Tuesday

And then his, his concept model was an attempt of bringing those spaces, or, you know, bringing some scale, some spaces that were on his information. Um, and they kind of went a little bit, probably beyond this, kind of trying to understand what were the different tectonics that he was interested in, architecture and they start taking form, uh, building up, you know, some momentum into preliminary design. And then he, you know, also presented some of the sketches and some of the thoughts around the architectural language that he would like to start exploring in the 2nd assignment. So, um, I think the more impressive part of his process was, yes, his his process in engaging with the ritual and looking at how they can sensitively relate to the archaeolog- archeology on site. But, I think ultimately, Well, I was most impressed with was how it then informed his architecture. So, his architecture in the end was, well, his living system was different, was the archeological convention system, archeological conservation living system. And so he looked at his architecture as a as also a ritualistic procession. So looking at how people enter the site. And the process between the entry of the site, which kind of coiners the Malay. And then looking at the concept of Allah and how Allah their manifest itself or evolves itself into spaces along this procession from entry into the main viewing platform. So again, I've uploaded these things. So we'll get into this a lot more on semester too, but I really enjoyed about Riley's work was just the balance of his presentation. So on drawings, which are more general arrangement drawings and more kind of the informative drawings to keep them quite basic. And for us just to understand the tectonics, and then we started getting into some of his visualisations. You can see how these visualisations affected in village life, affected in his living system, and how his architecture was ritualistic in a precision itself, and it was nested with inside his living system and the landscape. So, um, In some of these moments, You know, at every point of his presentation, he always brought it back to his design navigator of that ritual and of the Fulamahitu. and how each moment with inside his architecture was about the process of uplifting and educating people around archeology, but also these ritualistic processes. So, Again, I think this is more for some of the students, well, I think it's really important for all of us to understand how those navigators start informing the foundation store design process of assignment one, but how it then starts integrating itself across to assignment too. So I've put all of this. Up onto canvas, so we can view that. And then next was Liam. So, Riley was... Um, Fatlano, or the the different rituals, ceremonial rituals, which took place on site, so that was his designer again. I don't know disguise. Right. So this is Liam's work. So, Liam was looking at, I think, yeah, Liam was another project which, you know, I was, um, kind of, I'm sure everyone will relate to, but, uh, although, uh, Liam, as fuck, Papa, or Malua, Papa's, uh, from Sam, were kind of really kind of looking at someone's space and thought and a completely different context and a different perspective. So, for him, he was, this design navigator really has translated the relationship, funny sound, funny to you specifically or that. And how, I think from a basic perspective was looking at how local materials were used, adapted and evolved into right from the evolution of the butter or the water vessel and how those technologies and architectures then evolved into the Faritellio and vernacular salmon architecture. And then he was looking at other, um, other connections between the Falitili and the Falai Afula or someone architecture to the cosmos. So he was looking at different constellations. I've spoken to a few of you around, how some of the asshole, the different structural members, reflect different constellations depending on where you are in San Juan. But also some of the lashings through the lashings represent fictual or other stars. So, depending on who the tofu, or the master, master builder was, he started integrating some of these different elements from the environment, into the funding. And I think the other one. So, from a design navigator, that was his visualisation, and then from a concept model, I think he made 3 models. Or maybe it was like 30 photos. No, actually, yeah, that was 20 miles. So he made a, And this was just, I think, Liam producers are completely unsustainable, right? But uh, so his his original models were looking at, you know, I think very similar to what his um, design, design navigator was, was around some of the rudiments of salmon architecture, so the local materials, natural materials, and its connections to the cosmos. And then some of his other ones was like, well, what could a contemporary take on that bill or if they were used differently, what kind of different spaces. Could they create, and then you start looking at more of vernacular architecture itself? So, he started creating smaller scaled models of the falatelli? So he was looking at the teller, I was looking at the tool, and he was looking at the, um, the, the ball tool in, in, in the middle, um, just the tally tally. So he was looking at different components of the Fanatilem and creating those. And then same thing as the previous models was, well, if you was to take those same structural systems, how can that then start informing a certain structural system, which can then help navigate his design process? And then I think this may have been a group model. This was the group model, which I've seen people starting to use the pins, which is great. And so this model, although quite rudimental, was just starting to pin out, literally pin out where each of their different clusters or each of their different living systems were and what were the main all or the main pathways that were connected to their living systems. So he went he went a step further. Well, actually, this was his mass model. So his mass model just went a little bit a step further in understanding some of the tectonics. And this is not an expectation for anyone around time to get into some of the architectural languages and et cetera, et cetera. But I think the best model is purely around understanding the main volumetric relationships and the relationship between your architecture and the site at this point in time. But he, Again, Liam being Liam, he produced um 4 or 5 different models, 4 or 5 different messing models. So, the good thing with Liam's project was, um, a lot of the things that a lot of the spaces and a lot of the different types of architectures that he was exploring spaces then transcended into his final assignment. So, everything from the presentation to, uh, he really worked on the presentation around how the presentation can then reflect his design navigator. So his, his actual architecture taking more of a, a middle ground, but the landscape and the cosmos taking more of a foreground and a background presence in his, in his imagery. So very similar to riding. He balanced off all of his general arrangement drawings and made them, you know, white lines on black paper. And then when he started getting into those actual living system, You can see a lot of the tectonics that he was exploring in this concept models. A lot of those tectonics then translated or transcended into his final proposition. So, We'll get into this into another conversation. But this is more around kind of for you, for everyone here to see how your design navigators and what you do now and your design navigators should be able to transcend into the rest of your design process. So this is not just a little exercise that we're doing to fill space. It's really from a cultural design process. It's about refining and distilling the essence of a project and the essence of a site. How does that take form visually? How does that take form tectonically? Right at the initial stages of your project and how does our architecture that we produce right on the end? How does that reflect the essence that we've captured right from the beginning? So he ended up getting A plus because he put me in his presentation not once, not twice here of me and my singlet, but thrice. So, I know deserves an A-Pass. But these are just the exact really good examples of more so what I'm most impressed about with these 2 projects was how they're design navigator started from week one and translated into every single design output every single week. So, Um, yeah, these, these examples are up on on canvas, uh, purely as a guide to me as a reference, uh, Shuai, where we are, the country sample, um, this, this, this.