SophieMiles-Project2-FolioDraft2

ARC30003

Imprint

Sophie Miles | 103591455

Wednesday 8:30-11:30

Tutor: Awnili Shabnam

Unit Convener: Linus Tan

Contents

01 02 03 03

Part A: Ideation

Introdcution

Scenario

References

Experimentation

Part B: Design

Design Concepts

Design Precedents

Developing the Design

Detailing the Design

Situating the Design

Attaching the Design

Part C: Communication

Designing the Posters

Reflecting Practice

Part D: Reflection

Conclusion

List of Figures

Bibliography / Appendices

Part A

Introduction

Allegory of Hades:

In Greek mythology, Hades is the god of the underworld, the realm of the dead. His story is intertwined with the myths and legends of other gods, heroes, and mortals. According to myth, Hades was one of the three sons of the Titans Cronus and Rhea, along with Zeus and Poseidon. When Cronus was overthrown by Zeus and his siblings, they drew lots to divide the world among themselves. Zeus became the god of the sky and thunder, Poseidon the god of the sea and earthquakes, and Hades the god of the underworld.

As the ruler of the underworld, Hades was responsible for judging the souls of the dead and deciding their fate. He was often depicted as a stern and fearsome figure, with a dark beard and a helmet that made him invisible. He was sometimes portrayed as the kidnapper of Persephone, the daughter of Zeus and Demeter, who became his queen and spent half the year with him in the underworld and half the year on earth with her mother. This myth was a way of explaining the changing seasons and the cycle of death and rebirth.

Key Characters

Hades was also associated with the idea of wealth, as the underground realm was believed to contain precious minerals and gems. However, he was not worshiped as openly as other gods, as he was often feared and avoided by mortals.

In some versions of the myth, Hades is also known for his involvement in the stories of Orpheus and Eurydice, and Theseus and Pirithous, both of which involve attempts to rescue loved ones from the underworld. These stories highlight the dangers and challenges of confronting the realm of the dead, as well as the power and mystery of death itself.

HADES

Hades is the deity of the underworld, often known as the land of the dead, in Greek mythology.

Cronus & Rhea

The Titan of time and ages was named Cronus. Moreover, he is the father of six Olympian deities. The goddess of female procreation, maternity, and generation was Rhea. Furthermore, she is the mother of six Olympi an deities. They are the parents to Hades, Zeus and Poseidon.

Zeus | God of Men

In Greek mythology, Zeus is the deity of the sky. Zeus is the most important Greek deity and is regarded as the king, guardian, and father of all other gods and mankind. Zeus is frequently pictured as an elderly man with a beard and is symbolised by objects like lightning and eagles

Poeidon | God of the Sea

Poseidon is the god of the sea (and of water in general) in ancient Greek mythology. He also represents earthquakes and horses. He differs fr om Pontus, who represents the sea and is the first Greek deity of the waterways. Poseidon’s name translates to “lord of the earth” or “husband of the earth.

Part A

Introduction - Time line

Image sources: https://www.greekmythology.com/images/mythology/zeus_large_image_1.jpg

https://cdn.britannica.com/23/39023-050-B9E35664/Poseidon-marble-statue-Melos-National-Archaeological-Museum.jpg

https://www.greekmythology.com/images/mythology/hestia_4.jpg

https://www.greekmythology.com/images/mythology/demeter_large_image_31.jpg

https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Hades_Altemps_Inv8584. jpg/1200px-Hades_Altemps_Inv8584.jpg

https://www.greekmythology.com/images/mythology/hera_large_image_5.jpg

https://upload.wikimedia.org/wikipedia/commons/thumb/c/ce/AMI_-_Isis-Persephone.jpg/640px-AMI_-_Isis-Persephone.jpg

https://www.natlaurel.com/wp-content/uploads/2022/03/hermes-conductor-of-souls.jpg

https://www.greekmythology.com/images/mythology/dionysus_33.jpg

Part A

Scenario Research

Creation of the Underworld | Mid journey Image

Watered by the streams of five rivers, the Underworld was divided into at least four regions: Tartarus, the Elysian Fields, the Fields of Mourning, and the Asphodel Meadows

Hades, Persephone & Demeter | Mid journey Image

How Hades got his bride, Persephone, is the central tale surrounding him. The Homeric “Hymn to Demeter” recounts them in the fullest detail. Demeter, the goddess of corn (wheat) and agriculture, was the sister of Hades, and she only had one child, Persephone (also known as Kore).

