed system to move smoother as well as enhance the hold in open and close positions however still had some struggle along the triangular faces due to material

Linework (laser cut) Red for cut, black for hatch

Observations

System moved best with this design. Still held some reluctance in mobility oppurtunity due to material contstraints

Linework (laser cut) Red for cut, black for hatch

Starshade inspired ‘Flasher’system requires alternate material exploration in order to produce effective outcome. Due to specified constraints, this cannot be researched further and thus will be excluded out of final design

FIG 14: Starshade Deployment in Space

FIG 15: Starshade Deployment Steps

WEEK 2 REFLECTION

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

2D lines find themselves at the foundation for design in their preliminary contexts. Their primitive nature helps us (designers) communicate; what can sometimes be, the most complex of ideas to further stimulate the creative process. Through the aid of various forms of hierarchy and effective 2D plotting - within the context of design/drawing - these ideas can then be translated into their 3D forms.

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

Most commonly translated as chronophotography, the concept of 3D movement captured within an image/s is suggested through its subject’s story. The image itself is simply a placeholder for what is a greater underlying story. This story could be as simple as a woman waving someone down, however, it is the progression of the story (captured within the image) which creates room for one’s speculation regarding its movement

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

Various media of data recording provide deeper contexts to the nature of the object/ subject. These create a deeper insight for the designer to better understand the object/subject (preferentially in its context) to apply a more informed means of design-related decision-making. These decisions can be greater made with the inclusion of further research into the relevant contexts of the object/subject. Utilising all 5 senses; in a comprehensive manner, is a more effective way to approach design. Furthermore, think of seeing a waterfront, rather than simply seeing the waterfront, imagine how it may interact/see the viewer and so on.

What were your challenges in documenting your investigation (see last week’s Homework, #1.2) with images only?

For the homework, I chose the ‘skin expert team’ as I felt an immediate resonance between the models and the allegory within my goddess’s story. During the documenting process, images alone were somewhat sufficient in depicting the movement of my model. Whilst images alone do not provide the level of detail through which movement can be communicated, they were sufficient enough to support a basic idea of the function.

What were your challenges in documenting your investigation (see last week’s Homework, #1.2) with words only?

For the homework, I chose the ‘skin expert team’ as I felt an immediate resonance between the models and the allegory within my goddess’s story. Documenting the model exclusively with words is a difficult process. However, if done effectively it could be proven to communicate the exact intentions behind the modelling and its process.

What were your challenges in documenting your investigation (see last week’s Homework, #1.2) with line drawings only?

For the homework, I chose the ‘skin expert team’ as I felt an immediate resonance between the models and the allegory within my goddess’s story. This process of investigation was the least effective for communication of the overall idea. In the context of the investigative process, line drawings were difficult to work with when segregated from the overarching idea. The line work conveyed an idea for a design, and the variety in line weights and colours further pursued this idea, however, the overall investigation could not be properly conducted in a proper fashion until this linework was transformed into 3D.

Iteration 1

The initial concept saw an attempt to provide context to the viewer in regard to the story. A statued image was used to depict Demeter.

Initially, I felt as though this successfully captured such. However, after reflection found that despite the separation between foreground/ background, the page seemed very cluttered. I attempted to exclude overlap between Demeter and the surrounding text but still felt that the overall design choice was not useful

Iteration 2

This iteration was heavily influenced by previous design examples, providing much needed clarity, and drawing the viewer directly to the objective of the poster. Distractions; such as the contextual background, were scrapped in order to clean up the concept and provide a direct concentration to the ‘Extract’ and the comparative ‘Interpretation’ below it.

FINAL DESIGN ITERATION 2

FIG 16: Poster 1, Iteration 1

FIG 18: Final Design of Poster 1

Iteration 1

My initial thoughts went to themes within the story, looking at various ways in which the overall story may be interpreted. After narrowing down a list of ideas the following was produced.

