Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Ella Friedrich
916574 Nina Tory, Studio 8
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WEEK 9 READING: TITLE OF READING Picture plane
Question 1: What are Dürer’s rules for perspectival projection? Dürer sets following rules for a perspectival projection:
External point linking up with orthogonals
A vanishing point is set on a horizon line, which is a horizontal line through the vanishing point. All orthogonals (perpendiculars) recede and meet at this vanishing point. To determine the location of the horizontal line one must have an external point which intersects with the orthogonals and this intersection shows the location of the horizontals.
Vanishing Point Horizon Line
Intersecting lines to determine horizontals
Orthogonals
Alberti’s One Point Perspective (Source accessed 22/05/2017: http://farm6.static.flickr. com/5059/5534069638_23d39e6ab0.jpg)
Question 2: Describe homogenous space?
Homogenous space stands in contrast to infinite space (e.g. the axonometric drawing). This means point in a perspectival drawing aren’t independent nor objective, they further more rely on their individual position and are always constructed. Homogenous space is the expression of a subjective experience through a singular and static eye which is conditioned by our experiences. Dürer showing how to construct a perspective drawing (Source accessed 22/05/2017: http://artstudioreynolds.com/1part7/)
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TRADING CITIES 1: Euphemia
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OLD QUAD ISOMETRIC
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1m
2.5m
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Isometric view of the 3D modelled quadrangle taken from the south east
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OLD QUAD ISOMETRIC WITH NOTATIONS
Light Feeling Crowds/People Movement Marco Polos Gaze Passage of Time Light/Dark Communication Perspective 01 Perspective 02
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1m
2.5m
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Isometric view showing Macro polo’s movements and experiences through notations. (note that Marco Polo has an observing role in the story depicted)
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QUAD PERSPECTIVE 1 + 2 Perspective 01 Perspective 01 is taken from south to north through the center of the quadrangle. The one point perspective is set up in a very classical way to set a scene for the 16 century merchants that come to meet in this space to share their fantastic trips at every equinox and solstice.
Perspective 02 Perspective 02 appears to be the same set up as Perspective 01 but is reversed from south to north. This is key to show that the perspective is still the same setting. The characters are used to show that the scene is a 1000 year later snapshot of how trading and ‘telling stories’ still continue but in a different way and with different methods.
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PERSPECTIVE SCENE 1 + 2 Perspective 01 In Invisible Cities Marco Polo describes Euphemia as a trading city where at every equinox and solstice merchants from 7 nations meet to trade at day and at night exchange exciting and mysterious stories from their travels. I have chosen 7 line drawing men from different parts of the Byzantine Empire since the story is set in Venice and had a lot of links with the East. The fire in the center symbolises the medium around which these men gather four times yearly. Around the scene you can see items of their daytime trading
Perspective 02 The second perspective is more ambiguous. 1000 years later three people are casually sitting in the space, not interacting with each other but interacting with their three lap tops which symbolises the equivalent medium to the fire. We don’t know what they are doing on their laptops, they could be trading online or sharing stories. The scene depicts a daylight scene highlighting the solstice aspect which is the longest day or longest night. I’ve chosen purposely only 3 people, as the other nations no longer need to come to Euphemia. There isn’t any immediacy required anymore, the merchants can comfortably sit at home. Hello fresh box and the vending machine replace the barrels and sacks of rice and show again that there is no need for face-to-face interactions with people.
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WEEK 4 READING: STAN ALLEN ESSAYS -PRACTICE ARCHITECTURE, TECHNIQUES AND REPRESENTATION Question 1: What is the difference between autographic and allographic practice?
Autographic practice, according to Stan Allen relies heavily on an author to give its authenticity. There is no need for an author to have direct intervention in the allographic practice. The representation relies on a set of rules or conventions that let any one decode and reproduce the authors intention, like a set of instructions.
Question 2: Why do architects need new representational techniques? Stan Allen argues that architectural techniques of representation haven’t grown with the change of times and innovations. The conventions aren’t able to represent the complex world anymore; he uses the examples of time, movement, technology and the viewers movement.
Louis Khan uses unconventional representation techniques to show the flow of traffic in Philadelphia (Source accessed 22/05/2017): https://s-media-cache-ak0.pinimg.com/originals/ce/49/47/ce4947d5c15a9214175970abfc7a3875.jpg)
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FINAL DRAWINGS Trading CiTies 1: euphemia
Key Light Feeling Crowds/People Movement Marco Polo’s Gaze Passage of Time Light/Dark 0
1m
2.5m
Communication
5m
Perspective 01 Perspective 02
Perspective 01
Perspective 02
Ella Friedrich, 916574
Final drawings showing the notated isometric in 1:50 scale and two perspectives
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