Architectural Communication 2_Folio

Medusa

Evil Repels Evil

Led by Awnili Shaman

Unit Convener: Dr Linus Tan

Isabella Violaris

Isabella Violaris About Me

I am a third year architecture student at Swinburne University of Technology from Mount Martha. I first began studying architecture because I felt I have a design eye where I pay attention to each detail. Throughout my studies I gained a passion for learning about sustainable design and how we can lower our carbon footprint through architecture.

I have an entensive skillset in Rhino 7, Enscape and the Adobe Suite (Illustrator, InDesign, Photoshop and Lightroom) and this year I would like to improve my knowledge in Revit, Adobe Photoshop and Grasshopper.

A project I am most fond of is from last semesters design studio 3, The Walls Around Us. I chose this project because I was really proud that I was able to design a co-living situation for two families successfully whilst working individually. I also enjoyed creating my own clients and design restrictions.

CONTENTS:

PART A: Ideation

Introduction

Medusa: The Ancient Greek Myth of the Snake-Haired Gorgon

Scenario

Medusa’s Allegory: Greek Mythology Story : Refined Story

Colourpalette + Font: AI Generated

Poster Design: Layout Iterations

References

Reference Images: Three Gorgon Sisters

Poseidon hurts Medusa in Athena’s temple

Athena curses Medusa

The defeart of Medusa

Poster Design: Layout Iterations

Story Diagramming

Location: Medusa’s Story

Characters: Linked Variables - Simplified

AI Generated Scene: Midjourney

AI Generated Scene - Refined

Poster Design: Layout Iterations

Experimentation

Exploration of Bone System- Cam Mechanism - Crank Mechanism

Exploration of Gears- Gear Mechanism

Mechanical System Design- Exploded Axonometric

Prototyping- Laser Cutting Outline

Physical Model- Prototype

Poster Design: Layout Iterations

PART B: Design

Design Concept

Initial Concept- Iterations

Design Precedents

The Brixel Mirror- By Andrew Zolty

Para Pivot I & II- By Alicja Kwade

Town Enclosure- By CLB Architects

Developing the Design

Developing the Movement- Experimenting with Gears

Refining the Movement- Rotation of Walls

Detailing the Design

Construction Process- Exploded Axonometric

Situating the Design

Swinburne University of Technology- The George Building

Attaching the Design

The George Building- Interactive Attachment

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Part A: Ideation

Introduction

Medusa

The Ancient Greek Myth of the Snake-Haired Gorgon

Medusa, the beautiful Greek Goddess is known as one of Greek Mythologies most famous figures. She, among three others, were known as ‘Gorgons’ or ‘Gorgo’ for short. A Gorgon was believed to be winged human females with venomous snakes instead of hair. Something unique about Medusa is that she was the only Gorgon who was mortal.

Figure 0.1

01. Scenario

Medusa’s Allegory

Greek Mythology Story

Medusa is a well-known figure from Greek mythology, and her allegory can be interpreted in different ways. One interpretation of her allegory is that it symbolizes the dangers of unchecked emotions and the power of the feminine.

In Greek mythology, Medusa was a woman with snakes for hair, who could turn people to stone with a single look. She was once a beautiful priestess who was cursed by Athena, the goddess of wisdom, after she was raped by Poseidon in Athena’s temple. Medusa’s curse was a punishment for her transgression, and she became a monster feared by all.

The allegory of Medusa can be seen as a warning against the unchecked power of emotions. Medusa’s curse was a result of her being unable to control her emotions, and this led to her transformation into a monster. In this interpretation, the snakes on Medusa’s head represent the uncontrolled emotions that can lead to destruction.

Another interpretation of Medusa’s allegory is that it represents the power of the feminine. Medusa is often portrayed as a powerful figure, feared and respected by all. Her ability to turn people to stone with her gaze is seen as a manifestation of her power. This interpretation highlights the strength and resilience of women, and the potential threat they can pose to patriarchal structures.

Overall, Medusa’s allegory is a complex and multi-layered story that can be interpreted in many different ways. It represents the dangers of unchecked emotions, as well as the power of the feminine. It is a cautionary tale that warns of the consequences of transgressing societal norms and the importance of self-control.

Violaris, I. (2023). Medusa’s Allegory. ChatGPT Generation text.

[Keywords: The allegory of the Greek Goddess, Medusa]

Born by primordial sea gods, Keto and Phorkys, three Gorgon sisters were birthed. A Gorgon was believed to be winged human females with venomous snakes instead of hair. Two of the three sisters, Stheno and Euryale were born immortal, whereas the Greek Goddess Medusa was known to be mortal.

Medusa was a beautiful priestess before Athena cursed her, a single gaze could turn one to stone in an instant. Petrifying her enemies. In the result of hatred and revenge, Athena made sure that the curse was unbreakable. The once woman was now seen as a monster who was feared by all. Athena deemed it fair that Medusa was cursed for being raped in Athena’s temple by Poseidon, the god of sea and war as well as horses and earthquakes.

The curse was not enough for Athena, she wanted a bigger punishment for Medusa for her transgression. Athena ordered the hero, Perseus, to defeat Medusa. Avoiding Medusa’s gaze with a shiny mirrored shield gifted by Athena, Perseus fought Medusa, cutting off her head.

Known for her fierce feminine composure, Medusa was a symbol of protection against evil whilst also encouraging the resilience of women. Her manifestation of power unleashes her stone gaze upon nearby threats and the snakes on her head illustrate the uncontrolled emotions that can lead to destruction.

