ARCHITECTURAL COMMUNICATION.2 FINAL FOLIO
GOCE LAZARESKI 102579489
ARC30003 ARCHITECTURAL COMMUNICATION 2
WED 08:30 TUTORIAL BA801
LED BY NADIA ANAM
i
Goce Lazareski (102579489)
Published by Swinburne University of Technology, School of Design, 2023. Printed in Melbourne by Goce Lazareski.
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 freeof-fee license to use this project produced in ARC30003 in any way for noncommercial purposes.
Signed Goce Lazareski Date 28 / 05 / 2023
ii
iii
Part A: Ideation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Introduction 2 Chosen Mythology 3 Scenario � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4 Original Ideas Considered 5 Experimentation 6-7 References � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 8 Par t B: Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Introduction 10 Design Precedents � � � � � � � � � � � � � � � � � � � � � � � � � 11-12 Developing the design � � � � � � � � � � � � � � � � � � � � � � � � 13-18 Situating the Design 19 Attaching the Design � � � � � � � � � � � � � � � � � � � � � � � � 20-21 Par t C: Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Designing the posters 23-29 Reflective practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Week 1 Reflection Questions 31 Week 2 Reflection Questions � � � � � � � � � � � � � � � � � � � � � � 32 Week 3 Reflection Questions 33 Week 5 Reflection Questions 34 Week 6 Reflection Questions � � � � � � � � � � � � � � � � � � � � � � 35 Week 7 Reflection Questions 36 Week 9 Reflection Questions 37 Week 10 Reflection Questions � � � � � � � � � � � � � � � � � � � � � 38 Par t D: Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Conclusion 40 List of figures 41-45 Bibliography � � � � � � � � � � � � � � � � � � � � � � � � � � � � 46-47
CONTENTS PAGE
Part A: Ideation
1
Introduction
Assignment brief
Deliver four A2 portrait posters that communicates the
1) scenario,
2) reference material,
3) story analysis,
4) experimentations, of your design idea.
Architects often need to communicate complex design concepts to a variety of audiences,including clients, stakeholders, contractors, and team members. Posters can be an effective tool for this communication, for three primary reasons:
Visual communication: Posters can be a highly effective form of visual communication,allowing architects to convey complex design concepts in a way that is easy to understand.By using a combination of images, graphics, and text, architects can create posters that areboth informative and visually appealing. Concise messaging: Posters require architects to distil their concepts into a concise, easily digestible format. This can be a valuable exercise as it forces architects to clarify their thinking and identify the key message that they want to convey.
Self-explanatory: The combination of visual and textual elements in an architecture poster allows it to function as a self-contained communication tool, one that can be easily understood and appreciated by a wide range of audiences, from clients and stakeholders to team members and contractors.
In Project 1, you will capture an idea, reference materials, story, and model experimentation succinctly as four posters.
This semester’s design idea brief Pick a mythological character (e.g., Cassiopeia, the Greek goddess) and translate a significant moment within the myth into a fabricated mechanical system. Your studio leaders will guide you in using a range of 2D drawings, 3D designs and 4D motion recording to translate the movement into your design system.
2
Chosen Mythology
ZEUS THE KING OF AL L GODS
Zeus born to parents Dad Cronus and Mum Rhea the youngest of the first generation of Olympians alongside his other 5 siblings which included Hestia, Demeter, Hera, Hades and Poesidon considered as one of the most important figures in the Greek Panethon whose influence can be still seen throughout many aspects including religion, literature and art and widely considered as the king of the gods in ancient Greek mythology together with his abilities which included the god of the sky, thunder, lightning, and storms however He was often depicted as a powerful, bearded man holding a lightning bolt in his hand who dreamt that one day would become ruler of the universe
As he grew up, Zeus became a powerful god, known for his strength, courage, and leadership abilities. However as the years went by Zeus would go onto become concerned in which the way he was handling things as Cronus put a further grip on his hold on power which included the swallowing of his children as a warning to Zeus, angered by this he would go on to lead a rebellion with the help of his siblings against his father in an attempt to overthrow him and the titans who were the previous ruler.
3
FIGURE 1
L, G. (2023). ARC30003 Communication 2 Folio, Project 1 Ideation Goce L (2023) Zeus, Midjourney generated Image.
Scenario Myth
Zeus was a highly regarded and controversial figure in Greek mythology and widely considered the king of the gods. According to the ideology, he was born to the Titans Cronus and Rhea and was one of six siblings.
His father Cronus, fearful of being overthrown by one of his children, swallows each of his children whole as soon as they were born.To prevent this from happening to Zeus, Rhea develops a plan in a hope to save him from suffering.
Rhea gives birth to Zeus in secret and, in place of the baby, wrapped a stone in swaddling clothes and presented it to Cronus, who promptly swallowed it, thinking it was his child. Zeus was then hidden on the island of Crete, where he was raised in secret by nymphs and a goat named Amalthea. As he grew older, Zeus became determined to overthrow his father and claim his righful place as the ruler of the gods. With the help of his siblings, he waged a ten-year war against the Titans known as the Titanomachy During the war.
Allegory
A certain character with the freedom to do anything that they want will go to extraordinary lengths without consideration to their consequences to assert their control and power over the population. This includes any means of violence to eliminate competition through using murder by swalling, oppression, mistreatment and domiance. The cautionary tale of Zeus apprises the motive linked to the dangers of greed and fear together with it’s ultimate link to the creation of a dangerous and unpredictable character.
My design idea is to explore power and control through an architectural installation that mimics and symbolises the poweful motion of Zeus through throwing his thunderbolts and controlling the motion through a tensile powered system.
