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Please read (and re-read!) carefully.

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Direction: The Vertical grain of the tree trunk visualises a form of passage which reflects the trees exterior nature. Pathways change in density highlighting different points of the tree.
Central structure/View: I believe the the central circular motion of the drawings exterior drawn could possibly represent an overall idea or view open to interpretation of structure or a point of safety/happiness.
Structural Meaning: I Believe the drawing to highlight structure and integrity of a tree amazingly, I view the drawing as a central form with a spiralling and chaotic outside. Much like an exact tree were the centre is significantly strong yet the bark peels away.

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1 MUTHUVEETIL RESHMA muthuveetilr@deakin.edu.au
2 NGUYEN KIM KHANH TRAN
kkngu@deakin.edu.au
3 ONEILL ASHLEY aaoneill@deakin.edu.au
4 PUA ZICIN
zpua@deakin.edu.au
5 RENTERIA LUIS lrenteri@deakin.edu.au
6 ROBERTSON ALEX robertsonal@deakin.edu.au
7 SHAO JERRY shaoze@deakin.edu.au
8 SUNDARAN SWETHA swethasundaran@deakin.edu.au
9 TANG ZE ZHENG tangzezheng@deakin.edu.au
10 TIMALA SULAV BHAKTA stimala@deakin.edu.au
11 GOH JOE LIM jlgoh@deakin.edu.au
12 VADALKAR RAAVI SHAILESH rvadalkar@deakin.edu.au
13 CHOWDHURY NIL chowdhuryn@deakin.edu.au
14 VYAS MALVIKA vyasma@deakin.edu.au
15 YANG NARA yhae@deakin.edu.au
16 MUCHHALA PRACHI SANJAY pmuchhala@deakin.edu.au

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Get ready for the studio activities in Week 3 bringing all the drawing material required as already discussed.
Bring  materials for 3D physical modelling: paper (black, white, and coloured), wire mesh, plastic, foam board, clay, plasticine, cardboard, and any sort of materials you would like to play with.
In Week 3 we will go to 3d modelling and back to drawing...
And here, we ask:
"How can you spatialize the force of the atmospheric/ephemeral element of the site into an architectural beginning?"

This week the intension is to develop these surface drawings as a three dimensional space. Select drawings that have the most potential to be read and modelled spatially and possess architectural sensibilities. Use only one material for the models (mono-material,

cardboard). Here is a link to my Pinterest page that has heaps of examples of mono material models, grouped into 'solid', 'surface' and 'linear' material...
https://www.pinterest.com.au/lanavang/_saved

In Week 2 Studio we discussed your production of iterations and explored the concept of critical reflection. Week 1 and Week 2 required the production of at least 6 iterations via frottage and machine drawing.
From Week 3 you have to work      on 6 MODEL ITERATIONS.
1. Explore further the drawing you have produced. Use this design research process to explore something meaningful or of personal interest to you in some way: formal interest, conceptual interest, interest in colour, architectural influence and so forth. Once you identify something that interests you in the drawing, translate that into a 3D exploration. (If you still haven't produced your iterations, this is the moment to catch up!)

2. Select six from this series to explore further through modelling.
Start from the source drawing by drawing over to  'discover' the architecture in it. It may be a section, a plan, a perspective..or it could be more than one. Experiment with techniques in 2D and 3D, combine techniques in one drawing or one model. Remember: models are quick, they are for exploration not representation.
3. You will have to describe what your models could be in architectural terms;  what are the features of the forms you produced, what you spaces, atmospheres, qualities of space you imagine being available, and what aspect/aspects you would explore further. Remember what was discussed in the Q&A and seminar sessions about Critical Reflection.

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Please read the brief carefully to be ready for the studio activities with drawing and modelling material.

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1. Sign up and Log into Padlet with your proper name, this stops the anonymous posting and we can see who we might be talking to or who the comments are from...

2. Search for your name, and post only to your column (scroll left and right). Look for the + symbol under YOUR NAME to post. Posts will arrange newest at the top.

3. Upload a photo of yourself in your post so we can see who you are...

4. Upload jpg files of studio development which are prepared beforehand using proper scanning techniques (use mobile scanners - such as CAMSCANNER app for manual drawings).

4 Label your posts with a date or development stage.  Each week I shall take an informal record of attendance, quality and quantity of work posted on padlet. Work not submitted to padlet can not be reviewed.

5. You are invited to comment on other work from your peers and to offer construction feedback.

6. Anything else, I am open to suggestions! This the Virtual Wall of our Studio. Please pin-up here your work and progress before the weekly session.

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Hi, My name is Kim. Nice to meet you all. 

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Hi, My name is Kim. Nice to meet you all. 