Colour Palette + Font AI Generated

Colourpalette generated by Midjourney:

The AI generated colourpalette best suits Medusa due to the blue and earthy tones representing the location of her allegory which takes place under the sea. The use of reds and yellows in the colour palette create a nice contrast with the coolness from the blues whilst also mimicking earthy colours seen in snakes. The greys and creams within this colour palette I imagine would represent the stone figures that Medusa’s sight creates.

Fonts generated by Chat GPT:

From this variety of fonts I would like to incorporate three in the final posters for the most dramatic effect. The font Blackletter feels extremely fancy and made to be used for a character like Medusa with the overuse of gothic serifs, I believe that this one would look best as a title and starting letter for paragraphs. Trajan Pro would look nicely as subtitles in the posters, the simplicity of the font with no serifs contrasts nicely with the complexity in the font Blackletter. The boldness from garamond would look nice for the body text within the posters with its modern serifs.

Reference Images

Three Gorgon sisters

Stheno (the Mighty), Euryale (the Far Springer) and Medusa (the Queen) are the Gorgon daughters to the premordial gods of the sea; Phorkys and Keto. Known for their snakes instead of hair and wings, Stheno and Euryale were immortal whereas Medusa was not. The Gorgon sisters had a close relationship which later lead to the protection and defense of Medusa against Perseus.

Reference Images

Poseidon hurts Medusa in Athena’s temple

Poseidon is known as the god of waters, earthquakes and horses and for holding a large trident. In Athena’s temple, the older brother of Zeus, Poseidon forcefully violated Medusa. Poseidon’s actions damaged Medusa’s reputation and life.

Reference Images

Athena curses Medusa

After finding out about Medusa and Poseidon in her temple, Athena was out for revenge. The outraged Athena curses Medusa so that those who gaze into her eyes are petrified and turned to stone. Soon after Athena demands Medusa’s head is gifted to her by a hero.

Reference Images

The defeat of Medusa

Heroic Perseus did the impossible and killed Medusa. With the help from a shiny shielf gifted from Athena, Perseus was able to avoid the dangerous gaze of Medusa, beheading her using a harpe, an adamantine sword. Medusa’s story is a warning to mortals; don’t believe that you are equal to the gods.

Poster Design Layout Iterations

03. Story Diagramming

Location

Medusa’s Story

Medusa’s story begins under the ocean near Sarpedon Island where she lived with her family, the protectors of sea monsters. The rest of the story takes place in a sea city near Sarpedon Island apart from when she is in Athena’s temple which is located in the Acropolis of Athens.

Two separately AI generated images of a city close to Sarpedon Island look as if they were meant to be joined together, similar styles as well.

Characters

variables

Keto and Phorkys are gods of the sea (monsters) and are also the parents of Medusa and her two other gorgon sisters. They were known to heal and protect the sea and the creatures that live there. Existing in a time before history was written and located in the sea, they birthed the most famous sea monsters in Greek mythology.

Medusa’s sisters Stheno and Euryale are immortal Gorgons located in the sea. Often in stories they are associated with death and danger and were known as guardians of the underworld. Medusa’s sisters tried to protect her against Perseus but were unseccessful. The time in which they existed is unclear but it is sometime before history was written.

Known as the god of the sea, earthquakes and horses he is known in Medusa’s allegory for raping Medusa in Athena’s temple. He brought great shame to Medusa. The brother of Zeus and Hades fathered many horses. He was famous for holding a trident and commanding the sea and its waves. His legacy is deeply rooted in ancient Greek history where he lived between 15th to 12th century BCE.

Athena is the goddess of wisdom, warefare and crafts and is the daughter of Zeus and Metis. She is known as one of the most powerful gods. Athena was the guardian of Athens and Parthenon. Although she represented wisdom, strength and the power of her mind, she betrayed Medusa. Athena Cursed Medusa and ordered her to be defeated. Athena was born in Zeus’ head and lived between 449-420 B.C.

Perseus is known for his heroism and his legendary weapon, the head of Medusa. Through 180-120 B.C Perseus resided in Mycenae where he reigned as king. Perseus beheads Medusa, following Athena’s orders in the island of Serifos. He is known to represent the archetypal her that overcomes obstacles and emerges victorious.

Keto (Ceto)

Phorkys (Phorcys)

Stheno Euryale

Poseidon

Athena

Perseus

Linked variables- Simplified

Medusa

Keto (Ceto)

Phorkys (Phocys)

Stheno

Euryale

Poseidon

Athena

Perseus

Married Gorgon Children

Medusa is raped by Poseidon in Athena’s temple

Athena cursed Medusa

Athena orders Perseus to defeat Medusa

Perseus beheads Medusa

AI Generated Scene Midjourney

Primordial sea gods, Keto and Phorkys sitting on their throne with their three gorgon daughters; Stheno, Euryale and Medusa.

In Athena’s temple, Medusa is forcefully violated by Perseus.

Medusa brought shame upon herself, causing Athena to curse her, one who gazes into her eyes instantly turn to stone.

Athena demands an impossible request, she wants the head of Medusa.

The Heroic Perseus was gifted a shiny shield from Athena to avoid looking into Medusa’s eyes whilst battling her.

Whilst the Gorgon sisters were asleep, Perseus beheaded Medusa using a harpe, an adamantine sword.

Priestess Medusa reading in a chapel with a sea monster.

Primordial sea Gods Phorcys and Ceto birthed three Gorgon daughters. Gorgon sisters Stheno and Euryale were immortal however Medusa was not

In Athena’s temple, Medusa was a priestess who took a vow of chasity.

