ARC30003 FINAL FOLIO DICKSON KAI PART 1

ABOUT ME

Year 3

Bachelor of Design (Architecture)

20. Born and raised in Melbourne/Naarm. I hold passion in both Music and Design, but ultimately a drive in Architectural Design.

I have a strong passion in designing to create of sense of intrigue and ultimately in order to reflect a sense of social interaction between living and inanimate. Spaces created by both interior and exterior would utilise simple forms in order to satisfy minimalist ideals and adaptations towards the natural / surrounding environment.

In a more narrow sense of perspective, I’d say the general aesthetic, simple forms, materiality, tactile elements and the human connection creates my drive.

PRIOR WORKS

Design Studio 3

The Walls Around Us / Robin Boyd Project

Construction 2

Albury Summer Pavilion

ACKNOWLEDGMENT OF TRADITIONAL OWNERS

I would like to recognise the historical and cultural significance of Australia’s indigenous history and its role in contemporary society.

I therefore acknowledge and pay my respects to the Wurrundjeri people of the Kulin Nation, the traditional custodians of the land, on which we will conduct our business and development of concept.

I wish to pay my respects to all elders, both past, present and emerging, including those from other areas who now reside on Wurrundjeri land.

INTRODUCTION

From Allegory to Prototype. This project aims to challenge the importance of both visual and written communication as separate and combined elements as designers. This takes form through the translation of a significant moment within a mythological character, and communicating the moment in an architectural construct. This series of posters will capture the essence of idea, reference materials, story and experimentation as a cohesive unit.

A_IDEATION

SCENARIO

The Myth of Orpheus

Orpheus was a legendary musician and poet from ancient Greek mythology. He was said to be the son of Apollo, the god of music, and the Muse Calliope, and his music was so beautiful that it could charm even the animals and make the trees dance.

One day, Orpheus fell in love with a beautiful woman named Eurydice, and they were soon married. However, on their wedding day, Eurydice was bitten by a snake and died.

Orpheus was devastated by his wife’s death and decided to travel to the underworld to try to bring her back to life. He played his lyre and sang so beautifully that Hades, the god of the underworld, was moved to tears and allowed Orpheus to take Eurydice back with him to the world of the living.

However, Hades warned Orpheus that he must not look back at Eurydice until they had reached the world above, or she would be lost to him forever. Orpheus agreed and began to lead Eurydice out of the underworld.

As they climbed the steep path, Orpheus became anxious and fearful that Eurydice was not following him. He turned around to look at her, and just as he did, Eurydice was pulled back into the underworld, lost to him forever

Orpheus was inconsolable and spent the rest of his life playing mournful music and singing sad songs about his lost love. He was eventually torn apart by a group of angry women, who were jealous of his devotion to music and his refusal to love any other woman.

1. [Keywords ChatGPT: What is the story of mythological character Orpheus, and his wife Eurydice?]

Figure 1. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. (1892). Orpheus and Eurydice

ChatGPT

The Myth of Orpheus is a vastly rich and complex story, which has inspired its communication and interpretation through artistic works over generations. Given the conditions, ChatGPT does a succinct job of analysing and generating a response which observes an array of interpretations from multiple sources. The AI ultimately demonstrates that myths can be, and are commonly interpreted differently. And the response provided here is clear of a well summarised version of the myth.

Through further questioning we can consider an allegory which will present itself with clarity through visual and written communication as well as create a strong response through a physical system.

ALLEGORY

The allegory of Orpheus can be interpreted in a variety of ways, but one common interpretation is that it represents the human desire to overcome death and the limitations of mortality. Orpheus’ music is often seen as a symbol of the power of art and creativity to transcend the boundaries of everyday life and touch something divine or eternal.

However, Orpheus’ tragic mistake of looking back at Eurydice can also be seen as a warning against the dangers of doubt, impatience, and lack of faith. In this interpretation, Orpheus represents the human struggle to hold onto something that is fleeting and transient, and the importance of having the courage and faith to let go and accept the inevitable.

Overall, the allegory of Orpheus is a rich and complex story that has inspired countless interpretations and artistic works throughout history, and it continues to be a powerful symbol of the human condition and our search for meaning and transcendence.

