Week 1

Reading Seminar 1 - Text Types

Multimodal - characterized by several different modes of activity or occurrence
No.

Text type name

A rationale

Example

Language, multimodal features

Text Type
D

A conversation

Text Type
J

A cartoon

Text Type
H

A newspaper article

Text Type
I

A floor plan

Text Type
F

A story board

Text Type
L

A narrative

Text Type
A

An abstract

Text Type
M

A reflection

Text Type
G

10

A page from a webfolio

Text Type
E

12

An essay introduction

Text Type
K

13

A conference

Text Type
B

14

An annotation

What other genres (text types) can help you with your research for your
design courses? Think beyond the written and spoken text. Think beyond
academic texts. Consider some pop culture. Support your choices.

Other text types include books and pieces written by scholars or experts in that
particular field and henceforth will augment the response through its use as it

elucidates that the individual is showing more evidence to back up or reinforce their
argument.

Week 2
Reading Seminar 2
SPACE, INTERVALS, INTERSTICES

Look at the image below, which is of Singapores Marina Bay Sands Skypark.
In pairs, ask each other the following questions.
1

Do you focus on the 3 vertical structures of the building or do you focus on

the space between the vertical structures? The space between the vertical
structures

Would the effect be intensified if there were four structures? Yes, as it would
have both visual and conceptual implications to the building structure especially if
talking about the intensity of the space between

Would the effect be the same if the structures were not equidistant apart?
No, as the equidistance between the buildings and the top structure show them to
be equally connected however, a shift in distance between the buildings would
make one visually appear as more connected as opposed to the other looking
less connected also referred to as loose.

THE DYNAMICS OF ARCHITECTURAL FORM

Important Notes:
Arnheim, R. 1977. Elements of Space. In The Dynamics of Architectural Form.
Berkeley: California University Press.
What is space?
One of them is spontaneously plausible. It conceives of a space as a self-contained
entity, infinite or finite, an empty
vehicle, ready and having the capacity to be filled with things. Consciously or not, people
derive this notion of space from the world as they see it, and unless they are
psychologists, artists, or architects, they are unlikely ever to be confronted with the
challenge of questioning it.
Plato spoke in the Timaeus of space as
the universal nature which receives all bodies that must be always called the same; for
while receiving all things she never departs at all from her own nature and never in any
way or at any
time assumes a form like that of any of the things which enter into her; she is the natural
recipient of all impressions, and is stirred and informed by them, and appears different
from time to time by reason of them.
In the absence of such objects, space would still exist, as an empty, boundless container.

THE FIELDS IN BETWEEN

Spontaneous perception, we said, presents space as a container existing prior to, and
independently of, the physical bodies that find their place within it.
Everyday experience distinguishes between impenetrable matter, such as mountains or
tree trunks or the walls of buildings, and openings that we can pass through
This distinction is fundamental for the architect, since he constantly seeks the proper
ratio between the two
however, the architect must be aware of the second conception, suggested to him by the
physicist and the psychologist, that space is created as a relation between objects

These relations persist in perceptual experience, even though the man in the street may
not spontaneously acknowledge them.
Space between things turns out not to look simply empty.
Take the example of two buildings, one big and one small, standing at a moderate
distance form each other. It is possible to deal with them independently by making
statements about one of them without considering the other for example, by discussing
the height of only one of them
That is the sort of disconnected treatment to which we owe the visual, functional, and
social chaos of modern life
Perceptually this attitude corresponds to seeing items of the continuous environment in
isolation from their context. We readily recognize such dismemberment as a pathological
deformation of the natural way of seeing the visual field as a whole.
Socially as well as perceptually, one cannot understand the nature of either the small
house or the large house as long as one considers each only by itself.
Unimpaired vision perceives the two buildings as elements of one image, in which a
decrescendo effect leads from the tall house down to the low one, or conversely a
crescendo makes our eyes rise from low to high.
Looking at the two is an eminently dynamic experience, in which the space between the
buildings is an inseparable part of the image.
If the width of the interval were to change, i.e., if the buildings were to be closer together
or
further apart, the slope of the gradients would change concomitantly. So would the
contrast between the buildings
It may seem paradoxical that space has a perceptual presence of its own, even though it
is not explicitly constructed by the builder and does not appear among the objects
constituting the inventory of the visual image.
A configuration of four dots on a paper may be seen as a square, even though no
connections between the
dots are drawn in
the architect does not build space but creates it just the same.

