Overview:
Brief
Site in Samoa, district in Savaii called Palauli
Freehold landblocks in Samoa
Palaluli Plantation Site
Because I'd say it was probably 75, 70, 75% of that land block. But what they found was 3000 findings, which were made up of, from a kind of inspector was made up of household units, so it was made up of movements, or honey pits, or pathways, raised pathways, but one of the most significant findings in the archeological expedition was the surveying of the Puli Malay or Puli Malay mound, which argued us a little bit more. So this map shows geolocate size within our project site and a map here on your right is a map of the original survey in the 1970s. And I'm sure everyone will get to see this over the course of today. But what we're looking at here is CNC model of the project site. So you'll see this more heavily engraved boundary, which makes up our project site boundary. So that's the little plantation or we'll be calling it the Palali plantation, which makes up our project site for the semester. So let's say 1100 acres, which within your groups will be, that's will be focussing on that. And then the more finer engravings that you can see is that survey map on the right. So you can see here, yeah, actually it's probably less than um, less than 70%, probably closer to 50 to 60% of that was 3000 finding. So you can see the significance in the scale of the site at 1100 acres and the significance of the findings during their archeological expedition. And without me having to talk too much over, When we were running a similar paper over at Unique, we developed a 3D video. So I thought I'd play it. We can just turn that light off. So just follow the text as we go, saves me from having. Just talk too much. Thank you very much. model that we're looking at here, and I think there's the 3D model of that CNC model that we see. Oh, there's a digital model of that CNC model that we're making in. So it's just a partition of the Savali Island. And I've put that video up on the canvas page so you can access it at any point. But as you had seen and read with inside that video, I think it was 2020, 2021, where the shareholders, the landowners of this property of the 1100 acres, as I had mentioned, is the largest freehold block in Samboa. But in 2020, 2021, they had put out an expression of interest to sell the landlock. Um, and it's been a kind of a steady, it was a steady buildup to 2020 and 2021 um, where there was starting to become more of a public acknowledgement of the, the exposition and the excavation and the significance of this archeology within Samo's history. We'll unpack the cultural systems and why it's been a slowly buildup, but it's needless to say that there's been a lot of different cultural systems which have influenced some was wider cultural understanding of our prehistoric settlement patterns. But nonetheless, this was the very 1st expedition, which surfaced a completely different way of Sam Woods inhabiting the Sam Wood Islands, which has led to somewhat of a revolution, understanding prehistoric settlements and how someone's settled these islands for around 2 to 2.5,000 years. So the earliest the carbon dating of that exposition, I think the earliest finding that they had found was around 300 BC. So that doesn't go to say that that was when Samo was 1st settled. But you can see when Sam was settled and the time scale that we're working with him. So that's, yeah, that's just under 2500 years of human settlement. So, now, like, when they had done the exposition, um, and probably close to 10 years ago, a lot of people were saying, well, that's kind of a what of finding, you probably won't find any of that across Sambo anymore. But at the very least, the last 5 years, Greg, we Jackman, Dion Folo T, and some of the team over in National University of Samoa, they found probably 5 other major sites like this across Sabani, but mostly across the other island in San Juan. And so they've even found larger settlements, which go right from the mountaintops of the Salmon Islands, right down to the oceanside. So that's 11, 100 acres, and for scale scale size, you know, that's 4 times bigger, some of the findings that they're designed to find. And they, for a very long time, Poly Malay or Poly Malay was identified as the largest freestanding mound in the wider Pacific, but they started to find larger mounds in San Juan. So that's what I'm saying. Sam was at the heart of the world. you know? It's the origins of human... She referenced me saying that last year, which is probably a bad thing. Anyway, so it's, so, um, in 2020, 2021, they put out the expression of interest and then there was a large public outcry. And I say that sensitively. Because I need a highlight right up front how kind of politically charged the project is. You know, it's been some time and it's only been 5 years since the expression of interest, but it's been quite a long settlement period between the current landowners, but also the neighbouring villages. So there's always kind of been an arm wrestle of sorts around the ownership interest of the land block. Um, With the village, the village dynamics as well as the public outcrying, the landowners had pulled back the expression of interest and realised, well, actually, this is a significant piece of salmon history, we need to do something significant about it. And so they approached us while Studio to develop a regenerative feasibility study. And everyone's kind of heard the concept of regeneration and regenerative design and the course up to the state. I think for us very simply, regeneration is the injection of new life into a place and into spaces. And, um, what we realised at that point is that there wasn't, there wasn't any kind of design framework or design principles or a series of design processes, processes, which will allow us to do or undertake a regenerative