Light box - trainers guide | Learnarch project

PROJECT TEAM:

NEA ASSOCIATION

Alex. Sescioreanu

Flavia Gheorghian

Bogdan Dumea

DRACON RULES DESIGN STUDIO

Konstantinos Lekkas

Cristina Morar

LUSOFONA UNIVERSITY

Carla Sousa

Filipe Luz

Wilson Almeida

PROJECT CONTRIBUTORS:

G.M.CANTACUZINO FACULTY OF ARCHITECTURE

Tiberiu Teodor-Stanciu

Carmina Gheorghiță

Raluca Manoliu

PARTICIPANTS:

Adina Elena Clapa

Adina Andreea Bilha

Bianca Stefania Grosu

Ioana Alexandra Ciobanu

Varsamis Nikolaos

Athanasias Konstantinos

Bachari Nikoletta

Fakis Konstantinos

Pagkou Ioulia

Cátia Casimiro

João Léste

Pedro Fernandes

Henrique Monteiro

PARTENER ORGANISATIONS:

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

TABLE OF CONTENTS

1. INTRODUCTION

• About this booklet

• The teaching part

• Gamification

2. TRAINERS ROLE

• Preparation: use of volumes, use of board, component assembly, lessons

• During gameplay: instructing, observing, assisting

• After game play: assessing results, self assessing

3. ADVICE ON CREATING CARDS

• Individual point cards

• Team goal cards

4. USES OF THE GAME IN THE CLASSROOM

• Purpose of the different features

• Game modes

• Levels of complexity

• Lesson examples

The “LearnArch: Teaching Tool for Architecture Learning” project is co-financed by the ERASMUS+ programme of the European Union and was implemented from 01 March 2023 to 01 March 2024. This booklet and the project’s content reflects the views of the authors and the European Commission cannot be held responsible for any use which may be made of the information contained therein

Project Code: 2022-2-RO01-KA210-ADU-000100481

Website: https://www.learnarch.eu/

INTRODUCTION

About this booklet

This booklet is meant to spark the creativity of the trainer, in order to understand how they can adapt this tool to their individual needs and change it according to the lesson they wish to teach. I main rules are meant to provide the basis of understanding the basic gaming uses, so that the trainer and their learners can get accustomed with easy gamerelevant concepts and be then able to proceed to more abstract and difficult uses and modes, as the trainer decides.

The trainer, after trying and testing the game, will be able to modify its rules and break them to suit their needs; each and every rule and card created, is an example of play, an example of the tool’s use. They will be able to integrate other Volumes of their own design and complexity for their sessions, and devise new rules or adapt existing ones. For example, the trainer will choose to use more copies of a Volume, and set aside others; they may choose to disregard point scoring, or choose to introduce competitive instead of cooperative elements; they may choose to introduce more dexterity elements (such as playing blindfolded in order to feel the Volumes with their hands). The possibilities are endless. Please see more on the section “Advice for the Trainers”.

This booklet contains extra rules, game modes and advice for using the Light Box game with advanced components and in more experienced classrooms. This handbook is considered to be the trainer’s guide, including

advice on how to take the first steps and the game’s construction, as well as an extended ruleset and components to be used in a less restricted environment, for advanced learners of architecture. The game follows various principles which are connected with the learning process. In order to make this more easily understandable for the trainer, this section introduces concepts used within the game’s elements.

The teaching part

Typically architecture is teached in the Atelier / studio type of setup. In this type of teaching the students are given assignments in the form of specific projects that they have to think about. During the weeks reserved for a certain project, with the help of the trainers, they will have to produce work (drawing, mock-ups, etc.) that shows they understand how to respond to the brief. At the end of the project, in most cases, a presentation is made and a grade is given. The presentation has the role of giving the students the opportunity to explain and defend the design against critique from different trainers. The evaluation can have different criteria but also has a subjective part Trainers couple this process with explaining different architectural concepts (in most cases by giving examples of famous buildings). Some of the concepts are related to the function of the buildings or to the form. Other concepts relate to the repercussions of certain gestures in the form making process, like behaviour of the people that use the spaces.