SUMMARY

The allegory of Orpheus is a mythological story that can be interpreted in many ways. It represents the human desire to overcome death and the limitations of mortality, and the power of art and creativity to transcend everyday life. However, it also warns against the dangers of doubt, impatience, and lack of faith, and the importance of having the courage and faith to let go and accept the inevitable. Overall, the allegory of Orpheus is a rich and complex symbol of the human condition and our search for meaning and transcendence.

2. [Keywords ChatGPT: Allegory of mythological character, Orpheus. / Summarise allegory.]

Overall, the story of Orpheus serves as a cautionary tale about the dangers of doubt, the importance of trust and faith, and the transformative power of art and music.

IDENTIFYING VARIABLES

From the chosen story, we can use the following variables to strengthen our communication in both poster design and movement through a system.

CHARACTERS

The central protagonist of the story, Orpheus is a legendary musician and poet. He possesses extraordinary musical talents and is known for his ability to charm all living beings, including animals and plants, with his music.

Eurydice is Orpheus’ wife and the love of his life. She tragically dies from a snakebite on their wedding day and descends to the Underworld.

The ruler of the Underworld and the god of the dead, Hades is responsible for Eurydice’s presence in the Underworld.

Persephone is the wife of Hades and the queen of the Underworld. She becomes sympathetic to Orpheus’ plight and plays a significant role in the myth.

Hermes, the messenger of the gods, acts as a guide and advisor to Orpheus during his journey to the Underworld. He provides advice and warns Orpheus about the rules and dangers he will encounter.

Charon is the ferryman of the Underworld who transports souls across the river Styx. Orpheus convinces Charon to let him cross the river by enchanting him with his music.

These are the key characters in the story of Orpheus, but depending on the version or adaptation of the myth, additional characters may be included or emphasized.

ACTIONS

1 Orpheus plays his lyre and sings with such beauty that even animals and plants are charmed by his music.

2 Orpheus falls deeply in love with Eurydice and marries her.

3 Eurydice dies after being bitten by a snake on their wedding day and descends to the underworld.

4 Orpheus, grief-stricken, decides to journey to the underworld to bring Eurydice back to the land of the living.

5 Orpheus convinces Hades and Persephone with his music to allow him to take Eurydice back to the upper world on one condition: he must not look back at her until they have reached the surface.

6 Orpheus anxiously walks ahead, unable to resist looking back at Eurydice just before they reach the surface, breaking the condition.

7 Eurydice is immediately drawn back into the underworld, and Orpheus loses her forever.

LOCATION

The story takes place in ancient Greece and involves various locations: The realm of the living where Orpheus and Eurydice initially reside.

TIME

The underworld, ruled by Hades and Persephone, where Eurydice descends after her death.

The specific time period is not explicitly mentioned, but it is set in ancient Greek mythology.

CHAIN OF EVENTS

Orpheus enchants all with his music and poetry, gaining fame and admiration. Orpheus falls in love with Eurydice, and they get married. Eurydice dies tragically and descends to the underworld. Grief-stricken, Orpheus decides to go to the underworld to bring back his beloved. Orpheus confronts Hades and Persephone, convincing them with his music to allow him to take Eurydice back. The condition is set that Orpheus must not look back until they have reached the surface. Orpheus, unable to resist his doubt and longing, looks back just before reaching the surface. Eurydice is lost to him forever.

RELATIONSHIPS / CONNECTIONS

Orpheus and Eurydice

They are deeply in love and married. Orpheus is willing to risk everything to bring Eurydice back from the dead.

Orpheus / Hades / Persephone

Orpheus seeks permission from Hades and Persephone to bring Eurydice back, and his music convinces them to allow it.

How is the allegory of Orpheus linked to these variables?

Orpheus and his music

Orpheus’ music has the power to enchant all who hear it, including Hades and Persephone. It represents his talent, passion, and connection to the divine.

Orpheus and the underworld

Orpheus ventures into the realm of the dead to retrieve his wife, facing the challenges and conditions set by Hades and Persephone.

Interpreting these variables, there are many connections which correlate to the hidden meaning of Orpheus’ myth.

However, the story ultimately, is summarised into two elements, being Eurydice and Orpheus. We discover the connection through the actions and chain of events which are digested into the interpretation of their relationship, demonstrating the nature of human desire and loss, the power and limitations of love, as well as the consequences of doubt and temptation.

