2002-23-AE-Claudia-Chong-finalfolio

Student Number: 29228301

ARC2002 Chekhov’s Gun

Task 00

Catdog (In-Class Activity)

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Task 01

The Object

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Task 02

The Cloakroom

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Task 03

The Bathroom

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Task 04

The Stage Set (Mid-Semester Project)

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Task 04.5

Tshumi Storyboard (In-Class Activity)

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Task 05

The Site

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Task 06

The Saloon

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Task 07

A Night at the Orchestra

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Task 08

The Chekhov’s Gun (Finally)

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Task 09

The Threshold

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Task 10

Detours and Diversions

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Task 11

The Finale: The Red String of Fate

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In-Class Activty

Chekhov’s Gun / Design studio

Task 00 - Catdog

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In our first in-class activity task, we picked an object category out of a hat. The objects were a mix of the familiar and domestic as well as the more specialised.

I was assigned into a group of three where we were to combine a champagne bucket, a table, and a water feature.

What we ended up designing was the Chable-feature.

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Users would gather around the object and enjoy the champagne fountain (water feature element), while sipping champagne from the fountain (champagne bucket element), and also use the table fixture (table element).

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“I’m no different from a can of pineapples”

Chekhov’s Gun / Design studio

Task 01 - The Object Chungking Express

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“I’m no different from a can of pineapples” In Task 01, I was asked to create a water fountain that contains design influences from the movie Chungking Express.

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A

Chekhov’s Gun / Design studio

The themes that I discovered in the movie were: - loving someone when they don’t love you back and learning how to let go - leaving one’s space stuck in time and rotting away in order to stay stuck in the time when they were happy - love is not enough to be able to stay with someone - you can love someone but not be ready to love someone - instead of finding love, the people who love you can give you hope

PLAN 8

SECTION AA

Chekhov’s Gun / Design studio

In the quote “I’m no different from a can of pineapples”, character He Qiwu played by actor Takeshi Kaneshiro expresses that he buys a new can of pineapples everyday with the same expiry date, hoping to hear back from his former lover by that date.

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The character hopes that by the time the cans of pineapples expire, his love and hope in his past relationship wil also expire.

The design of my water fountain is inspired by the shape of a pineapple can and an hourglass.

The water flows from the top component in the ceiling, into the bucket in the middle, which tilts over when it overflows, and the water then flows into the larger taller basin, then the smaller lower basin.

It represents the flowing of time in waiting for somebody to love you back, but also as the bucket in the middle of the fountain fills, tilts over, and empties, the love for someone you are waiting for will also fill up until it can no longer be contained, and also empty itself out.

The material of the fountain is steel, inspired by the pineapple cans. The material is cold and not very welcoming, offering a more rational view of an inexplicable feeling like love. No matter how much love you have for someone, it will overflow, and then expire.

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1 / AXONOMETRIC RENDER 2 / CLOSEUP RENDER 3 / RENDER 4 / RENDER

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Task 02 - The Cloakroom Don’t Worry Darling

Chekhov’s Gun / Design studio

“I’ve always known. I chose this.”

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Chekhov’s Gun / Design studio

“I’ve always known. I chose this.”

In Task 02, my group was asked to create a cloakroom that contains design influences from the movie Don’t Worry Darling.

The themes that I discovered in the movie were: - idea of loss of autonomy - surveillance and lack of privacy a la big brother style - presence of symmetry The idea of the cloakroom would be the opposite of the journey in Don’t Worry Darling. Occupants would choose to knowingly enter the cloakroom transitioning from the plain and grueling everyday life, into the cloakroom where they get confused and disoriented and lose their bearings, and into the new space after they exchange their clothes for 50’s attire, where the world is perfect and technicolour.

COLLAGE OF MOVIE THEMES TRANSLATING INTO CLOAKROOM DESIGN

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DESIGN PRECEDENTS

The interior of Koichi Takada’s National Museum of Qatar features a curved and wave-like space covered with 40,000 custom-crafted European oak pieces, all meticulously assembled by hand on-site. The interiors starkly contrast the colder exterior facade of the buildng.

Chekhov’s Gun / Design studio

This design influence inspired the cave-like entrance of the cloakroom and also the contrast of the main structure of the cloakroom where it bears a stark difference from the more rustic cave entrance.

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Chekhov’s Gun / Design studio

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The cloakroom will act as a buffer between two different worlds - entering from the boring mundane real world, and exiting into the perfect fake world of “Don’t Worry Darling”. The cloakroom aims to provide a disorienting, confusing, and reality-altering experience within its space for its occupants.

The space aims to aid in acclimating its occupants from transitioning from the real world into the fake world.

The spinning coat rack spiral bar in the middle of the building spins until the clothes at the top fall down into a pile in the middle. The experience of the spinning coat rack is akin to spirals used in hypnotising and is meant to disorient the occupant and almost hypnotise them into accepting the false reality of the new world they are stepping into the perfected 50’s false world.

The large windows within the cloakroom allows outsiders to peer inside at all times, much like surveilling people within the frame of a computer scene, similar to the theme of surveillance in “Don’t Worry Darling”.

Clothes were added into the section for clarity after receving feedback.

1 / BACK ELEVATION 2 / SECTION AA

Scale 1:100

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Chekhov’s Gun / Design studio 14

back elevation

left elevation

front elevation

right elevation

REVISED CLOAKROOM DRAWINGS

Changes were made according to feedback from tutors. the upsidedown bathroom fixtures were to be made into lights - observed in the render as light emitting objects.

The upside-down bathroom fixtures and glowing bathroom ammenities is meant to show a confusing and mysterious space and experience. It was also commented that the four rooms in the original design were too similar to each other, hence I decided to reduce the number of usable bathroom stalls to only one.