A good way to demonstrate that interspaces are not empty is referring to what may be
called their density.
If one makes small models of our two buildings and moves them back and forth, closer
together and farther apart, one observes that the interspace looks looser and thinner as
the distance between the buildings increases
The observer experiences perceptual compression or decompression in the interval
, its absolute level of intensity may depend on other perceptual factors, such as the size
of the buildings
Interspace n will look smaller and denser when compared with o; it will look larger and
looser when compared with m.
The distance between the buildings also influences the degree of their mutual
dependence or independence
If the interspace were entirely eliminated, the two buildings would tend to coalesce into
one, with the small one looking like a mere appendage of the larger one.
The interspace, then establishes a particular ratio of remoteness and connectedness,
which affects the architectural complex as a whole
we find that they depend on forces of attraction and repulsion
Objects that look too close to each other display mutual repulsion: they want to be
moved apart
These forces are at work whenever things are related across space; they determine the
spacing of pictures on a wall, the placement of furniture in a room, the proper distances
between buildings
The perceptual aspects of the judgments that determine the answers are arrived at
intuitively by our sense of sight. They are likely to depend on the strains and stresses
activated in the brain field by the particular constellation of stimuli projected upon it by
the retinal image

These proxemics norms influence also the choice of preferred distances between
objects, e.g., the placement of furniture, and they are likely to affect the way people
determine and evaluate the distances between buildings.
What looks oppressively close to one kind of observer may be welcomed as cozily
protective by another.
Visual distances are judged by the behavior of the perceptual forces generated by them
We feel impelled to juggle the distances between objects until they look just right
because we experience these distances as influencing forces of attraction and repulsion
If the intervals were experienced as nothing but dead, empty spaces, there would be no
criterion, other than practical considerations, for preferring one distance to another
I shall have occasion to make a similar point on the control of proportions in architecture.
1

What are the two conceptions of space?

Visual and perceptual

What are some of the terms Arnheim (1977) uses for the spaces between buildings?
Density, interspace, close and far proxemics, remoteness and connectedness,
attraction and repulsion, dependence and independence, looser and thinner

Why do two objects need to be considered simultaneously when making statements

about one of them?
Both objects work as catalysts to affect eachother i.e a larger building compared to a
rather smaller one will be considered as loose or less connected due to the
decrescendo of the larger building to the smaller one and to further add Arnheim
always referred to both buildings when discussing space and making statements

According to Arnheim (1977), does the architect create space? Explain.

According to Arnheim, the architect does not build space but creates it just the
same, meaning that spaces existence is inevitable however for an architect to place
certain objects in certain positions they then diminish space between buildings or
they create even more depending on their plans.

What is meant by the term density?

According to Arnheim, a good way to demonstrate that interspaces are not empty is
referring to what may be called their density, meaning that density is what
constitutes the space between buildings.

How does interstitial space determine an objects degree of dependency on another

object?
Arnheim states that the distance between the buildings also influences the degree of
their mutual dependence or independence, he further states, if the interspace were
entirely eliminated, the two buildings would tend to coalesce into one, with the small
one looking like a mere appendage of the larger one, meaning that if equivalent ratios
in height, width and equidistance in the space between the buildings are not met than
the one building will visually look as though it is dependent on the other hence
alluding to how interstitial space determines an objects degree of dependency on
another object.

What is meant by proxemics and why is this concept an important consideration when
designing, for example, a space in a home or the placement of a lamp in a room?

Arnheim refers to proxemics as a set of norms which influence the choice of

preferred distances between objects, e.g., the placement of furniture, and they are
likely to affect the way people determine and evaluate the distances between
buildings hence explicating how a space in home can be seen as either empty of full
due to the proxemics of surrounding objects in that context, the same as a lamp in a
room.
9

How can you use Arnheims (1977) article to help analyse your design?
Arnheims article assists us in considering the internal and external space of the
architectural complex between other buildings and objects and hence allowing us to
reconsider our design in terms of how others may perceptually or visually see the
internal and external space as well as stressing the importance of what the client is
after.

10 Write one quote from the passage that you might use when writing about your
design?
A configuration of four dots on a paper may be seen as a square, even though no
connections between the dots are drawn in
1

What do all the marked words in paragraphs 6, 7 and 8 refer to?

Space and Interspace

2

For homework, make connections for the other paragraphs.

Paragraph 1- Perceptual presence of space
Paragraph 2 Spontaneous Perception of space
Paragraph 3 Second Conception of Space
Paragraph 4 and 5 The two buildings
Paragraph 9 The forces of space
Paragraph 10 and 11 People and Spatial distances

How far apart can the two elements be before they no longer seem to relate to
each other?
In a shopping center, the key component to show that two things relate to
eachother are the shops and the distance between them, for instance certain
areas would strategically be in correspondence from one another i.e. mens
fashion and vice versa. The two elements would have to be rather far apart,
hypothetically speaking about near 100 metres would be considered non-relatabe
however, this could also depend on the shops average intake of consumers and
the strategical positioning of such shops so technically it would be the distance to
show they are non-relatable is still ambiguous.

At what stage does the opening, or interstice, become a hole? That is, when does
the gap stop being part of the design and begins to disintegrate the design?
The moment when human characteristics and need have no longer been
considered and the design of the entry outweighs the ergonomics of the
consumers is when the design begins to disintegrate.

Important Notes:
Framing is concerned with the degree of connectivity between participants within the
image. Elements can be connected by the use of vectors that link participants and/or
through visual rhyme (similar colours, shapes or materials) or disconnected by the use of
strong framing devices (lines) or weak framing devices (empty space) and/or by the use of

contrastive colours, shapes and materials. Connected elements are presented as belonging
together, continuous and complementary whereas disconnected elements are to be
perceived as being separate, independent and/or contrasting (Kress and van Leeuwen 2006:
203).
Source: McMurtrie, R. J. 2011. The genre of foyers in the contemporary high-rise: A study of
Harry Seidler's work. Text and Talk
Read the following paragraph on the concept of framing. How does it relate to Arnheims
concept of interspace?
McMurtrie talks about how framing is concerned with the degree of connectivity between
participants within the image, Arnheim also discusses the relation between buildings being
dependent on their connectivity or remoteness. McMutrie further goes onto state that
connected elements are presented as belonging together, continuous and complementary
whereas disconnected elements are to be perceived as being separate, independent and/or
contrasting. This suggests that both Arnheim and McMurtrie are alluding towards the same
notion or idea in how connectivity affects their primal concept which in McMurtries case is
framing and in Arnheims case is space therefore, telling us that both notions are highly
dependent on connectivity and dis-connectivity and further signify how two opposing notions
can correlate.

LANGUAGE FOCUS 2: ORGANISATION OF LANGUAGE GIVING AND DEMANDING

INFORMATION
1. What is the design? A classroom
2. Are the tables close together in Figure 1a? Yes
3. Where are the tables in Figure 1a? Not exactly across from eachother across with a
slight downward shift
4. How much space is there between the tables in Figure 1b? Quite possibly a few
meters
5. Can the tables be moved around? Yes
6. Do the tables in Figure 1b relate to each other? Yes the are placed horizontally (or
vertically depending on how you look at it) in each of the corners
1. According to the student, what are two things that loose interspaces encourage?
a. Isolation
b. Segregation
B

Read the paragraph again. In pairs, ask each other the following questions
1.

Who does the student cite?

Arnheim, R.

2.

What year was The Dynamics of Architectural Form published?

1977

3.

What page is the quote as a relation between objects on?

17

4.

What do dense interspaces encourage?

socialise too much and discuss things unrelated to class work

5.

What types of interspaces are good for quizzes?

Loose as they are isolated meaning a less likelihood of copying or cheating

6.

What is the students main argument?

As stated by the student the amount of space between two objects indicates
whether they are independent or dependent objects, which correlates to the
density of the interspace and how this affects classroom functions and processes
The tables are close together.

1 Underline the finite verb.

2 Mark the subject.
3 Circle the capital letter.
4 Indicate the full stop.
These are the four elements that a statement must have. Place them in the table below.

The tables are close together.

Punctuation

i.
ii.

Capital letter
Full Stop

Grammar

i.
ii.

Correct spelling

Note: A finite verb is a verb which is a form of a verb that (a) shows agreement with
a subject and (b) is marked for tense. Contrast with nonfinite verb (or verbal).
Source: Nordquist, R. and Nordquist, R., 2016. What Is a Finite Verb in English
Grammar?. [online] About.com Education. Available at:
<http://grammar.about.com/od/fh/g/finiteterm.htm> [Accessed 05 Apr. 2016].
A
Find the mistakes in the following statements and questions. Correct the
mistakes.
1.
Interspaces spaces between objects.
Interspaces is/are spaces between objects
2.
dense interspaces in a classroom encourages talking between students.
Dense interspaces in a classroom encourage talking amongst students.
3.
Arnheim (1977) state space has a perceptual presence of its own.
Arnheim (1997) states space has a perceptual presence of its own.
4.
The classroom has many tables, the distance between them depends on the
type of activity.
The classroom has many tables, the distances between them depends on the type of
activity.
5.

Why quizzes and exams need large interspaces?

Why do quizzes and exams need larger interspaces?

Change the following statements from the paragraph into questions.

1.