Medusa’s beauty caught the eye of Poseidon when he raped her in the temple.

The jealous and angry Athena cursed Medusa so that those who gaze into her eyes turn to stone.

Due to her temple being defied, Athena demands Medsua’s head to be brought to her by Persius.

To aid Persius in his battle, Athena gifts him a shiny shield to avoid Medusa’s gaze.

Persius creeps into Medusa’s room as she sleeps.

Perseus successfully slayed Medusa using a harpe, an adamantine sword.

Stheno and Euryale saw Perseus in Medusa’s room and attempted to kill him before he attacked their sister.

Poster Design Layout Iterations

04. Experimenting

Exploration of Bone System

Cam Mechanism

In this mechanism the guide part will keep the rod moving in a consistent direction. The cam is the part of the mechanism that rotates and therefore decides the length of the strides of the rods. This is due to the shape of the same, the longer the oval, the larger the stride.

This system test appealed to me as the rods are able to show different movements at the same time, replicating a sort of unpredictable movement like the snakes on Medusa’s head.

Guide

Rod

Cam

By adjusting the crank mechanism system to better suit my ideas and concepts by replacing the crank with gears in that position. Gears in place of cranks allow for multiple rods to be added, creating more complexity and chaos like Medusa’s storyline.

Exploration of Bone System

Crank Mechanism

A positive found within this mechanism is that the rods are able to show irratical movement that is not limited to just up and down but as well as side to side.

Exploration of Gears

Gears Mechanism

In order to gain a better understanding of the gears mechanism, I needed to understand the unpredictable movements. By adding more gears to the system and a handle used for pushing (which therefore rotates the rest of the gears) I am able to visually see how gears work and the direction in which they rotate.

Here I experimented with multiple rods and gears. The result is exactly what I was looking for, it represented the complexity and unpredictability of Medusa’s story as well as the snakes on her head.

Gear/crank

Guide

Rod

Prototyping Laser Cutting Outline

Going for a very literal design of Medusa’s story, the snakes on Medusa’s head will appear as if they are moving in the mechanical design.

The prototype model was difficult to put together as it required precise positions for the gears to be placed in order for it to show movement in the correct way.

The model correctly represented Medusa’s hair the way that I had planned.

Prototype Model

Figure 8.0. Violaris. I. (2023). ‘Medusa Hair Prototype’. Photographed on iPhone 12 Pro

Figure 8.1. Violaris. I. (2023). ‘Medusa Head Prototype’. Photographed on iPhone 12 Pro

Poster Design Layout Iterations

Part B: Design

Design Concept

Initial Concept Iterations

The initial idea was to create rotating walls on an axis. Here I have explored the way walls can be rotated on an anchor point placed in the middle of the walls to create a sensory experience in a closed environment. This can be achieved using the gear mechanism from project 01.

When the walls are in default position, the space will look like this, a ten edged form, inspired from a hexagon or octogon.

Here the walls are able to simultaneously open and close through the same 360º rotation.

The walls in this concept, rotated gradually, one after the other. The soft wave effect that this concept has may be to gentle to represent Medusa’s story.

Design Precedents

The Brizel Mirror

By Andrew Zolty

Andrew Zolty was the creator of this kinetic art installation to reinvent bricks to better suit the digital era. The contemporary design combines the customizability of technology as well as the fundamental building block of architecture.

The installation is interactive with a kenetic technology developed to react to movement. Zolty designed the dynamic installation to be supported by a central support staff so that it is able to move freely without the visuals from wires or mechanics on display.

Consisting of 540 bricks, move in accordance to the figure in front of it, mimicking their silhouette.

The beginning of my design process was inspired by this installation. The dynamic design fits so well with Medusa’s complex history and tragic story. My idea is derived from a singular brick from Zolty’s digital architectural installation. By upscaling a singular brick and arraying a bunch in a synchronised manner would work well with the gear mechanism, bone system.

The synchronisation of walls moving accordingly with the public would make a great interactive attraction for the Swinburne Hawthorn campus. A potenital hazard from this installation could be the risk of somebody getting their fingers stuck between the bricks. To prevent this accident from happening, Zolty has two motions set, every second brick is programmed to rotate in the same direction.

Figure 8.2

Figure 8.3

Figure 8.4

Para Pivot I & II

By Alicja Kwade

The very dynamic architectural installation by Alicja Kwade is visually impressive as it indicates through design that there is movement, yet there is not. Designed in 2019 for the Roof Garden Commission, the elegant sculpture captures an intellectual feeling of time, perception and scientific inquiry.

Kwades intention with the bold and intellegent was to rethink the way space and time is thought of throughout art history. The artistic installation caught the eyes of many famous artists and was displayed in the Metropolitan Museum of Art.

The commissioned artwork comes in a series of seven and is prefered to be displayed in an outdoor setting. The choise of an outdoor setting would further encourage one to think about the designs details to rethink the space.

Made from a powder covered stainless steel that are precisely angled and nestled with large spheres, look as if they are floating in a weightless way. The appearance of the sculptures resemble an imaginative solarsystem that can challenge ones perception on its unique design. The playful design is able to be appreciated by all demographics. The placement of the scultpures in thes images perfectly frames the cities landscape.

The way that the still installation invokes thoughts of movement is incredible. The designs intention would be useful as inspiration to create movement in a mechanical design with a bone system in place, but also with the help of a visually challenging design. These dynamic and elegant sculptures inspire me to create a complex design that can show movement in more ways than one. That would match Medusa’s chaotic and tragic story.

