Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Belinda Taylor
749446) Raynaldo Ali, Tutorial 4
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection?
According to Duer, the width from a plan drawing and height from an elevation can create a perspectival projection provided they follow two rules. Firstly, ‘all perpendiculars’ or ‘orthogonals’ meet at the so called vanishing point determined by the perpendicular drawn from eye to the picture plane. Secondly, all parallels, regardless of whichever direction they lie, have a common vanishing point.
Question 2: Describe homogenous space?
Homogenous space is infinite and unchanging yet produced by construction. The geometrical concept of homogeneity can be expressed by the postulate that from every point in space it must be possible to draw similar figure in all direction and magnitudes. This is a technical form of drawing that is constructed following a set of instructions or rules. As homogenous space represents the reality two key assumptions can be made. Firstly, perspective is taken from a singular point of vision, a singular eye. Secondly, the renaissance methods of pyramidal linear perspectives can correctly replicate the human condition of vision (Panofsky 1991, p.29).
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INVISIBLE CITY: DESPINA can be reached in two ways: by ship or by camel. The city displays one to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red windsocks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, groundfloor windows, each with a woman combing her hair.
In the coastline’s haze, the sailor discerns the form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, ad- 17 vancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wineskins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed. Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.
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OLD QUAD ISOMETRIC
0
1m
Isomtric view of Quad.
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5m
OLD QUAD ISOMETRIC WITH NOTATIONS
Key Perspective Breeze Memory Desire
0
1m
5m
Isometric view with symbols, displaying movement, breeze vs crowdedness and intensity of desire.
Crowd Spaced steps Small Steps Glance Stare 5
QUAD PERSPECTIVE 1 + 2
Perspective 1 follows Duer’s rules os perspectival projection through the view of a window; looking into a scene from a point within the scene. It allowed a link between representing the crowded city environment displayed in the center of the isometric drawing while allowing me to play with the concept of ‘reality vs desire’ using perspectival projection..
Perspective 2, is positioned on the outer field of the isometric drawing. This suits my perspective view as I created a ‘dream perspective’ described by Marco Polo. Only on the outer parts of the city are you able to let your desire take over. Secondly, I chose to represent the ‘withers of the camel’ through the two humps that form from the arches in the audotorium in the perspective view; a less litural representation of camel’s withers but the form of camel wither’s can be seen through geometric shape.
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PERSPECTIVE SCENE 1 + 2 Marco Polo describes Despina as a border city. Approaching Despina he sees pinnacles of skyscrapers, a radar antena and chimneys belching smoke but he thinks of a vessel to take him away from they city. I chose to take a modern approach, and presented the camel driver as a business man. The floor is the belching smoke from the city and represents the man feel’s bogged down by the city and therefore not able to reach his full desire. I have displayed the images of the city and used gesture to imply the key figure is confused by ‘reality vs desire.’He still see’s elements of a city but thinks of a vessel; reality vs desire.
In the second persepctive Marco Polo describes a tiled court, with white-washed walls, palms and girls dancing in veils moving their arms freely. I have represented this ‘dream perspective’ and used cloud to illustrait this is a desire space not reality.
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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice?
Autographic consist of art-forms like painting and sculptures which rely on the direct contact of the author or artist for authenticity. Therefore, they require the hand of the author or artist to create the complete form. As for allographic represents the forms of work which may exist in copies and be produced without the direct contribution of the author. National drawing, such as architectural drawings or sheets of music are allographic as their notations can be decoded according to a series of shared conventions (Allen 2000, p33).
Question 2: Why do architects need new representational techniques? Allen (2000), argues that early modernist architecture came to resemble new technologies of the time, and therefore this should continue in contemporary architecture. Traditional representations presume stable or fixed objects which doesn’t meet the needs of modern architecture and technology. The city today is a place with visible streams of information, capital and subjects of complex information. Therefore, it is the architects task to describe or intervene in this new field of representation techniques that engage time, change, sitting scaled, mobile points of view and multiple programs.
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FINAL DRAWINGS As seen following the movement in the isometric drawing, Despina can be reached by two opposing sides and it is easy to get caught up in the cycle of the city (middle, crowded part of the city). However, if you manage to pull away from the hum drum of the city, your steps get bigger, you feel the breeze and your imagination can take over if your desire is strong enough.
Cities &Desire 3: Despina
Key Perspective 1 Perspective 2 Breeze Memory Desire Crowd Passage of Time 0
1m
Perspective 1
2.5m
5m
Light to Dark
Perspective 2
Spaced steps Small Steps Glance Stare
Perspective 1 correlates with the isometric, as the stare and desire symbol is smaller in size. This is because, the man desires a vessel to take him away from the city but he is reminded of the city from the crowds of people and stuck between reality and his desires.
Perspective 2, is an interpretation of the the desire described in the second paragraph by Marco Polo. The large heavy symbol of desire and extreme stare seen in the isometric drawing indicate that the individual has allowed his desire to fully captivate his mind. He no longer thinks of Despinda as a city but see’s his desire.
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