The amount of space between two objects indicates whether they are
independent or dependent objects

Why do the amount of space between two objects indicate whether they are
independent or dependent objects?
2.

Interspaces in classrooms impact a students learning.

How do interspaces in classrooms impact a students learning?

2.

The appropriate amount of density for a classroom depends on the learning style
that is required for a particular lesson.

How does the appropriate amount of density for a classroom depend on the learning
style that is required for a particular lesson?
3.

Both levels of density have potential problems.

Why do both levels of density have potential problems?

4.

A design which enables flexibility in terms of interspace is needed.

Why does a design which enables flexibility in terms of interspace required?

Design Studio- Static Organization

A Using your blue print from the previous week, arrange pieces of Polystyrene,
balsa or muslin into an organisation which models your design (house, class room,
etc.) / garment.
B In groups, discuss the organisation of your design. Where are the units of
information located? Why? How would you describe your organisational pattern to
your client?
The organizational structure of the shopping center is reflective of the percentages
within class structures i.e. the greater or higher the class the smaller the level due to
the smaller interquartile range and the lower or lesser the class the larger the level
again due to the bigger interquartile range.
C When designing your major design, reflect on the amount of empty space
between the objects that you might place your space. If you are designing a garment
or an object, consider the empty spaces between the pieces of the garment or object.
How would you defend your choice of empty space to your client?
The external empty space signifies the possibility of equality within class structure as
seen in the levels as they vary from big to small as well as typify the highly distinct
variation between the how many affordable shops there are out there as opposed to
the shops designed to target the upper class. Furthermore, the structure signifies the
hierarchy of the business ladder whereby the more successful businesses are at the
top and the ones that are newly established and ambitious to climb the ladder are
located more towards the bottom levels.
D Is there something in the design that captures the attention of your client? What
is it? How does it capture the clients attention? If there isnt a prominent, or salient,
element, why isnt there? Can there be one? What would its function be?
The most salient feature is the shape of the building itself, it from small to big hence
why I think would capture most of the clients attention. Furthermore, with the outdoor
sitting areas for each of levels encourages socializing and relaxing whilst gazing at
the view from above. The shape further typifies a diverse structure to a shopping
center, much different to the standardized shopping structure we see in Sydney
today.

E Is there something in the design that guides the users reading path? That is, is
there a vector?
Yes, the transcendence from big to small makes the eye look to the highest point
which the top level. Although there is no clear indication of a vector, the style and
structure of the building compensates for such a technique.
F If there are a number of elements to your design, do some parts have the same
colour? That is, is there a colour rhyme?
The colour scheme of the building is simplistic and not too ostentatious, the glass on
all the floors for the windows are the same colour as well as the external painting
being a colour that constitutes to the visual image of the location or demographics in
that particular are. As for the internal colour scheme it is still ambiguous but will be
something that is strategic in terms of consumer demand most possibly vibrant and
vivid colours.
G Is there something in your design that separates or connects? That is, is there a
strong framing device or weak framing device?
The size of the levels as it ascends from big to small simultaneously creates a
separation between classes and hence creates the ideal and real through the
hierarchy of the shops within the levels. This is a strong framing device to create
separation however, at the same time is quite rigorous in its ability to separate.

Week 3
Reading Seminar
DYNAMIC ORGANISATION AND INTERMODAL COMPLEMENTARITY
SPACE NETWORKS: TOWARD HODOLOGICAL SPACE DESIGN FOR URBAN
MAN
1. Read the title, the subtitles of each section and the images. Discuss what might be in
the content of the article.
The article is most possibly about the different types of internal spaces and how they
are manifested i.e. ambient, personal and hodological. Conversely, the article may
contain how these elements effect our visual and perceptual view of the internal
spaces.
2. Who is the author?
E. G
3. When and where was the article published?
Mitropoulos 1975
1

2
3

5
6

What are Mitropoulos three spaces, and how are they defined?
Physical space A physical space network is the three-dimensional information that
has never been forthcoming, and will depend on a change of our planning mentality
Human space - a human space network although covert, has always been there: it is
the volume of the wake of a pedestrian as he moves through space
Hodological space this is the space that welcomes you to explore it by seducing
you into looking around the corner; that connects your starting point with your goal
and destination; that contains, defines, stimulates and even becomes, at times, the
very raison dtre for your movement
Ambient space Ambient space is surfaces and their layouts
Personal space Personal space is territorial in character, although not of fixed
boundaries
Who created the phrase space of possible movement?
Norberg-Schulzs (1971)
What is the relationship between hodological space and ambient space?
We are born with hodological space and personal space. We are not born with
ambient space. Crudely, we build ambient space, accommodating personal space,
and allowing for hodological space according to Mitropoulos
What is the difference between Euclidean space and hodological space?
Euclidean space always selects the shortest distance between two points. In
hodological space, on the other hand, the character of the chosen path varies
according to the situation. Thus Euclidean space, unlike hodological space, is not a
behavior space.
What is meant by a space network? What is your daily space network?
The space networks notation is a way of communication subjective information,
bedroom
toilet
loungeroom bedroom
toilet
corridor exit
What is Mitropoulos main argument?
As stated by Mitropoulos, my effort has been to notate the space as it is given
meaning by the activities in it, since it is primarily the movement through it that makes
it perceivable