Figure 8.5

Figure 8.6

Figure 8.7

Located in Bozeman, United States, situates the fascinating pavillion of the Town Enclosure which was designed by CLB architects. The art installation was commissioned by Jackson Hole Public Art with some support from Centre for the Arts, Jackson Businesses and private donors. The installations purpose was as a space for gathering but also to act as an art installation. The art installation is an incredible work of architecture through its simple yet sophisticated bold design of large surrounding walls layered that appear to be tumbling one after the other.

The peaceful sculpture is open to the public and offers sanctuary amonst the small town. The space within the sculpture is quite a large area which allows for the public to interact with it in many ways, for relaxation, visual experience, meditation and for the sake of visiting the interesting spot.

Town Enclosure

By CLB Architects

The elegant and simple design is effective at communicating a strong visual experience for visitors. Looking at the large timble walls from different angles will create a new perspective of the installation. From one angle the walls look as if the enclosure is closed off and has no entry. However from another angle it seems as if there is entry from each and every side of the large walls. Some might experience the walls as a sanctuary and some might see it as a large trap that you are stuck inside of, the design is dynamic in this way.

The Town Enclosure inspires me to create a similar installation with an improved pattern and kinetic movement. My initial concept is very close to this installations design with its large open walls, welcoming everybody inside. My design would differ from this with the walls rotating on an axis in a synchronised way with good positioning of the walls to allow for full rotation as well as space for entry. My design intention is the same as the one for this in that I would like to create a safe space for students on campus to break away from the busy life of University.

Figure 8.8

Figure 8.9

Figure 9.0

Developing the Design

Movement Experimenting with Gears

Developing the

After the initial design iteration, the rotation of walls had to be decided upon. Prototyping the concept was the only way to correctly perfect the mechanics behind the movements. I began by testing bevel gear systems and regular gear systems. The bevel gear would have changed the whole design so therefore I went with the regular geat system. Here is how the prototype went:

Figure 9.1. Violaris. I. (2023). ‘3D Printed Gears’. Photographed on iPhone 12 Pro

Figure 9.2. Violaris. I. (2023). ‘Prototype’. Photographed on iPhone 12 Pro

Figure 9.3. Violaris. I. (2023). ‘Prototype in Action’.

Video filmed on iPhone 12 Pro

Refining the Movement Rotation

of Walls

The rotation of the walls will move in a 360º synchronised pattern manner that tells the tragic story of Medusa’s life in a dynamic way. People are able to interact with the design by walking inside of the structure when the walls are in the correct rotation and experience the motion from within.

Detailing the Design

Construction Process

Exploded Axonometric

This exploded axonometric shows the details that goes into the construction to make the installation. The mechanical part of the installation is hidden in order to keep the aesthetic within the design without taking any attention away from it. The walls in the installation will appear to be rotating as if nothing is making it do it, like Medusa turning people to stone by her gaze.

Situating the Design

Swinburne University of Technology

The George Building

The chosen location of where the design would be situated is the outside of the George Building. I chose this location as it has the large open, outdoor space that would perfectly suit the design as well as being a central area to attract people to and encourage interaction with.

Figure 9.5

Figure 9.4

Attaching the Design

Currently, there is nothing interesting that draws the public to the George Building. The attachment of my design in this space would draw a lot of attention and interaction with the area.

The choice of making the design a below ground feature would create more of an emphasise on Medusa’s tragic story.

Part C: Communication

Designing the Posters

Initial Poster Design

Initial

Final Poster Design

Reflective Practises

Weekly Reflections

Weeks 01-03

Week 01:

I believe that often architecture is able to communicate a story through its detailed design. When an architectural structure is designed based around a story, there is more of a connection between architect and design which ultimately have the greatest and personal details. With new technological advancements in society, AI software is becoming more and more popular. Architects can work together with AI to create structures in a more time effective manner by inserting prompts related to their design, coding and more. A worry that I have with the introduction of AI in the architecture world is that human architects may go obsolete within the next 5-10 years with the improvement of the software over time. Something that architects have over AI is a personal experience and connection/passion to design, which will never leave humans. The becoming of AI in society will be quite common in no time, we might as well use it to our advantage. AI could help speed up the architectural design process by cutting time for making design decisions, coding troubleshooting, and more. With less time spent to create a design with the assistance of AI, it could lessen the wage of architects in the future if it becomes a regular part of the architectural design process.

Week 02:

In architecture there are many types of drawings we have to learn to properly communicate perspective. 2D line drawings are able to suggest a 3D object through the use of vertical, horizontal and diagonal lines used in a X, Y, Z axis way. By adding different line weights to a 2D drawing, depth is able to be translated through that 2D drawing into a 3D object. A collection of images of a 3D object is able to convey movement over time through the use of capturing motion in single frames. When the images are combined, accurate stills of that 3D object are then able to be analysed correctly. Motion captured from single images of 3D objects suggest movement from stressed blurs and the direction of the blur can decipher where the movement is shown.

Video recordings or photography are able to capture a moment of an object whilst drawing insight to that specific object. From video recordings or photography we are able to learn and understand what is being captured, which sometimes cannot be seen unless it is slowed down or enhanced. The different angles in which you can capture an object has a large impact of the quality of that video recording or photograph.

Week 03:

Due to the flat design of my model, documenting my design process through images only was a challenge. On a page the photographs of the flat prototype did not look aesthetically pleasing and ruined the folio’s style. In other instances of more in depth prototypes, a challenge I would face would be how to capture the desired shadows on a clean background. The documentation of my investigation with words only was a challenge, due to the fact that we as designers are visual communicators. Words can only describe so much and be interpreted much more broadly. By documenting an investigation in words only, means to rely on ones imagination to properly translate the work.