4
Original Ideas Considered
What System would best Demostrate a key action or movement from your allegory?
The systems that i considered early on that would be best respresent my idea were included exprimenting with a muscle system which involved Links are connected by rotating joints and Hollow guides that are attached to the links enabling the Cables to pass through guides and are attached to a motor.
FIGURE 2
A.N (week 2 From Research to Experimentation)
Architectural Communication Folio Page 2 Project 2 Design
Another system that i considered early on that would best resprest my idea were involved the idea of a bone muscle system which involved cables been attached to the crank by a pin allowing it to rotate accordingly whilist the guides keep the rods horizontally in place.
FIGURE 3
A.N (week 2 From Research to Experimentation)
Architectural Communication Folio Page 2 Project 2 Design
5
Experimentation
Communication 2 Folio, Project 1 Ideation
Photographer: Goce
Communication 2 Folio, Project 1 Ideation
Photographer: Goce
6
Figure 4 L, G. (2023). ARC30003
Figure 5 L, G. (2023). ARC30003
Version 3
Communication 2
Photographer: Goce Page 7
The experimentation of using Balsa wood as a way to show my concept design throughout the early stages of the project as didn’t show the motion and strength combined together with power and control in an emotive and evocatively way
Communication 2 Folio
1
Photographer: Goce Page 7
The experimentation of using Arcylic as a way to show my concept design throughout the early stages of the project as didn’t show the motion and strength combined together with power and control in an emotive and evocatively way
7
Experimentation using Balsa Wood
Experimentation using Arcylic as a material
Figure 6 L, G. (2023). ARC30003
Folio, Project 1 Ideation
Figure 7 L, G. (2023). ARC30003
Project
Ideation
References
OpenAI. (n.d.). https://openai.com/
Laser cut mechanisms: Cable-driven robots. BirdBrain Technologies. (2018, November 27). https://learn.birdbraintechnologies.com/hummingbirdduo/ projects/laser-cut-mechanisms/laser-cut-mechanisms-cable-driven-robots/ About. Midjourney. (n.d.). https://www.midjourney.com/app/ Wikimedia Foundation. (2023, April 17). List of greek mythological figures. Wikipedia. https://en.wikipedia.org/wiki/List_of_Greek_mythological_figures https://liveswinburneeduau-my.sharepoint.com/:b:/r/personal/linustan_swin_ edu_au/Documents/ARC30003%20Architecture%20Communications%202%20 2023/Nadia%208.30am%20BA801/Project%201%20Ideation%20Slides/WK2%20 From%20research%20to%20experimentation.pdf?csf=1&web=1&e=F1Qzb4
Limited, A. (n.d.). Saturn devouring his son. museum: Private collection. author: Giulia Lama Stock Photo. Alamy. https://www.alamy.com/saturn-devouringhis-son-museum-private-collection-author-giulia-lama-image246923253. html?imageid=BA8AE81B-CBA5-4045-9B65-577DAB1DE05E&p=697458& amp;pn=1&searchId=fa725876ff20af443170e9ee40b35f15&searchty pe=0
8
Part B: Design
9
Introduction
Deliver three A2 portrait posters that communicates the
1) geometry + effect,
2) variations + mechanism, and
3) positioning + attachment, of your design.
In Project 2, you will capture how your experimentations turn into
(1) an installation design and its intend moving effect (poster 5),
(2) different variations of the design (approx. half of poster 6),
(3) 3D details of the joints in the design (approx. half of poster 6),
(4) how the design is attached to a floor/wall/ceiling (approx. half of poster 7), and
(5) a drawing/diagram/render that shows how your design moves emotively to communicate with occupants (approx. half of poster 7).
Based on the mechanical systems explored in Project 1, you will continue to develop the significant moment of your chosen mythological character into an architectural installation proposal. Your design, in its resting position, must fit within 300mm x 220mm x 250mm (the size of a general paper ream box). Your studio leaders will guide you to communicate
this idea to into a design through different modes of architectural communication. Your installation also needs to perform. This performance (i.e. movement of the design) must link to your explored idea in Project 1. You can choose to power the movement either manually or using a motor. Powered by motor is preferred. Reflect on last year’s design models that were shown in studio; they were mechanical in nature and moved either manually or with a stepped motor.
10
Design Precedents
(n.d.). https://www.researchgate.net/ figure/A-design-concept-of-modularoutdoor-seating-with-a-responsivecanopy-roof-and-an_fig4_309293817
L, G. (2023). ARC30003 Communication 2
Folio Project 1 Ideation
Responsive Installation: Using the design concept of modular outdoor seating combined with the canopy roof, I used elements such as the canopy and the connection to the ceiling as inspiration to show how the elements of the allegory behind my story help expand on the fight for power and control as Zeus and fought for control of the universe and against his father in not only a 3D dimensional form but into a 2D form to investigate how the different variations would affect the structural integrity of my architectural installation proposal and still maintain the idea.
https:// londondesignfestival.com/activities/immersiveinstallation-by-patrick-nash
L, G. (2023). ARC30003 Communication 2
Project 1 Ideation
Immersive Installation: using the design concept in reference to Nash's idea of sculpture installations, I took elements such as the connection between the emotional response between an installation and the viewer, I incorporated elements of this design where the the fight for power and attempt to grab the central piece as they fight for control combined with the emotional aspect as people argue and fight in an attempt to do whatever is needed to preserve their domiance on their oppenents.
11
Figure 8
Immersive installation by Patrick Nash. London Design Festival. (n.d.).