Chekhov’s Gun / Design studio

A

The key idea of a confusing space where you have to choose which “room” you want to enter is still communicated through the multiple doors, made to look one is stepping through bathroom mirrors. Despite the illusion of the choice of multiple doors, each door and stairway leads to the same bathroom upstairs. This demonstrates that choice is but an illusion.

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B

REVISED PLAN

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REVISED SECTION BB

Scale 1:20

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1 The above 3d render of the space depicts and represents the confusing and disorienting effect of the cloakroom.

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Chekhov’s Gun / Design studio

The entrance of the cloakroom is intended to resemble the structure of a cave entrance. This is to represent the outdated and old nature of the real world. occupants are able to experience the journey of real to false through entering the cave, into the disorienting cloakroom, and exiting into the better version of the world which is a false image. The juxtaposition is intended to represent the stark difference between the inferior real world and the superior false world of “Don’t Worry Darling”.

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1 / 3D RENDER BY LINTONG 2 / 3D RENDER BY LINTONG

The below 3d render of the context of the cloakroom shows the unreal and false imaginated madeup world of “Don’t Worry Darling”. The space is intended to be unrealistic and its sparseness should not be able to exist in the real world. The entire experience of the space is intended to be confusing.

Chekhov’s Gun / Design studio

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4 The exploded axonometric drawing represents the full internal space of the cloakroom.

Here you can fully observe the spiral form in which coats are hung up on, and then spun to the top, and then thrown into a pile in the centre of the room.

The design of the space is intended to confuse and disorient the occupant.

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3 / 3D RENDER BY LINTONG 4 / EXPLODED AXONOMETRIC BY MARISA

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Task 03 - The Bathroom The Matrix

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“Choice. The problem is choice..”

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In Task 03, I was asked to create a bathroom that contains design influences from the movie The Matrix.

The matrix key ideas 1. man vs machine: machines becoming man - machines become more humanlike in the matrix world by learning to become more adaptive and creative - they begin to blend in with man 2. man vs machine: man becoming machine - man also becomes more machinelike in the matrix worldby following orders automatically without questioning or thinking for oneself 3. matrix vs real world - the matrix world is predetermined and “safe”, where no choices can be made so nothing can go wrong - the real world on the other hand is dangerous and any decision you make could affect you either positively or negatively 4. fate vs free will - in the matrix world, everything follows a predetermined fate, and no one is allowed free will - it is when you escape into the real world that you are allowed the freedom of choice, although risky - the matrix world is perfect and symmetry is a key visual element in conveying this perfect and preset world, whereas the real world is messy

5. body and mind relationship - one is connected to the matrix world through a port in the head, and it is only through being strongly connected and in control of body and mind that you can stay awake and break free

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“Choice, The problem is choice.”

It is through these key elements that led to the design concept of my bathroom. the user can enter through one of four doors on the ground floor, onto a platform that raises them into a space where they can enter one of four bathrooms in a perfectly symmetrical layout. each face of a wall has a door leading to a separate bathroom. The matrix world is mind-bending and physics operate such that you can stand on surfaces and do things that gravity in the real world should not allow. Fixtures that are intended to be on the floor will also be installed on the ceiling to create an uncanny atmosphere in the space, and demonstrate a level of symmetry and perfection.

The whole design is symmetrical and offers the illusion of choice. Although there are options of entrances of rooms to choose from, the path is already clearly laid out and pyou can only choose from a predetermined set of choices.

COLLAGE OF MOVIE THEMES TRANSLATING INTO BATHROOM DESIGN

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ORIGINAL BATHROOM DESIGN

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AXONOMETRIC RHINO

Chekhov’s Gun / Design studio

TOP FLOOR PLAN

SECTION AA 20

SECTION AA RHINO

Scale 1:50

The elevator system was also not very effective and not detailed enough.

The render was also not detailed enough.

These elements were worked on and further developed in the revised bathroom design.

Chekhov’s Gun / Design studio

According to tutor feedback, the shape of the building was too symmetrical and all the rooms were too similar.

The upside-down bathroom fixtures were also not very effective and could be lights instead of simple ornaments.

FRONT ELEVATION

INTERIOR RENDER

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DESIGN PRECEDENTS

“Relativity” is a lithograph print created by the Dutch artist M. C. Escher in December 1953. The artwork features an architectural structure that appears to be the center of a peaceful community, where residents are engaged in everyday activities. Notably, there are seven staircases, and each staircase can be used by individuals influenced by two different sources of gravity. This leads to intriguing effects, such as in the top staircase, where two people use the same staircase, moving in the same direction and on the same side, yet using different sides of each step. As a result, one person descends while the other ascends the staircase, almost side by side. In the other staircases, people are depicted as climbing upsidedown, but from their perspective, they are climbing normally due to their unique sources of gravity.

Chekhov’s Gun / Design studio

In my design, I incorporated the use of multiple staircases and doorways that are nonsensical in the sense that they are all leading towards the same room.

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A A

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GROUND FLOOR PLAN

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A

REVISED BATHROOM DESIGN

TOP FLOOR PLAN

Scale 1:20

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Chekhov’s Gun / Design studio 24

SECTION AA

FRONT ELEVATION

Scale 1:20

Chekhov’s Gun / Design studio

Changes were made according to feedback from tutors. the upside-down bathroom fixtures were to be made into lights - observed in the render as light emitting objects. The upside-down bathroom fixtures and glowing bathroom ammenities is meant to show a confusing and mysterious space and experience. It was also commented that the four rooms in the original design were too similar to each other, hence I decided to reduce the number of usable bathroom stalls to only one. The key idea of a confusing space where you have to

choose which “room” you want to enter is still communicated through the multiple doors, made to look one is stepping through bathroom mirrors.

Despite the illusion of the choice of multiple doors, each door and stairway leads to the same bathroom upstairs. This demonstrates that choice is but an illusion.