Creation of Kingdoms | Mid journey Image

Hades wasn’t very enthusiastic about inheriting the Underworld, but once Zeus told him that someday, all humanity would be his subjects, Hades changed his mind.

Abduction of Persephone | Mid journey Image

Demeter and Zeus were the parents of Persephone. One day, Hades noticed Persephone while she was gathering flowers. She was so alluring to him that he coerced her into accompanying him to the underworld. When Persephone vanished, Demeter, the goddess of the harvest and fertility, looked for her.

Hades & Sisyphus | Mid journey Image

Greek mythology’s Sisyphus (also known as Sisyphos) is a character who rose to fame as the king of Corinth for his overall cunning and twice defying death. He finally had his just desserts when Zeus sentenced him to an eternity of dragging a boulder up a hill in the depths of Hades.

Hades and the Seige of Pylos | Mid journey Image

Hormer claims in his Illiad that Hades was once wounded by an arrow from Heracles while Pylos was under siege. Pylos, known as the gate-place of the sinking sun, was one of the few ancient Greek places where Hades was worshipped. Hades was protecting Pylos when it was assaulted by the Greek hero Heracles

References

Chat GPT - Font Research

Choosing a font to represent Hades, the Greek god of the underworld, is a subjective task and can vary depending on the context and purpose. However, if we consider the common attributes associated with Hades, such as mystery, darkness, power, and authority, a font that could represent him is “Trajan Pro.”

Trajan Pro is a serif font inspired by the letter forms used in ancient Roman inscriptions and is often associated with power, authority, and classical elegance. The fonts strong, vertical lines and sharp edges give it a commanding presence, while the serifs and delicate curves provide a sense of sophistication.

Another font that could represent Hades is “Black letter” or “Gothic,” which is commonly associated with medieval and Gothic architecture and is often used in horror and fantasy contexts. This font style is characterized by its heavy, black lines and ornate embellishments, which can convey a sense of mystery and darkness.

Ultimately, the choice of font to represent Hades depends on the specific context and purpose of the design.

Trajan Pro:

HADES GOD OF THE UNDERWORLD

Black letter:

Gothic:

Image Source: https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.color-hex.com%2Fcolor-palette%2F108442&psig=AOvVaw1CxlOvB1-WSIFJtl9W0QP6&ust=1679290748554000&source=images&cd=vfe&ved=0CA8QjhxqFwoTCMCPjNWj5_0CFQAAAAAdAAAAABAE

Mid Journey - Hades Colour Palette

Greek Mythology’s Hades, the God of the Underworld, isn’t usually connected to any one hue. He is typically depicted as a very strong figure, therefore he doesn’t typically use colour to indicate his presence and authority.

Generic - Hades Colour Palette

In contrast to the mid journey colour palette, the generic colours such as the yellow and greys are brighter and doesnt include any greens and browns.

Part A

Experimentation | Pulley System 1

Experimentation | Pulley System 1

String twists around the pulley to close the object

String twists around the pulley to close the object

Rotate the pulley to work the machine

Handle

Primary Pulley Cog Secondary Pulley Cog

Cogs guide the system to allow the pulley to twist within the frame

Stept 1:

Loose strings leave the form open

Step 2:

As the string tightens when the pulley moves, the form begins to close Step 3: the form completely closes when the pulley is tightened

Part A

Experimentation | Pulley System 1

Part A

Experimentation | Pulley System 2

String twists around the pulley to close the object

Rotate the pulley to work the machine

Experimentation | Pulley System 2

Outcome and Purpose

The concept behind this design is that the paper (skin) represents Persephone and the pulley (muscle) represents Hades. As the pulley begins to wind it shows how Hades pulls Persephone into the underworld for a preiod of the year. As the paper retracts as the pulley unwinds, it shows Persephones return to the earth

Figure 1.

When the pulley sits flat, the form remains closed

Figure 2.

As the pulley begins to wind, the paper from begins to close

Figure 3.

When the pulley is tightened to its extent, the paper form is closed.

Experimentation | Pulley System 2

Trial 1.

Outcome of generating Hades story and outlining key figures.

Trial 2. Adding the type styles that represent Hades as a border.

Trial 3.

Final outcome, making portrait photos smaller and emphasising the allegory as the main element.

