Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Brock Smith 835203 Ray Ali, Studio 4
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection?
Correlating width from a plan drawing and height from its elevation to a third drawing can create a perspectival projection, defined by Durer’s two rules; “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” and “All parallels, in whichever direction they lie, have a common vanishing point”1.
1 Panofsky, Erwin. Perspective as Symbolic Form. Zone Books. pg 28. Question 2: Describe homogenous space?
Homogenous space is what fills the art board of this third drawing which will only begin to represent space once we have constructed points determined from the two orthogonals. Such is the nature of perspective projection that each point, line and detail of the content is only an expression of its relationship with the other points, lines and details surrounding it. Homogenous space only becomes representable when a singular viewpoint is determined, freezing these infinitely malleable relationships in space and time to create a picture plane.
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INVISIBLE CITY: Dorothea
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OLD QUAD ISOMETRIC
0 1m
4
2.5m
5m
OLD QUAD ISOMETRIC WITH NOTATIONS
0
1m
2.5m
5m
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MARKET PLACE PERSPECTIVE
Marco Polo’s arrival in Dorothea is a vivid perspective featuring a bustling marketplace. He moves slowly amongst the working class in the outskirts of the urban environment who’s boundary presents an interesting gradation of desert to city. The working class are surrounded by sandstone columns and whitewash ceilings and restricted to the daily tasks of survival such as providing food, water and shelter for their families.
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NUBILE GIRLS PERSPECTIVE
Far from the sandy outskirts, this second perspective represents the freedom of the affluent society residing in the centre of the city as the nubile girls marry into families with monopolies on possessions of opulence from the day, “bergamot, sturgeon roe, astrolabes and amethysts�. These city dwellers are afforded the luxuries of exquisite marble construction, houses with two and a third chimneys and are privileged to be able to look and think beyond their own existence, into the skies and ponder the universe with their astrolabes.
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WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION Question 1: What is the difference between autographic and allographic practice?
Autographic practise is a direct product of a single author’s actions for example a painting or a sculpture and is not authentically replicable. On the other hand, allographic practise describes art pieces that can be produced by people other than the original author for example a written piece of music or architectural drawings as an “assemblage of spatial and material notations that can be decoded, according to a series of shared conventions, in order to effect a transformation of reality at a distance from the author”1. The musical recital performance or the completed building would be considered an allographic representation.
1Allen, Stan. Practice Architecture : Technique and Representation. pg 32. Question 2: Why do architects need new representational techniques?
The built world is constantly evolving especially in the current information age and in order to accept changing realities around us, we must creatively reinvent the tools in which we represent these new conditions.
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FINAL DRAWINGS Cities & Desire: Dorothea
Key Crowd Stare Glance Restricted Step Unrestricted Step Transition in Time Live Music Perspective Views Spatial Threshold Marriage Transition of Space 0
1m
2.5m
Nubile Girls Perspective
5m
Market Place Perspective
Brock Smith, 835203
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