RIGHT ELEVATION

Scale 1:20

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Chekhov’s Gun / Design studio INTERIOR RENDER

Quote: “U.S. recovered non-human ‘biologics’ from UFO crash sites, former intel official says”

Artwork: Fat Car , Erwin Wurm, 2005

Chekhov’s Gun / Design studio

Task 04 - The Stage Set

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INITIAL IDEATION COLLAGE To begin the design ideation of our stage set, Lily and I began branstorming ideas by creating a physical collage in class.

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We combined our different ideas for different aspects of the stage set we wanted to include.

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DESIGN PRECEDENTS

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Saint Laurent’s Spring Summer 2023 menswear show takes place in Morocco’s stunning Agafay desert, about 20 miles from Marrakech. Creative director Anthony Vaccarello collaborates with London artist Es Devlin to design a surreal setting. The main attraction is a glowing ring that emerges from a round pool, releasing mist and setting the mood for the grand event.

This design precedent inspires the glowing, movable and rotatable rings in our stage set.

Pierre Yovanovitch’s opera set for the Theater Basel’s Rigoletto Opera showcases three curved walls arranged inside each other, with their inner sides painted red and their outer sides painted blue. In the middle, there’s a doorway, and each of these walls can rotate 360 degrees around a circular track. This motion serves to both frame the characters and build tension, guiding the transitions between acts. As the drama intensifies, the walls gradually close in, creating a tight circle at the climax.

This design precedent inspires the rotating mountains observed in our stage set, used to change scenes and the mood in the performance.

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Act 1: Draft Act 1 features a spaceship crash into a mountainous area, where nonhuman biological lifeforms are thriving, separated from humans.

The wormhole above the set remains unseen and out of view from the audience at this point.

Upon the act change from Act 2 to Act 3, the mountainous range will retract into the floor of the stage and will no longer be visible to the audience.

Chekhov’s Gun / Design studio

PLAN

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FRONT ELEVATION

AXONOMETRIC DRAWING Scale 1:50

Act 1: Draft Chekhov’s Gun / Design studio

PULLEY SYSTEM

HYDRAULIC SYSTEM

mountain backdrops will lower back into stage as act 1 changes

SET CHANGE DIAGRAM

HYDRAULIC LIFT SYSTEM

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Act 1 Final Storyboard:

Chekhov’s Gun / Design studio

“U.S. recovered non-human ‘biologics’ from UFO crash sites, former intel official says”

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Act 1: Scene 1

Act 1: Scene 2

Act 1: Scene 3

The scene is set with the mountains rotating to 120 degress clockwise, revealing the U.F.O. and the non-human settlement in the mountains. The stage slowly lights up as it transitions to Scene 2.

Non-human biologics are sentient blobs that move around on RC devices.

Creatures are shown to be thriving in a pack and have built a home in the mountains, seemingly terraforming it and turning the insides of the mountains an unnatural pink colour.

Child 1 comes across the creatures while roadtripping with family and family friends.

Act 1: Scene 4

Act 1: Scene 5

Act 1: Scene 6

Child 1 brings other children of family friends to explore and interact with the pack of creatures, developing a friendly relationship with them.

Child 1 sneaks off to visit the pack of creatures and their family gets suspicious and follows them, only to discover the creatures, panic, and call the relevant authorities.

The authorities arrive and are horrified and disgusted by the discovery of the alien settlement.

ACT 1 STORYBOARD

Act 1 Chekhov’s Gun / Design studio

FRONT ELEVATION RENDER 3d render with graphic expression

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Act 1

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FLOOR PLAN

moveable parts in brown

ROOF PLAN

Scale 1:50

Act 1 Chekhov’s Gun / Design studio

ROOF LINE

AUDIENCE VIEW LINE

FRONT ELEVATION stage parts in brown

FRONT SECTION AA stage parts in brown

Scale 1:50

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Act 1 ROOF LINE

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AUDIENCE VIEW LINE

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RIGHT ELEVATION WITH MOUNTAINS UP stage parts in brown

RIGHT ELEVATION WITH MOUNTAINS DOWN stage parts in brown

Scale 1:50

TECHNICAL DETAIL DEVELOPMENT Chekhov’s Gun / Design studio

COGS FIRST ITERATION

COGS SECOND ITERATION

COGS FINAL ITERATION

Upon receiving feedback from my tutors regarding the first iteration of my implementation of cogs rather than a mechanical gearbox, I was told that I should instead focus on a singular more detailed cog system.

I received mixed comments during the Mid Semester Review regarding the size of my cogs but dicided to focus on a manual mehcanical feature instead of shifting back to the original motor gearbox.

During my Final Salon, I was given feedback that I should implement more varying lineweights in my cog in order to show contrast between the elements that need the most to least focus.

RECESSED LED LIGHT FIRST ITERATION

RECESSED LED LIGHT FINAL ITERATION

As the other important feature of my stage set is lighting, the other detail I chose was for the built-in recessed lighting.

I also received feedback during the final salon that more detail can be put into my lighting drawing by using different hatching styles in order to showcase the different elements of the lighting element.

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Chekhov’s Gun Studio

Act 1

Client Monash University Project Task 4 / The Stage Set

Rotating Stage Motor and Lifting Mechanism with Screw Winch

hydraulic pressure system that assisted in manual winding of the cogs

Scale 1:50 Drawn

Checked

Claudia Chong

Chekhov’s Gun Studio

Notes Rotation and upwards movement of centre stage cylinder uses lifting mechanism with screw winch and turning gears

main cogs system

rotating arms that assist in turning of the cogs

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screw winch

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Revision Rev.