Figure 9
https://www.urdesignmag.com/art/2015/04/14/ helio-curve-kinetic-installation-by-reubenmargolin-for-hyundai/
L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Kinetic Installation
Using the Design concept of the helio wave where the idea is created through the movement of a ocean wave by suspending 400 open celled celled tongue and grove wood blocks using a electrical powered metal drive, I took elements such as the electrical motor and the string to enable the movement of the central piece in my design through my muscle experimentation to enable the various different forms such as curved or rectangles to be created.
https://amazingarchitecture.com/pavilion/ hole-zero-timeless-kinetic-art-sculpture-by-maskarchitects
L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Kinetic Installation
using the Design concept (Hole Zero + Timeless Kinetic Art sculpture by Mask Architects) I took elements of how the design interacts with human movements and the natural surrounding enviromental features it was an important element to take as I had to consider my design and investigate how it would be situated whilist taking into account the various factors and how they influence the overall proposal.
12
Figure 10
Figure 11
Developing the design
The idea/concept behind the Design of my installation originated from the allegory that I explored in the story of Zeus where I investigated the idea of power and control and how it symbolizes the determination of how far someone is willing to go in order to assert their control and power over the opposition or the general public whether that’s through violence or other means enabling them to be dominant and remain untouchable for many years. In reference to my design, the string combined with the motor controls the movement of the cube shape as it moves up and down as referenced in the story of how Cronus asserts his power over the universe and his family thus prompting Zeus to plot his revenge and use whatever means necessary to overthrow his father and become ruler.
13
Figure 12 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
14
Figure 13
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 14
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
15
Figure 15
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 16
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
16
Figure 17
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 18
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
17
Figure 19
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 20
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
18
Figure 21
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 22
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Situating the Design
Site Analysis:
Existing Infrastructure
- Concrete Pillars
- Furniture
- Concrete Possi's
- Light Pendants
- Windows Allowing Natural Light
- Outdoor Access
Design Attachement Material Source
Material Source
-Plywood Sourced from Bunnings
-Steel Magnetic Hooks (Magnet.com)
-Guitar String or Similar (Music Shop)
-Pinnacle 3.5 by 16mm Black Timber Screws Bunnings)
-Selected Powered Motor (Jaycar)
Site Analysis Photos
L, G. (2023). ARC30003
Communication 2 Folio
Project 2 Design
L, G. (2023). ARC30003
Communication 2 Folio
Project 2 Design
L, G. (2023). ARC30003
Communication 2 Folio
Project 2 Design
19
Figure 23
Figure 24
Figure 25
Attaching the Design
20
Figure 26
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 27
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
21
Figure 28
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 29
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Part C: Communication
22
When I picked Zeus as my chosen mythological character I had to think about a way to best describe him by researching his story and the key events that happened throughout his reign as he aimed to become the leader of the universe from a young age and how I could best describe it to the audience so that they understood what message I was attempting to convey, however, it wasn’t the only component that I had to research I also had to find out information on what the meaning also known as the allegory behind one of his many stories was whether it was power and control or something else, translating into a design idea that best represented the meaning this involved numerous information gathering from the internet while at the same collaborating on the story to make sure that it was true and accurate, and it also matched the 7 variables that were included as part of the investigation. In the first version, I had written up the story and allegory combined together with the design idea that I aimed to pursue however it wasn’t as convincing and the idea wasn’t pursued as being the best option to communicate with the general community however it in the second version I had expanded on the original information and produced a clearer story and design idea allowing that followed an effective and manner.
23
Designing the posters SCENARIO.1
Figure 30
L, G. (2023). ARC30003 Communication 2
Folio Project 2 Design
Figure 31
L, G. (2023). ARC30003 Communication 2
Folio Project 2 Design
Figure 32
L, G. (2023). ARC30003 Communication 2
Folio Project 1 Ideation
Throughout the semester I had to figure out what images from both the internet and Mid-journey would best describe the story that I was aiming to tell which had to include High-res images allowing the audience to get a clearer picture of the key events and characters that were involved. At first, the images gathered from the webpage weren’t as of high quality when trying to research the key events however as time went on I began to discover the appropriate highresolution image from Mid-journey and the webpage and improve the layout of the page ensuring that it was developed effectively and conveyed evocatively whilst also working with scale and composition and improving on the quality of the images throughout.
Figure 33
L, G. (2023). ARC30003 Communication 2
Folio Project 1 Ideation
24
REFERENCES.2
As I investigated my project, I began to look at ways and approaches as to how I could best tell my story both emotively, effectively, and evocatively whilst still being able to provide a clear reference and were linked back to the variables. The first approach looked at making Zeus the main character and diagramming it through his perspective with images and supporting statements, linework amongst other items, and wellchosen images however this proved to be successful as even though the diagram was easy to understand, and all 7 variables were included it didn’t convey the story timeline and allegory evocatively resulting in poor graphic communication and scale not been considered requiring further refinement in the second version. The Second revision allowed me to layout out the diagram in a more consistent manner which included updating the graphic communication to show more high res images but most importantly showing the contrast between Zeus’s controlled power going up against Cronus’s more chaotic power, therefore, allowing the audience and readers to gain a clearer understanding of the events that occurred and how it led to the final showdown enabling Zeus to become the leader of the universe.
