![]() Open your Inventory and use your Granite Sandwich with Moai Head (half-submerged head) With Sam, select "What do you want us to do?" Open your Inventory and use your Stop Sign with Triangle ![]() With Sam, select "How do we talk to the triangle?" Instead of working with historical buildings, ask the students to create a set of blueprints for a space that they are familiar with, such as their house or school.Īsk students to describe how they translated the blueprint into the design of a game space.Īsk students to talk about how certain forms in their game space affect play, or the kinds of choices a player has to make because of the way the space has been configured.With Sam, select "How do we stop the triangle?" Encourage them to think about the form and function of the building as it relates to their design, as well as information they gathered during their research. Once your class has gathered enough research, pass out the blueprints for the buildings you have selected and ask students to build a game in Gamestar Mechanic based on the building they were assigned. Make sure that you choose examples that you can supply blueprints for. Ideally, the examples should include buildings from different cultures and time periods. Once your class understands the relationship between form, function and space, show them examples of blueprints and explain how architects use these plans to design spaces.Īfter you have introduced these concepts, select a series of historical buildings that you would like your class to do research on. If you’d like you can also show your class photographs of public parks and how they are designed for specific functions. For example, train stations have a very unique feel, identity and function compared to office buildings, homes, or stadiums. Start by showing your class photographs of the interiors and exteriors of buildings and have them identify how the building is used. Introduce your class to the concept of how architects design spaces for different uses. Maybe it will be the location of a boss or a great treasure. However, I’m still not sure how I want to use the central chamber in my game. I am currently designing the second level to take place inside the Taj Mahal itself, using the four exterior rooms as locations for a challenge. So far, I have made one level that takes place on the gardens of the Taj Mahal, where the player must avoid enemy sprites and search for a key to the door of the main building. The large reflection pools are especially successful at doing this.īased on the design shown in the blueprints, I decided to design a game where the player is drawn closer and closer to the center chamber. The grounds on which the Taj Mahal is located use a similar method, drawing visitors’ attention to the great dome of the building. Looking at the blueprints you can see that while the building is made up of four main exterior rooms and hallways connecting them, they are all meant to draw visitors into the central room where the tomb of Mumtaz is located. The Taj Mahal, for example, was built to honor Mumtaz Mahal, the wife of the Mugal emperor Shah Jahan. In addition to discovering a lot of information about these buildings, I also had the chance to think about how the form of a building relates to its function. The Palace of Versailles, for example, has a set of seven rooms dedicated to the Roman gods. I also rediscovered many cool facts about these buildings. For ex- ample, according to historical documents the width and depth of the Hall of Supreme Harmony is nine bays by five bays, numbers that are directly related to values associated with the concept of majesty in Chinese culture. As I was modeling these spaces, I followed many of the measurements and design principles that were important to the original architects. Using these blueprints, I recreated each of these real world spaces as top-down game spaces. I brought with me to the game arcades three blueprints of historical buildings I love: the Taj Mahal in India, the Palace of Versailles in France, and the Hall of Supreme Harmony in China’s Forbidden City. The history of how public and private spaces are designed has always intrigued me, and today I decided to conduct a little experiment. However, as I’ve taken more notice of the spaces in which these arcades exist and the environments in which the game districts flourish, I’ve realized that there is a deep connection between the design of space, its function, and the idea the space expresses. My familiarity with each of these arcades is based on my understanding of the districts they represent. For a while now I have been taking notice of the unique style and architecture of the arcades that I regularly visit in Gamestar Mechanic.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |