Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Amber Young
914452 Brooke Gibson + Studio 2
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? Not when mere isolated objects are represented as perspective but the entire picture is in perspective Planar transparent intersection of all those rays that fall from the eye into the object it sees Laws: 1) All perpendiculars or orthogonals meet at the so called central vanishing point which is determined by the perpendicular drawn from the eye to the picture plane, shortening the depth of objects that appear. 2) All parallels have a imminent vanishing point, if they are horizontal their vanishing point lies on the horizon, if they have a 45 degree angle with the picture plane then the distance between their vanishing point and the central one is equal to the distance to the eye and plane 3) Equal dimensions diminish progressively as they recede in space so that any portion of the picture is calculable space, in that the vanishing point is located on a horizon point.
Question 2: Describe homogenous space? It is a ’central perspective’ and a constructed space that is purely mathematical and is created with a set of instructions/rules with the spce produced via a construction of points. All of it’s points which are on it are determinants of position and not accurate as they don’t reflect reality, therefore it is not necessarily true.
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CITY & NAMES 1: AGLAURA
Key sentences I utilised in the creation of my perspectives are highlighted.
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OLD QUAD ISOMETRIC
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1m
2.5m
Old Quad Isometric with Lineweights
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5m
OLD QUAD ISOMETRIC WITH NOTATIONS
Key Slow Walking Fast Walking Group 0
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2.5m
5m
Look Up Stare Glance
Old Quad with Marco Polo’s Movement Mapping
Light Mood Threshold
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QUAD PERSPECTIVE 1 + 2 Perspective 1: Threshold This view represents the point in the story where Marco Polo describes his realisation that Aglaura is abmormal. The soldiers guarding the gate show this threshold as well as the path leading towards it. This perspective shows Marco Polo’s progression from the normal ot abnormal
Perspective 2: Optical Illusion This scene shows the abnormailties present in Aglaura, in that each of the objects are recognisable from everyday life (for example, the tree, mushrooms, lamp, people) however they each have abnormal and unique qualities. This perspective was chosen as it displays the entire back part of the ‘quad’ in the shot, as well as the optical illusion aspect as this perspective can be turned upside down to make the roof appear as a warped floor. It is also located at the ‘stare’ viewpoint of Marco Polo shown in the isometric mapping.
PERSPECTIVE SCENE 1 + 2 Perspective 1: Threshold Showing the threshold between the ‘normal’ and ‘abnormal’ space, however the characters and objects shown still have unique qualities about them. The ‘punctilious regard for rules’ mentioned in the story is shown through the guards and gate. The ‘enduring assortment of qualities’is also present through the slight visibility of the characters through the threshold.
Perspective 2: Optical Illusion The tree in the centre appears as a chandelier when viewed from upside down with the checkered roof also appearing as a warped floor with the characters appearing to be standing on it, therefore creating an optical illusion. This links to the ideas of abnormalities and the ‘oddities that become normalities’ as mentioned in the story.
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WEEK 10 READING: MAPPING THE UNMAPPABLE ON NOTATION
Question 1: What is the difference between autographic and allographic practice? These two practices were distinguished by philosopher Nelson Goodman though his discussion of notation. He states that ‘Autographic Practice’ is arts like painting and sculpture that “depend for their authenticity upon direct contact of the author’, or in other words the item cannot be exactly copied or duplicated. On the other hand, ‘Allographic Practice’ is arts where the “work exists in many copies and can be produced without the direct intervention of the author” and operate on the basis of interpretation and cannot be reproduced. This includes things like poetry and music. Architecture for one is neither allographic or autographic as it is a mixture of both numerical and verbal language, as well as the use of sketches, mapping and perspectives.
Question 2: Why do architects need new representational techniques? Due to Goodman’s theory, architecture is neither allographic or authographic, therefore it does not imitate or reproduce something that already exists. Architecture, like music and dance is not concerned about imitating reality, however both musical scores and architectural plans both show ‘yet-to-be-realised works’. However, the built form of architecture is physically present, therefore disconnecting from its author, making it autographic practice. Because of this confusion, it has been dubbed as ‘Goodman’s “curious mixture”’. Because of these points, architecture needs a new representational technique that is not a ‘mixed and transitional case’. In order to map new urban phenomena such as “edge cities” and “generic cities”, the conventions of representation need to be rethought to comply and work effectively with immaterial networks and systems that comprise the city, in that the new way in which architecture should be represented should be adapted to represent modern cities and architecture effectively. This is dome through seeking user needs, change and expectations: that architectural designs will become more extravagant and better.
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FINAL DRAWINGS
Cities & Names 1: aglaura The drawing needs to be as detailed to describe and visually represent the story through Marco Polo’s perception accurately and successfully.
Key Slow Walking
The notations follow a clear path from the ‘entrance’ of the quad, following the path through the gate. Some notations are hidden in the isometric projection as they are hidden behind the posts of the quad model.
Fast Walking Group Look Up Stare Glance Light Mood 0
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Perspective 1
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5m
Threshold
Perspective 2
Final City A1 Layout
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