25 STORY & DIAGRAMMMING.3
Figure 35
L, G. (2023). ARC30003 Communication 2
Folio Project 1 Ideation
Figure 34
L, G. (2023). ARC30003 Communication 2
Folio Project 1 Ideation
Folio
EXPERIMENTATION.4
Throughout the semester I considered various ways to which direction to take to best approach and show my early design proposal and the movement that would show it. At first, I decided to show it as 2d lines drawn lines drawn by hand rather than show it digitally another approach that I took was taking photos showing each part as it moved through time however as I further realized as the semester went on that it was the wrong approach to take. I refined the poster by showing it as 2D lines but digitally instead of hand drawn due to the reason being that the 2D digital linework allowed the motion to be conveyed easily with the audience and how it moved through as each piece moved and was able to convey the motion evocatively. My last and final approach was to show Zeus throwing the thunderbolts that were given to him by his siblings to use, using this idea I decided to go with clay and copper wire as the best method to show the motion however it proved unsuccessful and wasn’t worthy of further investigation to the next stage. Another Modification that i had made was changing the layout to convey the message a lot clearer and make it look professional.
Folio
26
Figure 36
L, G. (2023). ARC30003 Communication 2
Project 1 Ideation
Figure 37
L, G. (2023). ARC30003 Communication 2
Project 1 Ideation
GEOMEOTRY AND EFFECT.5
Figure 38
L, G. (2023). ARC30003 Communication 2
Folio Project 2 Design
The dark grey geometry on the left didn’t show or communicate the story of the fight for power and control effectively and evocatively with reference to the design idea proposed and to parts of the initial story, due to the dark grey color and low-resolution image presenting a challenge to the audience and making it difficult for them to understand how the idea relates to Zeus and Cronus as they both plot their revenge linked with their superior motives. Furthermore, the lighter image in a white/light grey color on the right combined with a well thought out setout and spacings of the text to describe each element and how it links to the idea and what it represents and symbolizes allows the reader to get a better understanding of the story and how it can be linked together with the narrative form diagram.
Figure 39
L, G. (2023). ARC30003 Communication 2
Folio Project 2 Design
27
VARIATIONS AND MECHANISMS.6
L,
Folio Project 2 Design
The variations that I had produced for my design stemmed from which material I wanted to use that would best represent my character, this included plywood, acrylic, string, motor, blue foam etc. while also mitigating the challenge of fabrication and a number of other factors, and how to reduce the amount of material that I was going to need to make my prototype, The First variation created was to investigate if and how the stability would remain and if so what form the shape would create if it remained the same as the motor pulls the shape up and down however the tension is likely to be slightly adjusted as a heavier shape is introduced to the motion such as a circle or rectangle shape. Another variation created was to investigate if and how the stability would remain from a rectangle and if so, what form the shape would create if it remained stable however the tension is likely to be slightly adjusted as a heavier shape is introduced to the motion such as the rectangle allowing it to be stronger as it is a heavier shape.
Folio Project 2 Design
28
Figure 40
G. (2023). ARC30003 Communication 2
Figure 41
L, G. (2023). ARC30003 Communication 2
ATTACHEMENT AND IMPACT.7
When I picked Zeus as my chosen mythological character, I had to think about a way to best his story in an architectural installation and what way would best represent the interaction with people as they fought for control over the central component was controlled by a winder and string from above. The challenge was to find the best suitable location whether it was In one of the buildings or whether it was outside somewhere on campus, upon investigation I learned that Level 3 in AMDC Building was the best location and most interesting as it had the space and capacity to hold a large crowd and install multiple variations of my architectural installation another challenge faced was how the installation would be attached to the ceiling as a call-out had to be provided as part of the poster 7 requirements, The solution provided was to drill 4 separate holes that would allow for the strings to be fed through and attached to the mechanism, allowing the installation to effectively communicate the suitability of the chosen site and further enhancing the experience with the occupants while providing a reference link back to my original design and story of my chosen character.
29
Figure 42
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Figure 43
L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Reflective practice
30
Week 1 Reflection Questions
Question 1: Should architecture communicate a story? Why or why not?
- Check out Deep dive material #1
In Ole Sheeren’s YouTube Video Titled Why great architecture should tell a story he discusses the profession as being under a famous doctrine Form follows function for most of the past century where it had become modernity’s ambitious manifesto to elaborate it from the decorative and creative arts that we know architecture is famous for. To combat this idea he proposes a different narrative by looking at it from a Form follows Fiction perspective whereas architects we could look and think of architecture and the relationship between buildings as a place to tell stories through the many people that use the buildings, from the people that work and live there. In answering the above question as to whether Architecture should communicate a story, I believe that it should because, at the end of the day, it is our responsibility to create buildings for the people that are going to use them and experience them daily whether it’s through work or other things.
Question 2: How do you think AI will change the role of Architects?
AI will change the role of architects significantly over the next decade as it will reduce the amount of time architects and designers spend weeks, months, or even years planning a project before any construction can begin, AI will change this by allowing technology to create and generate design iterations for the client in real thus reducing the resources and money that would be needed to create those image, AI will also change the amount of time and hours architects spend on doing repetitive tasks by taking some pressure off by producing and rendering precise and accurate drawings allowing designers to spend time on other important parts on the project thus reducing time and allowing the design to proceed forward without delays saving the client months of headache and financial troubles.
Question 3: How do you think AI will your architectural design process?
AI will change my architecture design process by taking off the pressure of some of the tasks that I have to do on a daily basis, whether it’s producing highquality renderings and accurate drawings or doing research on other works by architects which accounts for about 75% of the entire design process and allowing me to focus on the most important parts of the project thus allowing me as a designer to become efficient and effective at work. AI will also change my architectural design process.
31
Week 2 Reflection Questions
Question 1: How does a 2D line Drawing suggest an image of 3D Object?