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Hi, I am Prachi Muchhala. I have completed two Trimesters in Masters of Landscape Architecture. This is my T3 and taking this unit as electives. I would like to enhance my skills more for Thesis and Master Class. I have completed my Bachelor Degree of Architecture from Mumbai, India. I have worked for 1 year as Architect and Project Manager in Commercial Interior Design Firm.

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Hello all, I'm pursuing Masters of Architecture. I have completed my B. Arch from Pune, India and worked as an Architect for a year in Bangalore. I'm looking forward to explore different design methods through this unit. :)

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Select a frottage from the work of fellow Group 3 student and write a reflection on what you 'see'. There is no wrong answer. Everyone will 'see' something different. Use the language of architecture  / building analysis (see 'Other resources' column for reference) but also your own experience and imagination to describe the architectural potential in the frottage. Post your response on your column in padlet. Identify the work and author.

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Week 1: Text response and frottage captures.

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Week 1: Text response and frottage captures.

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Hi All. Great to meet and chat with you all about the unit. I look forward to our weekly discussions and seeing your work progress. Please complete the following before we meet in Week 2:
Read the Module B _Theory brief. (The following notes are taken from the brief).To further understand the significance of the design techniques and methods we will engage in (the WHY), the THEORY MODULE begins with a theoretical text–'Informe: Strategies of the Formless', written by Marc Angelil and Mark Lee, ‘Informe,’ in Marc Angelil, 'Inchaote: An Experimental in Architectural Education', Zurich: Swiss Federal Institute of Technology (ETHZ), 2003.

Come prepared with responses (written and for discussion) to the following questions:

•What are the different strategies of extracting or making the informe evident in this reading?

•Do you think that these strategies work better for art practice or for architecture? Why?

•Does architecture resist these ways of thinking or does occupation of buildings, for example, already make these ideas present?

1.  Read the theoretical texts and respond to the questions pose. Post a min 500 words on Padlet. Use appropriate referencing.
2. Complete  a minimum of 6x distinct frottage drawings. These can be presented as a series. Note the place-name, date and time.

Drawing Materials: Experiment with a range of surface materials (paper) with differing weights and textures. Suggested but not limited to: print paper, tissue paper, water colour paper, trace paper, butter paper. Experiment with a broad range of transfer substances (media) Suggested but not limited to: graphite stick, pastel, charcoal, pencil, watercolour, chalk, conté. Post on Padlet.

3. Whilst completing the above, consider the following questions, in regards to your experience of architecture so far:

·    Who do you think you are as an architect? (Check out the ‘Architectural Political Map’ included on Paldet column ‘Other Resources’ to see where you may ‘fit’.)

·       Has this identify been influenced by 2020?

·       Past, present, (future) knowledge… What, outside of architecture, may influence you as an architect?

·       Do you feel influenced by the ‘humanities’ or the ‘science’ in your architectural thinking?

4. Use your thinking on these questions to pose to yourself a 'Design Research' question. Write your statement question and post on Padlet. This ‘questioning’ stage is the first part of Design Research. The frottage and drawing machine captures are the methods. Knowledge comes through repeating and reflecting upon the process.

Design Research Stages:

Question / Intentions. What is a “wicked problem” you could respond to?

Methods. Enquiry. Iteration. Critical reflection. Transparent, relevant and appropriate to   question. “ A reflective conversation” that unfolds through the process.

Process. Knowledge in… Iterative process. Adductive reasoning (without all knowledge of). Solution focused. Psychomotor (thinking by doing).

Product. Knowledge in… Tacit knowledge. Reversed process. Critical reflection. What does the production suggest / tell you ?

Dive deep. Enjoy the process. See you next week.
Lana

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Is there an Architect you identify with or are inspired by? If they are on this map you can learn where they are 'politically' located.

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Close ups of a pattern caused by peeling bark on a spotted Gum tree

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close ups of a pattern caused by peeling bark on a Spotted Gum tree

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Extract from 'Analysing Architecture' pg 35-46.

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Extract from 'Analysing Architecture' pg 35-46.

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W02 Frottage

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frottage

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It shows a series of impressions that traced from a leaf forming different pattern. It describes the different aspects of composition, as initially it forms a strong linear axis from where different bands or patterns moving away from the main axis which makes it dynamic. Also number of spaces are formed and arranged symmetrically on both sides of the main axis and there are diagonal axis connecting from the main axis to the spaces formed where the deep penetrations of the line connects the whole pattern creating strong sense of structural order and developing spaces around the main axis.