Scale 1:50

Date

Notes

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Act 1

Client Monash University

Task 4 / The Stage Set

Recessed LED Lighting

Scale 1:50

lighting

Drawn

Checked

Claudia Chong

Chekhov’s Gun Studio

Chekhov’s Gun / Design studio

Project

Notes LED stage lighting is built in, recessed into the stage flooring

flooring LED

grout Revision Rev.

FRONT SECTION AA stage parts in brown

Scale 1:50

Date

Notes

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Act 1 The mountains in the stage set are able to be retracted below the stage through the use of a lifting mechanism with a screw winch, powered by a rotating stage motor to lift the centre cylinder stage up above the backdrops.

The defining difference between Acts 1 and 3 are the movements of the mountain backdrops and the ceiling mechanism.

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The 3d Rhino Model was made by Lily, myself making the renders and drawings.

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SOUTHWEST AXONOMETRIC RENDER

SOUTHWEST AXONOMETRIC DRAWING

Scale 1:50

Act 1 Chekhov’s Gun / Design studio

SOUTHEAST AXONOMETRIC RENDER 1, SANS ROOF

FRONT EXPLODED RENDER

SOUTHEAST AXONOMETRIC RENDER 2, SANS ROOF

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Chekhov’s Gun / Design studio

WORK-IN-PROGRESS OF STAGESET PHYSICAL MODEL

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The laser-cutting was done by Lily in the Monash DFab, and I put together the parts and painted the model.

FINAL STAGE SET PHYSICAL MODEL

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ACT 1 STAGE SET

ACT 1 STAGE SET

ACT 3 STAGE SET

The circular disc part of the stage set is part of Lily’s Act 3 and was made by her.

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Mid Semester Salon: Feedback and Individual Plan of Action Mid Semester Review Feedback:

Mid Semester Debrief and Plan of Action:

(Staff) Ari: • Consider the context of the stage set and where it is in relation to the audience’s view of the stage • Confirm whether the background in the drawings is part of the set or just graphic expression • Clarify the ground level and audience level – Is the cog mechanism below the ground level? What view does the audience see?

• Translation of architecture: narrative of the space, thinking of other direction – how will the sets move simultaneously to transition from act to act • Orchestrate mountains and wormhole moving at the same time • Refer to Greg Lynn Ravioli chairs to inform audience seating decisions (reminiscent of alien blobs)

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(Guest) Jack: • Look at issues with scale of stage set components (size of poles and cogs) – unrealistic scale, cannot be built in real life, out of place, pole is too tall to properly hold up wormhole

Chekhov’s Gun / Design studio

•

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•

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What is the plot design? – think about the “former intel official” part of the news article and consider that the plot involves U.S. military testing, make the narrative more nuanced – smallest possible gestures for nuance How many people are in the audience? – Is it directed to many people or just one person?

Consider the choreography of the stage set

(Tutor) Eilidh: • More can be done with the mountain reveal • Good atmospheric renders but focus on what the audience will see • How many people does the space cater to?

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• • • • • • •

Clearly indicate where the groundline is, and what is visible to the audience Make cogs more detailed and accurate in the drawings and ensure that cogs interlock Add ceiling to hold up the wormhole Add light details in sections (recessed floor lighting) Coordinate drawing backgrounds Show people and car in elevation Put change room details and furniture in section Put dashed lines in exploded render Do not change design for Mid Semester Folio Submission, just make alterations and add details to drawings

In-Class Activity

TSHUMI STORYBOARD ABSRACTION

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Task 04.5 - Tshumi Storyboard

In this Tshumi Storyboard, the characters and their energies are represented using squiggly lines, in the last frame, the impace of their energies and movements starts to affect their surroundings and cause chaos.

The background props are represented by strict thin diagonal lines - showing order and no chaos,

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Chekhov’s Gun / Design studio

Task 05 - The Site Palace Theatre

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My and Lexie’s part of the model was the exterior facade ornaments. The parts of the ornamental facade that I worked on are coloured in red.

The top ornaments were boolean differenced into the exterior wall of the building, and the long rectangular bars were extruded out of the building. The sets of 6 rectangles were also boolean differenced into the building.

The long vertical ornaments and canopy roof was modelled by Lexie.

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In Task 5a we were to model the Palace Theatre as a class.

As the class agreed that the exterior wall shape that was initially modelled was wrong, I also redid and fixed the shape of the exterior walls.

FRONT FACADE ORNAMENTS ELEVATION

Scale 1:100

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Chekhov’s Gun / Design studio 48

TSHUMI STORYBOARD OF THE HISTORY OF PALACE THEATRE

In Task 5B, I created collages of different tume periods of the Palace Theatre: as a traditional performance theatre, as a club, and its demolition.

I then translated these collages into a Tshumi storyboard, using the abstract shapes and lines of the main elements.

The people are represented as squiggly lines, to show the energy of people within the space

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In Task 5c, the overlapping histories map I made uses a physical collage format.

I used torn pieces of paper of the old facade of the Palace Theatre on top, along with a picture of a musician - this harks to the days where the Palace Theatre was used as a performance hall.

The pictures on the bnttom are from when the Palace Theatre was first built, as a more traditional concert theatre, with rows of audience seated in mezzanine gallery seats.

The opera singer is reminiscent of the kinds of performances that could be seen in the Palace Theatre when it was first built.

I drew the modern plan of the Palace Theatre on drafting paper and layered the original plan of the Palace Theatre drawn on Rhino on top of it.

The text uses a newspaper typewriter inspired font to describe the history of the Palace Theatre.

The collage also includes an old newspaper clipping about the Palace Theatre.

This traditional stype of physical collage displays the myriad of activities that used the take place in the Palace Theatre and its colourful history.

OVERLAPPING HISTORIES MAP OF PALACE THEATRE

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Task 06 - The Saloon Parasite

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“If I had all this I would be kinder”

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In Task 06, I was asked to create a saloon that contains design influences from the movie Parasite.