Orpheus represents the power of art, music, and poetry to move and transcend boundaries. His journey to the underworld symbolizes the depths of human emotion and the lengths one might go to.

There is no specific font associated with the story of the mythological character Orpheus. However, if the story is being used in a particular context, the font chosen should evoke a particular mood or tone associated with the story.

Trajan Pro

Garamond

Baskerville

Jenson

Didot

Minion Pro

Times New Roman

Baskerville is a classic serif font that has a timeless and elegant feel. It is often associated with tradition, sophistication, and classic literature. As such, it can be a good choice for representing mythological characters like Orpheus, who are often depicted in traditional or classic literary contexts.

The font’s clean lines and symmetrical letter-forms can also help to convey a sense of order and balance, which may be relevant to Orpheus’s story and themes.

4. [Keywords: Why is Baskerville a good font to use to represent mythological character Orpheus?]

Fonts such as Trajan, Garamond, Baskerville, or Jenson may be used to evoke a sense of classical elegance and sophistication. Garamond and Baskerville also present qualities of class and antiquity. There is no single “correct” font for a given design or context, and the choice of font should be based on the specific creative vision and goals.

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COLOUR PALETTE

To create a colour palette that represents the essence of Orpheus’ tale, we can draw inspiration from various elements such as love, music, nature, and the journey to the underworld.

1. Representing purity, innocence, and transcendence, a soft and serene white shade symbolizes the eventual liberation and spiritual elevation Orpheus seeks through his music and his connection with Eurydice

2. Reflecting the warmth and radiance of Orpheus’ music and the love he shared with his beloved Eurydice, a vibrant golden hue represents hope, creativity, and the transformative power of art.

3. Symbolizing the intense love Orpheus felt for Eurydice and the fiery determination that drives him to face perilous challenges, a passionate red captures the powerful emotions and desires at the core of the tale.

4. Symbolizing the mysterious and melancholic nature of Orpheus’ journey to the Underworld, this rich shade of blue represents the depth of his emotions and the darkness he faces.

5. Representing the lush beauty of the natural world and the forests through which Orpheus wandered, a deep green shade evokes a sense of enchantment and the vibrant life that surrounds the protagonist.

6. Shades of Gray: Signifying the delicate balance between life and death, the realm of shadows, and the uncertainty Orpheus encounters, varying shades of gray can represent the ethereal and mysterious aspects of the narrative.

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REFERENCES

The second form of communication is to present through imagery. Images selected reference the story of Orpheus, depicting the scenes in general as well as the variables.

The first series of images emphasise the general story of Orpheus. A demonstrates the general power and traits which Orpheus possesses, which is the transformative power of music and art. B presents the love which both have for each other and the unfortunate contrast of death in image C, where Eurydice is bitten by a venomous snake.

D is a further extension of Orpheus’ journey and desperation to recover his deceased partner back to the overworld. Visual E, is the most significant image of the story as it symbolises the allegory, Orpheus’ filled emotions of doubt, trust, love and loss.

These images here more importantly explore the myth variables and key factors of the allegory. More importantly, they emphasise the clear elements to be explored through the design process and presentation.

Image F shows the contrast of the two lovers and delicate balance between life and death.where eurydice is found lost in separate in the underworld. Orpheus is the light in which desperation and passion is constant through his journey to hope and transcendence.

Image G is a general image demonstrating a culmination of ideas, but most significantly the idea of trust and faith. Orpheus is positioned with conflict through his journey to face a multitude of challenges, and in the unfortunate error of doubt and distrust, he becomes victim to loss.

Dickson, K. (2023). Orpheus. [Pinterest: source images.]

IMAGES / MIDJOURNEY

These series of images are generated through AI imagery software, Midjourney. This can be used as an extremely effective tool to produce various image-related applications due to its ability to analyze, interpret, and manipulate visual data.

/imagine orpheus playing music to animals and trees, history painting. [B]

These images were generated to understand the power and transformative input orpheus projected onto living aspects of life, flora and fauna. This idea was an extension of the prior searched imagery to understand Orpheus and his power in a traditional art-like documentation style.

/imagine orpheus looking back at eurydice as they exit hell, history painting. [A]

These final generated images were an attempt of exploring the scene of Orpheus’ ascendance from the underworld alongside Eurydice, again retaining the consistency of imagery in a traditional painting-like documentation style.

