Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Hong Peng Yu (913511) Colby Vexler + 14
1
WEEK 9 READING: PANOFSKY PERSPECTIVE
Question 1: What are Durer’s rules for perspectival projection? Duler’s rules for perspective projection outlines that: firstly, perpendicular lines drawn from the eye to the plane intersect at a central vanishing point. Secondly, all parallel lines intersect at a single vanishing point. If the parallel line form a 45-degree angle with the picture plane, then the distance between the vanishing point and central vanishing point is same as the distance from the eye to the picture frame. Finally, objects with same dimension should be proportional within the picture plane.
Question 2: Describe homogenous space?
Homogenous space is number of “points” joined together to form a space with a mathematical content that defies the limited human optical capacity to infinity. This allows the experience of psycological sensation of space. The points are purely functional to determine the direction and magnitude of the line that form the space and the ideal relationship between these points in terms of space. Every point within the mathematical spatial arrangemnet must also be able to produce similar figures in all directions and magnitudes.
2
INVISIBLE CITY: Adelma
I thought: "You reach a moment in life when, among the people you have known, the dead out足 number the living. And the mind refuses to accept more faces, more expressions: on every new face you encounter, it prints the old forms, tor each one it finds the most suitable mask." The stevedores climbed the steps in a line, bent beneath demijohns and barrels; their faces were hid足 den by sackcloth hoods; "Now they will straighten up and I will recognize them," I thought, with im足 patience and fear. But I could not take my eyes off them; if I turned my gaze just a little toward the crowd that crammed those narrow streets, I was as足 sailed by unexpected faces, reappearing from far away, staring at me as if demanding recognition, as if to recognize me, as if they had already recognized me. Perhaps, for each of them, I also resembled someone who was dead. I had barely arrived at Adelma and I was already one of them, I had gone over to their side, absorbed in that kaleidoscope of eyes, wrinkles, grimaces.
95
I thought: "Perhaps Adelma is the city where you arrive dying and where each finds again the people he has known. This means I, too, am dead." And I also thought: "This means the beyond is not happy."
3
OLD QUAD ISOMETRIC
0
1m
2.5m
5m
The isometric shows the frame of the Old Quad. The line weights differs to show depth and the different forms. The vaults and arches are 0.01 millimeters to show its intricacy. In comparison the columns varies from 0.05 to 0.20 millimeters to show depth. The section cuts are 0.25 millimeters.
4
OLD QUAD ISOMETRIC WITH NOTATIONS
Key Perspective 1 characters Perspective 2 characters Main characters Cautious Step Regular Step Looking for a long time 0
1m
2.5m
5m
Short glance Strong emotions
The line weights were carried on from the first isometric to show depth and difference in material. The isometric drawing outlines the path of Marco Polo in the City of the Dead. The use of the black colour filled cylinders represent the people that Polo comes into visual contact with and resembles someone he knew.
5
QUAD PERSPECTIVE 1 + 2 The first perspective is set upon the central axis of the Old Quad. This is an attempt to illustrate the long alleyway of the fish market, extending into the indefinite. The view is at Marco’s eye level, looking straight ahead in order to check his surroundings. There is a strong sense of symmetry and balance that juxtaposes with the confused feeling of Marco Polo in The City of The Dead.
The second perspective is similar to the first, however, it depicts the vision of Marco Polo looking back at the end of the alleyway. There is a slight angle of depression that shows the melancholy mood as he discovers Adelma is the City of The Dead.
6
PERSPECTIVE SCENE 1
Perspective 1 captures Marco Polo’s vision when he first enters The city of The Dead from a dock. All of the characters are positioned so they are walking towards him, seeking for recognition as well as creating a sense of intimidation. The characters varies subtly in opacity to show their significance to Polo, while also highlighting the ghostly aspect of The Dead City. The lack shadow on the characters also further enhances the atmosphere of a Dead City. Polo comes into visual contact with various characters that resembled people that he knew in the scene, they are positioned in the left side of the foreground and in the middle of the midground to highlight their importance. Stone textures are added to convey the aesthetics of an alleyway. The sea urchins on the ground suggests the pathway of the old fisherman with a cart of urchins who “disappeared down an alleyway”.