feasibility study safely in someone. So, um, A number of different things happened at the same time. So at that point, we started a doctorate study around developing a series of design principles or design frameworks, which can allow and enable people to work safely and regeneratively within inside the Pacific. So, I speak to her later on, but that design framework eventually was developed, which is going mom one and it's made up of 7 different design frameworks, which will go through throughout the semester. So that became our design foundations to this project. And then over the course of 4 to 5, 3 to 4 years, we work closely with the landowners, around different people from the National University of Samoa, and understanding what that could look like. So, Um, There's been, so, that doctorate study, the engagement with the landowners, engagements, the National University of Samoa, I think that really creates our cultural safety framework for our course this semester, which is such an important part. Well, comes with politically charged projects. There's a lot of unsafety, but I think, and there was a lot of cordial and talenol last year around that for this course, and I just want to let everyone know that it's at a point now where it's completely tone or it's at peace regarding the current feasibility study, the state of the land. And they're still committed to taking that regenerative feasibility study, which wasn't packed throughout the rest of the semester. So we've gone through that process, so we can all engage safely with the site, creatively and with inside the cultural safety framework that we've developed. So that's kind of the context of the project. And perhaps I'll just show another video which kind of where we landed in 2023 and you can look at this as critically as you want and we are going to be looking at this critically. I sort of dismissed that. But this, what we'll be looking at is just some of the macro spatial strategies that we had employed around tackling day 1100 acres, everyone's probably thinking damn 1100 acres is big. How are we going to be designing 1100 acres for one semester? But you can see some of the spatial strategies that we've employed as part of the feasibility study, which you could be using as your design foundations for the semester, or you can critique and develop your own framework as part of it. So that's something that will go through. So this is where we landed at the end of 2023, I believe. So that's the project site that we're looking at. I, I, I, I, I, I, I, I, So, just to give some context as to what's happening in the video right now, is that we all acknowledge the size and the scale of the site. So what we had, our 1st strategy was, well, how do we start breaking down that 1100 acres, which is all our companions? So we use the a design framework from Toyota Tour to Portamassisi, which that's going to be everyone's favourite name by the end of the semester. But his his views of religion is salmon, cosmology, um, and salmon, spatial thought, and understanding is that compartment compartmentalises into 4 main harmonies. Uh, so having with people, how many with the environment, how many was the cosmos and how many was south? And so we use that as a conceptual framework and a conceptual design tool to compact mentalize the site. So that was the, that was the overall higher macrostrategy and then what we're looking at, how these different perspectives is, well, what can take place in those different sections. So I think the 1st one was how many was people. So we looked at, you know, this is the same... So this is how your people, how many between people, this is looking at a business centre. This is going to be the style of anchor tourism. So we're looking, one of the compatents being a very strong co-tourism, or cultural tourism, or heritage, tourism, component suicide. Because that, seeing some of those ruins take place will take shape. on that 3D model. Oh, this one was looking at, there's a very strong and a long history of agricultural development on the site, not only over the last 100 years, but across 1000s of years. And so this was looking at an opportunity to really commercialise sensitively and localise perspective around working a commercial, agricultural, how look like, or a cultural, uh, commercial mode look like or an allowing plantation. And I think it's really important to note that we were, although those, although these were compartmentalised, there's a different zones, but they were all interconnected. And so we're using the archeology and the existing archeology as an interconnection or a series of interconnections between the different zones. I do not know what they put... And then one of the, one of the things that had, had come out, one of the... One of the typologies that then come out of the community engagement, it was a strong... Sean pushed from the National University of Saabua for there to be a dedicated archeological preschool to pro. Our sponsors for the semester. Yeah, so, um, so we all say. So, yeah, there was a, there was a push from the National University of Samoa for it to be a dedicated zone, or dedicated series of buildings, which acknowledges the archeological history of science. So from all of the different engagements, from our own research, to engagement with the landlords, et cetera. We use that conceptual framework of the 4 harmonies as our main spatial strategy for whole 1100 acres. And then we used our actual community engagement to understand what were the different typologies and the different functions, which we can then integrate into those different terms. We're going to be unpacking unpacking that a lot more throughout the semester. But I wanted to show that video just to demonstrate some of the some of the things that will come out of or some of the different typologies that we will be designing