Having different abilities to teach the architect the Light box game is flexible enough to be used in this process of teaching in different ways. To be able to use it as efficiently as possible the trainer should first familiarise oneself to the different parts of the game both visible and invisible. Also understand how to turn the way architecture is now teached into a gamelike environment.

Light box can borrow from the process already used by the established way of teaching. The form of the game gives the opportunity to test this process in a simpler, and add gamification elements so the players can manage to conceive buildings, interiors or other architectural experiences in a non-formal setting.

Gamification and gamebased learning

The concept of gamification exists in many fields already. The education has for some years now experienced an increase in game based tactics, dynamics and mechanics. There are many reasons for this adoption: motivation, engagement, mindset, ease of use. All of them apply to architecture training.

Some of the features of the Light box game that can help with understanding of architecture:

• The use of simple volumes to illustrate different architectural concepts

• The simple point system related to placement of volumes

• The involvement of the trainer

TRAINER ROLE IN GAME PLAY

There are many ways for the trainer to interact with the players and game play. Lightbox is a tool of enlightening people in architectural concepts and mindsets. This tool is the trainers tool, even if the game can be played without a trainer or more skilled players can act as trainers within the game.

When thinking about using this tool the trainer will find him/her self in different states:

1. Preparation state - where the lesson is being thought of and is put in game form

2. During gameplay state - here the trainer helps the players understand the lesson

3. After the game state - to have better experiences the trainer can reflect on the game from different points of view

1. PREPARATION

There are many lessons one can teach about architecture with the default Cards and Volumes the game comes with. The set of rules and props of the game can adapt based on the needs of the lessons. In this stage the trainer is to think about the lessons he or she wants to teach. The game will help teach that particular lesson to the learners / players. Some general tips for preparing would be:

Play the default version first to understand how everything comes together.

Choose the best volumes and cards for what you want to teach Less is more - don’t try to teach too much in one game

Putting everything down on a piece of paper can help

Number of occurrences of the positioning of the volumes should be taken into consideration when thinking of points for cards Think of the fun factor and what can give the best gaming experience to the players

1.1. Use of Volumes:

The volumes are the main way players interact between themselves and accomplish goals. The gameplay can include all the volume types, just a few, just one or other volumes that the trainer considered the best fit for the lesson.

The volumes can be downloaded from https://www.learnarch.eu/ downloads/ On the website the pieces are in several formats:

• For 3d printing

• For printing on regular A4 paper, cut, glue and play with. After downloading, printing, cutting and glueing the pieces are ready to play with. This activity can also be integrated into the gaming-teaching experience, model building skills and patience being just a few of the things this part helps with.

The game can be played with all of the volumes provided, a few, just one or none. Depending on the lesson and game experience you as a trainer want to provide to the players.

1.2. Use of the board:

The board is the surface onto which the volumes are placed. The default use of the quarters of the board is back to back, creating 4 different pockets for the pieces to be placed. In this scenario every player places pieces in one of the

quarter boxes at the time. This placement of boards has the role to better focus the player on a certain part of the board at one time and empower the decision making of every player.

The default boards can be used in different ways, the following are just some examples:

• To simulate the 3 axes of the of 3d spaces or the different views: top, front, side

• To project shadows of the volumes on the different sides

• To help players better imagine facades of buildings and the relationship with the ground plane

• To provide support and hold up different compositions that wouldn’t otherwise stay up Turning or moving the quarters of the board can form different set-ups that encourage working differently. The space between the boards can also be used to give the impression of building volumes if they are spread apart. Also the trainer decides if the board helps or not the lesson and can change it in any way he / she needs to.

1.3. Component assembly

3D Printed Components

Trainers with access to a 3D printer may download and use the ready-to-print volumes at the following link https://www. learnarch.eu/downloads/ Using 3D printed components allows the use of more complex Volumes to create advanced compositions. After printing, make sure you remove all supports and smoothen all sides with a file.