Documenting my investigation into the bone system using line drawings only was not a very big challenge as my design was rather flat. A challenge however that I did end up facing was the use of correct line weights for each drawing. Line drawings are perfect for describing a concept to somebody who may not understand a design and therefore needs to be educated.

Weekly Reflections

Weeks 05-07

Week 05:

Architecture is able to communicate emotively with its occupants through its materiality, colour palette and textures. Dynamic designs are also able to bring out emotions by touching base on the human senses, through personal experience with interactions. Architecture can be communicated differently throughout each individual’s experience with the design which makes architectural design dynamic.

As a designer, it is our job to communicate an idea to non-designers in ways in ways that are clear and easily read to people outside of the field. We are able to do so using images and diagrams. Through images, we can capture our design process in steps to show to non-designer people. Diagrams are important in explanations to non-designer people to communicate ideas as they are easy to read through the use of lines, colours, legends and descriptions/labels.

Designers are able to make sure that the visualisations and representations of their designs communicate their ideas accurately through focus groups, surveys and a planned design process. Focus groups are able to pinpoint issues regarding designs through different eyes and opinions outside of the design world. Diagramming is important through this stage as they can communicate designs to people so that everybody is able to understand.

Week 06:

With multiple variations of designs, there would be a lot of learning curves and troubleshooting throughout the design process. Each variation may be of different scale and proportion which would mean the use of more materials. Although more materials may be used, it is helpful to have a variety of design options to choose from to perfect a design problem.

Line drawings are able to communicate designs to absolutely everybody, whether that be design-impaired people or designers. Line drawings are also able to communicate movement in design in an abstract manner by layering, colour palette and line weights. Line drawings can be used for diagramming, perspective drawings, exploded axonometric and technical drawings where each conveys a design in different and effective ways.

Week 07:

Elements in architectural representation are used to communicate experiences within spaces that are not limited to the atmosphere of the space but also through other ways. Architects are able to create the same emotions of being within a space on their computers through diagrams, renders, technical drawings and sketches. In less literal ways, architects can use mood boards and collages for a more abstract approach to design where materiality can be explored as well as design aesthetic or style.

Weekly Reflections

Weeks 09-10

Week 09:

The posters that I produced show art through visual design processes communicated in literal and abstract ways with the assistance of line drawings, diagrams and renders. The art that my design is performing is communicating movement that tells the tragic tales of Medusa’s story through dynamic design. The dynamic design represents Medusa’s tragic story through the rotation of the outer walls in a synchronised manner to translate the sudden events unfolding.

It was a challenge to represent the art of Medusa’s story on the posters as the complexity in Medusa’s story is too intricate and delicate to entirely include in one design. With the help of line drawings and renders, the concept was able to be conveyed in a contrasting and interactive way. I also found it difficult to show my design during the prototyping stage as the design itself is very simple.

The technology that my design uses to perform its motions is from the bone system of gear mechanism that I learnt from exploring crank and cam systems. The technology is exposed in poster 5 and the movements from the mechanism is depicted in poster 6 where it shows the stages of motion. Background abstract line drawings on the posters are also used to represent movement in the technology through its layering and colour palette.

I found it challenging to represent the technology through my posters as it is a very basic mechanism that does not have too much detail to it. Although this was the case I think that the way I communicated movement and the mechanism was clear and aesthetically pleasing and worked well with the overall design style of the posters.

Week 10:

It is important that you use visual and verbal communication to present a design because the design will be proposed to people that do not understand architecture or design. Diagrams are important for this as they use both visual and verbal aspects to translate a design in a clear and effective way so that everybody understands the design.

In a folio, it is important to limit text to describe a design process. As designers, it is our job to communicate in creative ways to visually describe the design process. Although limited text is important, it is still needed to clarify and label elements. Not only does it have this job but it is also useful for storytelling and for design briefs. It is important to include mission statements at the end of a design that summarises the purpose of a design.

For previous projects, I structured my design communications to tell a story that is personal to my design style. Each year I improve on my storytelling ability through a visual portfolio that translates my design process.

In future projects, I would like to communicate my design in my folios to consciously be structured in an aesthetic style that is consistent and interesting on each page. In order to precisely keep this storytelling seamless would be to keep a planned schedule and stay on top work in a time effective manner.

Part D: Conclusion

The approach that I took to the design process of this folio was literal initially (with Project 1) and then I tried for a more visual and abstract approach. I used the tragedy in Medusa’s story to inspire my designs for Projects 1 and 2. I felt that the bone system was most suited for Medusa’s allegory with the bold and sudden motions that could be achieved from it.

Project 2 allowed for me to take on feedback from the previous submission and take a different approach where I told Medusa’s story in a more subtle and abstract way. The use of the gear system was fun and challenging, I had to prototype and test which type of gear sets best suited my design intention. The dynamic design that I created represented the tragic story of Medusa in a majestic way that people are able to interact with to tickle their senses.

Attaching the mechanical design to the outside of the George Building was a challenge as there is not much open spaces outdoors on the Hawthorn campus that could fit such a large and aggressive installation. I believe that although I found it challenging, it would really suit the area and bring forth some attention.

I found it challenging to tell the story of a Greek Goddess through architectural design, but I enjoyed myself with this unit and learnt from my mistakes to better my design.

