Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Eunju Kim
914 834 Hana Nihill Studio 19
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WEEK 9 READING: PERSPECTIVE AS SYMBOLISM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The construction of the perspectival projection was invented in the Renaissance, and although now subjected to various technical improvements and simplifications. Durer called the perspective projection as, “planar, transparent intersection of all rays that fall from the eye onto the object it sees”, and the following laws are valid: First, all perpendiculars meet at the vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. Second, all parallels have a common vanishing point in what ever direction they lie. Finally, equal dimensions diminish progressively as they recede in space, so that any portion of the picture is calculable from the preceding portion, assuming the location of the eye is known.
Question 2: Describe homogenous space? (Maximum 100 words)
The author describes the the structure of homogeneous space, is a purely mathematical space, and is unlike the structure of psychophysiological space. It further explains that homogeneity of geometric space is that all the elements projected are just a determination of position - it holds no content of its own other than this. The relation of the elements are purely functional and not a substantial reality; the homogenous space is never given space, but space is produced by construction Therefore the perspectival projection is only a systematic abstraction from the structure of the psychophysiological space, transforming into mathematical space.
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INVISIBLE CITY: Berenice
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OLD QUAD ISOMETRIC
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2.5m
5m
OLD QUAD ISOMETRIC WITH NOTATIONS
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1m
2.5m
5m
The symbols used for the isometric notation describes the overall theme of the story and the movement of Marco Polo as he imagined and described the city. The loop of passage of time represent the endless cycle of the present and future Berenice, which weaves past the unjust and just to describe the succession of the two cities.
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QUAD PERSPECTIVE 1 + 2 The scene chosen for perspective 1 will show the unjust city, which Marco Polo decides that he should not tell. This perspective will contrast and also assist in imagining the hidden Berenice, the city of the unjust. The sunlight that shines into the old quadrangle will allow the direct interpretation of the proud, bright, and polished characteristics of the unjust city. The camera angle is positioned on the ground plane which looks up to the city, thus resulting the viewer to feel inferior to the image inside the frame. This directly alludes to a excerpt in the story where it states that “the men assigned to polishing, when they raise their chins over..... feel even more imprisoned and short of stature”
Hidden Berenice, the city of the just will be presented for perspective 2. Marco Polo suggests that he should tell about this city more than the aesthetic but unjust city. This city is an interesting one as Polo not only describes this hidden city, but also about a malignant seed that is hidden inside this hidden city. The description of the city is overall dark, heavy and hidden, as it mentions the words, ‘shadowy rooms’, ‘behind’, and ‘beneath. The sunlight tool used create contrasting dark shadows behind the columns and are hidden from perspective 1. The camera angle is positioned higher than eye-level perspective to provide a detached feel and position the viewer outside the picture frame.
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PERSPECTIVE SCENE 1 + 2
In my personal interpretation, the cities described in the story represented the group of society within a city named Berenice. The unjust city, is described to ascertain luxurious and very aesthetically pleasing elements of the city. However the word ‘unjust’ it self suggests that the visually rich elements of the city lack the moral within, and is in fact an unreal representation of the city of Berenice, thus Marco believes that he should not tell this city, but rather the Hidden Berenice, the city of just, which is shown in perspective 2. Perspective 2 displays a clear contrast of mood with careful manipulation of light and shadow. The hidden city of Berenice is described as just, as the value and the function of the city is more considered. However, the city of the just is hidden beneath the shadows, and cannot be visible from the angle which perspective 1 is representing the unjust city as. As the elements of perspective view 1 remains in perspective 2, the images suggests that the interpretation of the city can vary depending on the position where the viewer stands, while also relates to the idea that Berenice is the succession of the two cities.
Through the fashion shown on the human figures, this image suggests the high socioclass represented as the unjust city. The shining chandelier and marble texture of the columns also add to the luxurious and glamorous visuals of the unjust city. Meanwhile, some elements also foreshadow the Hidden Berenice: the lady on the far right fixes the dress of the unjust figure; she is the worker behind the rich aesthetic of the unjust city. As this figure is placed in the shadow, it suggest that function and hard-work is hidden and unseen in the unjust city, while providing a visual division od the two social class represented in the story. The choice of elements together represent the systematic function that operates the city or the population of the city. The dress making machine, cogged wheels is related to the representation of the functional system that is hidden behind the unjust city and its shadows. The plants represent the resentment of this functional system or the working class that infiltrates within. The industrial lighting placed on the left corner and the factory setting reveals that the unjust city is really a production from the just city that is hidden.
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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 arts depend for thier authenticity upon direct contact of the author, while allographic arts can be produced without the direct intervention of the author. The allographic arts operate through interpretation and on the basis of convention, and are subject to changing standards of performance. In relation to this module, the isometric view with notation can be described as allographic, while the two perspective views as autographic.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) The architectural drawing still unclassifiable as its link to the reality represented is complex and changeable. The author describes that “an architectural drawing is an assemblage of spatial and material noations that can be decoded, according to a series of shared conventions, in order to effect a transformation of reality at a distance from the author� The author further outlines that the drawing it self is not important, but the set of instructions for realizing another artifact. This means that architectural drawings are allographical, and with out sufficient knowledge, the idea cannot be easily delivered to the reader. Especially when it requires represent the idea in various audience members including engineers and clients.
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FINAL DRAWINGS
Hint: How Detailed does the drawing need to be? Consider the ‘readability’ of the notations within the isometric projection and how the notations tell the same story as the scenes graphically illustrated in your perspectives.
The position of the two cities represented on the notations shown in isometric view successfully relates to the cities graphically presented in the perspective views.; the sity of the unjust is on the exterior and glows on with the light, while the hidden city of just is located behinde the columns and in the shadows
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