Parasite key ideas 1. Class A prominent and recurring theme in the movie is social class. At the beginning, we meet the Kims, a struggling family. As they start working for the affluent Park family, they gradually realize the stark contrast in living standards.

2. Wealth inequality The film portrays wealth from various angles. It’s depicted as a source of brightness, authenticity, and kindness, but also as something that blurs accountability and disconnects people from reality.

The Parks are polite yet shallow, vulnerable, and naive. Throughout the film, the Kim family yearns for the security of wealth, with Ki-woo aspiring to purchase the Parks’ former home in the end.

However, the film underscores how wealth and class disparities fuel the violence that erupts in the final act.

3. Condemnation of the working class One of the key complaints is that the Kims have a certain smell that the Park family does not attempt to hide their disdain of. They compare it to the smell that one has on the subway. They do not offer empathy to those who are beneath them but instead gossip behind their backs.

4. Parasitism The title hints at characters acting as parasites, individuals who rely on a larger host. However, this parasitic dynamic isn’t limited to the poor characters like the Kims, Moon-gwang, and Geun-sae; the Park family could be seen as parasitic due to their dependence on their employees’ skills and obedience.

Furthermore, the central parasite in the film symbolizes class inequality itself. The Parks’ pursuit of wealth becomes a parasitic force driven by competition, always wanting more. Similarly, the less affluent characters are infected by this parasite, desiring upward mobility and the benefits of wealth.

5. Deception A significant source of humor and enjoyment in the film is witnessing the Kim family outsmart the unsuspecting Parks. Once Ki-woo secures a tutoring job, he gradually arranges jobs for his family members within the Park household. Unbeknownst to the Parks, all of their employees’ credentials are fabricated, and they are all part of the same family. This results in a highly amusing and suspenseful dramatic irony where the audience observes the Kims navigating the challenge of keeping their scheme hidden, even in the most unexpected situations. For example, when the Parks return home from their camping trip unexpectedly, they casually explore their

house, completely unaware that Moon-gwang and her husband are trapped in a bunker beneath the house, or that Ki-jung, Ki-woo, and Ki-taek are concealed under the coffee table in the living room.

6. Hope Hope is a driving force for the Kim family. Despite their struggles and cynicism about their social status, they cling to the belief that their lives can improve. This hope motivates them, even when they resort to deception to secure work.

Towards the end, hope takes center stage through Ki-woo and Kitaek. They communicate while Ki-taek hides in the basement after a fatal encounter with Mr. Park. Ki-taek survives as a scavenger, fueled by the hope that his luck might change. Meanwhile, Ki-woo dreams of buying the house, a fantasy brought to life on screen as he enters the house while Ki-taek peacefully reunites with his family. The film’s closing image is Ki-woo writing a letter of hope to his father, envisioning a better life for their family despite all they’ve endured.

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“If I had all this I would be kinder”

7. Environmental and Infrastructure Collapse Bong Joon-ho illustrates how the poor characters not only experience a lower quality of life but also face life-threatening situations.

For example, during a rainy night, the Parks must cancel their camping trip, but Da-song comfortably sleeps in a waterproof tent in the backyard. In contrast, when the Kims return to their basement apartment, their entire street is flooded with sewage water, rendering their home uninhabitable. Bong highlights that being lower-class isn’t just about lacking the luxuries of the upper class, but more critically, it involves greater susceptibility to natural elements, disease, and environmental and infrastructure crises.

The rich mother comments “that rain was such a blessing”. While the rain disrupts the wealthy’s plans (cancelling their camping trip), it poses a severe threat to the poor, flooding their homes and compelling them to seek shelter in a gymnasium, jeopardizing their entire way of life.

8. Kindness The Kim parents envy the Park family’s ability to be kind and naive.

Ki-taek: They are rich but still nice.

Chung-sook, Ki-taek’s wife: They are nice because they are rich.

They iterate that the rich are only able to be kind because they have the freedom and allowance to do so, as they need not worry about their survival and have not been through the suffering of the poor.

Ki-taek: Rich people are naive. No resentments. No creases on them.

Chung-sook, Ki-taek’s wife: It all gets ironed out. Money is an iron. Those creases all get smoothed out by money.

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The collage depicts the Tower of Babylon and directly translates into man reaching towards the power of God, in this case, through riches and power.

The corpses that lie below are of the lower class who cannot achieve riches of power.

The collage shows that even though one might try to achieve power and riches, they will not be successful in the end, like the tale of the Tower of Babylon. The rich and upper class will not allow anyone else to join their upper echelon.

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The design precedent of the saloon is also based off of the Tower of Babylon

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COLLAGE OF MOVIE THEMES TRANSLATING INTO SALOON DESIGN AND DESIGN PRECEDENT

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We were to watch the movie Parasite and pick a character to make a dating profile.

For our group’s dating profiles, we decided to each pick a character from a different class: the working class, the in-between, and the upper class.

I chose Ki-Jung, who goes by Jessica as her fake identity. She tricks the richer family, posing as an art psychologist and art therapist in order to infiltrate the upper class household. She is noted by her family to be the only one who, although grew up poor, seems to fit in with high society seamlessly. Hence she is the in-between class.

I initially made 2 profiles for each alter ego using information gathered from the movie, but following feedback from my tutors, merged the two profiles into one, using “Tinder subtext translations”. The profile shows what how Jessica wishes to portray herself, but the red text shows the subtext and translations of what she means vs what she says.

Ki Jung 19 Pizza Boxer High School

Will always put my family and myself first Banjiha (basement house) in a slum district Scheming and other devious deeds Smoker Rich men

... in order to leech off of all of you Songijeong-ro, Mapo-gu, Seoul, Korea

INITIAL DATING PROFILES

REVISED DATING PROFILE

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The 3D model of the saloon was made by Darcy, Lyssa made the plans, and I made the elevations and section.

