Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD DANIELLE LEE
(930970) CARL ARESKOUG
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) According to Durer, all perpendiculars or orthogonals meet at a common central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. The second law states that all parallels have a common vanishing point that lies on a horizon (horizontal line through the central vanishing point) if they lie on a horizontal plane.However, if parallels happen to form a 45 degree angle with the picture plane, the distance between the vanishing point and the central vanishing point is equal to the distance between the eye and picture plane. Lastly, given that the location of the eye is known, any parts of the picture plane is calculable from the preceding as equal dimensions diminish gradually when they recede in space.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a pure mathematical space, which does not resemble the structure of a psychophysiological space. It negates the differences between the front and back, right and left, bodies and intervening space, and all parts of space are absorbed into a single “quantum continuum”. This “central perspective” does not knows the concept of infinty and it is confined within certain spatial limits imposed by our faculty of perception. Fundamentally, homogenous space is purely functional and not a substantial reality as they are mere expressions of ideal relations.
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INVISIBLE CITY: CITY & EYES 3 : BAUCIS
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OLD QUAD ISOMETRIC
0
1m
5m
This old quad is being modified to suit the story that is provided. The lower layer consist of woodlands and the upper layer consists of a city supported by clouds. The bottom layer has stilts that are far apart and i have
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added ladders and a view area for telescopes. /
OLD QUAD ISOMETRIC WITH NOTATIONS
Keys (upper layer) Movement Crowd Voice Passage of time (19th century) Feelings (Light) Temperature (Warm) Perspective 2 Perspective 1 Lightness/ Darkness Threshold
0
1m
5m
Notations on the upper level.
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OLD QUAD ISOMETRIC WITH NOTATIONS
Keys (lower layer)
Movements Feelings (heavy) Crowds Passage of time ( 19th century) Passage of time (18th century) Temperature (Cold) Glance Lightness /Darkness
0
1m
5m
Notations on the lower level.
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QUAD PERSPECTIVE 1 + 2 Perspective 1 According to the story provided, woodlands beneath the city is hated but also respected by the inhabitants of the city. None of the inhabitants want to go down given the city has everything they need, and for that, i have allocated the lower layer as woodlands with tombs and graves .
Perspective 2 Marco Polo was very excited to immense himself in a city full with music and joy after seven days of tiring march through the woodlands. He lean against the balustrades and was reluctant to leave the city as he was enjoying the presence of crowd surrounding himself.
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PERSPECTIVE SCENE 1 + 2
Perspective 1 Woodlands - graveyards While marco polo was travelling in the city, he noticed that the inhabitants were very much interested looking through the telescopes observing the woodlands below. v He was curious and so he borrowed a spyglass from one of the inhabitants and he realised that they were not just observing the tombs and graveyards but rather to beware of enemies that are about to take away peculiar children for their own advantage . Perspective 2 There are two different passage of time taking place in the city. The first was in 18th century where inhabitants are enjoying the peace in life when trading flourishes and the other takes place in 19th century where the city hidden above the clouds is inhabited by peculiar children with a caretaker when they enter the loop which is safe from their enemies.
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WEEK 4 READING: PRACTICE ARCHITECTURE, TECHNIQUE AND REPRESENTATION
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) According to Nelson Goodman, autographic is essentially an art form that depend their authenticity upon the direct contact of the author for instance, painting and sculpture. Whereas for allographic arts , they are work exisiting in many copies that can be produced without the direct intervention of the author, and are capable to produce new realities by means of notation. Allographic arts operate through interpretation and basis of convention, and are subject to changing standards of performance.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Traditionally, conventions of representation presume stable and fixed objects but the contemporary city in today’s world is not reducible into an artifact. With the effects of technology, network of flows and the emergence of new urban phenomena , the conventions of representation ought to be reconsidered and remodified. Architects need new tools to work more effectively within the immaterial networks and systems in order to address the social and political implications of shift from artifact to effect specifically in the new dispersed field.
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FINAL DRAWINGS Cities & eyes : BauCis DaNieLLe Lee, 930970
Keys (lower layer)
Movements Feelings (heavy) Crowds Passage of time ( 19th century) Passage of time (18th century) Temperature (Cold) Glance Lightness /Darkness
Keys (upper layer) Movement Crowd Voice Passage of time (19th century) Feelings (Light) Temperature (Warm) Perspective 2 0
1m
2.5m
Perspective 1
5m
Lightness/ Darkness Threshold
Perspective 1
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Perspective 2
To differentiate the notations between levels, i have used different colours to represent them which is red colour on the upper level and black for the lower level.