Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Cai Yizhen (Cris)
921679 Junhan Foong Studio 9
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) According to Durer, perspectival projection is when a picture has been “transformed” into a window through which we believe we are looking through a space. Hence, Durer ascertains that there are three rules for perspectival projection. Firstly, all perpendicular or orthogonal lines meet at a central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. Secondly, all aprallels have a common vanishing point, regard with direction. The vanishing point of parallels lie in a horizontal plane lies on the horizontal line through the central vanishing point. If the lines form a 45-degree angle with the picture plane, then the distance between their vanishing point and the central vanishing point is equal to the diatance between the eye and the central vanishing point. Lastly, He state equal dimensions diminish progressively as they recede in space, so that any portion of the picture is calculablefrom the preceding or following portion, assume that the location of the eye is known.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a part of purely mathematical space. Homogeneity of geometric space ultimately holds the basis that all its elements, the “points” which are joined to it, are mere determinations of position, possessing no independent content of their own outside of this relation, this position which they occupy in relation to each other. It is purely functional and not a substantial reality. Homogenous space is never given space, but space produced by constructions, and the geometrical concept of homogeneity can be expressed by the postulate that from every point in space it must be possible to draw similar fifures in all directions and magnitudes.
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INVISIBLE CITY:
Despina
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OLD QUAD ISOMETRIC
This is an isometric view from South East perspective. This is the basic structure of the old quad that will be populated with symbols that represent different people, perspectives, passage of the time and also the direction of walking. The lines are achieved through the “make 2D� command on Rhino and it was then imported into Aobe Illustrator.
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CITIES & THE SKY 3: DESPINA OLD QUAD ISOMETRIC WITH NOTATIONS
Key Normal Step Passage of time Sailor’s view Camel Driver‘s View 0
Small Step Perspective 1 Perspective 2 People
1m The isometric 2.5m with notations, I tried 5m to used arrows to describe the character’s movement. And used lines to demonstrate the passage of time. Beside of that I also
state the accurate position for the perspective view. At the last, I used my own symbols to illustrate the individual perspective of the two main characters in stories.
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QUAD PERSPECTIVE 1 + 2 Annotation. This view suits this scene, because it is the best part to demonstrate the character’s perspective view in my story. This perspective expressed the city view that sailor it recieved that “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 halfrevealed. “
Annotation. This view suits this scene, because it able to show the most of the scenes from camel driver perspective that “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 also that “the taverns where crews of different Bags break bottles over one another’s heads, the lighted, ground-Boor windows, each with a woman combing her hair.”.
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PERSPECTIVE SCENE 1 + 2
In Perspective 1, I have chosen to include that sailor was away from 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. I also included people such like queen and soldiers that basically are in the palace. And I also added some scatters effect for the girl dancing there.
In perspective 2, I have included sailor’s imagination, that he knows despina 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, beside the quad. Moreover, the taverns where crews of different Bags break bottles over one another’s heads, the lighted, ground-Boor windows, each with a woman combing her hair were can be seen in this perspective too. Since its all his imagination, hence I added smoke to represent his imagination.
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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? (Maximum 100 words) The main difference between autographic and allographic pratices are the role of the creator of the work, and moreover the nature of their contact with the works, be it direct or indirect. Autographic is the art that its credibility and value depends for their authenticity upen the direct contact with its creator, for example like painting and sculpture. While, allographic is the art which credibility and product could be developed and improvised, without the direct intervention with the creator, such like music and poetry, where the works exists in many copies and can be reproduced without the direct intervention of the creator. Hence, the mataphorical distance associated with the creator and the work is the distinguishing factor between these two practices.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architects need new representational techniques, bacause it is to help the architect to work within the complexity of the real, and to engage the shifting field of the contemporary city. Also, because of drawings of structures or buildings are disconnected from the creator. Drawings and plans are meant to be instructive and to aid others in their understanding of the structure. Furthermore, in the new era of progress, architecture is to work beyond the level of image it needs to invent new tools to work more effectively
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FINAL DRAWINGS CITIES & THE SKY 3: DESPINA
The isometric drawing itself has given out a clear story and scene about how Despina looks like.
Key Normal Step Passage of time Sailor’s view Camel Driver‘s View 0
1m
2.5m
5m
Use the eyedropper tool to copy colours and line weights across into your isometric drawing.
Perspective 1
Perspective 2
Small Step Perspective 1
The presence of perspective view will provide information as the camel driver and the sailor see Despina is a border city between two deserts, which recieves its form from desert it opposes. Yet, these informations are not well depicted inside isometric view, since it will be too complicated if put every information into the isometric. Therefore, through in the understanding of the story, we are enable to apply everything that you imagine to be reality in the perspective scenes.
Perspective 2 People
Marco Polo path could be clearly seen showing where he started his journey and scenes he saw throughout his way. Important characters were notated in the isometric view and characters that were specifically seen in the chosen perspective had dark-coloured notation. The distribution of characters are well scatteres at the side of the quad.The movement od Marco Polo is restricted in the middle of the quad. From that restriction, it indicates the possible overview could be seen by him is at the side of the quad. In consider the order of time, the first scene should be camel driver’s view, then next is sailor’s view.
Perspective 1 is taken from the sailor’s view , while Perspective 2 is from camel driver’s view.
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