These images present largely more abstract from those archived from the internet, and with more emphasis on colour and realism. We are able to interpret the internal conflict and mental tension of which Orpheus is strained by through bringing eurydice up from the underworld.

Dickson, K. (2023). Orpheus. [Midjourney: AI generated images.]

DIAGRAM

Reflecting on variables which we identified earlier, how do we interpret these ideas into a effective diagram which demonstrates the allegory of Orpheus within an architectural format?

STYLE / DESIGN

Examining the story, there are two clear factors and contrasts, Orpheus and Eurydice and the idea of the living world and the underworld. Both elements are to be clear with distinct contrast to assist in visual clarity.

The use of black and white throughout the diagram is therefore necessary to create this distinction. This consistency will be clear through the use of legends.

LEGENDS

Three significant factors are apparent as markers and legends through the design.

Characters are presented as shapes which are much larger than the other legends. this is done to create hierarchy and importance within the diagram.

Movement is presented through lines and varying line weight to define where characters move and how their movement generates importance within the story.

Arrows are utilised to guide users in understanding direction. As an extension of movement the arrows all users to follow the path which characters are directed to, interpreting parts of the story.

Orpheus’ character icon is identifiable as hollow and incomplete. As he yearns for his other half through the majority of the story. Eurydice’s icon actually contrasts this, as she is the piece which fits inside Orpheus. These icons are reflected within the arrow design.

Lineweight thickness and shape is presented to demonstrate two aspects. The optimism and determination in Orpheus, which is emphasised through the dotted line weight. Eurydice demonstrates the rigidity and harshness with trust and doubt as well as death and the underworld, presented through the sharp and blunt dashed line weight.

WHAT ELSE?

Following additions were created to assist in story interpretation and further understanding of why events may have occurred. The inclusion of Hades is fairly central to the allegory and the overlaying rule which Orpheus broke. Therefore design decisions taken are to demonstrate the qualities of Hades and his role in the story as well as his authorial power.

Hades [Character.]

“In your journey for love’s return, let faith be your guide, and trust in the unseen. Succumb not to curiosity, lest your beloved be forever reclaimed by the shadows.”

- Hades

EXPERIMENTATION

Reflecting on the drawn allegory and moving forward from research, we observe how these variables might work in an architectural system. What movements would this entail?

BONE

Bone systems are often categorised by movement facilitation, through support and a overall frame. At first observation was made towards cams and cranks. Cams work as disks which are rotated by usually a motor generating reciprocating motion. Similarly cranks are moved through rotation via motor, yet move in rotational motion.

Our introduction to bone systems was presented through 3mm box board with segmented pieces to work in unison, to perform as an overall system.

The materiality of the box board meant that under stress and tension system pieces would become susceptible to bending and flexing, sometimes even breaking.

The decision to move away from these crank and cam mechanisms were as a result of consideration to a system which would provide clarity and one which would be exemplary to the allegory. Specifically, considering the idea of transforming trust and fall into a mechanised system.

Figure 2. Exploring the use of crank systems through an exemplary model in class.

EXPERIMENT I

The first and initial experiment is an extension of the generalised class exploration into bone systems. Consideration was first, relayed into the translation of trust and fall where through line sketched movements, provided understanding of how this allegory might work through a composed system.

The first drawing was generated as a way of observing how might the scene of Orpheus and Eurydice in the underworld look.

This is clear through the bottom being stagnant, enacting as the underworld floor, and the top creating movement as Orpheus and Eurydice make their ascendance.

The next step was considering this as an actual machine, and something varying from a mechanism such as a crank or cam.

From the initial sketch arose the idea of a mechanical system which enacted as a scissor lift. This mechanism was one which closely demonstrated the ideas behind the allegory and movements associated with trust and fall.

Through the inclusion of scissor arms, this will allow the system to expand, as if extending towards the overworld, and compress, when eurydice is lost to Orpheus through his lack of faith.

Figure 3. Initial sketch in understanding a way of generating movement relative to allegory.

Figure 4. Further detailed sketch demonstrating prior idea of moment in a system with components.

These two final sketches illustrated below were produced in order to understand the movement of the system with areas fixed. Without this observation the mechanism would fail and therefore, the outcome of the system would not replicate the allegory nor the element of trust and fall.

Figure 5. Side View demonstrating how force from the x plane, generates movement in the y axis and compresses the x-axis.

