Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Bethany Cherry 888218 Gumji Kang, Studio 23
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
INVISIBLE CITY: Trude
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) When doing perspectival projection, Durer imagined the picture as a planar cross section and used the ‘visual pyramid’ to direct his projection lines. The apex of the ‘visual pyramid’s’ eye was the point where the ‘visual rays’ projected from, within the space to represent the projected form. In keeping to this concept, he then only needed to draw the entire system in plan and elevation in order to determine the figure.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogeneous space can be described as the ‘structure of an infinite space’, an ‘unchanging’ space. It is a pure mathematical space very similar to the structure of psychophysiological space, where As written in the ‘perspective as symbolic form’, it is described as the homogeneity of geometric space, where all it’s elements, the ‘points’, are joined to determine the relationship between their position and occupation. Homogeneous space is never given space, but space produced by construction: and indeed the geometrical concept of homogeneity can be expressed by the postulate that from every point in space it must be possible to draw similar figures in all directions and magnitude.
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OLD QUAD ISOMETRIC
Isometric of the Old Quad, without symbols
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OLD QUAD ISOMETRIC WITH NOTATIONS
The journey Marco Polo takes through the infinite city of Trude is as illustrated above. A road that never ends, winding through the city takes Polo to the downtown market and the uptown suburbs. A journey which repeats itself.
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QUAD PERSPECTIVE 1 + 2
PERSPECTIVE SCENE 1 + 2 Perspective 1: This perspective allowed me to zoom in on a particular scene from the text, as described by Marco polo. I wanted to show what the ‘downtown’ market would look like, seen from his eyes on the road. This view suits the scene, as the perspective is confined to a corner, where i can add detail like stands and objects.
Perspective 2: The perspective views are detailed snap shots along Marco Polo’s journey. The market scene and suburb scene, for me stood out the most. I wanted shot that captured the streets of the yellow and green house, with the same flowers on every corner. This elongated shot was appropriate to show both the road, signs and houses he would visit in his trip.
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Perspective 1: I choose the downtown market scene, which as Polo described, i envisioned with stalls selling goblets and packages, directed by the same signs. The back ground is an image of a venetian courtyard, which references the original context of the story. I wanted to create a relatable scene to describe such an old city, hence the modern day figures. Referencing Venice, i also included the tradition venetian masks for sale on the stands. Perspective 2: As with perspective 1, i chose a particular scene to depict. Polo’s visit to the suburbs in this infinite city. Unlike the market scene, which has a variety of objects, i wanted to emphasize how the city could be seen from Polo’s eyes as, infinite. The signs and flower beds are repeated on every corner, and in the background, i sourced venetian style house façades and represent the ‘yellow and green houses. I had the idea that the hotel could look the same as the houses, suggested through the signs in the scene.
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WEEK 4 READING: PRACTICE ARCHITECTURE, TECHNIQUES AND REPRESENTATION
FINAL DRAWINGS
Complete your reading before attempting these questions:
Continuous City 2 - trude Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic practice, such as painting and sculpture, depend on the direct contact of the author for their authenticity. Allogrpagic practice on the other, does not. Allographic arts are capable of being reproduced at a distance from the author by means of notation. Works including but not exclusive to music, poetry and theatre, all have a different description of the concept of their authenticity (due to these works exist in making copies)Another notable difference between the two practices is that allographic arts operate through interpretation and on the basis of convention.
Hint: How Detailed does the drawing need to be? Consider the ‘readability’ of the notations within the isometric projection and how the notations tell the same story as the scenes graphically illustrated in your perspectives. Key
Glance Car ride People
Question 2: Why do architects need new representational techniques? (Maximum 100 words)
Perspective 1 Perspective 2 Stare 0
1m
2.5m
5m
The reality of today has architects needing to work beyond the level of the image to keep up consequence of technology and social changes. Architects need to create new tools to work more effectively with the immaterial networks and systems of this new effect of artifact to effect. Traditional representations presume stable objects and fixed subjects, but in the world today, where visible and invisible streams of informations exist, architects need these new tools of representation that engaged time and change, shifting scales and mobile points of view. Relieving some of the control, from fixed to flexible. New representational techniques can allow an enlargement of the catalogue of techniques available to the architect working, giving them more ways to represent the new information found in today‘s architecture. Having these new representational techniques such as maps, diagrams and scripts also establish a basis for exchange with other disciplines such as film, music and performance, emphasizing Perspective 1
Perspective 2
Bethany Cherry, 888218
The road Marco Polo drives on, wraps around the city in an infinite figure eight, which i illustrated with the arrows. On his journey, as he passes the market, he stares as the same scene he just saw. Glancing out the window, he sees the same scene over and over again.
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