Trial 1.

Gathering images that represent Hades in allegories.

Trial 2.

Defining each story and gatehring images that represent them better. Changing the style of the colour palette.

Trial 3.

Image tracing each of the images to make greyscale to match other posters. Also adding references .

Developing ideas of how to present the story. Creating line drawings.

Trial

Refining the story timeline in a readable manner. Producing more line drawings and graphics that can better present the story.

Refining the timeline more, using the timeline line to cover more of the page and take up more emport space. Representing relationships between key figrues in the stort.

Trial 1.

2.

Trial 3.

Trial 1.

Thinking of ways to represent the trials conducted and the layout that should be used.

Trial 2.

Laying out all trials that were conducted and using images and technical drawings to represent the outcome.

Trial 3.

Refining the layout to better create a relationship between all poster. Using the greyscale photos to not over saturate the page. Hatching some lines to represent the frame.

Precedent Study

Undulating Kinetic Sculpture

Ruben Margolin

The different swinging motions seen in waves are a recurring theme in Margolin’s works. His sculptures and installations have a strong, sensual undulation that is created from recyclable materials and powered by gears and cogs.

The pattern that a raindrop produces when it hits water serves as the inspiration for Round Wave. Electric motors regulate the undulating installations’ varied amplitude, frequency, and overall height.

Margolin bases his sculptures on the premise that everything in the cosmos, from the smallest particles to the greatest buildings, is always in motion. In order to provide the observer a fascinating visual experience, he uses precisely created patterns and rhythms to convey this sensation of motion and energy in his sculptures.

Margolin draws inspiration from a wide range of things, such as the shapes of natural objects like seashells and coral reefs, animal motions, and wave patterns. Even when they are perfectly motionless, his sculptures frequently adopt organic, flowing patterns that give the impression that they are always in motion.

By having the human movement influence the form changing and retracting, this could be used as in the form attaches to a person and they can cause the shapes and fabrics to move to symbolise Hades’ control over Persephone and how he can pull and release her at certain periods of the year.

Sources: https://www.reubenmargolin.com/

Image Source:https://www.frameweb.com/article/undulating-kinetic-sculpture

Image Source: https://www.realtimearts.net/article/issue102/10200

Image Source: https://www.reubenmargolin.com/waves/connected/

Image Source: https://www.reubenmargolin.com/waves/connected/

The two pieces of cloth are held in close proximity to one another by the wooden construction of the piece, which keeps the performers out of the surrounding space. The investigation of the self in regard to others, the self in respect to one’s own responses, the self as an imagined other, and the self in relation to intimacy is what led to the different responses of the fabric performers. Like with emotional processes, minor contacts might start a chain reaction of emotions. Yet, the movement of the performers is only marginally influenced by the audience’ closeness to the performance.

Using APTIN EPT, may investigate how to convey certain circumstances and feelings in an abstract manner for the audience to understand. While they design the fabric performers’ moves to express internal struggle, they get catharsis via their movements.

The artist is confirming their own feelings to their selves and creating room for thorough internal deliberation by devoting time to building the structure of the work and selecting the aesthetic. The performing items flow through emotions in their exhibition and on their stage that they find difficult to feel. This piece’s synchronised design challenges the definition of performance.

This can be translated into the concept of a physical design due to the pulleys causing the continuous retracting of the fabric. This symbolises the muscle of hades pulling and releasing Persephone at different periods of the year. Human interaction could be brought in with when a person approaches the structure it can allow the fabric to close or retract to symbolise Hades’ movements.

Sources: https://hollyadams.net/artwork/aptin-ept/

Holly Adam

Image Source: https://hollyadams.net/artwork/aptin-ept/

Image Source: https://www.reubenmargolin.com/waves/connected/

Precedent Study

The concept of this study could be adapted into the sense that people can interact with the sculpture by using real life human movements to cause a shape to move. By having an additional element oh human movement in the function of the pulley system it can allow for the allegory of Hades and Persephone to be translated better by the muscle movement being reflected by real life movement.

In the story of Hades and Persephone, Hades abducts Persephone and takes her to the underworld. This could be represented through the use of sudden, forceful muscle movements that suggest a struggle or abduction. Hades is often depicted as a powerful and intimidating figure, with immense physical strength. This could be represented through slow, deliberate muscle movements that convey a sense of power and control.

