Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Elias Hanna
(915203) Ben Waters + 06
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM, E. PANOFSKY
Question 1: What are Durer’s rules for perspectival projection? A fully perspectival view of space, created using the following rules (or ‘laws’): -Orthogonal Lines are drawn to meet and intersect at the vanishing point (defined by a perpendicular line drawn from eye level to the picture plane) -All parallel lines (regardless of direction) share a common vanishing point. -Any equal dimensions will diminish in size progressively as they near the vanishing point (and subsequently recede into space), therefore calculating any portion of a drawn ‘picture’ is possible given that the eye location is known.
Question 2: Describe homogenous space? A space defined and created by employing pure mathematics, using a fixed view (defined by an immobile eye). Homogenous space is constructed by connecting known points in space to create any figures (in any direction and/or magnitude). This is contrast to our (physiopsychological) lived view of the world, where by nature, limitations exist on our reading and understanding of space, thus homogenous space negates differences between the two by absorbing all parts of a space (which we read as humans as front/back, left/right etc.) into a ‘single quantum continuum’ through perspectival drawing.
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INVISIBLE CITY: MAURILIA
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OLD QUAD ISOMETRIC
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2
5M
Isometric View (without annotation) of segment of Old Quadrangle Building: Melbourne Univeristy - Parkville
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CITIES & MEMORY OLD QUAD ISOMETRIC WITH NOTATIONS
5: MAURILIA
Key Glance Stare Crowd Slow Pace
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2
5M
Prologue
Fast Pace
Time Passing
Persp. 1
Light Feeling
Persp. 2
Heavy Feeling
Lookout
Isometric View (with notations) of segment of Old Quadrangle Building: Melbourne Univeristy - Parkville
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QUAD PERSPECTIVE 1 + 2 Thise scene utilises Central one point perspective and was chosen as a ‘hero shot’. Iit represents the most attractive and most photographed image in a city, and one any traveller would be inclined to take or would definitely situate themselves upon entry to the site to view the aesthetically pleasing symmetrical grid. I think most cities have places such as this where travellers are ‘invited’ or expected to visit... For instance, the steps leading up to Flinders St STation, the Leaning tower of Pisa with the lawn in the foreground or the Taj Mahal with Promenade and water feature leading up toward it.
This scene was created to portray a more naturalistic view of the space, where I will eventually situate characters and objects to portray a frozen part in time with a less distinct foreground, middleground and background than that above. I also wanted as many groin vaults as possible to be visible as I would like to use them as canvases to portray more abstract ideas that have eminated from my story through material selection and collage, the open spaces between the columns and under the vaults will likely contain characters and objects as illustrated in the story as a counterpoint to the more abstract ideas.
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PERSPECTIVE SCENE 1 + 2 This scene depicts how we record aspects of place through observation and navigation on different levels and scales, and how this has changed over time. The analysis goes both ways, as we are ‘invited’ to view the city, the city views and records aspects of our journey through it, back (surveillance camera). An excerpt from Melbourne’s ‘MetroMap’ is overlaid on the stone flooring in the foreground symbolising a different depiction and invitation to travel through the city, an abstracted and linear mapping of otherwise complex, physical space for ease of navigation. A painting of pre-settled Australia encloses the frame (by John Glover ~1830’s), signifying an even further step back in a cities complex and layered history, rarely discussed. This scene depicts both literal and abstract interpretations of the story (Viewed in FIrst Person) featuring two women from different times, holding Parasols. The munitions factory is visible on a TV Screen mounted on the Stone Column, while a painting in an old style elaborate frame depicts an area of land in Australia prior to Colonisation, many cities contain layers of histories forgotten, ignored or unkown to inhabitants and travellers. Depictions (photographs) of natural phenomena that seem to transcend notions of time, history and place are littered across each segment of the vault, varying in scale. Overlaid on the stone flooring are contour maps and arial images of a cities electrical gird, recordings of cities we rarely take note of or see.
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WEEK 10 READING: PRACTICE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION - S. ALLEN Question 1: What is the difference between autographic and allographic practice?
Autographic Art practice involves that which relies on the direct influence and contact of the author, i.e. painting and/or sculpture. Whereas Allographic Practice employ forms of notation which allow them to be re-created and reproduced, with the author being distanced after production, such as music, poetry and theatre etc. Interpretation of a score (the notation) for instance can be done by numerous people devoid of the authors presence, and thus creating a new reality, that was imagined by means of notation. Some creative endeavours such as architecture employ both practices in some way.
Question 2: Why do architects need new representational techniques? Architects need new representational techniques to reflect the nature of our cities and the changed way in which they effect people in our current age (much of which are immaterial digital networks and systems), as opposed to that of age’s prior which were more tangbile and physically influential on cities at large. Scripting is one way in which architects can now tackle the complicated systems present in our cities and meet design challenges more effectively through utilising these new digital, representational technologies. Enabling Arcitects to engage and mitigate (although some control may be lost) issues of time/change, shifting scales, mobile points of view and multiple programs (in a design sense).
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FINAL DRAWINGS CITIES & MEMORY 5: MAURILIA
Key Glance Stare Crowd Slow Pace
0
Perspective 1
1m
2.5m
5m
Prologue
Fast Pace
Time Passing
Persp. 1
Light Feeling
Persp. 2
Heavy Feeling
Lookout
Perspective 2
Elias Hanna, 915203
Isometric View with Key and Scale Bar above 2 Final Perspectives
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