Paper Printing Advice

Players may print the basic Light Box components on your paper printer, in one of the following ways:

A4 Paper

Printing in A4 paper is the cheapest and most accessible and affordable solution, that can be utilized by people printing the game in their household. It represents a great way to test the game and understand its basic concepts.

In order to create the game, take the following steps:

1. Download the paper Volume files, found at https://www. learnarch.eu/downloads/ (less than 1’)

2. Print the file (Total of X A4 Pages, and depending on the printer, between 5’-10’)

3. In 12 copies, if this is your first time. That will give you 3 pieces of each Volume for each player, for flexibility of choice.

4. Select the Volumes you wish and print enough pieces so that each player has at least 20 total Volumes.

5. Construct the Volumes (2’ average per piece)

6. Cut out each Volume, making sure you do not cut away the connection joints

7. Glue each Volume, by placing normal paper glue on the connection joints (glue the connection joints in the interior of the Volume)

8. At the end of the document you downloaded you will find the Quarter box layout (less than 1’)

9. Print the Quarter Box (Total of X A4 Pages, and depending on the printer, between 2’-5’)

10. Construct the Quarter Boxes (4’ per piece)

11. Cut out each Part

12. Glue each Part, by placing normal paper glue on the connection (glue the connection joints in the exterior of the Quarter Box)

13. Cut out cardboard in the Volume of the Parts (for example, from used boxes of Cereal)

14. Glue the cardboard pieces on the exterior of the Quarter Box sides and bottom for support

15. Download the cards from https://www.learnarch.eu/ downloads/ (less than 1’)

16. Cut out each card and form decks

A4 Thick Paper

If your printer is able to print in more types of paper and you wish a better quality and durability game, we recommend printing the game in A4 thick paper, in the maximum thickness your printer allows. Follow the previous steps.

Cardboard Elements

This solution will create the most sturdy elements, but requires more work than the previous steps.

In step 2, Print the file only once. Cut out the Volumes and use them as guides to cut out similar sized Volumes out of cardboard (such as spare Cereal Boxes).

Deluxification

Should you wish to invest time and effort in your Light Box game and provide a better experience for your group, you could do any of the following:

For the cards, either print sticker paper and glue it on similar sized cards or cardboard cut-out. Alternatively, use other game cards and sleeves.

3D Platform

The Light Box game is available for free to all users owning a license of TableTop Simulator (TTS). Players may add Light Box

to their collection in TTS for free by visiting https://www.learnarch. eu/downloads/.

In order to learn how to access the TTS platform, players should visit https://www.learnarch.eu/ downloads/

1.4. Tips on lessons

Light box is a tool for the creative trainer that needs freedom and flexibility.

In the Default mode, the individual cards are examples of different conditions that the placements of the volumes have to follow. The team goals are more complex concepts that the players can learn about architecture. The tasks on the cards can teach so far, they can be amplified by:

• The insights a trainer of architecture can bring

• The interaction between the players

• The different modes of the game

Different lessons could focus on but are not limited to the following examples:

1. Reconstruction of compositions - developing visual-spatial awareness in players by having them reconstruct a certain composition of volumes. In this case the cards that show these compositions can be 3d images of 2d views of the compositions.

2. Simplification of formsproducing compositions that resemblance different known buildings, the players have to use a limited number of volumes or limited types of volumes

3. Different programs like houses, offices, museums, hospitals, shops, etc. In this case players have to compose

buildings that look like or express the function of different types of building. Also the relationship between the different functions of buildings can be understood.

4. Facades - different ways of composing facades of buildings after images or concepts

5. Courtyards - knowledge on the creation of empty spaces inside buildings

6. Interior space - insights into the creation of buildings interiors and how they relate to each other

7. Bridges - ways of creating bridges of different spans and concepts related to the structure of these types of constructions

8. Factors of influenceunderstanding different aspects that shape architecture like: structure, the elements, city planning, program, etc.