throughout the semester. So. Yes. And Maybe I'll just show it because we're here. Um, Well, maybe I'll show later. I'm sure later. I'm sure my my big moves in the 1st time, but insane. So, Before I move on to some of the structure of the semester, so I want to go into some structural things for the semester and then get into more of our design content, but before I move on, are there any questions regarding context regarding the project site or anything that I've just presented today? No. Cool. So... Oh, gosh. Yep. So the question here is, uh, all the archeological findings and sites type of. And I think the short answer to that is and its current state is yes. But as we're all familiar with, I'm sure everyone's kind of learned the different nuances, or at least the foundations to Tupperware Nor, there's always a relationship between Tupperware Nor, and that comes through the engagements with the villagers, engagements with the landlords, and understanding. And this is going to be a really, really big part of our semester, is understanding what is the role of architecture, and architectural designers, and upholding the nuances of Tupper and Nuan, particularly when it comes to our designing and co-proximity or with the archeological findings. So there's going to be a complete balance throughout the semester, which, you know, is the core of our design challenge for this project. Any other questions? No. Okay, this is just a very simple table just demonstrating the role of one another, this semester, and I think it's, I want to make it clear up front that one and the, this semester, there's a lot of it is purely going to be around our design workshops and our design, building our design competence, so the rest of the semester. And so what I mean by that is Wang is going to be the place where we design, going to be a place where we do design workshops, is going to be very light on the lecture side, but very heavy on the design workshop side. So after semester, what we'll be doing is that we're going to be splitting up our chooses on Thursdays. So our Tuesdays is we'll come together in our, you know, normal class like now. And the 1st 30 minutes, 45 minutes, we'll be doing design sessions, we'll design workshops, and I'll just be sitting up here answering any questions that we've had throughout that week. And then Thursdays, we're not going to be congregating together like this, we'll be splitting off into our tutorial groups and working as our design share. So something that we're going to be stressing a lot this semester is design shreds. So a big thing around design confidence and competence is the ability to design or respond to a brief through our design process, but also being able to articulate that. So Thursdays are going to be about, what have you done over the last week? Put it up on the wall, present it with inside your story groups. And every tutor group is going to have their own structure for their charades. So we'll save that for you and your Truders. But yeah, so to go back to the simple structure of the chooses and Thursdays, we'll be congregating here every Tuesday for 1st 30, 45 minutes. So we need to ask questions they might have. And then Thursdays is going to be straight parallel straight design road trumps. So, on that note, a lot of your lectures, a lot of your heavy lecture material is coming through ecologies and intelligence. And some students cracked it last year in the sense that they use ecologies and the intelligence paper to feed into their one. And I think that's the whole spirit of this Kotahitanga approach here, um, in our school of future environments in the architecture school, is around utilising ecologies and intelligence to build upon your um, your design processes. So if there's any theoretical papers that you're supposed to be looking into intelligence, Try a lineup of some of the work that we're doing here in Lana. If you are looking at any precedents and case studies and ecologies, find case studies and typologies or, you know, other precedents, which are relevant to your typologies here in London. So if you're going to be focussing on an archeological conservation centre, I'll try to find a precedent which is an archeological conservation centre and utilising that as a case study as opposed to doing an archeological research centre or conservation centre. And you look at a residential building in ecologies. For me, that makes absolutely no sense. But I leave that to York. So I think the main, one of the main motivations or the main, um, yeah, foundational elements to this paper is that, you know, we're going to design and just design all day long for all semester long, and ecologies and intelligence is where you're going to get your theoretical, your theoretical backbone, and foundations for your design processes. Any questions on that friend? So, while we're on the slide, um, the main... Okay, yes. Yep, so looking at one other specifically is, as per usual, we have 2 main assignments of the semester. We're going to be splitting up our assignments into a very our conventional architectural process. So, about predesign, which for some already done. But our 3 main stages throughout the semester is content design, preliminary design, and develop design. And so content design is our 1st 4 weeks. So we're just going to be doing a massive design sprint over the next 4 weeks, wake everyone up because everyone's had a very long semester break. And then on, and then assignment 2 is split up into 2 key stages. So the 1st stage is between weeks 5 and week seven. So 5 and six, obviously, it's going to be on this half of the semester, and then you have your 2 week break, which everyone's going to be using as part of your design process. And then we say when we come back and we do our reviews. So that preliminary design is is ultimately a development of your concept, concept