A 2d line suggests an image of 3D Objects by converting the 2d lines of an object or shape thus enabling 3D visualization so that a client or architect can view it in real-time enabling them to fix up any issues before they arise on site, however, a 2D Line Drawing can also be represented in a 3D object through hidden geometry with thinner lines enabling the lines to be seen clearly.
Question 2: How does an image or images of a 3D Object suggest movement over time?
An image or images of a 3D object suggest movement over time through the taking of videos in a slow-motion format enabling greater viewing of the object as it travels through time which can be manipulated by adjusting the speed of the slow-motion to be able to gain a better understanding and idea of how it travels at various speeds.
Question 3: How does video recording/photography provide designers an opportunity to draw insights from the object/subject being photographed?
- Check out Deep dive material #1
Video Recording/photography provides designers an opportunity to draw insights from the object/subject being photographed by enabling them to manipulate the various variables that are used in the taking of pictures that can be adjusted to be quick enough to capture such short slices of time or can be adjusted through the different lenses of the camera.
32
Week 3 Reflection Questions
What were your challenges in documenting your investigation (see last week Homework, #1.2) with images only?
The challenges I faced in conducting my investigation with my preferred system using Images generated from Mi Journey were finding the images that were relatable to the story that I was trying to tell and making sure that they linked with what my story was about and the idea behind it and ensuring that my diagram told the most accurate account of the story of Zeus.
What were your challenges in documenting your investigation (see last week Homework, #1.2) with words only?
Trying was the challenge I faced in conducting my investigation with my preferred system. Figure out what features would be incorporated such as showing a part of Zeus in his fight against Father where is given thunderbolts by his siblings to use as weapons so he could achieve his goal of becoming king/ ruler of the universe. Another challenge that I faced was finding the best way to depict what I was trying to show in terms of his story and the best way to describe it.
What were your challenges in documenting your investigation (see last week Homework, #1.2) with line drawings only?
The challenges that I faced in documenting my investigation with line work were trying to figure out and play around with the various line types and using them to show how I came to my experimentation whilst making sure it was clear to the audience and that they understood what I was trying to convey.
33
Week 5 Reflection Questions
How can architecture communicate emotively with its occupants?
Architecture can communicate emotively with it’s occupants by influencing how one feels spiritually and mentally within the space that they are using or walking into this can involve surviving the chaos of our daily lives through the challenges that we face on a daily basis and enabling us to use real time experiences to help shape our emotions and how we react to different situations. Generally, the perception of architecture is impacted by the occupants that use the buildings allowing the message to be conveyed in a way that is felt deeply and leaves an enduring impression on the community.
As a creator, it may appear obvious how your idea transformed into the design. For a viewer, this may not be a case. How can designers make sure their design communicates the idea accurately?
As a creator it may appear obvious how the idea is transformed into the design for a viewer this may not be the case. Designers can make that their design communicates the idea accurately by taking into account feedback sought from the community taken during the gathering of ideas and information, techniques include sketching or through 3D Visualization software’s that enables the designer and client to view the design in real time and be able to make any changes prior to construction commencing.
How can designers make sure their visualisations and representations of the design communicates the idea accurately?
Designers can make sure their visualisations and representations of the design communicates their idea accurately by ensuring all the details are included in their image such as surrounding context including buildings, trees and other things, they can also be communicated accurately by crafting a message/story that educates, motivates and engages the viewers but also in a way that is clear, eye catching to the intended audience. Other ways include using 2D sketches which can be a useful tool for communicating basic layouts of a space which can later on be translated to virtual reality allowing a more immersive experience that can help understand the spatial relationships and details of the design thus giving the client an opportunity to give feedback on the design in real time to the architect/designer.
34
Week 6 Reflection Questions
Question 1) Design varieties may help customize the design to specific site-specific needs. However, what are the impacts of design variations on fabrication processes? (Hint: discuss about how variations can both create and reduce fabrication waste)
The impacts of design variations on Fabrication Processes can vary depending on the amount of material used to create the idea and what components will need what material Is going to be needed for example you might need 2mm acrylic for one side of the design, but you might need cardboard or 2mm plywood for another part of the design. Variations can create and reduce fabrication waste by limiting the number of errors occurring while creating your design's components. This highlights the importance of pre-planning and sketching out what you're going to make physically.
Question 2) By now, you should have attempted to use Gansterer's Key Lines on analysing and interpreting your design (refer to last and this week's activity). What else can line drawings do, apart from representing a design?
Line drawings can also make it easier for designers alike to be able to visualize their ideas on paper in real time and make different variations of the design by changing various components before they can transfer their sketches on CAD software onto the computer. In reference to Gansterer’s Key Line preface book, he talks about how the pool of diagrammatic images and symbols has become a permanent part of our daily perception where through sketching we are able to perceive, translate and allocate our thoughts and be able to visualize our ideas.
35
Week 7 Reflection Questions
Aside from the design, what other elements in an architectural representation can architects use to communicate experience? Other Elements in an architectural representation that architects can use to communicate experience are Materiality and certain textures which would affect how people can experience a space, for example using rough natural materials such as wood, stone, or clay to create a sense of warmth and comfort as people enter the space while using other materials that are smooth in texture can turn the space from a boring/unattractive to a more sleek and modern space bringing a sense of happiness.
Other elements include lighting by experimenting and testing out how it enters and interacts with the space which can impact its atmosphere, lighting can also be used by architects to highlight certain characteristics and features within the space thus creating various shadows and interacting with the mood of the space.
In conclusion by taking into consideration all the various elements in their architectural representations, architects and designers alike are able to transform and create spaces that will make the experience holistic and be able to expand on it beyond just it’s design outcome.