Due to this symbolism, having real life human movement in the space to influence the movement of another factor, it can allow for a better relationship between the story and the representation in a physical form.

https://www.nathanselikoff.com/works/giant-marionette

I created a massive cardboard marionette out of the remnants of Intersect, a transitory site-specific public art project, for the inaugural Cardboard Art Festival.

This stick-like puppet has strings that may be used by many players to control its body, arms, and legs. The piece, which is a part of the Society of Stickpeople series, examines the differences between individual and group activity as well as concepts of control and impermanence.

Image Source: https://www.nathanselikoff.com/works/giant-marionette

Giant Marionette

Mark Baratelli

Design Development Material Exploration

Logan Offices | SO-IL

The use of seamless floor-to-ceiling fabric walls efficiently divides spaces while preserving a shared environment. The white translucent cloth not only reflects natural light but also creates a unique spatial experience that is not attainable with conventional materials. The walls operate as a hazy filter, turning people and things into abstract silhouettes whose intensity changes with the time of day.

This kind of cloth may be used in the installation since it allows light to pass through and because of its properties, it can stand in for Persephone. Using a dark cloth for the installation may have an impact on these areas of the building since the space allows light to get into the darker regions within the major structures. The figures concealed by the materials would still be visible, and a person would also be shown how they may interact with the environment.

Barcelona Building Construmat Ephemeral Space / Josep Ferrando Architecture

Geotextiles were used as the primary design element for the common areas and theme areas as part of a biennale exhibition. The area is shaped and controlled by the geotextile, which hangs from a height of six metres through a series of porticos. The geotextile operates by traction. This method of using the material repeatedly creates an elegant and appealing ambience while visually breaking down the scale of any huge room.

Because this cloth is light, it may allow the installation to move more easily because the tension on the strings is not as severe as in other materials. This cloth is significantly more frosted, allowing light to penetrate but preventing others from seeing through it. This may create a feeling of mystery since someone is unable to see past the moving fabric, prompting them to engage with the area in order to discover the purpose of the exhibition and what it symbolises.

Design Development

The first idea sketches are based on the basic model concept. This demonstrates how a concept may be altered inside a place and realised.

The basic concept of this instilla-

tion is how the human acts as a pulley and how the fabric is impacted when each fabric mesh is pulled. More fabric pieces may be seen in the drawing of the model within a space. This might be investigated by attaching two corners to the strings at varying lengths to see how the cloth moves and changes depending on how it is pulled.

Design Development Design Experimentation 01

The concept behind stage one of experimentation is exploring a kinetic sculpture that still symbolises the allegory of Hades in an adequate manner. The replacement of a physical pulley is done by having the human movement of pulling the strings to alter the skins movement being prevalent.

Concept Sketches

Sketchess show the pieces that make up each part of the first model exploration. This is a simple construction with two ply wood boards, wooden dowels, string and a piece of fabric.

The experimentation is showing how the muscle movement of Hades pulling Persephone into the underworld is symbolised by the strings pushing and pulling the fabric to represent the return and departure of Persephone from the underworld and the over world. This idea could be adapted into a larger exhibition space with it being interactive with the people who visit the space. As people pull the strings that appear to be coming out of the wall, the fabric would pick up off teh ground or move around depending on how the fabric is being pulled. In this scenario, the patron would be symbolising Hades in the sense that they are the ones pulling the fabric (Persephone) to wards themselves.

Outcomes

The first experiment’s key findings revealed that more fabric parts should be put to the box to demonstrate a greater diversity of motions. The finished model should show several key pieces, some of which are tied to the same string to represent diverse movements while each point moves at the same pace.

The following trial might introduce the concept of mechanical motions with an arduino connection. These might be accomplished by experimenting with various connections to the Arduino model and the stepper motor. Further investigation into how the model might move and link is also required.

Design Development

Arduino Exploration

When developing the Arduino motor, it was done through tutorials and trial and error. The first experiment displayed may be controlled by a remote that causes the stepper motor to move in response to how the controller is twisted. To allow the system to move, a code has been designed that allows the motor to reply to the controller when moved.

The following stage in establishing this method is to include it into the design itself. To allow the system to move, the stepper motor must be connected to a pulley system. The procedure must be created and tested to produce the greatest possible outcome and to allow the motor to function and perform its purpose.