design. So building up some more detail, getting some more, making some more rigourous and intentional design decisions. And then on the back of that, we're going to be integrating all of the, all of the work that you've been doing from ecologies and intelligence and soil developers and. So I'd like to think at that point, all of our main design decisions are made. We just gonna be building up our ecological systems, our environmental systems, our material palettes, et cetera, et cetera. So that's more our developed design. Any questions on this path before I move into the next 4 weeks? So again, just to surmise, our assignment one is going to be in the next 4 weeks, and then assignment 2 is split off, split off into 2 main stages. So I'll preliminary design and develop design. So preliminary design is purely that it's not um preliminary design or part one or instant review is not created per se, but you'll be documenting that, you'll be packaging it, and you'll be using it as part of your final submission of assignment too. So regardless of whether that is graded specifically, it's still going to be part of the grading process for assignments who as a whole. So it's still a really critical review and a critical point of the semester. Any questions? Is that time frame similar to the practice, like the 12 weeks? Yeah, the last ones to jump into here, but there's 7 key design stages and architectural process. So we have pre-design, which is development of your design, design program, your design brief, understanding the site a little bit further. And then content design, preliminary design, and develop design, that makes up the core of the same part of the design process or the conceptual and all your main design roofs. And then the one on the back of that, which is probably coming more on your master's. We're doing that a master's now as detailed design. So if anyone's heard of resource content and building consent or any kind of control, your construction issue. That comes into the detail design stage. And then we have contract, admin, and then, yeah, contract. It depends on the scale of the project often, but I've seldom the same project for less than 2 years. so these project you processance are extended so you're doing a compress versions of that. So, answer question is, yes, that's why we'll structure it like this, is that there is a alignment with at least 3 of the design stages that everyone will encounter during your architectural practice. out there in the profession. So, yeah. I'm probably just wondering about that, um, concept remains throughout the process, and I was going to say, concept design is a discrete thing, but actually the concept which you, you know, to begin with, you work all the way through, so you're constantly reiterating it. There's these sort of designations of these phases, sort of aligning with the ends of IAH, so they come with a certain amount of expectations of that. Any other questions? Okay. Um, gone through that. Okay. Just want to get a little bit into the next 4 weeks. Um, As I mentioned concept design over the weeks, 4 weeks. So, on week four, the submission, the canvas submission is going to be on that Friday on 5 PM. Our reviews for assignment one and concept design is going to be across 2 days. So Tuesday and Thursday. Your presentations are graded, necessarily. But they are going to make a obviously a core part of your design process. So documenting your presentations, photos, videos, whatever, maybe, and submitting it as part of your submission, your camera submission is going to be a critical part of our moderation, this dismester. So although your presentations are graded. They do form a core part of our grading moderation. I think it's more important now they never, that these presentations and documenting the design process and submitting that as part of our canvas emissions. It's more critical this semester than that if it has been. So, we're given to some of that. But the focus of the next, how we're splitting it up, is we're going to try, have every single, this is going to be tempo that we're going to be hitting the whole semester, is every single week has a different focus. So it's going to be really important that everyone turns up to class, every week, everyone engages with these lectures, every week, and then everyone engages with our design shreds every week, because you miss one week or that compounds in 2 weeks, and you miss 2 weeks, and you're going to be missing out on a lot of information in this course. I think the complexity of this course is that obviously we're going in the sign, Fisher's going to be paying for our flights over the sad one. We'll find some one year that we can do a side dessert, but that's already a layer of complexity. But I'm going to be obviously overlaying that with someone cosmologies, cosmogonies, understandings of space, some one design framer. There's, there's a lot of, there's a lot of information just to miss them. So it's really important that everyone engages every single week and in every single class just so you don't fall behind. So, and that spirit really, um, Our, within our true groups, it's really important that you get your true, your time of your truders, but we've also put a lot of information up on the canvas page so that you can do that. You can do design processes away from your tutor zone. A core part of that is the mom one a thesis, which outlines that design framework, which I allow you to understand what kind of what things you do at different stages of the project. But and so alongside your tudors, we have a lot of archival documents, documentation, a lot of video content, which is all up on our course resources, and I walk through that later on too. But the focus for this week or the next 2 weeks really is around developing our design navigators. And we've all done this in the