Figure 6. Simplifying Figure 6, the left (horizontal) diagram shows how the left side of the system is stagnant through the movement cycle, whereas the right side compresses and expands.

MODEL PRODUCTION

Tranforming the sketches into a model meant providing scale and creating fixed points, allowing the mechanism to work functionally and in order to emphasise the movement of trust and fall.

The base consists of two pieces to provide rigidity, with cutouts positioned through the sides to allow for the base guide slots to sit flush.

4 arm segments are created with holes in the midpoint, allowing for split pin security, as well as two at either end providing the wooden dowels to slot in comfortably.

Top plate guide are also made to stabilize the top plate and follow the movement to be create through the base guide slots, alongside the wooden dowels.

*All pieces were laser cut using 3mm box board.*

The assembly of the system presents a simplified interpretation of Orpheus’ allegory, and demonstrates the values associated with trust and faith.

Figure 7. Experiment I Components which are laser cut.

Figure 8. Axonometric view exemplary of all system components and buildup.

MOVEMENT

The following series of images, demonstrate the movement of the system. When force is applied through the wooden dowels, the system expands vertically. When the dowels are released the system compresses, returning to its resting state.

EXPERIMENT II

The second experiment is less of an experiment and rather a refinement of the original composed system. But why is there need for refinement? What is there that could be incorporated are adjusted. Most significantly, there are elements of the allegory which could be represented and demonstrated through the composition of the mechanised system.

In its current state, the system doesn’t emphasise the tension and conflict which Orpheus undergoes through his journey to the surface alongside Eurydice.

How can we create tension? How can the idea of conflict and trust be greater displayed through the systems movement?

As Orpheus ascends from the underworld alongside Eurydice, theres this added weight and tension as Hades’ rules relay through Orpheus and his sense of doubt and trust.

This expression is voiced through the dowels, which control the movement of the arms moving the top plate upwards and downwards.

If tension is placed upon the dowel, then when released it will disappear to its natural state, much in similarity to Eurydice falling from Orpheus.

Figure 9. The inclusion of tension and force upon the wooden dowel, will generate further exemplification of the allegory and association to trust and fall.

TENSION AND CONFLICT

Rather an extension of system one, this extended system is re-thought to fit muscle as an added component.

Muscle takes form through rubber bands, which are secured through new points on the box board base, with it stretched across the wooden dowels placed on the new points and pushing position.

Figuratively, the muscle action demonstrates the temptation of Orpheus in looking back. This is clear through the conflict between the lifting of the system, against the bands tension.

It could also be interpreted as the end result in that Orpheus’ loss of trust, results in Eurydice falling away from his grip. This action is evident when the pushing of the dowel on the system is released. We observe the model retract to its natural state.

Figure 10. Axonometric view exemplary of additional muscle component, demonstrating figuratively tension and conflict.

B_DESIGN

How might the future of architecture communicate emotively with its occupants?

The future of architecture’s emotive communication with occupants will be determined by the innovative use of new technology and the incorporation of human-centric design principles to create environments that are not just functional but also emotionally resonant.

Integrating interactive digital interfaces and augmented reality could allow buildings to adapt dynamically to user movements and choices. Depending on the user’s emotional state or activities, this might entail adjusting lighting, temperature, and sound levels.

Another option is to add biophilic design, which uses natural elements like plants and water features to generate a sense of serenity and well-being. This method has been demonstrated to improve both mood and productivity.

Additionally, sensory aspects like as aromatherapy and haptic feedback might be included into architecture to create a multimodal experience that engages the user on a more emotional level.

DESIGN CONCEPT

Reflecting and analysing the prior system experiments, we observe key elements which work in favour of exemplifying the allegory, and which areas can be strengthened.

These ideas are to be further exemplified and strengthened through communicating an installation design. Through this presenting the systems overall geometry and intended effect, the variations which come through the design process along with the literal and figurative mechanism.

This should be developed with consideration towards the designs positioning in its chosen site, including its form of attachment and emotive connection with users.

TRUST + FALL + TENSION

WHAT CAN BE CHANGED? WHAT ARE THE CENTRAL CHARACTERISTICS?

From direct observation the linear movement up and down is most apparent.

However the rubber bands provide more complexity, and incorporate elements of tension and conflict. How can this experiment be incorporated into an installation, whilst carrying its intended movement effect?

