Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Grace Creati
(913143) Junhan Foong + Studio 11
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The three rules for perspectival projection are: 1. Perpendicular lines meet at a vanishing point This is determined by a line drawn from the eye to the plane on which the picture is retained. 2. All parallel lines have a common vanishing point This can be seen on the horizon as the surrounding lines arrive on the horizontal plane. 3. Equal intervals of spatial recession should diminish progressively From this information, the position of the eye can be calculated.
Question 2: Describe homogenous space? (Maximum 100 words) Homogenous space is a concept that has not yet met an ideal standard of invention although many examples are considered partially homogeneous. The perspective style developed during the time of the Renaissance is delegated to be homogenous due to its assumptions made about the collective common points providing a reference for one another. Homogeneous space is postulated to be obtained when from all individual points, which make up the collective, one can identify similar figures no matter the placement, direction and magnitude.
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INVISIBLE CITY: Isaura
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OLD QUAD ISOMETRIC
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OLD QUAD ISOMETRIC WITH NOTATIONS
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QUAD PERSPECTIVE 1 + 2 This frontal angle, viewing down the complete internal length of the cloisters suits the scene and overall aesthetic I am trying to create as the columns and vaults form a natural frame in which a feild can be constructed by layering of images. This frame draws attention to the area within it and this is how the idea of water as the most essential element of the text can be established visually.
This view suits my scene as it provides a proder view of the inside vaults and columns that, although structures, provides a less singularly framed feild. This perspective
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PERSPECTIVE SCENE 1 + 2
The scene above is deliberately curated to be chaotic and heavy in visual stimulus as it demonstrates the inner workings of Marco Polo’s mind after taking opium. Potentially the most influential line of the text to the design is “an invisible landscape conditions the visible one.” With this in mind there is no realistic images of water in the scene, just mere subjections. These include the central well, various fabrics, the floating fish and the mosaic waves at the base of each column. In researching how to represent something that isn’t visually present I came across the Japanese idea of suggestion being more powerful than providing an outright literal image, “a desire to suggest rather than state” (Kenko). I found this idea very useful when I was contemplating the subterranean lake and how this could be portrayed above ground. The central figure, crowned by windmill blades to again draw the eye to the center of the scene, was originally an image of a girl underwater which I have manipulated into being the spiritual being associated with the lake and all water in Isaura. The flying fish are Chinese fish again making reference to Marco Polo’s various expeditions to China and also his dosed perception of the city presented to him. Therefore, we are given an unreliable view which further emphasizes the subjectivity of a perspective piece.
The final perspective two below is a contrast to the first perspective as it shows the mundane reality of the world rather than a ethereal fantasy coalesced in Marco Polo’s mind. In the front, there are two people who are works in this setting of mechanical works. Many buckets were placed in the scene as this was specified in the text. The columns are made of marble as this is a cold, solid material that visually demonstrates the setting to be heavy weighted in reality. The roof of the structure has seemingly been removed with the application of sky texture and visuals. This is directly linked to the final line of the text where it states that Isaura is “a city the moves entirely upwards.” Therefore, elevating the scene into the cloud cover, that could also be perceived as mist shows this vertical assentation towards whatever lies ahead for the city.
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WEEK 10 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice? Autographic practice is one that is unique to the creator and therefore cannot be reproduced readily. In the arts, this is demonstrated in mediums such as painting and sculpture where the authenticity of the piece can never be reduced or transposed into another’s hands. Alternatively, allographic practice doesn’t require interventions of the author to access the design input. Therefore, it is infinitely reproducible via a means of notation. The end produce of allographic practice are pieces that are rarely in contact with the original creator. However, they sustain their identity in the internal structure of the work embodied within the set product.
Question 2: Why do architects need new representational techniques? Architect’s new representational techniques to produce innovative designs that will take on forms not previously available due to restricted ways of visually demonstrating concepts. Current modes of representation fail to consider the basic human senses which are an essential means of inspiration and creation. Not having means in which ideas can be expressed in a personally tailored way creates limitations on what can be formed which is highly detrimental to the design process. As the nature of design is fluid, always progressing, adapting, so to must the tools a designer uses mature with the human thought in order to remain effective and informative.
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FINAL DRAWINGS THIN CITIES 1: ISAURA
Key View 1
Suggested water
View 2
Fast steps
People Heavy mood
Light mood
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1m
Perspective 1
2.5m
Slow steps
Stare Glance
5m
Perspective 2
Grace Creati, 913143
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APPENDIX TEXTURE EXPLORATION Sandstone for columns Idea supported by: “the lapping waves enclosed beneath the rock’s calxareous sky”
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Wells
Gods
Idea supported by:
Idea supported by:
“as they appear over the edge of the wells”
“The city’s gods ... live in the depths, in the black lake ... the gods live in the buckets” etc.
LIGHT EXPLORATION
TRIAL 1
TRIAL 2
Centrality
TRIAL 3
TRIAL 4
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INTIAL LAYOUR MASK TRIAL
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FINAL EXPANDED FRAME PERSPECTIVE 1
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FINAL EXPANDED FRAME PERSPECTIVE 2
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