past. I'll come back to that. Is, uh, yeah, so really the role of the design navigator, and I think it's more important for this project than than any one, than any others, is really an opportunity. I see this kind of as a bridge. So the design navigator really is around allowing you to engage with someone's spatial thoughts, allow you to engage with the site, but also for you to create a very, uh, a very tectonic and a visual way of interpreting your understanding of the site as well as as someone's spatial world views. So, the design navigator, it's going to be made up into 2 parts. So you have your content visualisation, which examples of those content visualisations are up here. So they could be hand-drawn, they could be multimedium, they could be purely on illustrator, whatever it may be. But that concept visualisation is around visualising your understanding of our project brief, the site as well as someone world views. So it could be abstract as you want. It could be as pragmatic as you want. But having some kind of representation of your design style of building up your design style if you don't have one right now. But they could take any form. So your visualisation makes up one part of your design alligator. And the next part is the tectonic model or the concept model. So similarly to the content visualisation is the concept model forms your tectonic interpretation of, it could be vernacular architecture. It could be someone's spatial thoughts. It could be whatever you find interesting as part of your side analysis process. But the design, design navigators, both the visualisation in the model, they can both, they can be complementary. So what I mean by that is your concept visualisation could be about space or it could be about value set, and then your concept model could be purely tectonic. So from that perspective, they're complementing each other by doing 2 different things, but interpreting the same narrative. Alternatively is that your concept visualisation and your concept model could be doing exactly the same thing. So for those who are interested in some vernacular arctic gem, You might find this is just an example. You might find the sample one, the funny, the somewhat funny. You might find the roof structure very, um, interesting, piques of curiosity from a design perspective. So you might be modelling different junctions of someone's valley roof, or roof of the sound one funny. And then your visualisation could be around mapping around what is the significance of the sample and roof within side of the necular architecture. What are the different narratives that it's showing, what are the different organisations or different structures, et cetera, et cetera. So, a really important part. This is just to complement what Laz had mentioned is that the concept stays all the way through the design process and all the way through the semester. So, how we see, or how I see, at the very least, the design navigator is it's allowing you to do that. It's finding right up front. What is the most interesting part of this project brief for you or for your group when we get into that expert soon? And then it's around, ideally, that design navigator evolves throughout the semester. For those, some of you have just nailed it in the 1st 4 weeks and say, oh, this is what I'm doing and this is how it's going to be integrated into my architectural brief, my architectural project. For others, it's like, well, actually, I want this to evolve with my design process. So some really strong projects last year is that they continuously reflected and reviewed the design navigators and the design navigators grew with their projects. So those students finished off really, really well. But every student has your own response and your own interpretation. And that's something that we can discuss further. So the 1st 2 weeks is going to be focussing on developing our design navigators. And then weeks 3 and four, keeping in mind that our reviews are in week four, but they're still used as design workshops. So you won't be submitting your final, you won't be presenting your final submissions on that Instagram or all those reviews a week four. You'll be using them as design workshops. So, at this point, I'm going to, I'll get to this in the next slide, or the next 2 slides, but, you also, for content design, we're also going to be responding to the site and responding to the design brief. So one of the key outputs for that response is a site model or a mass model. So we'll be looking at the spatial relationships on the site. What is what is the brief for my my typology or your different zones? And then to complement that? We'll also be developing a relational site plan. So the relational site plan is around, okay, what is my brief for my zone? What are all the different spaces that I need? And then how does that brief or how do those, how does that brief then adapt itself to the site? So using your design navigators, both the visualisation and the model? You'll then be integrating your design brief or unpacking your design brief and then responding, having a design response to your specific zones. Okay? So the relational site plan purely as an articulation of all the key relationships on your side, the key functions of your different zones, and then how, how, how that then responds to the different aspects of the site or the different zones, et cetera. So, can see here how the 1st 4 weeks are going to be dense, and it's really important that we go through this density upfront, because if we prolong this process, it's going to be a very long semester. So it's, I think it's important to learn that it's purely, it's concept design. We're not going to be looking for resolve designs. It's purely about design, process, design response to the brief. Okay? Um, So I think just to go back to this. Everyone's probably thinking.