Life:

Demeter is the goddess of agriculture

Greenery, Growth, Green, Produce, Agriculture, Movement, Life, Movement, Energy, Blur, Birth

Abduction:

Persephone is stolen from Demeter by Hades

Betrayal, Lost, Misdirection, Kidnap, Abduct, End, Close, Pause, Hopeless, Stolen, Take Away, Taken

Death:

The cold winter which pursues after Persephone is abducted

Death, End, Close, Blur, Stop, Night, Dark, Hopeless, Scared, Hell, Heaven

These were among the prompts used to collect images from MidJourney. Similarly I utilised some of these to further curate a Pinterest board in which similar images may be found, particularly in the interest of the various themes

FIG 19: MidJourney ‘Life’ Images

FIG 20: MidJourney ‘Abduct’ Images

FIG 22: Pinterest Board for ‘Life’

FIG 25: Pinterest Board for ‘Abduct’

FIG 26: Pinterest Board for ‘Abduct’

FIG 27: Pinterest Board for ‘Abduct’

FIG 28: Pinterest Board for ‘Death’

FIG 29: Pinterest Board for ‘Death’

FIG 30: Pinterest Board for ‘Death’

FIG 23: Pinterest Board for ‘Life’ FIG 24: Pinterest Board for ‘Life’

FIG 21: MidJourney ‘Death’ Images

Iteration 2

After revision, It was once again found that cohesiveness was lacking in the poster. Images placed did not align well, and the prompts/themes chosen; after having discussed with Tutor, were determined to be elementary.

The concept was given an alternate perspective. Rather than exploring the themes of the story, I decided to explore the story itself. Being a famous part of Greek history, the story of Demeter was well documented through the art of paintings, murals and sculptures.

After deciding to focus on paintings (for continuity) I utilised the descriptive painting names as the prompts for MidJourney image production.

This provided a far more intriguing, cohesive and captivating set of images, which better capture the individual capabilities and interpretations of

the AI software

A further adjustment of layouts was explored to allow for a deeper sense of design communication through layout, as was neglected in the initial iteration.

FIG 31: Exploration of Layout Space for Poster 2

FIG 32: Exploration of Layout Space for Poster 2

FIG 33: Final Design of Poster 2

Design Process

Upon the creation of Poster 3, my design process travelled to the thoughts and process of the story. With the mention of years and seasons (Demeter has her daughter for half a year. Persephone being with Hades causes Winter/Autumn) throughout the story, I immediately thought of creating a sort of timeline. Rather than a traditional timeline, I felt it needed to be skewed due to the crooked nature of the story itself. On top of this, it needed to have a cohesive nature to the variables (characters, events, etc.) interconnected motifs.

Compiling all these ideas together, a palette was formed in which colours, shapes and ideas merged into the one story

Demeter is given a blue/yellow/orange palette. This connects to her agricultural background but also the sadness she feels after losing Persephone.

Hades is given a green/black palette, providing a grotesque nature to the King of the Underworld. Zeus is given a bold monochrome palette due to his bold, powerful nature, the lack of texture however provides the speculation of his neglectful nature.

Finally Persephone is given a mix of all three due to the way in which she is interconnected to all these characters, both by blood and by force

FIG 34: Ideation for Poster 3

FIG 37: Texture of Hades

FIG 38: Texture of Demeter FIG 39: Texture of Zeus

FIG 40: Texture of Background

FIG 41: Poster 3, Iteration 1

FIG 43: Poster 3, Iteration 3

FIG 44: Poster 3, Iteration 4

FIG 42: Poster 3, Iteration

FIG 45: Final Design of Poster 3

Design Process

After having determined the impractical use of the ‘Flasher’ system, I further investigated the design of the Pleat system. The repetitive folding nature suggested a substance of a versatile nature, as (in theory) incorporation into a secondary; bone or muscle, system should be simple.

Despite this, I determined that the lack of the ability to complete cyclical revolutions meant that the system would not communicate my story effectively enough. After researching various folding systems, I created an idea for a pyramid of sorts.

The system would work like a flower, opening and closing as such.

From that, I would need to Allow for folds along the ‘petals’ so that the pyramid could fold in such an organic manner.