Servo Motor angular or linear position, velocity, and acceleration may all be controlled precisely with a rotary actuator or linear actuator.

Male Wires

Jumper wires are used to connect components on your breadboard to the header pins on the Arduino.

USB Breadboard

With the aid of this shield, you may link your Arduno projects through USB to a computer, storage devices, and other input devices.

Potentiometer

This is used to manually adjust the value of something on the Arduino project. In this circumstance it is used to adjust the position of the stepper motor manually.

Concept Sketches

Design Development

The first visual depicts how the site is currently used. It contains a modest study room with seats and tables.

The second image is showing the view that people would see when the first enter the space from the TB building.

At the opposite end of the location, it shows how long the corridor is and what the view looks like while looking down into the TB Building.

This is showing how the above floor is slightly disconnected from the south part of the tunnel. This allows more light to enter within the bottom floor.

During the site inspection, an attempt was made to determine the length of the corridor. This would show the size of the installation and how far it may spread across the site.

The width was measured to show how large the installation may be. This would also help in modelling and understanding the final design’s evolution.

Design Development

Arm Movement Study

Understanding how the arms move and which critical places can operate as a crucial movement throughout muscular contraction. This may be mirrored in the system by describing how each cloth is impacted and which direction will accurately display each movement.

Forearm sitting at a 90 degree angle, shoulder and arm position staying at a straight angle

Forearm is folded to maximum. Shoulder and elbow anchors don’t change its position.

Figure 1.

Arm position at a 180 degree angle, lying straight across

Figure 2.

Arm position having one at a 90 degree and the other lying flat across.

Figure 3.

Both arms sitting at a 90 degree angle from the elbow and shoulder anchors.

Figure 4.

First position of arm moving, elbow and shoulder act as an anchor for forearm movement.

Figure 5.

Figure 3.

Design

The grasshopper script was devised to make it easier to produce fabric variants. This is accomplished by changing the points of the four corners of the sheet based on how the cloth will be varied within the model.

The model photographs below illustrate how the grasshopper points have been modified at various heights to depict the stages of movement of the cloth. This may then be reflected in the model using the strings tied to the pulley system, and when the model moves, it determines how much the fabric points change.

These outputs show how the model may behave in a situation where the anchor points and threads are modified and shifted when the strings turn or are pulled.

With the fabric variants being carried out. As a better grasp of how the fabric may vary and be impacted by how the anchors sit based on how tight the string is sitting.

The points may be modified several times to produce unique versions each time. In this case, the control may be to start each point at zero and then change the point heights at different numerical values. Depending on how tight the attachment to the pulley is, the variation may be slightly modified to indicate certain movements inside the model.

Design Development

Model Trial #2

Acrylic Plate

Acrylic Plate

The second iteration consists of a sculpture that uses a steel and acrylic frame with fabric being used to represent the skin. The pulley is added in an arduino model which consists of a stepper motor paired with a circular disk to allow the pulley to rotate around the strings. as the strings twists around the frame the skin would move depending on how much or how little the tension is on the strings and how it influenced the fabric.

Arduino Motor

12mm Bolt

12mm Threaded Rod

Pulley #1

Mesh Fabric

Pulley #2 attached with dowel

Design Development

Poster Explorations - Poster 5

Key Elements

The predetermined pattern depicts the main muscle and arm actions that will construct the skin over it. Where the line bends, it defines major joints involved in arm motions. Specific locations of arm movement and how they may impact cloth movement have been established. It is critical to depict the design by showing how a muscle flexes and moves.

Understanding how the cloth would flow in proportion to muscular movements requires translating how the skin would reflect onto the model. This depicts how the cloth would flow based on the muscle and arm motions.

Outcomes

The outcomes from the poster are that more colour should be added to break up the balck and white theme and to allow for more separation from the diagrams to be shown. The fabric could change colour to show the differentiation between the skin and the muscle.

Design Development

Poster Explorations - Poster 5

Using skin variants in Photoshop by using a paintbrush allows the concept of the cloth (skin) to be expressed. The Photoshop brush is a collection of lines that overlap and cross at different spots to demonstrate how the fabric flows and overlaps to transmit the allegory of the tale into a diagram that depicts all parts of the exhibition and what they imply.

Design Development Poster Explorations - Poster 5

This figure shows how the pulley system may attach to the motor. This can be trialled and adapted depending if its feasible within the instillation.