9. Adaptability - teaching one key architectural mindsets that one needs to have to cope with an ever changing design process.

2. DURING GAME PLAY

2.1. Rules and instructions

The rules are the first thing the trainer is to pass to the players. In this regard the Rulebook is the main place where one can find information on the actual rules. For the first time the game is played you should give more time and attention to the instructions. Rules will have to be explained in the beginning and also during the gameplay alongside clarifications and these will extend the time of the gameplay. Also the number of turns you set for the common goal can extend the gameplay. In explaining the rules we

encourage to:

• Make analogies so different things are understood better

• Verify if the players understood the rules by asking questions and validating

• Deliver byte sized knowledge relevant to the player actions

• Talk about the different details that would open the player mind and unstuck them

2.2. Observing the game Actions done during the game by the players are opportunities for the trainer to:

• Develop lessons about architecture.

• Improve the gameplay

• Make clarifications to different details

If this is to happen the trainer has to actively observe the gameplay. The attention of the trainer during the gameplay will influence the assessing at the end of the game. Observing and assisting the players during the game is one of the most important roles of the trainer.

2.3. Assistance

The students play Lightbox to learn about architecture. The trainer is an important source of information and evaluation. By observing the gameplay the trainer can better inform the players and provide information to increase performance and decision making. Other ways the trainer interacts with the players can be:

• Questioning players decision of placing the pieces

• Asking helpful questions that make players realise some aspects of what they are doing

• Giving hints for different decisions the players could make

• Explaining what has happened on the board, the implications of the decisions made by the players during the game

From the different questions used ‘Why’ is one of the most important ones. Why? activates the internal reflection within the players and makes them more aware regarding the position of the Volumes on the board.

‘Why?’ can also activate the defensive behaviour of the sensitive and uncertain players. In these cases empathy from the trainer is a key requirement. Instead of ‘Why?’ one can use ‘How come?’ or other ways of discovering reasons behind actions.

A good example of informing players on a certain topic during the game could be:

ex: when you have to think about a living room and want to depict it with Volumes you have to think about pieces of furniture, but also the movement of people inside a space, right? How can you show movement in a simple way? etc.

3. AFTER GAME PLAY

The trainer has to be as present as possible during the game. After the game a reflection time is welcomed. In this state the trainer reviews the observations gathered during the game and the feedback from the players to improve the next experiences.

Often the ideas that come out of this reflection have to be validated by future play and are not guaranteed to improve the experience.

This reflection has to be followed by an interiorisation process. Here the trainer judges if the information gathered should be taken into consideration or not. Some of the ideas that could need

working can be related to:

• The timing and quantity of instructions - maybe not give all of the instructions in the beginning so the players don’t have to sit too much without starting to play

• Clarity - using fewer words or explaining in different ways so the instructions are as clear as possible.

3.1. Assessing results

To win you have to score as many points as possible, or the threshold on the cards. You score points by following the instructions on the cards to the best of your ability. Improving your understanding regarding architecture will improve your decision making and in return you will get more points. The gameplay has clear rules regarding points and actions. But the field of architecture is a complex one and has to take different factors into consideration. There are levels of subtlety regarding architectural concepts that players might not be able to reach on the first try. In this regard the trainer can disregard the points recommended on the cards or change limits to thresholds as needed to better assess the players activity.

For example the team goal can be to reproduce an image. In this case certain additional criteria can be added in the assessment. Thus the players understand why they made a certain amount of points. What goes into the analysis of the reproduction of the shape or function of a building. This criteria can follow the iceberg principle from obvious (ex: placement of volumes) to very deep (ex: concept).

ex:

Card title: The apartment Card description: Make an interior of an apartment with 4 spaces: livingroom, kitchen, bedroom, bathroom, 10 turns, 50 points

Levels of understanding

1. Placement of volumes - it is the most obvious level of understanding, but after the placement the function of the rooms are not that clear.