Figure 11. The inclusion of tension and force upon the wooden dowel, will generate further exemplification of the allegory and association to trust and fall.

PRECEDENTS

The observation and analysis of precedents will provide further clarity to developing a system installation which demonstrates movement and holds emotive connection with users.

Precedents that have been chosen, most closely demonstrate characteristics and qualities similar to the allegory of Orpheus, alongside the idea of trust, fall and tension.

PRECEDENT A

Hyper-matrix Vertical Kinetic Landscapes | Jonpasang

Should architecture communicate a story? Hyper-Matrix is an installation created for the Hyundai Motor Group Exhibition Pavilion in Korea, the 2012 Yeosu EXPO site. The exhibition comprises of thousands of 30x30cm cubes, which make up the internal facade of the building.

The collection of lightweight blocks extrude through the face of the structure, creating a virtually infinite series of configurations. While the pixels sweep through the room, sounds evoke a grand sense of interaction between the audience and surrounding space. As wave patterns ripple across the interior environment, additional digital mapping effects cover the surface to visually enhance the dimensionality of the performance.

PRECEDENT B

ONE HUNDRED AND EIGHT | Nils Volker

Should architecture communicate a story? One Hundred and Eight is an interactive wall-mounted Installation mainly made out of ordinary garbage bags. Controlled by a microcontroller each of them is selectively inflated and deflated in turn by two cooling fans.

The installation is designed to respond to the movements of viewers as they walk through the space, with sensors detecting their presence and triggering changes in the movement and shape of the bags. As viewers move through the installation, they become part of the piece, influencing its appearance and behavior.

PRECEDENT C

IN 20 STEPS | Studio Drift

Should architecture communicate a story? In 20 Steps is a tribute to the human desire to connect with its surroundings. In 20 Steps is a spatial, kinetic installation, constructed of a set of 20 delicate glass wings that represent all the different steps of flying in an abstract way. At the same time, the piece captures a wave pattern in a single moment. The glass emphasizes the fragility of the movement and of nature itself. The moving glass breaks the natural light in space and reflects it as moving rays.

DESIGN DEVELOPMENT

STRETCHING THE CONCEPT

From observing installations designed, we can now consider a practical approach to forming a system which works as an installation, which creates connection and interaction with the user.

Before beginning the development stage, time was taken to consider factors which would be applied to the final installation. These 4 key factors had to be addressed through the mechanism.

TENSION must be applied through the muscle implementation, this is necessary to imply the given effect of orpheus and his struggle to control doubt and trust. The second design element that must follow is COMPRESSION / EXPANSION, which will be evident within the bone structure.

This forms the allegory and movement of Orpheus and Eurydice through both rising and falling. Lastly, MODULARITY is to be incorporated as a factor of consideration in informing the idea of an installation. It will further extend the intend movement and effect of the allegory upon the user.

Figure 11. The inclusion of tension and force upon the wooden dowel, will generate further exemplification of the allegory and association to trust and fall.

The initial stage of sketching was an exploration into stretching the ideas of the allegory and how the allegory might look and act in an installation, more importantly create a connection with the user.

This first idea explores the up and down motion of the initial experiment, however when expanding , it would reveal optic wire, to represent the idea of life becoming clear, and a possibility.

The design would translate from the wooden dowels in the initial system, towards a motorised force using a top plate which would move up and down.

Whilst the idea showed promise, through further challenging and trialling the idea posed issues, not just in terms of design but more so the idea of user interaction. If the design moved through a motor on a set command, then how could it make any form of interaction with a user?

Taking upon the words sketched upon the previous page. The altered development would take upon a simplified approach, and one which worked closer to modularity and user interaction.

The words featured in this diagram are central to the constructs surrounding the initial experiment system. These will be considered when adjusting and refining the design to communicate the idea of trust.

REFINING AND STRENGTHENING CONSTRUCTS

Reducing the boundary size in consideration of producing the system as a module to be used in clusters.

REDUCTION

INITIAL MOVEMENT

The initial movement positions tension in an outwards movement to the bounds of the system. This lacks the correlation to the idea of trust as the ladder falls away.

The initial movement is inversed in the finalised system with tension directed towards the middle of the system. When weight is applied, the top plate will return and rest in a cube shape, in contrast to the first system.