Language Focus 3
1. What will students do to the class if they arrive after class starts?
Walk a different route through hodological space to their desired destination or seat.
1. The writer of the webfolio (the designer) referred to one author.

T/F

2. The students create ambient space.

T/F

3. The designer drew eight images for the story board.

T/F

4. The students occassionally see the tables.

T/F

5. There are a number of ways to go into the classroom.

T/F

6. The second organisation gives students more freedom to move.

T/F

7. Mapping hodological space is only beneficial (good) for the designer.

T/F

8. The designer can change the design if there are detrimental (bad) social
implications.

T/F

What is the topic of the paragraph?

Hodological space
2

In which sentence is this topic?

First sentence
1. Highlight the Given and underline the New.

a
b
c
d
e

f
g

The storyboard showed us that

the students continuously see the tables.
These tables are both destinations for the students as well as barriers in their
ambient space.
The storyboard also showed us that
all students must enter and exit through the one opening.
Some students have to walk around the tables to get to their seats
while others can go directly to their seat.

What is the purpose of the hyper-Theme (topic sentence)?

To clearly address the topic at hand to the reader and/or the audience.

What is the purpose of the elaboration of the hyper-Theme?

To reinforce and augment your main argument

What is the purpose of the hyper-New?

To summarise your main arguments and/or clarify your ontological position.

Design Studio 3- Dynamic Organisation

1

What are the affordances (potential and limitations) of presenting a design in

this way?

Affordance: An affordance is a relation between an object or an environment and an

organism that, through a collection of stimuli, affords the opportunity for that
organism to perform an action.

Reference: Anon, 2016. Affordance. [online] Wikipedia. Available at:

<https://en.wikipedia.org/wiki/Affordance> [Accessed 10 Apr. 2016]
The limitations of presenting in this way is whether these images address the needs
and wants of the client and whether they appeal to their demands. Also they do not
seem quite finalized i.e. all viewpoints are not considered so this cannot be displayed
to a builder instead they seem like the base ideas that may turn into complex
structures.

Week 4 Reading Seminar

DENOTATIONS AND CONNOTATIONS
A

Look at the images above. In pairs, ask each other the following questions.
1

What do a cat and a whale have in common? In which ways are they different?

The colours within that context are the same i.e. a blue background in the cats
image to represent a rainy day and and blue in the background and foreground
of the second image to display the context of the ocean and water.

What does a cat sitting near a window on a cold day mean?

Adds emphasis to how cold it is outside I would presume or that the cat must
restrain itself from the outdoors due to the cold weather

What does a dog sitting near a window on a cold day mean?

Similar to the cat, the dog must also restrain itself from going outside due to the
weather
What is the difference between the paradigmatic and syntagmatic axes?
the paradigm is the vertical set of associations; the syntagm is the horizontal, or
sequential arrangement.

What is a paradigm? What are the four paradigms for cat?

the paradigm is the vertical set of associations. cat family, lazy animals and
mammals, domestic animal i.e. dog, tortoise, hamster, parrot

How do we know, according to Lacey (1998, p. 63), what cat means?

As stated by Lacey in this context the most obvious paradigm associated with
the subject of the sentence, cat, is that it belongs to the category domestic
animal, so we are most likely to use this paradigm to determine the meaning of
cat.

Why is the syntagm important? What does it do to the paradigm?

Paradigms, by their very nature, expand the possible meanings of a sign; the
syntagm prevents confusion by limiting the number of meanings.

What is a commutation test and what does it reveal?

This replacement of one sign by another is called a commutation test and
illustrates how powerful paradigms and syntagms can be in image analysis or,
indeed, other types of analysis.

How can this reading help you with your design process?
It signifies the importance of commutation tests, paradigms and syntagms and
assists us in applying such concepts when discussing our design on such terms.
Furthermore, it provides highly in-depth insight into such concepts and how both
paradigmatic and syntagmatic arrangements and sequential orders can affect the
ideas/notions we are trying to display.