2. Resemblance - here the team does a really good job in the position of the different volumes so they look like the different features of the rooms even if the volumes used make them look abstract. The rooms are readable, and you can easily understand which is which.

3. Unity of detail - all the elements are readable and have the same level of detail, number of pieces, sense of scale.

4. Relationship between spacereadable elements and the rooms in context of each other and the exterior, there is proof of thinking of how someone could go from one to another, doors, windows

5. Concept - ‘Apartment for painter’ for example could be an overall concept for all the spaces and their use. If the players are able to think of a concept in the beginning and this intention is visible from the placement of the volumes on the board they achieved this level of depth.

3.2. Self Assessment

The way the instructions are passed by the trainer and the way they are perceived is also a topic of reflection that involves the trainer and the player. Asking for feedback on this is recommended so the experience of the game

can be improved. For example the trainer could assume the players are familiar with some of the topics in discussion and not give enough instructions, move too fast, forget about important details, etc..

Engagement is important in any game. Architects and trainers of architecture are not usually trained in providing engaging gaming experiences. The more used a trainer is in game activity the better the experience he / she provides for the players. Talking to players and getting feedback after every game session can help with:

• Clarity of instructions

• Putting knowledge about architectural concepts in a simpler form

• Combining different gaming mechanics and dynamics with teaching of architecture

• Better guidance during gameplay

The trainer could assume a position of confronting the players. One game mode could be players against the trainer for example. Here the sense of fairness comes into play. This sense could be tested and calibrated based on the players feedback.

The lack of instructions can be a subject of a lesson in itself. This could teach the players to gather information. But other than that the instructions should be as clear as possible.

ADVICE ON CREATING CARDS

The cards used in play are a great opportunity for players to be acquainted with different architectural ideas. The cards could be crafted in such a way depending on what the trainer wants to teach the players. This following chapter explains the way you can think of cards.

When thinking of creating cards you can have different approaches. The gameplay and the experience the players have will lead alongside the information you want to teach as a trainer.

1. INDIVIDUAL POINT (INFLUENCE) CARDS

The cards with individual points should be very simple to understand. Most of them relate to the way a piece is placed in space. The harder the placement, the more points a card could have. The ways of defining individual cards are by thinking of the different positions of a piece by itself (how it is rotated), by the relation it has to the planes of the boards, by colour, by the structure and relations between the players themselves and many others. Every card should have written on it one very specific way a piece can go on the board either in the beginning of a new composition on the board or in an existing composition.

The following examples are just some of the ways the text on the cards can fall into different categories:

RELATIVE TO THE HORIZONTAL PLANE

• Touching the horizontal plane on a square of 1x1

• Touching the horizontal plane on a square of 2x2

• Not touching the horizontal plane of the board

• On level zero of the board RELATIVE

TO THE HORIZONTAL AND SIDE PLANES

• Touching both the horizontal and one vertical plane

• Touching the vertical plane and another piece at the same time

• Touching the base and 1 square from the left side board plane

• On the base plane, 3 squares from the left and 5 from the right

• Not touching the base and 5 squares from the left plane VOLUME ROTATION IN SPACE

• Placement of piece rotate such it’s more wide that tall

• Place with one face having the smallest amount of squares on top

• Touching only 3 squares of another volume face PHYSICAL ASPECTS OF PLAYERS

• Place volumes with only one finger

• Pick blindfolded the volumes to place

COLOURS OF VOLUMES

• Same colour touching

• Complementary colours touching

A new composition can be started on the board any time in the game. Working within existing compositions gives the trainer the opportunity for creating new tasks for cards. The relationship

with the other pieces already on the board and the new ones can be a simple way of composing cards with countable points.

ex: STACKING

• Each stack of 3 pieces

• Each stack of 2 pieces placed the same way

• Vertical symmetry of 2 pieces (when playing with the same volume)

• Vertical symmetry of 3 pieces (ex: 3 up and 3 down)

• Staking pieces that are complementary (ying-yang)

• Stair like staking

It is understood that in some cases the text would not fit with the volumes and game mode. For example you can’t use cards that talk about the same adjacent pieces having the same shape or colour if you opt that all the pieces in the game have the same shape or colour.