Once the design was set, the system simply needed to be physical

The decision to incorporate colour into the system was one I felt was essential. The system alone did not capture the connection thorough enough between its movement and the story. By adding colours that correlate with Demeter the design is elevated in its level of overall communication, furthermore when paired with the black base and backdrop for documenting.

FIG 46: Ideation of combined systems

FIG 56: Digital Model (Progression of Movement)

FIG 47: Physical Model

FIG 48: Physical Model FIG 49: Physical Model

FIG 50: Physical Model

FIG 52: Physical Model

FIG 53: Physical Model

FIG 54: Physical Model

FIG 55: Physical Model

FIG 51: Physical Model System (Video)

The final elements say the creation of supporting drawings to help communicate the system through stills. This included linework (for elevations), axonometrics, top view stills and; the focal point, a chronophotograph of the model, centered on the poster

FIG 57: System Linework

FIG 59: System Linework

FIG 58: System Axonometrics

FIG 60: Final Design of Poster 4

Al Bahr Towers Aedas Architects

Using a parametric geometry for the facade, Aedas Architects have designed a responsive facade that appropriately shades the interior according to time of day, month, and year.

The system acts as a screen, sitting 2 meters outside of the building’s exterior on an independent framing system. The system itself is triangular in nature, with each panel coated in fibreglass and programmed to respond to the movement of the sun as a way to reduce solar gain and glare.

FIG 61: Al Bahr Towers

FIG 62: Al Bahr Towers system

FIG 63: Al Bahr Towers system

Sharifi-Ha house

NextOffice–Alireza Taghaboni

Tehran, Iran 2014

Utilising the displacement of turning boxes, leading the building volume to open or close, the architects ‘NextOffice–Alireza Taghaboni’ have created a modular experience self-tailorable to the user.

The volumes are allowed to follow seasons, both atmospherically and culturally. This ability to turn living spaces into interchangeable modular experiences allows the house to adapt to the living requirements of its occupants, further enhancing the personal and preferential wishes that its volume may hold.

FIG 64: Sharifi-Ha house

FIG 66: Sharifi-Ha house

FIG 65: Sharifi-Ha house

WEEK 5 REFLECTION

How can architecture communicate emotively with its occupants?

Emotive communication in architecture is achieved through thoughtful consideration of the sensory experience of a space, including visual, tactile, and auditory elements. By creating spaces that evoke positive emotions in their occupants, architects can design buildings that not only function well but also enhance the well-being of those who use them

As a creator, it may appear obvious how your idea transformed into the design. For a viewer, this may not be the case. How can designers make sure their design communicates the idea accurately?

Similarly to communicating emotionally, the overall design idea must be nurtured with clear goal outlines, accompanied by supporting visual elements. Without the appropriate elements, design ideas; no matter how revolutionary and abstract, won’t be understood. When appropriately placed, the design communication process can further enhance a project, allowing for ease of communication between designers to encourage the design and its process further.

As a creator, it may appear obvious how your idea transformed into the design. For a viewer, this may not be the case. How can designers make sure their visualisations and representations of the design communicate the idea accurately?

Visual design representations are best understood by setting clear goals and pretences. Once done so, a tenacious nature is essential for visual flow and ultimately cohesive comprehension of a project. These can easily be achieved through the designers’ natural design abilities. Identifying appropriate visual langue elements and sticking to a clear consistent visual flow allows for this to easily be executed.

WEEK 6 REFLECTION

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

Design variations can have significant impacts on fabrication processes, affecting material selection, tooling requirements, manufacturing processes, assembly requirements, and quality control requirements. Materiality selection is a consideration that can make a tremendous impact on the design. Something as simple as environmentally friendly design materials can make a big difference in the overall impact of the project in its relevant context, furthermore presenting a more positive public appearance, however, it is currently found that a large majority of these materials come at an additional cost, causing more intricate importance in budgeting. By working closely with fabricators and manufacturing engineers designers will be able to ensure that the design is optimized for fabrication and meets the intended specifications whilst including all other considerations in any given project.