36
Week 9 Reflection Questions
1, What is the 'art' that your design is performing, and how did you explicitly represent this in your posters?
The art that my design is performing is showcasing the idea of power and control through interaction with people and their dominance and dedication/ willingness to go to whatever lengths to assert their power over their opponents and do whatever it takes to hold onto it,
As shown in the story between Zeus and Cronus as he fights for control of the universe. I explicitly represented this idea on my posters through various forms of communication which included diagramming the story through the various actions of the characters or the motion pictures of how my design moved through time.
2. What challenges did you face in representing this 'art' on your posters?
The challenges that I faced in representing my art on my posters related to how I planned on organizing my posters in a way that was engaging to the people reading them while also communicating the idea that I wanted to portray with reference to the story, Allegory and the mechanism that I was investigating through an evocative and emotive way. Another challenge I faced was figuring out what drawings would best integrate the idea through effective communication and storytelling.
3. What is the 'technology' that your design is using to perform, and how did you explicitly represent this in your posters?
The technology that my design is using to perform is a powered motor that sits under in between the bottom pieces and is attached to a string and stainlesssteel hook that allows the shape to move up and down. To showcase this technology, I used an axonometric drawing where I pulled apart the different components to show how it was going to be installed and attached to the base of the prototype.
4.What challenges did you face in representing this 'technology' on your posters?
The challenge that I faced in representing the powered motor on my posters was how I was going to show the motor on the drawings and through the connection and attachment of the design/prototype to the ceiling/floor or wall. Another challenge that I also faced was choosing a site within campus that would best suit my design and the way I wanted to express it through it’s interaction with people and the wider community for this reason I picked AMDC Level 3 as the location for my design due to it’s big open space and ability to cater for large amounts of different projects at any given time.
37
Week 10 Reflection Questions
1.Why is important to structure how you visually and verbally communicate your design in your presentations?
It is important to structure how you visually and verbally communicate your design in your presentations because it would benefit in understanding the content that you are showcasing but also the ability to explain it and give them an idea of what you are proposing through the story of your design.
it is also important to verbally communicate your design as it also helps the audience and you as the presenter to be engaged and listen whilst they take away the key messages.
2.Why is important to structure how you textually describe your design process in folios?
It is important to structure how you textually describe your design process in folios because the addition of way too much text can overwhelm the folio and not look good to a professional standard, reducing the amount of text involved will make it to the reader clearer and more concise thus easier to understand the design rather than just reading a bunch of texts however it is important to add a little description under the image so you can explain and elaborate on it in detail.
3.Did you, and if so, how consciously structure your design communications in previous projects?
Looking at previous projects such Design Studio 2 and 3 I structured the design commnication in a way that avoided the use of too many texts. Thus, only involved a few texts under the Images, and what was going to be looked at and included in the following pages at the beginning of the section.
4.Will you, and if so how, consciously structure your design communications in future projects?
For future projects that are undertaken, I will consciously structure my design communication in a way that the overall audience will be able to be engaged in my project as I explain to them the reasoning and idea behind the proposal. The structure will also include little texts to avoid any surprises in the communication instead will be replaced by 1 or 2 sentences under the images that I can then elaborate on in more detail.
38
Part D: Conclusions
39
Conclusion
Studying ARC30003 Architectural Communication 2 has been a rewarding journey both in terms of content-related and developing skills, due to being able to learn about different communication modes such as visual communication and concise messaging to create posters that are both informative and visually appealing, and how they link to the execution of the various design outcomes through 2-3-4 Dimensional modes while also combining existing skills such as sketching, physical model-making, and research-based skills to gather information and be able to make sure that piece of information is correct and reliable and understanding to the audience reading it. Throughout the semester we were tasked with 2 projects named Ideation and Design, wherein the first project we were tasked with researching a mythological character their life story, key events that took place, and their allegory and then translating that idea and moment using their Allegory into a fabricated mechanical system essentially forming as a design concept to be further refined later in Project 2.
In my case, I had chosen Zeus also known as the king of gods during his time as my mythological character where I looked at power and control and the length that people will go to assert their capability and supremacy through any means of violence to eliminate competition through murder, swallowing, oppression, mistreatment, and dominance, as seen in the cautionary tale of Zeus where his greed and fear combined together link to the creation of a dangerous and unpredictable character thus doing whatever it took to overtake his father as king/god of the universe. Through this story, I developed a concept where the idea of power and control was to act as a symbol for the powerful motion of Zeus throwing his thunderbolts given to him by his siblings in the early stages of the war being shown through a Tensile powered System, the original concept saw a hand movement-based idea using 3 pieces of balsa wood or acrylic cut to lengths where it was to be controlled by a piece of string fed through several drinking straws enabling the motion to be conveyed in a forward direction, this concept would be further refined throughout project 1through the experimentation of other different types of strings such as copper string or another piece of string while still maintaining the structural suitability and integrity of the design.
Project 2 saw my prototype developed and refined from a concept to an architectural installation where the idea of the tensile-powered system would see the central piece/shape act as the most important element/component symbolizing dominance as the struggle for power and control is played out between Zeus and his father Cronus as both compete to assert their power and bring peace to the universe controlled through a piece of string fed through 1 drilled hole from the top and moved up and down using a winder or a motor system, the system would then interact with occupants as they begin to gather and try to win control over the circle or rectangle trying to eliminate anyone that comes in their way. Challenges with this included analyzing various materials and their strengths to investigate what would be suitable to use while preserving the original idea and structural integrity of the system to ensure it remains strong and stable throughout the interaction with occupants.