The purpose of these cards related to architecture education is for the player to learn to:

• Follow instructions;

• Develop a basic of spatial awareness for imagining volumes in 3 dimensions;

• Form a language of working with volumes in space;

• Understand the influence of the physical like the force of gravity;

• Awareness towards all of the senses and the way the body feels during the game.

2. TEAM GOAL (GOAL) CARDS

These cards are more difficult to understand than the previous. Here the players get to work with

different complex concepts with the help of each other or the trainers advice.

During the implementation of the team goal on the card many things can happen getting them closer or further from the goal.

No matter the approach when composing the cards it is important to think of what the player is learning from it. The learning part can be anything from:

• architectural key concept

• an approach to thinking about buildings

• a detail about a building or style

• Stuff about the process of building

The pictures chosen to illustrate the cards can be anything from pictures found online, made by the trainer. The trainer should also set the level or resemblance to the actual composition the players have to make.

For example, when showing a picture with an actual facade one should expect that the composition would resemble that facade to the best of what the volumes used can produce. The evaluation will be made based on the player’s ingenuity of placing the available volumes to symbolise the different details shown in the picture. All of the above are relative to the lesson.

The graphics

The trainer can choose to add graphics to cards or leave just the text. When thinking of graphics you can opt for:

• An image of actual buildings / spaces, etc.

• A 3d representation of actual volumes used in the game

• An abstract representation that could be made with the pieces available

• Other type of graphics that assist the task on the card

The trainer can opt to include the creation of the graphics for the cards as an activity for the future players. Including the students in the process of creating the actual game can give them a better idea of the learning potential and different uses.

USES IN THE CLASSROOM

PURPOSE OF THE GAME

The point system of the game is based on placing volumes on the board - individual goals. This in turn gives shape to different abstract instances infused with meaning that can lead to different architectural teachings - team goals.

The purpose of this gameplay would be getting used to architectural concepts and workflows and also developing visual-spatial abilities - one of the most important skills an architect should have.

The construction of the default board simulates horizontal and vertical planes. It is inspired by a minimal representation of walls and floors.

Another novel aspect of Light box is the fact that the players can have a real time assessment of their thinking by the trainer. The use of real volumes, the practical placement of them on the board and the analysis of the decisions that come into play are at the core of developing architectural thinking.

GAME MODES

The ways of playing the game vary from competitive ones that speed up improvement and make the gameplay more fun, to cooperative ones that teach working in teams. At the same time the level of complexity can vary based on the players and their level of expertise: visual-spatial awareness, familiarity or mastery related to different architectural concepts, etc. These ways are called modes and here are some examples:

1. Solo

Players do not rotate their Quarter Boxes, and each player only places Shapes in their own Quarter Box. Additionally, each player can draw their own Goal card.

This game mode is suggested as an introductory mode, to allow players to get accustomed to placing shapes on the grid or building individual spatial orientation skills. During this game mode, the Artistic Threshold of the Goal cards as well as the Influence cards points scoring should be adjusted, or ignored altogether.

2. Pairs

Here the quarter boxes can be repositioned giving to each pair a surface of 2 quarters.

The opposite Quarter Boxes will be assigned one Goal card, and thus the players will have to complete two Goal cards. Mark each pair of Quarter Boxes for a visual reminder of which pair corresponds to which Goal card.

3. Persona

Every player has to embody someone in the architectural process. For example:

• The client. The player who has this role is influencing the design from the stand point of the beneficiary of the project

• The architect. Takes into consideration architectural principles and thinks about the best interests of the inhabitants of the future project.

• The (structural) engineer. Concerns himself with the stability of the design,

proposes different interventions to the building and influences the outcome from the point of view of safety in the case of: earthquake, winds, loads from snow, etc.

