Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Georgia Hodgkinson
914651 Emmanuel Cohen + Studio 1
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer’s first rule for perspectival projection outlines that all perpendiculars (or orthogonals) must meet a central vanishing point, the vanishing point established by the perpendicular drawn from the eye level on the picture plane. Secondly, Durer’s rule of parallels involves all parallel elements to share a common vanishing point, despite which direction they are positioned at. For example, if the parallel lies on a horizontal plane, their vanishing point must also lie on the horizontal. Durer’s final rule involves the need for equal dimentions to diminish progressively as they recede into the distance, therefore the proportion of the scene is able to be calculated.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is created when all the elements within a space determine the space’s proportion, and the elements lack independent content of their own outside of their relation to the space in which they are placed. All elements within a homogenous space are relatable to eachother in terms of their position and proportion/scale. Homogeneity becomes a ‘mere expression of ideal relations’ and is ‘purely functional and not a substantial reality.’ Homogenous space merely represents similarity of structures within a defined space, therefore it is only produced by construction.
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INVISIBLE CITY: EUDOXIA
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OLD QUAD ISOMETRIC
After modelling the quad in Rhino, I made 2d to create the linework. On Illustrator, I adjusted the lineweights to communicate a sense of depth.
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OLD QUAD ISOMETRIC WITH NOTATIONS
Key Slow Movement Fast Movement Stare Glance Light Feeling Heavy Feeling Light/Dark Confusion Peace
I adjusted my original isometric further by making the sectioned areas grey and adjusting the linewights further. My symbols communicate Marco Polo’s movement within the space. I have used notations to symbolise Marco Polo’s careful movement around the perimetre of the space, before the carpeted threshold is discovered and entered, and he ithen escapes the quad. I have used the light/dark symbol to signify the carpeted threshold (transition of space). The light/heavy mood symbols insinuate Marco Polo’s confused and then, once in the carpeted space, calm feelings experienced.
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QUAD PERSPECTIVE 1 + 2 This view suits the nature of the scene in which I am attempting to communicate - mysterious, ominous and confusing. This view allows Marco Polo to see the carpeted region from afar whilst the inability for him to see beyond the columns adds to the sense of unease and mystery.
This scene, which will be the carpeted region, is more symmetrical compared to the first as in the story the carpet signifies harmony, peace and a sense of cohesion as opposed to the confusion and mystery in the first scene. A clear view of an ‘exit’ is seen directly ahead of Marco Polo’s view.
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PERSPECTIVE SCENE 1 + 2 This scene is mysterious, ominous and gothic. I interpeted the scene in my story to be emply to add to the sense of mystery and unease. I have used decaying concrete texture, stains and a rat to insinuate the dirty nature of the city. The story mentions the city lies amongst ‘clouds of dust, fires’ therefore I have displayed this through dust/smoke clouds within the quad. The clouds in the city’s background alludes to the idea of ‘Cities and the Sky’ and allows for the notion of Marco Polo’s inability to escape the city as nothing lays beyond. ‘One of the two objects has the form the Gods gave the starry sky, the other is an approximate reflection.’ Thus I have made the roof of this view the starry sky and the roof of my second view a reflection of its surroundings (the carpet). I interpreted the carpet in this scene as a seperate threshold which floats in space, and in which Marco Polo enters into the second perspective.
This perspective is Marco Polo’s view from within the carpeted threshold. Once he enters the carpeted space, the city around him becomes entirely carpeted - ‘an approximate reflection’ of itself. This scene is brighter to insinuate a sense of the divine and harmony as Marco Polo escapes the frightfull first scene. Eudoxia’s carpet I have interpreted as a final conclusion to Marco Polo’s adventure through this city. ‘Concealed among the arabesques, an answer.’ Marco Polo has reached his final destination in the city, therefore is able to escape through the pathway which appears within the carpeted threshold. This pathway also alludes to the winding alleyways within the story. The oracle i have interpreted not as human but as the Lion of Venice, a legend in the city of Venice, who holds a book containing the answer of the city for Marco Polo. A mule brays in the background.
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WEEK 10 READING: PRACTICE ARCHITECTURE, TECHNIQUE & REPRESENTATION
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) As described by philosopher Nelson Goodman, autographic and allographic practices are used to define two types of art forms. Autographic is said to be arts such as painting and sculpture which are not subject to change as they depend on direct contact with the author - they are finished and unchangeable works. Allographic practice, however, may relate to the arts of music, poetry and theatre which can be reproduced several times, and have changes made upon them, without necessarily needing any contact with the author. The reproduction of arts are said by Goodman to be done by the form of notation - “an art seems to be allographic just insofar as it is amenable to notation”. The use of notation allows new interpretations in order to produce new realities.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Existing forms of architectural representational techniques merely depict stable objects and fixed subjects. However, in a modernised world in which social and political implications are subject to changing elements within the environment, architectural representation needs to move beyond simply notations of assumed stability and obtain the ability to communicate unstable or changing elements within the space it is depicting. New forms of architectural representational techniques are said to require the display of complex information beyond the fixed artifact, and begin to depict effects within a space which are not necessarily tangible, such as transitions of ‘time, shifting scales, mobile points of view and multiple programs.’
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FINAL DRAWINGS Cities & the sky 1: eudoxia
The notations, although quite complex, communicate Marco Polo’s travel through the space effectively. The addition of the pathway in perspective 2 worked well on the isometric as it allows a reason for Marco Polo to exit the space, which I have shown through the notations. I added two symbols to those given, which are ‘confusion’ and ‘peace’ as these were integral feelings associated with the story. The first perspective being confusing, mysterious and without a sense of escape, whilst the second brings everything in the city into harmony. I spaced out the arrows to represent leisurely as opposed to erratic movement,
Key Slow Movement Fast Movement Stare Glance Light Feeling Heavy Feeling
whilst Marco Polo tends to walk around the periimter of the quad alluding to a sense of safety at the edges, before he notices the carpet and enters the carpeted realm.
Light/Dark Confusion Peace
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Perspective 1
1m
2.5m
5m
Perspective 2
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