Student Examples
So cause resources on the homepage. And then, as I had mentioned earlier, there's a lot of content here. So those videos that I had shown around here, there's a lot of readings around special thought and the archeological expeditions, the surveys. So a lot of the information is here on this resources page, and then what I've done here is that I've also included some examples from the students last year. So if you be with me, I want to walk through a few of them, because I can see some people already starting to get overwhelmed and sweating on the table. So I think seeing some students work last year, I could, you know, help ease that. So I'm going to be showing an example of one group and probably another student, which was just a kind of a standout individual student. But they're, over here, we'll be looking at, um, The group broke. So this group, oh gosh. Yeah, so there's a group slides and then the 1st 4 students and these individual deliverables, they're the individual students who are inside that group. So, you'll see here as a group, the deliverable force deliverable for assignment one, as a group is the, um, is 10 slides, digital slides, and of your site, research, and analysis. So what this group, what they had done really well, was what they had done was that they demonstrated what their site strategy was. So I think what they had done Well, which I think I highly recommended when I was doing, at least for the 1st few weeks, was just working off a lot of the content that we had had sent and had given. So there's already a lot of site strategy work which has already been developed to date. So they used all of the existing information and said, well, we're not going to reinvent the wheel. We're just going to build upon what's been developed already and developed that up further. So they used the 4 harmonies. Each one of their group members had a different harmony, which then was integrated back into the site. So you'll probably see here that the different colour codes matched up to the different harmonies here on the right. And then each one of their slides was around one, what does that harmony mean from a salmon, um, world view perspective, and how is that integrated back into the site from a spatial strategy perspective? So they kind of walk through each one. Each student had a different slide. Each student had the same amount of time. They all had 10 minutes to present their group work. Each one of them probably had a minute and a half each. It was kind of whack, but it worked out really well. So you can see here how it's very simple. I think for me there's too many words on the slide, but they presented it really, really well. And they had complimentary videos and imagery to go with it. So that was their group work. You can probably see it and say, actually, that's really basic as a group output. But there's a lot of complexity to it. And you'll probably go through this next 4 weeks understanding. Actually, this is a lot of work for them. For their 1st 4 weeks. But I think for us, why we were impressed by it was the synthesis. So they took all of these very complex worldviews and complex spatial systems. And they say, wow, this is simplifying. Let's stick to the essence of each of those harmonies and the essence of each zone and let's just build on it simply, but with a lot of complexity. So, I'm going through each of the individual presentations. So, this is Hannah Thompson. So, um, everyone was encouraged to have a transcript of their presentation, but also an explanation of it. So this was Hannah's... This was Hannah's visualised concept visualisation. went far beyond the brief and had taken up the whole war. Don't encourage that at all. But I heard she was looking at Tava. And I think what really tripped us out for this one was, um, I was talking in and I was like, man, this looks like a hot mess. And then she said, well, if you don't understand it, you just squint. So if you squint, you can read, doesn't say Zava. Is it not getting there? It was probably better when it was printed out. But, um, there's, in the background, there's TA, and then there's a dash and then VA. But, uh, Everyone's probably looking at the same. Um, But it was, so I think for Hando, what she had done really well was that she took a very complex concept of Tava, which is time and space. And her her visualisation was all about visualising what does time and space look like on its own or Palawi plantation. So that was an example of concept visualisation. And then this was an example of her concept model. She went through a number of different iterations and landed at this, landed on this and I think a lot of it had to do around the fragility of vernacular architecture and the temporality of vernacular architecture, but also the weight of the history of the archeological site. And then what she had done was the Plaster Foundation. Pasta Foundation was a representation of the archeological remnants of the sign. So, um, that was, yeah, her, and these 2, what she had done throughout the semester was that they evolved with their process. But you can see already that they're quite strong outputs. And then This was her spatial diagram or her relational site plan. So you can see here that it's not a conventional, it's not a conventional like site plan. It's not like, here's my house, here's my community centre. This is how you walk from my house to the community centre. It was, there's a strong relationship, a strong visual language between her design navigator, which was her concept visualisation and how that, how that formed the foundations of her understanding of time and space and how that can respond to her site. So you can see glimpses of different conceptual concepts of tar and bar. I think she