In conclusion, the unit has been a fun journey as I was able to learn many modes of communication and how they all link together to convey the message to the audience both evocatively and concisely while working with different line drawings to make sure the images and drawings were consistently presented and supported by texts. Another aspect that I enjoyed was being able to come up with a concept and then see it refined throughout the semester through various decision-making and trial and error during Projects 1 and 2 and seeing it progress to the final design proposal. This unit has also provided me with a lot of vital skills that will improve my workflow moving and enhance the way I present presentations both informatively, concisely, and professionally.
40
41 List of figures
Figure 1 L, G. (2023). ARC30003 Communication 2 Folio, Project 1 Ideation Page 3
Goce L (2023) Zeus, Midjourney generated Image. (Zeus) https://cdn.discordapp.com/ attachments/1008571131667677294/1089442813202157578/mkmaco1999_Zeus_785722e3d43d-4097-81b7-e6c1d26c86b0.png
Figure 2: A.N (week 2 From Research to Experimentation)
Architectural Communication Folio Page 2 Project 2 Design Page 5 Example of the muscle system experimentation
Figure 3: A.N (week 2 From Research to Experimentation)
Architectural Communication Folio Page 2 Project 2 Design Page 5 Example of the muscle system experimentation
Figure 4 L, G. (2023). ARC30003 Communication 2 Folio, Project 1 Ideation
Photographer: Goce Page 6
Hero Shot of First Concept using Balsa Wood
Figure 5 L, G. (2023). ARC30003 Communication 2 Folio, Project 1 Ideation
Photographer: Goce Page 6
Hero Shot of First Concept using Acrylic Material
Figure 6 L, G. (2023). ARC30003 Communication 2 Folio, Project 1 Ideation
Photographer: Goce Page 7
Photos were taken to show the movement using Balsa Wood Another photo shows Preliminary Ideas using Clay.
Figure 7 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Photographer: Goce Page 7
Ariel Photographs showing concept using Acrylic
Figure 8 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation Page 11
A – design concept of modular outdoor seating with a responsive canopy ... (n.d.). https:// www.researchgate.net/figure/A-design-concept-of-modular-outdoor-seating-with-aresponsive-canopy-roof-and-an_fig4_309293817
Figure 9 L, G. (2023). ARC30003 Communication 2 Project 1 Ideation Page 11
Immersive installation by Patrick Nash. London Design Festival. (n.d.). https:// londondesignfestival.com/activities/immersive-installation-by-patrick-nash
Figure 10 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation Page 11
Helio curve kinetic installation by Reuben Margolin for Hyundai at 2015 Milan Design Week. urdesignmag. (2015, April 14). https://www.urdesignmag.com/art/2015/04/14/helio-curvekinetic-installation-by-reuben-margolin-for-hyundai/
42
Figure 11 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation Page 12 Ibrahim, N. N. (2020, September 11). Hole Zero + Timeless Kinetic art sculpture by Mask Architects. AmazingArchitecture. https://amazingarchitecture.com/pavilion/hole-zerotimeless-kinetic-art-sculpture-by-mask-architects
Figure 12 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Page 13 Design idea for Architectural Installation.
Figure 13 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Page 14 Original Narrative diagram
Figure 14 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Page 14 Newer Original Diagram
Figure 15 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Page 15 Rectangular Design Variation
Figure 16 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Page 15 Circular Design Variation
Figure 17 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 16
Hero Shot of the First Prototype using Circular Dowels
Figure 18 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 16
Hero Shot of the First Prototype using Circular Dowels
Figure 19 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 17
Hero Shot of the First Prototype using Rectangular Dowels
Figure 20 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 17
Hero Shot of the First Prototype using Rectangular Dowels
Figure 21 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 18
Final Hero Shot of Prototype using Rectangular Dowels and Acrylic
Figure 22 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 18
Final Hero Shot of Prototype using Rectangular Dowels and Acrylic
Figure 23 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer Goce Page 19
Photo taken showing an overview of the chosen site
43
Figure 24 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer Goce Page 19
Photo taken showing an overview of the chosen site taken in the direction to the projector
Figure 25 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer Goce Page 19
Closeup photo taken of the chosen site.
Figure 26 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Previous Elevation Drawing of Architectural Installation Page 20
Figure 27 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Revised Elevation Drawing of Architectural Installation
Drawing Page 20
Figure 28 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Architectural installation Attachment Page 21
Figure 29 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Callout Detail Page of how the installation is installed Page 21
Figure 30 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 24
Figure 31 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Final Poster Submission Page 22
Figure 32 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 25
Figure 33 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Final Poster Submission Page 25
Figure 34 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 26
Figure 35 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Final Poster Submission Page 26
Figure 36 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 27
Figure 37 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Final Poster Submission Page 27
44
Figure 38 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 28
Figure 39 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Final Poster Submission 28
Figure 40 L, G. (2023). ARC30003 Communication 2 Folio Project 1 Ideation
Previous Poster Submission Page 29
Figure 41 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Final Poster Submission Page 29
Figure 42 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Previous Poster Submission Page 30
Figure 43 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Previous Poster Submission Page 30
Figure 44 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer: Goce
First Concept Considered Page 48 Refer to Page 13 for more information.
Figure 45 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer: Goce
Second Concept Considered Page 48 Refer to Page 13 for more information.
Figure 46 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer: Goce Page 48
Laser-cut Material refers to page 18 for more information on the final installation.
Figure 47 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design
Photographer: Goce Page 48
Laser-cut Material refers to page 18 for more information on the final installation.
