Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Girvan Christian Tenggono (917833)
Raynaldo Ali, Studio 4
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The concept of perspective is understood by Dürer as a Latin word which means ‘seeing through’. The construction of perspectival projection follows these rules. Firstly, all perpendiculars (orthogonals) must meet at the central vanishing point, which is determined by drawing perpendicular from the eye to the picture plane. Secondly, all parallel must have a common vanishing point, no matter the location. Lastly, equal dimensions diminish progressively, receding through the space; this is so that any portion of the picture is calculable from the preceding or following portion.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous Space is an infinite, unchanging central perspective which raises two assumptions: first, the user uses a single and immobile eye, second, the planar cross section produced is an adequate reproduction of what users visually perceive. These two statements strengthen the fact that a homogenous space is not a psychophysiological space, but a mathematical space instead.
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CITIES AND DESIRE 2: ANASTASIA
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OLD QUAD ISOMETRIC
CITIES & DESIRE 2: ANASTASIA
0
1m
2.5m
5m
The final render of the given Old Quad according to scale; the view is set to isometric facing South East.
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CITIES & DESIRE 2: ANASTASIA OLD QUAD ISOMETRIC WITH NOTATIONS
Key
0
1m
2.5m
5m
Perspective One
Individual
Perspective Two
Group
Regular Step
Less Desire
Haste
More Desire
Stare
Shadow
Glance
Passage of Time
Light Feeling
Object Threshold
Heavy Feeling
The city of Desire: Anastasia. The city is filled with various elements which might fulfil one’s desire; however, the initial impression of this city will be changed after visiting the heart of the city. Desire would be lost and can only be regained once one become the city’s slave. This is shown from the movement, feeling and desire of Marco Polo, the protagonist of the story, before and after he entered the city’s heart.
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QUAD PERSPECTIVE 1 + 2 Quad Perspective 1 This perspective was chosen because in this view, the city’s heart can be shown at the distance while still being able to show the desires inside of the city. The columns on the left and right side acts as a frame, creating a picturesque view of the desired city.
Quad Perspective 2 This perspective creates a claustrophobic sensation where the Quad seems bigger than what it seems. Moreover, the large space which is not obstructed by any columns can be used to emphasis on the city’s goods and the people who are enslaved by it.
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PERSPECTIVE SCENE 1 + 2 Perspective Scene 1: Marco Polo enters Anastasia. The city itself represents the idea of desire once the protagonist enters. Shops are visible, trades are commencing and people from various background are in the city. The pool is visible and people are bathing there. The city is well maintained, visible from the vegetation inside it. The columns are made out of polished limestones, the ceiling is made out of gold and the pots for the plants are made out of emerald. Furthermore, the heart of the city is visible at the distant. All of these elements evokes a feeling of wonder.
Perspective Scene 2: Leaving Anastasia. After the time spent in the heart of the city, the perspective of the city changes. Despite the goods are still visible and desirable, the people has visibly changed. The people of the city had been enslaved by the city, trying to attain and fulfill a higher sense of desire. The lush vegetation had overgrown and wilted, and weeds had grown everywhere. In addition, the city had decayed revealing mossy column, and dirty ceiling.
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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) An autographic projection is where the author is still a part of the creation; it contains such involvement of the author until the work is inseparable with the author, creating a sense of authenticity. This includes artworks such as paintings and sculptures. On the other hand, allographic projection is when the author is within the work; without the author the work can still be expressed and appreciated (artworks such as poetry, dance and music), however there is still a missing value if the author is excluded.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) This is due to the nature of the work itself. Architecture is neither autographic nor allographic, this paradox appears because an architectural plan is not concerned with imitating reality (similar to music, which is an allographic projection); on the other hand, architectural creation is tangible, durable and physically present like paintings and sculptures, making it an autographic projection. Due to this, new representational techniques are needed to expand architectural technique; exchange with other discipline might be needed to achieve this expansion.
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FINAL DRAWINGS CITIES & DESIRE 2: ANASTASIA
The Final Drawings. Visible here are the isometric drawing, complete with the story depicted by the symbols, and the perspective before and after entering the heart of the City.
Key
0
1m
Perspective 1
2.5m
5m
Perspective One
Individual
Perspective Two
Group
Regular Step
Less Desire
Haste
More Desire
Stare
Shadow
Glance
Passage of Time
Light Feeling
Object Threshold
Heavy Feeling
Marco Polo entered Anastasia with a sense of wonder, he moved through the city taking a glance at the wares and the people. Once his feeling of desire is awakened, he stared into the distance, then continued his journey to the heart of Anastasia. After spending a period of time in the heart of Anastasia, the protagonist lost all of his desire. He made his way to the place where his desires initially awakened and once he arrived, he realised the true essence of the city. The city had used desire to enslave the people including him.
Perspective 2
Girvan Christian Tenggono, 917833
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