had the archeological conservation centre, which I'll show a video of later on, and then just remnants of the archeology centred around her project site. So... And then this was for a messy one. Again, very simple. There was a lot of, you know, very strong concepts that she was speaking of as part of it. But again, you can see the relationality between her concept model and domestic model. Very simple, very, very simple, but as we all know, it's very hard to do simple. And that's where I think the strength of this project came in. So that was Hannersburg, the next... Oh my gosh, doesn't have to go all the way back. The next student was... Oliver? Yeah, Oliver Pope. So the difference between henna's and Oliver's really was that Oliver had just had submitted his whole process and it showed us that there was an actual scaffolding up to his final submission. So he breaks down all of all of the different papers that he had gone through. Oliver had actually started taking some of the work that he was learning from intelligence and ecologies earlier on and integrating integrating it into one another. Even with his with his design navigator. Earlier on, this was his design navigator here of concept visualisation, I think. Yep. He has already signed to explore spatially. So the visualisation, although it was presented in 2D, he started demonstrating how can this kind of start manifesting itself spatially. And then he was using his tectonics to start developing an architectural language. And once we get into an assignment tour, starts showing some of all of his work. But right up here, right up front, we could start seeing him developing a very specific tectonic. And so he started showing his thought process, and then I believe, so the host's final content visualisation, and you can see here that he was dying to develop out his side plan. This is his concept model. And then this was his final relational site plan. So the strength of Oliver's work was that, yes, it works on a plan, you can see here the relationships between the different sizes and at that point, we had already started articulating, you know, from a size and scale perspective. But this also works on section. So you can see here, your story is starting to look at the topography, how that relates to the different waterways, specific to a sign, and starting to develop this architectural language, which grows from the ground, is elevated off the ground and is sensitive to the archeology. So, Again, starting to develop out some of these quite robust or quite interesting and intimate visualisations, site models, of relational site plan, and then this was an example of his mess model. So, good thing here, you can see, oh, man, this sounds like a lot of work. But then you look at the final submission, and, you know, Okay, I'll stop doing everyone's kind of looking at me. So that was his final presentation in that week form. slight, they had slightly different last year. They have reviews, they submitted canvass on the Friday and they presented the next week. This year we want to give you more time to workshop and use your presentations more as a workshop than a final presentation, at least for concept design and preliminary design. Um, So that was one student. Um, and then this is Ashley. Yeah, so this is one of the other students in a group, well, in that group. So this is Ashley Toma. She, she dug, dug quite deep into, uh, someone. Oh, this is quite hard to show, I guess, isn't it? That deep into someone, spatial thoughts, processes. She was looking at some The difference. I think her one was Harmony West South. So I'm looking at a lot at what were someone's spiritual rituals, which a lot of the information was shared with you on the canvas page. And then this was her. This is her mess model, which looks odd in full plan by time, I swear, I was a lot better in a 3D. And then this was her relational cycle. So again, very abstract, but a response to site, she had gone through a process of understanding the spaces and the scale that she needed, but the strength of it really was the integration of a lot of her design navigators. into her spatial planning. So, this, I think by far was one of the best concept visualisation, which came out of it. And then lastly, with inside that group, we had Deborah. Deborah song. So what we appreciated with Deborah's work was it was a lot more kind of, how would I say it? light, like lights, literally, lights on kind of content, lights on, um, tectonics, and right throughout the semester, she had developed this type of architectural language. So that was her concept visualisation, which was around understanding the role of the fitting, or the ficking, and someone cosmology, and then starting to develop a very, for me, I think maybe put bias there, but I think this is probably the best concept model which had come out of the design navigator were Assignment one. She was looking at everything from archeology to the likeness on the Finua or Fagua, and a somewhat of a more modest take on vernacular architecture and its relationship to the archeology. So, And then her relational site plan, again, very similar to her peers was more of an abstract take to planning on the site. Deborah very struggled, she struggled. She very struggled. She struggled, she struggled with the brief at 1st and how I married up with her, her concept. So you can you can kind of see that here. But I, I, I wanted to bring up Deborah's work because she was an example of a student who felt quite hard and grappled, grappled with the brief at 1st, but she, she stayed committed to her group's process and her group's design frameworks that they had set up for themselves. And she, uh, was share some of her work later on. But through that, you know, through that