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Drawing 12, by Kim Khanh Tran

The gold tint captured in the top quarter of this frottage prompted a vision of low angle sunlight glinting off a village perched on the edge of an ocean cliff. From this distance, the buildings cluster to the very edge of the sheer cliff while the wind and ocean spray polish the exposed faces of the buildings. If I image the spaces up close, I see views between the buildings forms, looking out to the ocean, some narrow and steep, others wide and expose. The buildings would be hewn of the landscape and change colour with the progress of the sun, creating strong contrast of light and shade through the individual buildings and the townscape.

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In my imaging, i try to put this frottage on the macro scale of a city region. because the crumpied paper have already created a texture, it look like a rugged terrain. And the charcoal drawing,look like buildings designe to solve the exist terrain condition. The order of the architecture echo the context of the "site-the crumpied paper".The arrangement of the building also follows with a specific rhythm. The dark color and light color of the shape in the drawing can be imagine as the order of private space and public space.

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my view on frottage by reshma no.8

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http://www.iaacblog.com/projects/active-public-space-drawing-machine-and-mapping/

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Drawings: Location: Werribee (Exposed concrete driveway). 15/11/20. Time 2pm Location: Werribee. (Tree) 15/11/20. 2:30pm  Location: Werribee (Haines Reserve, rock)11/11/20 3pm  Location: Werribee (plants,rocks,bark) 16/11/20 6pm Location: Werribee (Galvin Park) 16/11/20 6pm Location: Werribee (Brick) 17/11/20 7am  

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Drawings: Location: Werribee (Exposed concrete driveway). 15/11/20. Time 2pm Location: Werribee. (Tree) 15/11/20. 2:30pm  Location: Werribee (Haines Reserve, rock)11/11/20 3pm  Location: Werribee (plants,rocks,bark) 16/11/20 6pm Location: Werribee (Galvin Park) 16/11/20 6pm Location: Werribee (Brick) 17/11/20 7am  

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Week 1: Text response and frottage captures. • What are the different strategies of extracting or making the informe evident in this reading? Informe is not defined by a meaning but by the actions of undoing. Taking the architectural concept of order and stability and challenging its representation. The reading discusses various strategies to dismantle ‘form’ and dislocate it’s meaning. In fields for example, shape, geometry and compositional arrangements which are ideal forms determined by subject- object dichotomy is flattened through the introduction of time and space. In fluidity it destabilizes a set object and allows it to be free for individual interpretation, it can be anything at any given moment. In informe there is not set form or ways in which things need to be, it is constantly proposing ways in which what is considered normal is disrupted in a process of undoing. This can be further analyzed within other strategies mentioned such as weak materiality verses elevated matter and circumstantiality verses the inclusion of incidentalness.  •Do you think that these strategies work better for art practice or for architecture? Why? I believe these strategies are easily implemented in an artistic practice from start to finish. In art there is more freedom to ‘step outside the box’ without the concern of restraints from occupants that one might encounter in architecture. I strongly believe architecture should seek to explore these strategies as much as possible in early developmental stages and translate them in whatever way possible in the final design if the design is to have greater meaning. The linear stratified system and rigid environment in which society is accustomed to needs to be challenged. Unfortunately, architecture tends to arrive at a place influenced by what people consider as ‘functional’ or ‘logical’ and bound by costs and building codes. Therefore, informe is a powerful tool in which art can take full advantage of and architecture must learn to utilize adequately.  •Does architecture resist these ways of thinking or does occupation of buildings, for example, already make these ideas present? Both architecture and occupants resist to explore with other shapes, patterns and spaces because it is unfamiliar. Our perception of normal has been defined through the system. For this reason, we resist the ideas of informe as we have been molded through various platforms in our environment to behave a certain way and feel accustomed to certain spaces, textures and colors, consistently being told what to feel. Along with the limits of cost and regulations in the industry, therefore these issues are limiting architecture from reaching another realm in which nature already does.  

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Week 1: Text response and frottage captures. • What are the different strategies of extracting or making the informe evident in this reading? Informe is not defined by a meaning but by the actions of undoing. Taking the architectural concept of order and stability and challenging its representation. The reading discusses various strategies to dismantle ‘form’ and dislocate it’s meaning. In fields for example, shape, geometry and compositional arrangements which are ideal forms determined by subject- object dichotomy is flattened through the introduction of time and space. In fluidity it destabilizes a set object and allows it to be free for individual interpretation, it can be anything at any given moment. In informe there is not set form or ways in which things need to be, it is constantly proposing ways in which what is considered normal is disrupted in a process of undoing. This can be further analyzed within other strategies mentioned such as weak materiality verses elevated matter and circumstantiality verses the inclusion of incidentalness.  •Do you think that these strategies work better for art practice or for architecture? Why? I believe these strategies are easily implemented in an artistic practice from start to finish. In art there is more freedom to ‘step outside the box’ without the concern of restraints from occupants that one might encounter in architecture. I strongly believe architecture should seek to explore these strategies as much as possible in early developmental stages and translate them in whatever way possible in the final design if the design is to have greater meaning. The linear stratified system and rigid environment in which society is accustomed to needs to be challenged. Unfortunately, architecture tends to arrive at a place influenced by what people consider as ‘functional’ or ‘logical’ and bound by costs and building codes. Therefore, informe is a powerful tool in which art can take full advantage of and architecture must learn to utilize adequately.  •Does architecture resist these ways of thinking or does occupation of buildings, for example, already make these ideas present? Both architecture and occupants resist to explore with other shapes, patterns and spaces because it is unfamiliar. Our perception of normal has been defined through the system. For this reason, we resist the ideas of informe as we have been molded through various platforms in our environment to behave a certain way and feel accustomed to certain spaces, textures and colors, consistently being told what to feel. Along with the limits of cost and regulations in the industry, therefore these issues are limiting architecture from reaching another realm in which nature already does.  