This depicts the twisting pulley system that is hooked to the strings and feeds them into the main system. These may require coverings to allow the strings to pass through.

This call out illustrates how the mechanism may be displayed physically within the exhibition. The mechanical motor may be connected to a pulley system to allow the strings to move, so moving the cloth inside the area. This can be altered depending on trial outcomes.

Figure 3. Pulley system with Mechanics.

Figure 1. Servo Motor with Pulley SystemFigure 2. Twisting Pulley System

Design Development

Poster Explorations - Poster 5

Design Development

Poster Explorations - Poster 6

The model’s initial tests in the chosen area demonstrate how users might interact with the installation and environment. People are supposed to move around the room, ducking beneath the cloth pieces as they go. This is supposed to symbolise going underground, going down, and then coming back up.

To more accurately portray Persephone and the character concept of that, the fabric’s material properties can be further investigated. The project’s mechanics still need to be depicted in these graphics.

Design Development

Poster Explorations - Poster 7

Reflection Questions

Based of weeks 1-12 development

Week 1

Should architecture communicate a story? Why or why not? - Check out Deep dive material #1

Many architectural elements, such as a building’s shape, materiality, spatial layout, and details, can be used to convey a story. These components can, among other things, communicate a feeling of history, culture, identity, and purpose. A structure built to house a cultural institution, for instance, could include designs, materials, or themes that are representative of the culture it represents.

It is also possible to tell a building’s story by looking at its purpose and surroundings. The setting of the structure, the programs it holds, and its interaction with the surroundings may all influence the story it conveys. For instance, a building created for a university campus may have elements that represent the goals and values of the school, including an emphasis on innovation, sustainability, or teamwork.

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

AI could have a role in architecture in the sense of form finding. AI could assist in idea generation and form finding in a quicker and easier way. By using AI in idea and concept generation, it could allow architects to easily generate multiple ideas at a faster pace then it usually would take. The generation of ideas in a faster pace could allow the process of creating and developing a process to become more efficient in the sense that the length of idea generation wont consume a large amount of time.

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

AI could change my architectural design process by assisting in researching and potentially form finding. Due to AI already having the intelligence to quickly research any topic at a faster pace than anyone is capable of, it could allow me to develop information based off a precedent study or idea. If AI develops further, the concept generation process could adapt to using AI as a tool for finding ideas of forms and functions that could be adapted within my design and the beginning stages of development.

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

By employing several methods that give the appearance of depth and dimensionality, a 2D line drawing can imply an image of a 3D item. This can be done by using multiple techniques to communicate three dimensionality by on a 2D scale. Creating the appearance of depth and distance by using perspective lines and vanishing points. Perspective drawings are done by making lines converge into a single point on the horizon gives the appearance of depth and distance using the perspective technique. Additionally, creating regions of bright and dark with various pencil or ink tones. The artist can provide the impression of depth and volume by altering the intensity of the shading, giving the item a more three-dimensional appearance.

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

Several technqiues can be employed to represent and image suggesting movement over time, this can be done by motion blur and line of action. Someone may imply that an object is moving in a given way by blurring specific portions of the object in that direction. This method may be executed by either blurring the subject after the fact or by taking the photo with a slow shutter speed. The artist can convey the direction and speed of the movement by making an illustrative line accompany the motion of the item. Create dramatic stances and compositions by using this line as a guide.

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

Taking comprehensive pictures of an object or topic from many viewpoints and angles is possible with video recording and photography. They will be able to study the object/subject more carefully and pick out certain characteristics that could otherwise be hidden from view. Designers may get insights and inspiration from the environment around them using video and photography as a useful tool. Designers can get a deeper grasp of the product or topic being shot and use this insight in their own work by meticulously evaluating and reviewing photographs and videos.

Week 3

What were your challenges in documenting your investigation?

Some challenges that i crossed while attempting to document my investigation was that the model i produced didnt reflect well in the image documentation. As i started to document the process of showing how the machine works and moves it displayed how it only needed to be developed further to be functioning and convey the overall idea I wanted to communicate. The thumbnails that were produced seemed limited in the sense that at the end point the shape doesn’t close.

What were your challenges in documenting your investigation with words only?

The process of documenting the work using words only helped communicate the story in the sense that it can communicate the idea and overall allegory in a way that is understandable to an extent. Imagery helps with communicating ideas further with the addition of using words as well. By only using words the challenge was trying to communicate the whole idea without having the supplementary visual elemant to support the idea.