Conclusion

List of Figures

• [Figure 0.0]. Pinterest. https://i.pinimg.com/originals/b5/48/1c/b5481c0ec7921ef7355c0712521fc6ac.jpg

• [Figure 0.1]: Medusa. Daniele Danko Angelozzi. 2020. ‘Medusa Scale 1:2 Bust’. Art Station. https://www.artstation. com/artwork/w8ow5X

• [Figure 0.2]: Adrian Valverde. (2020). ‘Perseus drawing made with pen’. Behance. https://www.behance.net/ gallery/97013565/Perseus-drawing-made-with-pen

• [Figure 1.1]: Serg Turkul. Medusa. Pinterest. https://i.pinimg.com/originals/4e/ab/01/4eab01fb8e6d03a826ed824d1094808b.jpg

• [Figure 1.2]: Keto (Ceto). Pinterest. https://i.pinimg.com/originals/26/f0/38/26f0383d626d221cca91fd8b9b70bdfb.jpg

• [Figure 1.3]: Phorkys. Violaris, I. (2023). Phorkys. Discord. https://cdn.discordapp.com/attachmen

ts/997261049373929592/1088276482545156197/BellaV325_greek_god_phorkys_01d148a7-7d56-4153-9160820b28c32a82.png

• [Figure 1.4]: Violaris, I. (2023). Stheno. Discord. https://cdn.discordapp.com/attachmen

ts/997261049373929592/1088279260013264906/BellaV325_stheno_greek_mythology_red_snakes_instead_of_ hair_gor_4979f3a7-922b-4d39-8690-97a1c6a223d8.png

• [Figure 1.5]: Violaris, I. (2023). Euryale. Discord. https://cdn.discordapp.com/attachmen ts/997261049373929592/1088281933668163696/BellaV325_euryale_greek_mythology_ 24f4ae9b-2f96-433f-ac5e-b7f2ac9e3ccd.png

• [Figure 1.6]: Poseidon. Pinterest. https://i.pinimg.com/originals/1e/d6/f2/1ed6f23f334c12ecb90e2ecf55181a95. jpg

• [Figure 1.7]: Athena. Bachzim. (2022). Greek Gods. Art Station. https://www.artstation.com/artwork/D5XrGy

• [Figure 1.8]: Perseus. Violaris, I. (2023). Greek Mythology Perseus. Discord. https://cdn.discordapp.com/attachme nts/989268337886367754/1089176376193589389/BellaV325_greek_mythology_perseus_0a2f3627-1046-422c82cc-206f6f747d8b.png

• [Figure 2.1]: Corey Anderson. (2013). The Myth of Medusa. Hub Pages. https://discover.hubpages.com/education/The-Myth-of-Medusa

• [Figure 2.2]: Elihu Vedder. (1889). The Phorcydes - Digital Remastered Edition. Pixels. https://pixels.com/featured/ the-phorcydes-digital-remastered-edition-elihu-vedder.html

• [Figure 2.3]: Kevin Sidharta. (2017). Stheno, Medua, Euryale. Art Station. https://www.artstation.com/artwork/ BL6Br

• [Figure 2.4]: Gorgon Sisters. Pinterest. https://i.pinimg.com/originals/27/10/c9/2710c9de8e4282adef0320df07ff0d92.jpg

• [Figure 2.5]: Violaris, I. (2023). Three Gorgon Sisters. Midjourney AI generated image. [Keywords: three gorgon sisters]

• [Figure 2.6]: Violaris, I. (2023). Three Gorgon Sisters. Midjourney AI generated image. [Keywords: three gorgon sisters, snakes for hair, realistic render, realism]

• [Figure 3.1]: Goutamkumer Oinam. (2022). What’s Athena doing when Medusa was raped by Poseidon? Quora. https://www.quora.com/Whats-Athena-doing-when-Medusa-was-done-by-Poseidon

• [Figure 3.2]: Fábio Nishikata (2021). Poseidon. Art Station. https://www.artstation.com/artwork/d8PPBe

List of Figures

• [Figure 3.3]: Medusa. Demigods Haven Wiki. https://demigodshaven.fandom.com/wiki/Medusa

• [Figure 3.4]: Anna Pertova. (1903). Laurent Honoré Marqueste. Pinterest. https://i.pinimg.com/originals/45/0d/ db/450ddbb35fbbe1136d112df2ac0ed4b4.jpg

• [Figure 3.5]: Violaris, I. (2023). Poseidon and Medusa. Midjourney AI generated image. [Keywords: Poseidon holding down female Medusa, temple, Greek mythology, realistic render, realism - Upscaled]

• [Figure 3.6]: Violaris, I. (2023). Poseidon hurting Medusa. Midjourney AI generated image. [Keywords: Poseidon holding down female Medusa, temple, Greek mythology, realistic render, realism]

• [Figure 4.1]: Jean Bakula. (2018). Athena, Goddess of Wisdom and Artistry in Greek Mythology. Owlcation. https:// owlcation.com/humanities/The-Greek-Goddess-Athena

• [Figure 4.2]: Annaliese Griffin. (2018). The story behind the Medusa statue that has become the perfect avatar for women’s rage. Quartz. https://qz.com/quartzy/1408600/the-medusa-statue-that-became-a-symbol-of-feminist-rage

• [Figure 4.3]: Zach Arias. (2020). Why did Athena curse Medusa? Quora. https://www.quora.com/Why-did-Athena-curse-Medusa

• [Figure 4.4]: (2011). Medusa’s Curse. Deviant Art. https://www.deviantart.com/rampartpress/art/Medusa-s-Curse-263998733