The following diagram is presented to understand the movement of the scissor arms in correlation with the arm guides.

The midpoint holding the arms together, shifts in linear fashion. Through this period of translation, the arms move outwards to the boundary of the box, when the force is applied to the top plate. The arms retract inwards towards the middle when force is released from the top plate.

Referencing the vertical shift, parallel to the allegory of Orpheus ascendance from the underworld, the focus of trust is further strengthened through user interaction. When tension is released, the upper plate returns to its natural state, strengthening the element of faith, which Orpheus fails to perceive in his journey to save Eurydice.

MOVEMENT

Within the finalised geometry, the effect is clear and direct, specifically evident from the from an exterior perspective, through the systems vertical shift Force from the top plate of the system is required to generate downwards movement. When force is removed, the geometry retracts to its resting state, generating upwards movement through internal tension

This section provides the understanding of system movement through all components which undertake shift through force. All components work in unison to generate a reaction with user interaction. Where individual pieces are shifted through a journey.

DIRECTION OF MOVEMENT

spring movement [tension is removed]

spring movement [tension is applied]

arm movement [shift to guide boundary]

arm movement [shift to guide rest point]

pin movement [rotating with arms]

unit movement [force is removed]

unit movement [force is applied]

DESIGN VARIATIONS

From observing installations designed, we can now consider a practical approach to forming a system which works as an installation, which creates connection and interaction with the user.

Before beginning the development stage, time was taken to consider factors which would be applied to the final installation. These 4 key factors had to be addressed through the mechanism.

01 Jagged Movement

02 Wavy Movement

03 Unbalanced Movement

Movement one is easily identifiable as producing a jitter and shake in the system as tension is applied. Contrasting in nature, movement two produces a similar movement yet with more harmony and balance, in more calamity. Movement three observes how shortening and limiting the guide arm lengths can cause tipping, with this specific one creating a diagonal shift.

DETAILING THE DESIGN

SYSTEM BUILDUP / COMPONENTS

The following diagram depicts the system buildup, with the movement heavily reliant on the use of scissor arms, guides and spring which creates tension.

DETAILS

The spring detail demonstrates how its connection to the unit generates tension and ultimately generates movement. Each end is secured through holes made in the steel rods, forcing them to push to the springs resting state.

SPRING / ROD DETAIL

NUT / BOLT DETAIL

SITUATING THE DESIGN

CHOSEN SITE / NARRATIVE

The chosen site makes various connections to the allegory of orpheus, which provide reasoning for the attachment and impact of the designed system.

The open grassed areas adjacent to Wakefield St provide pathways which connect and create access. Orpheus uses the provided path granted by Hades to bring Eurydice to the surface with him, trusting that she will follow.

Understanding and interpreting the challenges of Orpheus in trust and faith, this system will cover these highlighted pathways, in attempt to challenge the user, just as Orpheus was.

SYSTEM APPLICATION

The surrounding landscape shapes the bounds of the underworld, and the pathway to life.

The system is placed as a modular buildup with no distinct pattern to form the pathway. Some placed in unison with some outliers and spaces used for voids.

Users will be challenged in their interaction with the landscape and ultimately their level of trust.

ATTACHING THE DESIGN

The base plate of the model is fixed to the ground through an additional plate which provides a connection between the model and the site. This attachment style uses 2 types of screw pieces to secure and fix the model.

Fluctuation is clear as the geometry is used in a modular based compilation with no direct consistency. As users walk along the space they must rely solely on their own belief and strength of trust as the systems shift when weight is applied.

KEY MOMENTS AND USER INTERACTION

Each diagram directs different ideas and perceptions of the way users interact with he system path and in turn create key moments.

A explores the perception of an individual viewing the entirety of the system path from Wakefield St. This demonstrates the overview of users moving through the space and the contrasting moments.

B emphasises the view of an individual looking down upon the system path.

C presents the idea of a user sitting upon the space, in trust that the system buildup will withhold the individual in comfort.

D looks at how an adolescent or child might view the space, what ideas might they draw, they may find a playful aspect from the system path, or view it as whole and in simplicity.

E shows how a user may understand the system based by its individual units, the singularity, the movement, the tactility and materiality.

F summarizes the system path demonstrating how an individual may view it from another area of the site, understanding how as a collective of the other experiences held, they might use and interpret the space.