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This area of the bar is frequented by Darcy’s character, as he is the working class character in the movie.

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The lower area of the bar is a communal area that has an open roof concept. This was inspired by the flooding that unequally affects the lower class and more congested living areas of the people of lower class in the movie.

They are unfairly more affected by the flooding as their houses are mainly situated in a lower ground level of the city of Seoul, whereas the richer upper class area is quite literally situated on higher ground.

My character is described in the movie as the only character that, although grew up and is working class, seems to blend in comfortably and seamlessly into the upper echelon of society - enjoying all the luxuries an upper class house provides, and conducting herself with reserved poise.

GROUND FLOOR PLAN BY LYSSA

Scale 1:100

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The upper area of the bar is a more intimate setting that allows for small private gatherings such as dates. The purpose of this area is to create a closeness in order for people to get to know each other and bond on a deeper level. The garden slopes upwards, blocking the view from the upper bar. This is inspired by the design of the house in the movie and metaphorically blocks out the struggles of the lower class by blocing out the lower bar that is being flooded.

This area of the bar is frequented by Lyssa’s character, who is an upper class widow looking to find a new romantic partner in this intimate bar setting.

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TOP PLAN BY LYSSA

Scale 1:100

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FRONT ELEVATION Scale 1:100

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Following tutor feedback, plants were added to the elevation to better represent the roof garden.

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LEFT ELEVATION

Scale 1:100

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Following tutor feedback, plants were added to the section to better represent the roof garden.

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Black hatching was also added to make the section cut clearer.

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Scale 1:100

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3D VISUALISATION OF LOWER BAR

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Task 07 - A Night at the Orchestra ACO Presents: Postcards from Italy

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ORCHESTRA DÉRIVE NOTES

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During the Orchestra, we were tasked to take notes about our journey, the building, the atmosphere created in the building, the materials, the lighting, our feelings, and the pieces.

I documented my journey from home all the way to the Melbourne Recital Centre, and then my journey through the Melbourne Recital Centre.

I then documented the atmosphere within the rooms, and how the pieces felt in abstract doodles, lines, and key words about my feelings throughout the pieces.

Out of all of the pieces, I most resonated with Tchaikovsky’s Souvenir de Florence, Op. 70, TH 118: II. Adagio cantabile e con moto.

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ORCHESTRA DÉRIVE 62

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OVERLAPPING JOURNEY MAPPING

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Task 08 - The Chekhov’s Gun (Finally)

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CHARACTER PROFILE

He then meets a mysterious woman - the first woman who walks through the door of the bar he is drinking in, and decides that he will fall in love His character in the movie Chungking with her.

Express is a hopeless romantic who had just been broken up with by his His hopeless romantic personality longterm girlfriend. He hopelessly suits the character journey that I pines over his ex-girlfriend, had in mind - a patron that visits the comparing himself to a can of Palace Theatre in hopes of finding pineapples, and hoping that his wait love. for his ex-lover to come back will expire with the last can of pineapples.

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I selected Cop 223 AKA He Zhiwu for my character as a patron for the Palace Theatre.

I originally selected Alice from Don’t Worry Darling for my character.

However, I realised that her personality and character journey in the movie was not suited to the character journey I had in mind for my project.

I intended to make a journey of my character being a hopeless romantic looking for love, but Alice’s personaity and goals do not fit that journey.

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DRAFT CHARACTER JOURNEY PLAN AND SECTION

In this draft character journey of the Palace Theatre, my character Cop 223 is illustrated in pink.

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The plans and section were created

by Darcy, and we worked on our character journeys as a group.

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PALACE THEATRE GROUP DRAFT PLAN

UPDATED CHARACTER JOURNEY EXPLODED AXONOMETRIC

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In this exploded axonometric drawing created by Darcy, we placed all our rooms and programs into the model and each drew our individual journeys on the exploded axonometric drawing.

FIRST FLOOR PLAN

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Scale 1:100

Section Plan

FIRST FLOOR PLAN

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DRAWING HERE GROUND FLOOR PLAN In this draft of the Palace Theatre plan, we decided as a group where to put our individual rooms and programs.

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Task 09 - The Threshold

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Artwork: Kathy Temin’s The Memorial Project: Black Wall (section 2) 2015

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FRONT ENTRANCE FRONT ELEVATION

FRONT ENTRANCE FRONT SECTION

Scale 1:50

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FRONT ENTRANCE RENDER

FRONT ENTRANCE RENDER

I redesigned the front entrance of the Palace Theatre as the threshold for my character Cop 223 as a patron.

The entrance is inspired by design elements taken from Kathy Temin’s The Memorial Project: Black Wall (secrion 2) 2015. I took the furry white rock pillars and incorporated them into the design of the front threshold.

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The design is also influenced by the origin of theatre in Ancient Greece. The design pays homage to the Ancient Grecian style using Tuscan Columns and the typical Greek roof. It combines the modern element of the fluffy rock pillars along with the Ancient Grecian Theatre design elements.

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FIRST ITERATION FRONT ENTRANCE ELEVATION

FRONT ENTRANCE RENDER

The threshold of the Palace Theatre takes up the space of the whole walkway of the street. This is to entice people to enter the Palace Theatre by necessitating entering the space by the use of the sunken entrance. One would have to walk through the space of the Palace Theatre and already feel inside it by walking down and back up the steps of the entrance.

The design of the entrance roof was too similar to the original Grecian roof and so I removed the spokes at the top of the roof in the redesign. Following my feedback during the final salon as well, I was told to use different colours and lineweights to showcase the depth in the section and elevation drawings.

FIRST ITERATION FRONT ENTRANCE SECTION

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Task 10 - Detours and Diversions

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SMOKING LOUNGE My character and his love interest in the movie Chungking Express are both smokers hence I decided that my additional program would be a smoking lounge.