What were your challenges in documenting your investigation with line drawings only?

The challenge by only using line drawings in documenting the investigation proved challenging in the sense that it needed to be comprehensive enough that the image represents the whole idea of the story. Trying to develop the drawings in a way that it can communicate the key elements of the story proved difficult when attempting to develop drawings and thumbnails to ensure no confusion was made when the reader views the images.

Week 5

How can architecture communicate emotively with its occupants?

By appealing to the senses of its users, architecture may elicit strong emotional responses. This may be done by utilising objects with a variety of patterns, colours, and textures, or by designing settings with diverse degrees of sound and light. A building’s design and form might elicit a particular emotional response. For instance, curving lines might convey tenderness and warmth, but angular forms can convey firmness and power. Architecture may express emotion by reacting to its surroundings. Buildings that are sensitive to their surroundings can promote balance and harmony, while those that are at odds with them can exacerbate tension and unhappiness.

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?

To begin, identify the design concept, which is the main message that the design should convey. The needs, objectives, and project context should all be taken into consideration while developing this idea. The project’s objectives, specifications, and limitations should be described in the design brief. To make sure that the design is fulfilling the demands and objectives of the customer, this document should be used as a reference throughout the design process. Designers can find any problems or areas for improvement by testing the design using simulation, prototyping, or other techniques. This testing needs to be done at every stage of the design process to guarantee that the desired message is conveyed clearly in the finished product.

How can designers make sure their visualisations and representations of the design communicates the idea accurately?

When it comes to representations and renderings of architectural designs, details matter. Designers must make sure that each component of the design—including the materials, textures, lighting, and scale—is appropriately portrayed. Regarding architectural design, various audiences could have varying degrees of knowledge. The audience for the visuals and representations should be taken into account while designing them. Giving the design’s context—such as its location, neighbouring structures, and surrounding landscape—can aid visitors in comprehending how the design fits into its broader setting. In order to assist stakeholders better understand and appreciate the design, designers may make sure that their visualisations and representations of the design effectively express the intended notion.

Week 6

Design varieties may help customise 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 fabrication process may be impacted by the need for different materials in various design variants. The complexity and expense of the fabrication process may rise, for instance, if a design variant calls for a material that is hard to find or work with. Variations in design can have an effect on how a product is manufactured. For instance, a design modification that calls for a different form or size can need the use of new tools or equipment, which could affect the price and duration of the manufacturing process. Similar to how changes in design might affect how a product is put together during assembly. The cost and effectiveness of the manufacturing process may be affected, for instance, by a design variant that calls for a more detailed or sophisticated assembly. Similar to how modifications to a product’s design may impact how it is put together during assembly. A design change that necessitates a more intricate or complex assembly, for example, may have an impact on the cost and efficiency of the manufacturing process.

What else can line drawings do, apart from representing a design?

For text illustrations in books, periodicals, and other publications, line drawings might be employed. They can be used to illustrate difficult ideas, clarify scientific procedures, or add ornamental components to a design. Technical documents, such as user manuals or assembly instructions, may contain line drawings. They can offer consumers clear, crisp images that emphasise crucial processes and components while guiding them through a process. In educational settings, such as textbooks or presentations, line drawings can be used to assist clarify topics or procedures. They can be used to depict anatomical features, schematics, or historical events. Overall, line drawings are a flexible technique that may be applied in a variety of contexts beyond simply illustrating a design. They are effective communication tools in a variety of circumstances because of how straightforward and clear they are.

Week 7

An architectural experience is more than just the design itself. It is also the atmosphere of the space. Aside from the design, what other elements in an architectural representation can architects use to communicate experience?

Elements that designers and architects can use to communicate experience is through adapting and designing a space which allows for experiences to be fostered. Multiple elements of deign can assist in this. Architects can adopt the use of lighting within a space which would allow for a more cool or warmth effect added within the space and assist in conveying any emotion the feel should be experienced. Colours can be used to help in creating or mood or feeling for the space. Bright colours have the sense of energy while muted colours can create a more peaceful and calming atmosphere. Additionally, the use of texture can assist in creating an emotional response to the space. Textured walls or floors has a cosy sense while smooth surfaces give the effect of a sleek and clean finish.