struggle and that challenge up front, without being too cliche, but she grew from it. She really grew from this challenge of assignment one and the deliverable was right in assignment too. I think she stood hitting the shoulders above a lot of her her beer. So this is an example of her mass model. You can see there's quite a distinction between some of the her relational side plan and this is what I meant about her struggle. Like there was some aspects of her presentation with establishment, which was really, really strong. And then when it got to the mass modelling, she found it quite hard to interpret that. But she dealt with the right for lack of better words to start with the right ingredients. She had all the right things in the mass model, which identified some of the key relationships. So archeology, the relationships and the mass, the actual size that she needed for her space or her zone. So, again, I think why I had shown these group, well, this group was, um, The whole semester. I wanted to show that because it's an example of what an A looks like. from both a group presentation, but also individual presentations. And that group alone probably scored the highest last year. And then they went right through to semester at the end of the semester and they kind of all pushed from an A to A pluses. But then the only students who have scored an A plus last year was Matthew. Not only bring this up because a lot of people do focus on grades and I think it's important part of the conversation, but the grades don't necessarily show your design competence. And at least it's just an example of what happens in 4 weeks, but I think I'm more interested in what happens across the time week period. Um, and, yeah, and really people embracing the challenge and I don't believe grades demonstrates that, um, Nonetheless, I'm showing plenty A and then plus examples. So Matthew, yeah, Matthew scored an A plus last year for assignment one. And really, I think we kind of got to page 30 and we're like, ah, screw it. Just give them a class. But we don't want to go through the last 30 pages. But I think this was just a really good example of what, like, just boring your efforts into the design process. And a lot of it, and I think this was, it's a really good example because obviously, Matthew, isn't, isn't Sam one. So he had his way of demonstrating his thought process was write it all out and presents it really well and then the sequence which demonstrates my design process. And sometimes we might not have the words to articulate a certain concept. So his language really, well, Matt, we can speak the house down, but I'm speaking more generally here. So he went through a really robust process of understanding different special concepts of, well, he wasn't a requirement, but he started looking at design precedents already. So if you go that far into that process, you might as well show it. And then he started using the navigate the navigators as an actual design tool, which we hope that everyone does use it as. So these are not his final outputs, but you can start seeing how it's starting to build up to a final output. So every single one of his models, every single one of his visualisations, he documented it and I highly encourage everyone doing that too. Last year was not a requirement to present process work or submit process work. But this semester, it's a requirement that everyone submits to process work. So it may not be, you might just kind of slap all of your images into a PDF and it's fine with us. But if you want to take more of a curated approach. This is an example of what that a curated design process booklet could be. So start taking us through his, you can see what I mean, right? I can wear page 30 and I'm writing over it. So, I'm very sub, like, yeah, a substantial piece of work, well documented, well presented. I think this was his final output. Wish we had these printed out. But this, I believe this was his final submission, but there's a whole series of everything, you see what I mean? Like, the guy starts working making more things. And then, so this was his relational side plan, I believe. And then he went a step further and developed a floor plan. I'd much rather I'll get to that point, you know? And then this is an example of his mass model. And then I think these were the 10 slides of his group. So I think his group did really well in the group submission because each one of their images. And then again, this is a step beyond the brief. But every single one of their slides in their group slides was a design response. It wasn't like, here's some images from Google and hear my bullet points. This is like every single slide was a design response. So this is their 10 slides, I believe. So one, two, three, four, five, six, seven, eight. Yeah, so they had eight. So, yeah, as you can see, this was, yeah, this was the only A plus. Um, last last assignment one, but we had a really good great sprint and really strong response to the brief last semester. So I'm really looking forward to the responses this year. And this is an example of his concept model. And then perhaps just to kind of wrap up, at least this part of the process was, yeah, so that was an example of assignment one, couple of examples of group work, and obviously examples of individual work, but just perhaps just a teaser for assignment too, is so everyone has will have your living systems that you'll be focussing on and we'll get to that inside your tutor groups. But in the final submission, you obviously be, would be developing natural, putting on new design and develop design. And this is just an example of Hannah Thompson's work fly through of her final sufficient for assignment too. I just want to be clear, there's no assignment one.