7
PERSPECTIVE SCENE 2
Perspective 2 shows Marco Polo’s view as he looks back at the narrow street. All the characters are selected and placed so they are not looking at Polo or walking away from him. This conveys the sense of isolation and loneliness Polo feels as he looks at people but lacks the physical or verbal interaction. There’s no focal point placed within the perspective, this is to reflect the disoriented feelings of Polo as well as others in the City of The Dead. Moreover, the presence of the vegetable vendor (also in perspective 2) shows the continuous movement of people as they disappear down the alleyway and that Polo is moving within a space of time. A number of concrete textures are applied to the base, column and ground to further facilitate the coldness of the Dead City by channeling a sense of frigidity.
8
WEEK 4 READING: MAPPING THE UNMAPPABLE
Question 1: What is the difference between autographic and allographic practice?
Autographic practices is a descriptive process that allows for personal interpretations and imaginations. It employs notations that suggests ideas or meanings through conventions which establishes “new realities”. Allographic practices values the sense of authenticity. There’s always a higher value attached to the original form produced by the author, in comparison to any reproductions or reduplications. The main difference is that allographic practises can be compromised by differences in interpretations articulated by experience and social environment. Whereas, autorgraphic practises suggests that authenticity can only be achieved when the original author is involved and interpretations is very limited.
Question 2: Why do architects need new representational techniques? Architects need new representational techniques to take into consideration of the social and political influences in order to retain a sense of relevance to the overall context of the city, when working with a virtue and technological world. These factors require extensive problem solving skills that goes beyond the surface, into the structure and core. This allows for the determination and adaptation to the limits of the urban context. Architect need new representation techniques that incorporates factors such as time and change, shifting scales, flexible points of views and multiple programs to reflect the complexity of the contemporary architecture.
9
FINAL DRAWINGS Cities & the DeaD 2: aDelma
The final drawings combines the isometric with the perspectives to show the interpretation of the story
Key Perspective 1 characters Perspective 2 characters Main characters Cautious Step Regular Step Looking for a long time Short glance 0
1m
Perspective 1
2.5m
5m
Strong emotions
Perspective 2
Hong Peng Yu, 913511
10
APPENDIX
Original Rhino exported Perspective 1 before cleaning up the line work
Original Rhino exported Perspective 2 before cleaning up the line work
Perspective 1 outline with characters and objects
Perspective 2 outline with characters and objects. Using colour coding to ease image placement of characters
11
Rendered view of Perspective 1 with characters
Rendered view of Perspective 2 with characters
Bounding box for tilted characters in perspetive 1 to indicate positioning ofthe image
Perspective 1 characters Soruces: Nonscandinavia, Escalalatina, Samusocial
12
Perspective 2 characters Soruces: Nonscandinavia, Escalalatina, Mrcutout, Skalgubbrasil
Background collage for Perspective 1
Background collage for Perspective 2
Cloud tetxure for vaults
Source: http://bsnscb.com/dusk-wallpapers.html
Source: http://www.wallpapersafari.com/cloud-desktop-background/
Source: https://lbwtravel.com/tours/treasures-ofthailand?topic=experiences
13
Concrete wall cladding texture for columns
Grooved concrete texture for base
Source: http://www.archiexpo.com/prod/cimenteira-do-louro/ product-103640-1485469.html
Source: http://14textures.com/grooved-concrete-wall-texture/
Aged wood texture for capital
Cracked concrete texture for ground
Source: http://www.wildtextures.com/free-textures/dry-old-woodtexture/
Source: http://trijayanusantara.com/sketchup-textures-concrete.html
14
Alleyway stone texture
Fish market sign
Source: http://texturer.com/set805/
Source: https://www.flickr.com/photos/tylerkellen/7612514922
Alleyway lamps
Sea urchins
Source: http://doitri.com/iluminacao-para-jardim-emfortaleza/
Sources: https://www.documentsanddesigns.com/art/ seashells-fish-and-beach/sea-creatures/
15