For privacy and ventilation sake, I decided to place my smoking lounge in the alley next to the Palace Theatre.

The walkway entrance to the lounge should be private and so I decided to make it sunken below ground level.

The rings at the top of the lounge were meant to resemble pineapple rings and create an otherworldly space for my character to feel unique and special and meet somebody to fall in love with.

The smoking lounge also only has one ashtray, forcing characters to ash their cigarettes in the same ashtray and creating an opportunity for interaction.

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RIGHT ELEVATION

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FRONT ELEVATION

TOP PLAN

AXONOMETRIC

Scale 1:100

REVISED SUNKEN SMOKING LOUNGE

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After receiving tutor feedback, the design of the pineapple rings were deemed to not fit the theme of the project and I changed them into lights resembling smoke rings.

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I was also suggested to make the smoking room undergound beneath the building as a basement, however, the room would then not receive enough ventilation and so I made the entire smoking lounge sunken in the alley in order to take up less space above ground in the alleyway.

The shape of the sunken lounge was also changed to be more spherical, fitting with the smoke ring lights above it.

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REVISED TOP PLAN

SECTION AA

SECTION BB

FRONT ELEVATION

RIGHT ELEVATION

Scale 1:100

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REVISED SUNKEN SMOKING LOUNGE

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AXONOMETRIC SECTION BB

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INTERIOR RENDER

AXONOMETRIC

Scale 1:100

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LOVE HOTEL ROOM

PLAN

RENDER

I designed a love hotel room for my patron character Cop 223 after he meets his love interest at the smoking lounge.

The room contains all the elements needed, inspired by Japanese and Korean Love Hotel rooms.

REVISED LOVE HOTEL ROOM

REVISED PLAN

REVISED RENDER

After receiving tutor feedback, the bathtub was changed into a fixture subken into the groung of the hotel room - so that it is less of a moveable piece of furniture, and the showerhead was changed to a rainshower attached to the ceiling.

The lighting of the render was also changed to a more pinkish hue in order to better fit the theme of the other renders in the character storyboard.

Scale 1:50

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Task 11 - The Finale

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The Red String of Fate

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Scene 1

Scene 2

Scene 3

Scene 4

Cop 223 enters the Palace Theatre, feeling hopeful that he will meet his “somebody” here... The entrance looks slightly foreboding, like love, and he feels nervous.

Cop 223 hangs his jacket on the spiral rack... he starts to feel ever so slightly more exposed - is this what preparing to bare your heart to love feels like?

Cop 223 uses the bathroom, slightly puzzled and confused. He uses the upsidedown mirror fixture, purely to check himself in the mirror.

Feeling bashful, Cop 223 heads towards the bar. There are quite a few people here but alas, he is not able to approach anyone.

Scene 5

Scene 6

Scene 7

Scene 8

Still slightly hopeful, Cop 223 proceeds upstairs to the more private and intimate section of the bar... Here he meets a woman and enjoys a chat... He starts to wonder if he can open his heart up to her-Oh she’s leaving... She’s left with another man...

Disheartened and perhaps slightly crushed, Cop 223 heads back downstairs to watch the performance... He sits in a couple’s seat... alone...

After the performance, Cop 223 heads out to the alleyway smoking room... There in the corner of the smoking room, a woman asks him for a lighter. Apprehensive at first, they share a chat. Ashing their cigarettes in the same ashtray, their hands touch...

They sneak off, playfully chasing each other into the hotel room upstairs... Happy ending?

PALACE THEATRE RENDERED JOURNEY STORYBOARD WIP

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The Final Act: Palace Theatre Storyboard Draft

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The Final Act: Palace Theatre Storyboard Final The storyboard was changed to using the medium format 120mm film to resemble a movie filming.

The renders were also edited and updated accordingly with design changes and development.

Scene 1

Cop 223 enters the Palace Theatre, feeling hopeful that he will meet his “somebody” here... The entrance looks slightly foreboding, like love, and he feels nervous.

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Scene 5

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Still slightly hopeful, Cop 223 proceeds upstairs to the more private and intimate section of the bar... Here he meets a woman and enjoys a chat...

He starts to wonder if he can open his heart up to her-Oh she’s leaving...

She’s left with another man...

PALACE THEATRE JOURNEY STORYBOARD

Scene 2

Scene 3

Scene 4

Cop 223 hangs his jacket on the spiral rack... he starts to feel ever so slightly more exposed - is this what preparing to bare your heart to love feels like?

Cop 223 uses the bathroom, slightly puzzled and confused. He uses the upside-down mirror fixture, purely to check himself in the mirror.

Feeling bashful, Cop 223 heads towards the bar. There are quite a few people here but alas, he is not able to approach anyone.

Scene 6

Scene 7

Scene 8

Disheartened and perhaps slightly crushed, Cop 223 heads back downstairs to watch the performance... He sits in a couple’s seat... alone...

After the performance, Cop 223 heads out to the alleyway smoking room...

There in the corner of the smoking room, a woman asks him for a lighter.

Apprehensive at first, they share a chat. Ashing their cigarettes in the same ashtray, their hands touch...

They sneak off, playfully chasing each other into the hotel room upstairs...

Happy ending?

FIRST FLOOR PLAN

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DRAFT PALACE THEATRE PLANS

SECOND FLOOR PLAN

THIRD FLOOR PLAN

Scale79 NTS

FINAL PALACE THEATRE PLANS Each program and room is drawn and hatched in a different colour for better clarity.

The areas that were marked out in grey are being used by my groupmates.

The water fountain was also added into the front entrance threshold in the plan.

the other groupmates’ areas

the bathroom

the threshold

the saloon

the water fountain

the stage set

the cloakroom

the smoking lounge

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FIRST FLOOR PLAN

Scale 1:200

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FINAL PALACE THEATRE PLANS Each program and room is drawn and hatched in a different colour for better clarity.