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

Line drawings have a very powerful ability within; but not excluded to, design. Lines have the ability to tell a story, connecting from one to another, slowly building a line into a visual picture for an audience to interpret and visualise the present and future of the linework

WEEK 7 REFLECTION

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?

Ultimately, an architect’s job is to communicate a story. Visualising the experience is an extremely powerful ability that an architect must be able to transpose within their work. Architects can use various elements (in architectural representation) such as scale, lighting, textures, human figures, landscaping, and soundscapes to communicate the experience beyond the design itself. By using these elements, architects can create more compelling and immersive representations that help communicate the experience of the design to the viewer.

RESEARCH REFERENCES

[1] Page: ‘chatgpt’ Accessed 25 March 2023, https://chat.openai.com/chat (“what is chat gpt”) (“what is the image generating system; midjourney?”)

(“what colour best suits demeter”)

(“what typeface suits demeter”)

[2] Page:

Matthew Gardiner, The Art and Science of Folding and Technology (Pleat), Accessed 26 March 2023, https://orilab.art/natural/pleat

[3] Page:

Matthew Gardiner, The Art and Science of Folding and Technology (FLASHER), Accessed 26 March 2023, https://orilab.art/natural/flasher

IMAGE RESOURCES

FIGURE 1: 9mm Digital 2023, Digital Image, Accessed 25 March 2023, https://www.9mm.cl/que-es-el-chatgpt-y-como-puede-mejorar-tu-sitio-web/

FIGURE 2:

Unknown Author, Digital Image, Accessed 25 March 2023, https://commons. wikimedia.org/wiki/File:Midjourney_Emblem.png

FIGURE 3:

Unknown Author, Digital Image, Accessed 26 March 2023, https://www. eyerys.com/articles/news/how-midjourney-ai-art-generator-creates-photorealistic-images-without-the-nightmarish-hands

FIGURE 4:

The Council of The Gods by Michelangelo Maestri, Digital Image, Accessed 26 March 2023, https://www.christies.com/lot/after-raffaello-sanzio-called-raphael-1483-1520-cupid-5778584/?intObjectID=5778584&lid=1

FIGURE 5,6,7: Digital Image, Accessed 26 March 2023, https://coolors.co/

FIGURE 8,9:

Carolyn Chheath, Typeface: Garamond, Digital Images, Accessed 26 March 2023, https://medium.com/@thelittlereina/typeface-garamond-be1b8b01add8

FIGURE 11:

Matthew Gardiner, The Art and Science of Folding and Technology (Pleat), Digital Image, Accessed 26 March 2023, https://orilab.art/natural/pleat

FIGURE 13:

Matthew Gardiner, The Art and Science of Folding and Technology (FLASHER), Digital Image, Accessed 26 March 2023, https://orilab.art/natural/flasher

FIGURE 14:

Jay Wong, A starshade blocks the light from a distant star in this illustration, revealing several exoplanets Digital Image, Accessed 26 March 2023, https:// www.discovermagazine.com/the-sciences/made-in-the-shade

FIGURE 15:

Brad Conrad, Starshade Undergraduate Challenge: Structural Design, Digital Image, Accessed 26 March 2023, https://www.aip.org/starshade

FIGURES 19|20|21|31:

MIDAS Lab INC, MidJourney, Digital Images, Accessed 26 March 2023, https://www.midjourney.com/home/?callbackUrl=%2Fapp%2F

FIGURES 22-31|35-40:

Blake D’souza, Pinterest Board “comms 2”, Digital Images, Accessed 26 March 2023 , https://www.pinterest.com.au/hiitsblakee/comms-2/

FIGURES 61-63:

Arch Daily, Al Bahar Towers Responsive Facade, Digital Images, Accessed 08 April 2023, https://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas

FIGURES 64-66:

Arch Daily, Sharifi-ha House Digital Images, Accessed 08 April 2023, https:// www.archdaily.com/522344/sharifi-ha-house-nextoffice