Figure 48 L, G. (2023). ARC30003 Communication 2 Folio Project 2 Design Photographer: Goce Page 48
For Materials required to construct the original concept refer to page 7 figure 6 for more. Information
45
Bibliography
OpenAI. (n.d.). https://openai.com/
Laser cut mechanisms: Cable-driven robots. BirdBrain Technologies. (2018, November 27). https://learn. birdbraintechnologies.com/hummingbirdduo/projects/laser-cut-mechanisms/laser-cut-mechanismscable-driven-robots/
Wikimedia Foundation. (2023, April 17). List of greek mythological figures. Wikipedia. https://en.wikipedia. org/wiki/List_of_Greek_mythological_figures
https://liveswinburneeduau-my.sharepoint.com/:b:/r/personal/linustan_swin_edu_au/Documents/ ARC30003%20Architecture%20Communications%202%202023/Nadia%208.30am%20BA801/ Project%201%20Ideation%20Slides/WK2%20From%20research%20to%20experimentation. pdf?csf=1&web=1&e=F1Qzb4
Limited, A. (n.d.). Saturn devouring his son. museum: Private collection. author: Giulia Lama Stock Photo. Alamy. https://www.alamy.com/saturn-devouring-his-son-museum-private-collection-author-giulialama-image246923253.html?imageid=BA8AE81B-CBA5-4045-9B65-577DAB1DE05E&p=697458&am p;pn=1&searchId=fa725876ff20af443170e9ee40b35f15&searchtype=0
Goce L (2023) Zeus, Midjourney generated Image (Rhea) https://cdn.discordapp.com/attachments/1008571131667677294/1089459160996921364/mkmaco1999_ Rhea_7549dfa7-87a0-40c0-8552-df9a7059abd8.png
https://www.istockphoto.com/photo/swaddled-sleeping-newborn-baby-boy-gm675466008-123875365
Goce L (2023) Zeus, Midjourney generated Image (Zeus Becomes Leader) https://cdn.discordapp.com/attachments/1008571131667677294/1089461543877484604/grid_0. webp
Goce L (2023) Zeus, Midjourney generated Image (Cronus Eats a Stone)
https://cdn.discordapp.com/attachments/1008571131667677294/1089445410952728657/mkmaco1999_Cronus_Eats_a_ stone_cb40fe94-f7ea-4822-a9bd-b3b8c16e354f.png
https://www.istockphoto.com/photo/swaddled-sleeping-newborn-baby-boy-gm675466008-123875365
Goce L (2023) Zeus, Midjourney generated Image (Zeus) https://cdn.discordapp.com/ attachmets/1008571131667677294/1089442813202157578/mkmaco1999_Zeus_785722e3-d43d-4097-81b7e6c1d26c86b0.png
Goce L (2023) Zeus, Midjourney generated Image (Zeus with his Siblings) https://cdn.discordapp.com/attachments /1008571131667677294/1089444647287402587/mkmaco1999_Zeus_with_his_Siblings_3dbed8f5-28d6-44efa9f7671653a6ee8.png
46
Goce L (2023) Zeus, Midjourney generated Image (key words Zeus fights the Titans) https://cdn.discordapp.com/attachments 1008571131667677294/1089447437866897428/ mkmaco1999_Zeus_fights_the_titans_de84cd93-2e5d-4160-a412-d41d58a4f5b5.png
Goce L (2023) Zeus, Midjourney generated Image (key words Island of Crete) https://cdn.discordapp.com/ attachments/1008571131667677294/108944879878
0141669/mkmaco1999_Island_of_Crete_ d60054fc-4cf7-483b-9f7d-e1f974e8f6b5.png
Goce L (2023) Zeus, Midjourney generated Image (Zeus) https://cdn.discordapp.com/attachments/1008571131667677294/1089442813202157578/mkmaco1999_
Zeus_785722e3-d43d-4097-81b7-e6c1d26c86b0.png
Goce L (2023) Zeus, Midjourney generated Image
(Zeus) https://cdn.discordapp.com/attachments/1008571131667677294/1089442813202157578/mkmaco1999_
Zeus_785722e3-d43d-4097-81b7-e6c1d26c86b0.png
Goce L (2023) Zeus, Midjourney generated Image
(Rhea) https://cdn.discordapp.com/attachments/1008571131667677294/1089459160996921364/mkmaco1999_ Rhea_7549dfa7-87a0-40c0-8552-df9a7059abd8.png
Goce L (2023) Zeus, Midjourney generated Image (Cronus) https://cdn.discordapp.com/attachments/1008571131667677294/1089459941288443995/mkmaco1999_ Cronus_91c0e2c5-716f-4813-912c-7efe9df0ae35.png
About. Midjourney. (n.d.). https://www.midjourney.com/app/
Prompthunt: God zeus throwing lightning at titan Chronos. mythology style. highly detailed 8 K. intricate. lifelike. soft light. Sony a 7 R IV 5 5 mm. [ Cinematic Post - processing ]. Prompt Hunt - Your home for exploring, creating, and sharing AI art. (n.d.). https://www.prompthunt.com/prompt/cl90hfebt11667779tqy1bmq5q87
Goce L (2023) Zeus, Midjourney generated Image (key words Zeus kills his father)
https://cdn.discordapp.com/attachments/1008571131667677294/108944
2349404409927\/mkmaco1999_Zeus_Kills_his_father_59563fbb-dc78-403e-bbee-c6a2cc697e5e.png
The God of the Sky by avmurray. (n.d.). https://www.fanartreview.com/displaystory.jsp?id=596790
https://www.ancient-origins.net/myths-legends-europe/titanomachy-0012714
47