The areas that were marked out in grey are being used by my groupmates

the threshold the saloon the stage set the smoking lounge

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SECOND FLOOR PLAN

Scale 1:200

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FINAL PALACE THEATRE PLANS Each program and room is drawn and hatched in a different colour for better clarity.

The areas that were marked out in grey are being used by my groupmates

the threshold the saloon the stage set the smoking lounge the hotel room

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THIRD FLOOR PLAN

Scale 1:200

DRAFT RENDERED SECTION AND AXONOMETRICS Chekhov’s Gun / Design studio

DRAFT 2 RENDERED FIRST FLOOR AXONOMETRIC

DRAFT RENDERED PERSPECTIVE SECTION AA

DRAFT 2 RENDERED SECOND FLOOR AXONOMETRIC

DRAFT RENDERED JOURNEY

DRAFT 1 RENDERED FIRST FLOOR AXONOMETRIC

DRAFT 1 RENDERED SECOND FLOOR AXONOMETRIC

DRAFT 1 RENDERED THIRD FLOOR AXONOMETRIC

DRAFT 2 RENDERED THIRD FLOOR AXONOMETRIC

Scale NTS

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FINAL PALACE THEATRE RENDERED AXONOMETRICS Further detail was added to the axonometric renders.

FINAL RENDERED FIRST FLOOR AXONOMETRIC

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FINAL RENDERED SECOND FLOOR AXONOMETRIC

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FINAL RENDERED THIRD FLOOR AXONOMETRIC Scale NTS

FINAL PALACE THEATRE SECTIONS Chekhov’s Gun / Design studio

Upon receving tutor feedback, further detail and people were added to the sections, and the sky was removed from the rendered section.

PERSPECTIVE SECTION AA

RENDERED PERSPECTIVE SECTION AA

Scale 1:200

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FINAL JOURNEY SECTION The Red String of Fate 8. They sneak off, playfully chasing each other into the hotel room upstairs...

Happy ending?

5. Still slightly hopeful, Cop 223 proceeds upstairs to the more private and intimate section of the bar... Here he meets a woman and enjoys a chat... He starts to wonder if he can open his heart up to her-Oh she’s leaving... She’s left with another man...

4. Feeling bashful, Cop 223 heads towards the bar. There are quite a few people here but alas, he is not able to approach anyone.

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1. Cop 223 enters the Palace Theatre, feeling hopeful that he will meet his “somebody” here... The entrance looks slightly foreboding, like love, and he feels nervous.

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Scale 1:200 6. Disheartened and perhaps slightly crushed, Cop 223 heads back downstairs to watch the performance... He sits in a couple’s seat... alone...

7. After the performance, Cop 223 heads out to the alleyway smoking room... There in the corner of the smoking room, a woman asks him for a lighter. Apprehensive at first, they share a chat. Ashing their cigarettes in the same ashtray, their hands touch...

3. Cop 223 uses the bathroom, slightly puzzled and confused. He uses the upside-down mirror fixture, purely to check himself in the mirror.

2. Cop 223 hangs his jacket on the spiral rack... he starts to feel ever so slightly more exposed - is this what preparing to bare your heart to love feels like?

PALACE THEATRE THRESHOLD ELEVATION CARD PAPER MODEL Chekhov’s Gun / Design studio

Firstly, I made a prototype model out of normal cartridge paper in order to ensure that my design worked. I printed my design on paper and handcut both the prototype and the final model. I then folded the models accordingly, inserting and glueing the elevation layers together.

Creating the prototype model first was very hekpful as I was able to realise problems with my design using the easy to cut cartridge paper before moving on to using thicker card paper for my final design.

I also used different shades of brown in order to show the closest to furthest layers of the elevation model.

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Final Salon: Feedback

I took the feedback I was given and made changes to my folio accordingly - redoing designs and adding additional designs.

Final Salon Feedback: (Staff) Rashed: •

•

• • •

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•

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Ensure that your concept is “well-cooked” or welldeveloped enough such that you are able to explain it to a granny or someone with no background in architecture Matrix-inspired bathrooms feel a bit hopeless because all choices lead to the same conclusion/ room Good decision in changing the design of the smoke rings in the sunken smoking lounge Play with the lineweights of technical drawings Think of how to bring Tschumi storyboards and overlapping histories maps into the architectural design Connect derivé to the journey map better - make the journey map of the Palace Theatre more 3-dimensional

(Guest) Lieze: •

• • • • • •

Consider making something red on each page for the continuity of the “Red String of Fate” - could be a red line or red page number Make the hands stand out more in the salon panel layout Indicate the room names on the plan of the Palace Theatre Put arrows for the stairs in the plan Indicate what the grey hatching means on the Palace Theatre Plans Use a gradient of colours for the layers of the threshold drawings Label plan and section drawings with more detail

(Peer) Sachio: • Good design communication but stage set feels disconnected like it is the main highlight of the project • Responds accordingly to briefs • Very abstract in style

(Tutor) Eilidh: • • • • • • •

• •

Beautiful layout!!

Great narrative Good sequence of layout and use of string photoshop this in digital version Storyboard on red background so it’s clear what the storyboard is Photoshop pins on digital and string and drop shadows Adding a key to show which storyboards correspond where in the plan Section not working that well - it isn’t really showing circulation and program. Add people, more use, and dotted line for circulation. Think about how you can show areas of intensity vs calm in your circulation. Eg messy lines for climactic area, single thin line for calm area (eg just walking from one thing to another) Every drawing should have a purpose - think about what your section is trying to convey Individually sourced precedents in folio and write what you gained from them/how they’re relevant to you. Include some theatre design

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