Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD HAYLEY COTTRELL 995093 Liang Hu, Studio 20
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WEEK 9 READING: PANOFSKY, ERWIN 1991.: PERSPECTIVE AS SYMBOLIC FORM, P27-31, ZONE BOOKS.
Question 1: What are Durer’s rules for perspectival projection? Durer states 3 rules that must be followed in order to create a perspectival projection. The first of these is that all lines perpendicular to the horizon must converge at a vanishing point, which is in a sense the direct focal point of the eye when looking at a perspective drawing. The second rule states that all lines that are parallel must also meet, like the perpendicular lines, at a shared vanishing point. Lastly, Durer specifies that the objects must appear to be further away in the distance as that move toward the vanish point to create the illusion of depth, done through there being no scale and the dimensions decreasing as they move towards the apex.
Question 2: Describe homogenous space?. Homogenous space is defined by it’s surroundings, making it an “infinite, unchanging” volume. It can be interpreted that it is created by putting a frame around something, as that limits the current view, yet if the focal point or eye moves in some sense, it will come across another set of spaces which again, the eye sets a frame upon the view. In this sense, it maintains a sense of unchanging through the frame remaining set, yet it is this frame that can move and isolate objects which give them a whole new meaning in their new view of the environment.
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INVISIBLE CITY: ANDRIA
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OLD QUAD ISOMETRIC
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4
1m
2.5m
OLD QUAD ISOMETRIC WITH NOTATIONS
Key 5m
0
1m
2.5m
Movement
Threshold
Characters
Brightness
Phenomena
Darkness
Stare
Perspective 1
Glance
Perspective 2
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QUAD PERSPECTIVE 1 + 2 PERSPECTIVE 1 The first perspective establishes a wider view of the quad and the juxtaposition between movement and stillness. There is clearly two different structural forms present: the quad, in its detailed nature, remaining still and permanent within the landscape, and the winding and twisting nature of the unadorned platform, providing the space with direction in which motion flows. The characters introduced can be observed to be posing, not in active motion. In addition to them there will be an illusion created where it appears that there are figures moving around them, however in a different time. PERSPECTIVE 2 The second perspective is focused on the second floor and the framing created through the scene. In this perspective, the city’s connection with the universe has more emphasis placed on it, achieved through the slight tilting upwards of the view. The roof too, will assist in a sense of movement through the use of animated etching of constellations, therefore appearing as though they are moving in the sky. Once more, along side the characters will be the effect of long exposure, blurring time and space within the image.
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PERSPECTIVE SCENE 1 + 2 Perspective 1 The overall nature of Andria is set up in the first perspective, as it includes aspects of the city and its connection to heaven, and the contrasting ideas of movement and stillness. This wider view provides Marco Polo with conflicting ideas, therefore reflecting his thoughts as he explored the city. Continuation is created in the view, to create openess that assists in representing the main concept of the motion against stillness - a sense of timelessness whilst time still exists.
Perspective 2 A more intimate outlook is represented in the second perspective, with the characters being relatively closer and the space feeling smaller through the framing the vault and arches create. The moving bodies have been made white in order to tie into the white illustrations of the constellions, which suggests how the movement and change Andria experiences relates and connects to the stars. This is a more heavenly scene, both through it being on the second level of the quad, elevating the character towards the sky, but also through the ghostlike quality of the phenomena and it’s relationship with the changing sky.
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WEEK 10 READING: ALLEN, S 2000.: PRACTICE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION, OVERSEAS PUBLISHERS ASSOCIATION. Question 1: What is the difference between autographic and allographic practice? Autographic practice is a type of notation - which is described to be a sequence of symbols that have some sort of representational value - that needs a definition with some sort of originality that is clearly understood by the creator. On the other hand, allographic practice can be interpreted by anyone, not just the person who came up with the art, making them more universal. They are able to be recreated and used in a new context for the same meaning. In a way allographic practice allows the creation of a language through notation.
Question 2: Why do architects need new representational techniques? Representational techniques, whilst could be at first thought to be timeless, are in fact not, and date as the new to find ways to represent new elements is discovered. In this day and age, technology is prevalent, creating both the need for representing things that are physical and present, but also for those that cannot be seen and yet exist in an intangible sense. Architects have been focused on describing the material for so long, that there is no current method of representing what is reality and what is conceptual.
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FINAL DRAWINGS Cities & the sky 5: AndriA Hayley Cottrell, 995093
Key 5m
0
1m
Perspective 1
2.5m
Perspective 2
Movement
Threshold
Characters
Brightness
Phenomena
Darkness
Stare
Perspective 1
Glance
Perspective 2
In the final presentation, two different pieces of information are given. The isometric drawing with use of notation describes the journey that Marco Polo took when exploring Andria, and the context of that journey as well. Different markings are used to denotate the space between Marco Polo and other objects and the overall concept taken from the Invisible Cities reading. The perspects take the symbols in the isometric and applies their meaning in a realistic situation. The full extent of the representation of the juxtaposition between movement and stillness and the city’s relationship with the heavens are explained through the textures and characters present in the perspectives.