• The chief architect. This role is in reality part of the city hall. The chief architect looks for the best interests of the city. He/she leads the municipality office of urban affairs. The perspective from which this role looks at the design is in the well being of all the people in the city and not only those affected by the project. This role can be taken also by the trainer.

These and others have to work together in the Persona gameplay type to reach a consensus and learn stuff about the different ways of thinking along the way. The personas can be defined inside the game in one of the several ways:

• On another deck of cards

• As a detail on the same deck with individual / common objectives. In this case this detail is to be ignored when playing in another game scenario

• As something the trainers sets

4. Kinesthetic

Here the players don’t see the volumes but instead they have to feel them with their hands, understand the forms and work with them.

LEVELS OF COMPLEXITY

Depending on the familiarity of the players to the concepts of architecture there can be different levels of complexity to the game. You will find some of them bellow:

IMITATION

The easiest type of game. The players get a card and they have to make the composition from the card with the blocks.

This level can look like a 3d puzzle. Giving the fact that pieces have to fit in a certain way in space.

TRANSFORMATION

In this level of complexity players are introduced to the concept of VIEWS and have to complete a 3d volume that is in the shape of 2d views. Other operations or key concepts that can be introduced in this level are:

• Rotation - being given a volume and having to reconstruct it from a different angle

• Mirroring - having to

reconstruct a volume in its’ mirror image (props)

• Negative - having to construct a negative imprint of a given volume (detail)

• Cantilever - a way of displaying volumes where an equilibrium has to be made between the top pieces vs the bottom or the left vs the right so the composition can stand

• Section - a volume that is split in 2-4 pieces and every player having to reconstruct a piece In this level the visual-spatial ability is put to the test. Some players will have a hard time putting the pieces together. The ones that are more skilled with the ability will stand out.

SYNTHESIS

Level or type of challenge where the player has to simplify the volumes he/she sees. Here observation and various operations have to be taken into account because the player has insufficient pieces to complete a given volume or task. Synthesis could also take part in

the Transformation level but it needs a higher understanding of composition.

IMPROVISATION

This would be the hardest level of challenges. The players have to complete tasks that have a high degree of interpretation and fewer details or visual cues. Here the tasks can be:

• Silhouette - getting only the outline of a volume and having to reconstruct it

• Description - make a composition based on a description

• Touch - eyes closed and having to feel the volume with the hands

The skills to master here are:

• Conceptualisation - the ability to illustrate a more complex idea with the volumes

• Subtlety - how elegant a certain solution is

• Adaptability - the way players respond to different constraints

LESSON EXAMPLES

1. Visual-spatial awarenessSimple lesson

The players should reconstruct a composition of volumes. The reconstruction should be exact like the picture on the card.

2. Facades - Intermediary lesson

Build a Facade from a picture

Provide a picture of a facade on a card

Choose volumes that would better illustrate the image

Help the players

3. Building internal fluxComplex lesson

In this case let’s consider the lesson about building an Airport and some of the things an architect should resolve in a project like this.

The card should say: Think of the flow inside an airport. Identify 4 major zones inside and we can identify 4 areas: parking, public lobby (before security check), boarding area (after security), runway. Also to keep things simple you can consider that every zone is on the same level. The volumes the players can use are the same type, the L shaped. During game play you can start by having an open discussion with the players regarding the areas within an airport. But if you want to simplify this step you can assign every quarter box to a particular zone.

When placing the volumes the players can focus on the different aspects of the 4 zones. For example:

• Parking is a space that has the car as a module. The area for

the parked cars and the space reserved for circulation can be the features of the space

• Pubic lobby is defined by a large open space that can host big lines of people

• Boarding area could have sitting in different ways, gift stores can also be found here

• The runway is all about movement of planes

• The role of the trainer during the game play can be:

• Providing information about airports

• Photos with people in different areas

• Different scenarios of activities that happen in this types of space

• Talk on different decisions the players are making

• Details on the relationship between the spaces -

Thank you for your attention and enjoy playing the game!

Learnarch team. https://www.learnarch.eu/

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.