• [Figure 4.4]: Violaris, I. (2023). Medusa getting cursed. Midjourney AI generated image. [Keywords: powerful Athena cursing Medusa, two females in image, wind surrounding Medusa, greek mythology, dramatic, realistic render, realism]

• [Figure 4.5]: Violaris, I. (2023). Athena with Medusa. Midjourney AI generated image. [Keywords: Athena cursing Medusa, greek mythology, dramatic, realistic render, realism]

• [Figure 4.6]: Violaris, I. (2023). Sarpedon Island. Midjourney AI generated image. [Keywords: black and white drawing of Sarpedon island, simple, basc]

• [Figure 4.7]: Violaris, I. (2023). Sea City. Midjourney AI generated image. [Keywords: black and white outline drawing of a sea city close to Sarpedon Island, outline, basic, simple]

• [Figure 4.8]: Violaris, I. (2023). Sea City near Sarpedon Island. Midjourney AI generated image. [Keywords: black and white outline drawing of a sea city close to Sarpedon Island, outline, basic, simple, detailed, large]

• [Figure 5.1]: Doc Zenith. (2008). Medusa and Perseus. Reddit. https://www.reddit.com/r/interestingasfuck/comments/l5daga/medusa_and_perseus_by_doc_zenith/

• [Figure 5.2]: Perseus. Ray Harryhausen’s Creatures Wiki. https://gwangipedia.fandom.com/wiki/Perseus

• [Figure 5.3]: Abigail Cain. (2018). What Depictions of Medusa Say about the Way Society Views Powerful Women Visual Culture. https://www.artsy.net/article/artsy-editorial-depictions-medusa-way-society-views-powerful-women

• [Figure 5.4]: Violaris, I. (2023). Perseus slaying Medusa. Midjourney AI generated image. [Keywords: Perseus standing over Medusa holding her head, sword in hand, enemy, greek mythology, realistic render, realism]

• [Figure 5.5]: Violaris, I. (2023). Perseus and Medusa fighting. Midjourney AI generated image. [Keywords: Perseus slaying Medusa, realistic render, realism, greek mythology]

• [Figure 6.1]: Athena. Greek Mythology. https://www.greekmythology.com/Olympians/Athena/athena.html

List of Figures

• [Figure 6.2]: Violaris, I. (2023). Ancient family portrait. Midjourney AI generated image. [Keywords: greek mythology god and goddess of sea and three gorgon daughters, sitting on throne altogether, sci-fi, realistic render, five family members in frame, family, gorgons have snakes in place of hair]

• [Figure 6.3]: Violaris, I. (2023). Priestess Medusa. Midjourney AI generated image. [Keywords: greek myth medusa dressed as a priestess, temple, holding a script while talking to sea monster, sci-fi, realistic render]

• [Figure 6.4]: Violaris, I. (2023). Poseidon violating Medusa in Athena’s temple. Midjourney AI generated image. [Keywords: greek myth Poseidon forcefully violating greek goddess Medusa in Athena’s temple, Athena’s temple, etherial, sci-fi, realistic render, enemy]

• [Figure 6.5]: Violaris, I. (2023). Athena cursing Medusa. Midjourney AI generated image. [Keywords: greek goddesses Medusa and Athena in temple together mid fight scene, Athena throws curse at Medusa, etherial, sci-fi, realistic render, enemy, tragedy]

• [Figure 6.6]: Violaris, I. (2023). Athena ordering Medusa’s death to Perseus. Midjourney AI generated image. [Keywords: greek goddess Athena sitting in throne holding script while Perseus kneeling down in front of throne, temple, etherial, sci-fi, realisic render, greek mythology]

• [Figure 6.7]: Violaris, I. (2023). Perseus battling Medusa. Midjourney AI generated image. [Keywords: Greek god Perseus fighting gorgon Medusa, Perseus holding shiny shield, battlefield, Medusa has snakes instead of hair, etherial, sci-fi, realistic render, greek mythology, tragedy, Perseus and Medusa in image together]

• [Figure 6.8]: Violaris, I. (2023). Perseus Slaying Medusa. Midjourney AI generated image. [Keywords: Perseus holding Medusa’s head, battlefield, etherial, sci-fi, realistic render, greek mythology]

• [Figure 7.0]: Violaris, I. (2023). Medusa’s Family. Midjourney AI generated image. [Keywords: Phorcys, Ceto, Stheno, Euryale, Medua, throne, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.1]: Violaris, I. (2023). Gorgon Sisters. Midjourney AI generated image. [Keywords: Medusa, Stheno, Euryale, sisters, portrait, gorgons, snakes for hair, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.2]: Violaris, I. (2023). Priestess Medusa. Midjourney AI generated image. [Keywords: Medusa as a priestess, temple, gorgon, snakes for hair, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.3]: Violaris, I. (2023). Poseidon rapes Medusa. Midjourney AI generated image. [Keywords: Poseidon and Medusa together, love, portrait, two people, Medusa has snakes for hair, full body image, temple, etherial, sci-fi, realisic render, greek mythology]

• [Figure 7.4]: Violaris, I. (2023). Athena curses Medusa. Midjourney AI generated image. [Keywords: Greek goddess Athena curses Gorgon Medusa in temple, full body image, two people in frame, curse, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.5]: Violaris, I. (2023). Athena orders Medusa’s head. Midjourney AI generated image. [Keywords: Greek goddess Athena sitting on her throne in temple with Persius kneeling beside her, two people in picture, throne, temple, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.6 ]: Violaris, I. (2023). Perseus is gifted a shield. Midjourney AI generated image. [Keywords: Greek God Perseus holding shield, wearing Perseus helmet, brave, shield, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.7]: Violaris, I. (2023). Perseus creeping in Medusa’s room. Midjourney AI generated image. [Keywords: Greek god Perseus behind Medusa as she sleeps, Medusa laying in bed, Perseus hiding, bedroom, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