Finished final presentation print-out.
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APPENDIX “the days on earth and the nights in the sky reflect each other.”
relationship between the city and the universe - reflection of actions (consequences in space or perhaps the cause - simultaneous)
“life flows calmly like the motion of the celestial bodies and it aquires the inevitability of phenomena not subject to human caprice.”
steady movement; humans have no control over the events that occur or earth and in Andria, much like the course of the “celestial bodies” such as the planets and their various moons follow, or the explosion of stars
“Andria is the only city I know where it is best to remain motionless in time.”
observation of the unstoppable force of the heavens/destiny -- weary of disturbing a change of events leave to a “phenomena” out of the citizen’s control
“‘And these innovations do not disturb your city’s astral rhythm?’”
movement in the sense of astrological events and their earthly counterpart
“‘Our city and sky correspond so perfectly,’ they answered, ‘that some change in Andria involves some novelty among the stars.”
relationship of reflection in both realms -- the world is constantly changing and evolving much like the wider galaxy
“the city and the sky never remain the same.”
reinforces the first line of the paragraph’s idea -- state of constant change, movement even when there appears to be none
“they calculate the risks and advantages for themselves and for the city and for all wolrds.”
reflection of actions amongst the stars and the potential other planets that orbit around them
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UNPACKING THE SOURCE MATERIAL The exert from Italo Cavino’s Invisible Cities was examined in great detail in order to decipher his cryptic words describing the city of Venice, which was achieved through identifying key quotes within the text that provided a deeper insight into the view of Venice that is being portrayed. The text, in a sense, was transformed into a design brief, and informed many of the decisions made throughout the design process as it had to be adhered to in some sense either literally or in abstract form. CONCLUSION In Andria, there is a prominent relationship between the citizens and the universe - astrology plays an important role in society, as they believe that their actions are reflected in the cosmos. Through this, it can be said that they remain fixed in their belief, but this is what allows change to occur. There is a constant battle between motion and stillness, as nothing can ever truely be the exact same as it was once before. The world is continuously moving and changing, even if we don’t notice it. From this, it was interpreted that the most important aspects to display within the quad and the perspectives in order to create the mood of the scenes was this sense of motion juxtaposed against the still, and the relationship of reflection between the city and the sky above.
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The winding path, not only acts as “suspended street” but also as contrasting form to the quad. The original structure was rigid and permanent, whereas this addition to the architecture is creates a sense of fluidity through its undulating shape as one moves through the space. Overall, it is an architectural form that along with the stairs, assists in communicating the design concept of the juxtaposition of movement and stillness. The desired fundamental idea that will run throughout both the quad and be seen in the perspective views is the juxtaposition of movement and stillness, expressed through the quotes in the text, most notably “Andria is the only city I know where it is best to remain motionless in time.” and “the city and the sky never remain the same.” which express these two conflicting elements. In this stage of the design process, it was explored how to best represent this concept in both the quad, notation and the two perspectives to be create from the before mentioned as a base. Rigid and organic shapes - emphasizes the initial viewing where it is thought that there is a lack of change but then blends into a winding “suspended street” with its organic form that suggests some willingness to deviate from the norm as long as it is connected to the sky.
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The “suspended street” is an integral part of the adapted quad, as it provide as sense of movement in the quad. This was because architecture of the quad must in particular, accommodate the movement or lack thereof that the perspective scenes will depicts, for above all, movement has the ability to define and space and it’s function, which makes it necessary for space and it’s role to work together in harmony.
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Creating the spiral staircase was process that required a lot of thinking on how to make it and the best why to execute it. In the end, it was a matter of dividing up a circle like a pie, copying and lofting together to two shapes to form steps. This way, each step would be exactly the same and the height could be precisely controlled.
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These two perspective images show the location and context of the spiral staircase. It was decided that it should wrap around on of the columns to represent the blending of motion and stillness that Andria experiences.
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The era from which the characters were chosen was the renaissance, in which there was a return to classical architectural styles but taken on and adapted in a new way. This reflects the juxtaposition of movement and stillness that has been implemented into the scenes, as renaissance architects reintroduced a style that had been for centuries, yet changed how it was used to take on new forms, therefore creating this sense of progress whilst remaining within the time.
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The layering process of each image and skewing them into perspective in order to create one cohesive image was done precisely so it all appeared visually correct and singular. Both the collages of the perspective views underwent a similar process, often with one thing repeating in the other to maintain continutity between the two. Refinement of Perspective 01
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