Module 4

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Christian Wong

915394 Emmanuel Cohen - Studio 26

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WEEK 9 READING: TITLE OF READING

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer imangines the perpspective as a segemented, square based pyramid, the square part being the picture plane, and the tip of the pyramid as a eye. The first of his rules, are that all perpendicular lines converge at a singular vanishing point, this point is perpendiuclar from “the eye to the picture plane.”1 Secondly the parallel lines also have a vanishing point, the direction of these parallel lines can vary. If these parallel lines are on a horizontal plane then the vanishing point for these lines will be positioned on the horizon line. Finally objects that are further away from the viewer are smaller than that which is closer.2

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Erwin Panofsky, Perspective as Symbolic Form, New York: Zone books, 1991, 28.

Erwin Panofsky, Perspective as Symbolic Form, 28.

Question 2: Describe homogenous space? (Maximum 100 words)

Homogenous space is created, it is made possible through the postulate that at any point in space, it is “possible to draw similar figures in all directions and magnitudes.”1 However these points have no reference in the real world, therefore are not accurate representations and instead are expressions of “ideal relations”2. It is a useful representation; it is able to distinguish the front from the back.

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Erwin Panofsky, Perspective as Symbolic Form, 30.

Erwin Panofsky, Perspective as Symbolic Form, 31.

INVISIBLE CITY: Eudoxia

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OLD QUAD ISOMETRIC

Drawing without notations

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OLD QUAD ISOMETRIC WITH NOTATIONS

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Drawing with notations

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QUAD PERSPECTIVE 1 + 2 First perspective drawing.

The composition of this perpsective highlights the carpet (the focus of the first perpsective) by placing it on a hot spot1 on the rule of thirds. It also creates a closed composition, created by two pillars on either side, creating a “bustle... shoving feeling�. The camera is angled slighty upwards to mimic the action of stooping up as Marco looks for the carpet.

1 The point where the lines intersect for the rule of thirds.

Second perspective drawing.

The emphasis in this scene is invoking a flashback feeling. The overall space is uncrowded (see symbol isometric) with fewer figures and an open compostion.

This emphasises the difference in the two perpectives being in two different times, by allowing more room to show the dirreence in texture in the roof and pillars.

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PERSPECTIVE SCENE 1 + 2 Perspective 1.

In this first perspective I wanted to create a marketplace feeling. To not reference a specific time, the figures are shaded out. The fishes on the right and mule on the left reference the “mule’s braying” and “fish smell” from the stroy. To further emphasis the “bustle, the throngs, the shoving” groups are positioned in the walkways. The only implied movement is through the person walking on the left, this is to draw the views eye back to carpet, reminding it to be the central focus.

Perspective 2.

To create a feeling of change in time, I used a stained paper texture for the pillars, to create an aged look. The augur figures all had pixelated figures pictures, so I used illustrator to create the figures textures. To keep it in theme, the oracle is created in the same manner. The oracle is surveying the carpet on the left, it is here the oracle answers the question posed about the link between the carpet and Eudoxia.

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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:

Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic is unque in its singuilarity. Think of a painting, sculptures etc. for them to be originals the actual painter or sculptor has to make it. It cannot be reproduced to be exactly the same by any other means. In Allographic practice the same authentic poem, music, dance etc. can be produced but in mass. It can be appreciated by the masses without losing its authenticity. The “standard of performance” does vary however.1

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Stan Allen, Diana Agrest, Practice: Architecture, Technique and Representation - Essays, The Gordon and Breach Publishing Company: 1st edition (May 3, 2000), 34.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architecture is a mix of autographic and allographic. Its autographic is representated in a allographic manner through the creation of the building. The building is produced by the drawings, and can be done so as many times as you want. The standard of the allographic building is determined by the builder. The interpretation is different for everyone. The current tools that we use to represent the autographic do not accurately represent the building; it only associates itself with the “surface and not its structure.”1 The new techniques should use also represent the structure of the building, and concern itself more with buildability. For a building to be buildible it has to concern itself with time, a common scale and a control of materials.

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Stan Allen, Diana Agrest, Practice: Architecture, Technique and Representation - Essays, The Gordon and Breach Publishing Company: 1st edition (May 3, 2000), 38.

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FINAL DRAWINGS CITIES & THE SKY 1: EUDOXIA

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Key Big Step

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Small Step Carpet Crowd/Person Time Change Glare Stare

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1m

Perspective 1

2.5m

5m

Perspective

Perspective 2

Final Drawing

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