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Google must have been listening to our Week 2 discussion! 

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Google must have been listening to our Week 2 discussion! 

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This is what I found when  opened Youtube. Words from a Master Architect...https://www.youtube.com/watch?v=kQSLCO2cufc

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Week 2: Nil’s - Wooden bench:

The darker shades of the charcoal and the trace paper act as positive and negative space. In this instance I distinguish the darker shades as potential structurally defined forms and the lighter shades as landscape elements.

There is a corridor of linear horizontal patterns going up the page to form an open space or courtyard. At a larger scale even a river, which dives two forms on each side. The forms respond to this open space, they're not parallel with the river but more so share a fluid relationship of give and take where the form is molded or integrated within.

The varying shades of grey dictate varying volumes from a site plan view. Lighter grey being a level below and the darker shades the higher levels. On the left side you could say that the form staggers back as it rises vertically, with the lower levels acting as open terraces looking onto the river. The leveling back allows to not overshadow or overpower the open space/river rather adapting to the natural environment and allow sun light. A light horizontal patch formed between lines intersect the river at the top of the page and connects both sides unifying the area as “one” while setting a potential boundary or proposing a new intervention.

The natural pattern formed through the horizontal lines forms a zig zag pattern which can be a pedestrian path that guide you to different areas of a program.

Although various architectural characters have been identified they appear integrated. I don’t feel a sense of confliction between various shades and forms and the wooden bench itself is a single object that functions as one and this can be reflected as an interconnected ecosystem.

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Drawing Machine

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drawing machine

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References -
1) DMY berlin 2013: melodic scribe by jihye kang + victor gonzalez
2) Artist Transforms Obsolete Devices into Autonomous Drawing Machines
3) (39) Pinterest

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SRD 741Architectural Design Research Studio_Week 04 Assessment 01 Review_Group 03_JoeLim Goh_217048332

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WHAT MATERIALS TO HAVE WITH YOU FOR WEEK 5

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WHAT MATERIALS TO HAVE WITH YOU FOR WEEK 5

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Get ready for the studio activities in Week 5 by bringing all the drawing material required for the studio, tracing paper, white paper, and all the material you would like to experiment with.
Bring also some materials you would like to start experimenting in 3d physical modelling: paper (black, white, and coloured), wire mesh, plastic, and any sort of materials you would like to play with.
In Week 5 we will do drawing exercises and will start exploring some 3d modelling - which will be the focus of Week 6.
Explore, experiment, and most importantly, have fun!

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In Week 5 Studio we will discuss the concept of drawing iteration and complete a series of drawing exercises using the three techniques presented in this module: continuous line, ruled line, and figure-ground.
I'll then ask that you  articulate in words what you see in your drawings and to define the qualities of the forms you drew.
This is what you will have to practice for Week 6.
You have to produce  3 DRAWING ITERATIONS starting from three different sources:
1. one of your rubbings
2. an image (from the internet, your photo, ..) related to an organic form
3. an image (from the internet, your photo, ..) related to the realm of Machine

You will have to produce a series of drawings starting from the source drawing  and through your own  drawing 'discovering' the architecture in it.
It could be a section, a plan, a perspective..or it could be more than one.
You will have to then observe the 'final' drawing of each series and articulate it in words: describe what it can be, what are the features of the forms you produced, what you find interesting in it and what aspect/aspects you would explore further.
Important: experiment with techniques, not only the ones presented in the studio. You can try watercolours, markers, oil colours, photographic paper and light, +++. Of course you can also combine different techniques in one drawing.
PLEASE TAKE PICTURES OF YOUR DRAWINGS POST THE 3 DRAWING ITERATIONS IN 1PDF FILE UNDER YOUR NAME IN THE PADLET

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week 5 exercise