List of Figures

• [Figure 7.8]: Violaris, I. (2023). Gorgon sisters try to stop Perseus. Midjourney AI generated image. [Keywords: Stheno and Euryale fighting Greek God Perseus, battlefield, Gorgon sisters, Persius holding shield, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 7.9]: Violaris, I. (2023). Medusa’s death. Midjourney AI generated image. [Keywords: Greek God Perseus holding Medusa’s head, Medusa has snakes for hair, Perseus wearing helmet and holding sword, etherial, sci-fi, realisic render, greek mythology, black and white image, linework]

• [Figure 8.0]: Violaris. I. (2023). ‘Medusa Hair Prototype’. Photographed on iPhone 12 Pro

• [Figure 8.1]: Violaris. I. (2023). ‘Medusa Head Prototype’. Photographed on iPhone 12 Pro

• [Figure 8.2]: Rima Sabina Aouf. (2018). ‘Brixels are modular blocks that can be combined to create moving walls’. Dezeen. <https://www.dezeen.com/2018/11/02/brixels-modular-blocks-breakfast-moving-walls-installation/>

• [Figure 8.3]: Lindsay Duddy. (2018). ‘“Brixel” Reinvents Basic Bricks for the Digital Age’. Arch Daily. <https://www. archdaily.com/903877/brixel-reinvents-the-basic-brick-for-the-digital-age>

• [Figure 8.4]: Lindsay Duddy. (2018). ‘“Brixel” Reinvents Basic Bricks for the Digital Age’. Arch Daily. <https://www. archdaily.com/903877/brixel-reinvents-the-basic-brick-for-the-digital-age>

• [Figure 8.5]: Roman Marz. (2019). ‘Para Pivot’. Alicja Kwade. <https://alicjakwade.com/exhibitions/parapivot>

• [Figure 8.6]: Roman Marz. (2019). ‘Para Pivot’. Alicja Kwade. <https://alicjakwade.com/exhibitions/parapivot>

• [Figure 8.7]: Josh Kline. (2019). ‘The Roof Garden Commission: Alicja Kwade, ParaPivot at The Met Fifth Avenue’. Arts Summary. <https://artssummary.com/2019/04/16/the-roof-garden-commission-alicja-kwade-parapivot-atthe-met-fifth-avenue-april-16-october-27-2019/>

• [Figure 8.8]: (2019). ‘Town Enclosure Pavilion by CLB Architects’. 88 Design Box. <http://88designbox.com/architecture/town-enclosure-pavilion-by-clb-architects-3500.html>

• [Figure 8.9]: (2021). ‘Town Enclosure Installation / CLB Architects’. Arch Daily. <https://www.archdaily. com/973809/town-enclosure-installation-clb-architects>

• [Figure 9.0]: (2021). ‘Town Enclosure Installation / CLB Architects’. Arch Daily. <https://www.archdaily. com/973809/town-enclosure-installation-clb-architects>

• [Figure 9.1]: Violaris. I. (2023). ‘3D Printed Gears’. Photographed on iPhone 12 Pro

• [Figure 9.2]: Violaris. I. (2023). ‘Prototype’. Photographed on iPhone 12 Pro

• [Figure 9.3]: Violaris. I. (2023). ‘3D Printed Gears’. Photographed on iPhone 12 Pro

• [Figure 9.4]: (2014). ‘Hawthorn Campus’. Swinburne University of Technology. <https://www.swinburne.edu.au/ media/swinburneeduau/about-swinburne/docs/pdfs/Hawthorn-Disabled-Parks-Oct14.pdf>

• [Figure 9.5]: Violaris. I. (2023). ‘The George Building’. Screenshot taken from Swinburne University of Technology <https://www.swinburne.edu.au/virtual-tour/360/photos/>

• Tim Nudd. (2018). ‘Rotating Bricks Act as Pixels in This Mesmerizing Kinetic Out-of-Home Display’. Breakfast NY unveils ‘Brixels’. Muse by Clio. <https://musebycl.io/art/rotating-bricks-act-pixels-mesmerizing-kinetic-out-home-display>

• Lindsay Duddy. (2018). ‘“Brixel” Reinvents Basic Bricks for the Digital Age’. Arch Daily. <https://www.archdaily. com/903877/brixel-reinvents-the-basic-brick-for-the-digital-age>

• Roman Marz. (2019). ‘Para Pivot’. Alicja Kwade. <https://alicjakwade.com/exhibitions/parapivot>

• Josh Kline. (2019). ‘The Roof Garden Commission: Alicja Kwade, ParaPivot at The Met Fifth Avenue’. Arts Summary. <https://artssummary.com/2019/04/16/the-roof-garden-commission-alicja-kwade-parapivot-at-the-metfifth-avenue-april-16-october-27-2019/>

• Jason Fargo. (2019). ‘Celestial Visions on the Met Roof’. The New York Times. <https://www.nytimes. com/2019/04/18/arts/design/met-roof-garden-alicja-kwade.html>

• (2021). ‘Town Enclosure Installation / CLB Architects’. Arch Daily. <https://www.archdaily.com/973809/town-enclosure-installation-clb-architects>

• (2019). ‘Town Enclosure Pavilion by CLB Architects’. 88 Design Box. <http://88designbox.com/architecture/ town-enclosure-pavilion-by-clb-architects-3500.html>