_WEEK 5: PHENOMENOLOGY Acrostic
Guiding structure Free Structure
Portrait Grid
Quatern
Replicated Line Free lines
Square Grid
The formal structure overlaps/ dictated the start of the informal structure
The first line repeats as the second line of the second stanza - and so on
How to Design a Space following "Acrostic" Rules
How to Design a Space following "Quatern" Rules
-The design must have a central spine to link all spaces -Spaces can vary in size branching from the spine -Spaces must be a right angles to the spine
-Entry and exit must be the same be identical -All proportions must be divisible by 4 -One element must be repeated in each of the spaces
Imayo
Grid Diagrams for Week 5 by Mark, Jiajia, Danni.
Layout was a lot more succinct here, makes for easier reading which is something to improve on for next time. ‘Quatern’ is quite similar to our group findings on ‘Kyrielle’, which follows a systemic pattern of repetition albeit not consecutively. I discovered that poetry does form odd spaces for contemplation that could be emulated onto a plan, section or part of a facade. Moving forward, due to the collective impression for these grids, examining at an individualist aspect (positive and negative tension) can provide for more optimised spatial configurations for small scale works.
Landscape Grid
How to Design a Space following "Imayo" Rules - Each space must contain a “pause” - Each space must have the same length - The location of the break must align across the spaces
Individual Syllables Break within a Line
MARK, JIAJIA, DANNI
LEGEND. Pink- insertion of a element related to secondary element, but isn’t maintaining the ‘order’/structure. Black- Main elements, monotypical Grey/other- a secondary element that is related to the main subject but is overshadowed by the rest.
In this Phenomenology task the format that stood out most to me was the Kyrielle. Haiku was something I was familiar with due to learning it in high school and tautogram was rather systemic with randomized elements in the secondary part of the poem format. There was one hidden element that made the ordinary parts of the poem secretly stand out. I happen to like hidden connotations as this gives opportunity for users to dissect designs. Since this appealed to me most out of the formats, I could follow a similar pattern of work, where it is mostly routine but every once in a while there is a ‘spark’ or something opposing the routine that makes either my workflow progress faster or makes the design have odd attributes to it that may make it more interesting/ entertaining to the user. More analyses on Taj Mahal’s narrative and differen narrative forms that assist with architectural design. Iconography was certainly a lot easier and faster to get through due to the time constraints, and drawing out each panel was more time consuming than expected. From this I think it is better to get ideas across with quicker methods and leave drawing for actual production. 31
