4 HINGU PARTH
JITENDRABHAI
phingu@deakin.edu.au
5 JAIN SANJANA jainsanj@deakin.edu.au
6 JAIN A J jainakshi@deakin.edu.au
7 KESARIA DK dkesaria@deakin.edu.au
8 KHATRI MOHAMMED
ZUHAIM
mzkhatri@deakin.edu.au
9 KONG NATALIE nkong@deakin.edu.au
10 LI JINZHE 
lijinz@deakin.edu.au
11 LIANG ANTHONY asliang@deakin.edu.au
12 LIM SHUNG GAVIN glimshun@deakin.edu.au
13 MADHAMANCHI SRI RAGHAVA
CHOWDARY
smadhamanchi@deakin.edu.au
14 MAJMUNDAR MONAL MAYANK mmajmundar@deakin.edu.au
15 MALYAN ALANKRIT amalyan@deakin.edu.au
16 MORTELLITI JACKSON
 jmortell@deakin.edu.au 
17 NEHA DHRUVA nehadhruva@deakin.edu.au 

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

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.