FODR M4 Frame vs Field Journal Lloyd Hsieh

Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Lloyd Hsieh

996484 Jun Han Foong - Studio 18

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WEEK 9 READING: TITLE OF READING

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The Latin word perspectiva embodies the idea of “seeing through”, which endorses Durer’s concept of perspective projection being a planar intersection formed by directly associating the eye and the object. This way of thinking justifies the notion of foreshortening. Durer’s rule states that all perpendiculars converge to a central vanishing point, while all parallels, regardless of their directions, conform to a single vanishing point. Furthermore, the vanishing point settles on the horizontal axis if the parallels are also on the flat plane. Nonetheless, if the parallels intersect with the picture plane at an angle, the distance between the central vanishing point and the vanishing point corresponds to the distance between the eye and the plane.

Question 2: Describe homogenous space? (Maximum 100 words) A homogeneous space is a static, rational, and infinite space constructed with the assumption that observations are from a single, motionless eye, which makes it an expression different from reality. The mathematically built space differentiates itself from a perceptual view that is restrained by spatial limits.

In a sense, the idea is to convert a psychophysiological space into a mathematical one. All the elements in the space are the determinants of position yet they are meaningless when they exist independently without context. In fact, it is the relationships between the objects that provide information about the objects and the spatial construct.

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INVISIBLE CITY: TAMARA

Understading the Text Biblical Parables and Their Modern Re-Creations: From Apples of Gold in Silver Settings to Imperial Messages by Gila Safran Naveh, P185-192 ‘Whenever man aspires to gain a more intimate understanding about things as they are, he inevitably finds himself incapable to know the laws governing the signs that replace the things and the laws codification.’

‘Posited as an infinite semiotic net, the city of Tamara will thus elude continually a real visit, or desire to know.’

‘Man’s encounter with the world of things, as a perplexing encounter with language and its laws of symbolization.’

‘Parable speaks of man’s loss of power to “name”’ ‘To interpret properly the text/texture of things in the parabolic city, “the visitor” of Tamara must know a priori what are the things whose “images” and “signs” are the things his “eye” light on. He thus becomes a reader and a decoder of the riddles of language sprawled before him. He is continually kept thinking, interpreting, and repeating an imposed discourse, with an enigmatic order.’

‘The city keeps the visitor in its mesmerizing grip, by prescribing its rules and by imposing them as the only possible actualization of a visit.’

‘The man remains trapped in language, in the interplay of signs, between hyper-interpretation and the impossibility of interpreting them.’

‘He who was incapable of visiting the city because he did not know how to decode its symbolism, continues compulsively to practice the rules of Tamara and attempts to decipher the shapes given this time by chance.’

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OLD QUAD ISOMETRIC

Isometric view of the Old Quad

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Cities & signs 1: tamara OLD QUAD ISOMETRIC WITH NOTATIONS Lloyd Hsieh, 996484

Key Stare Glance Movement Light Mood Heavy Mood Crowds Imaginary Subjects Transition of Space 0

1m

2.5m

5m

Light / Dark Time Perspective 1 Perspective 2

Marco Polo moved in varying speeds and step weights throughout his journey. Initially, he was walking quickly and taking quick glances in all directions (from scene 1 as Marco Polo entered the city). On the other hand, his movement while he was exiting the city was relatively slower (scene 2). He had two long pauses/stare (one before walking to exit the city and the other one on the edge of the city looking into the openness of the sky).

The characters and objects consisted of both real and imaginary (explained in scene 2).

Hourglass was mentioned in the text, which I included in the second scene. Hence, I decided to make the start of the scene (where I positioned the hourglass) a point of transition of space, time, and mood.

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QUAD PERSPECTIVE 1 + 2 Potential subjects to include in the scenes:

I chose this first perspective to depict the beginning of Marco Polo’s journey as I wanted

•*Trees and stones

two distinctive vanishing points. One column is hidden completely by the column that is

•Footprints of tiger on sand

closest to the eyes. The idea is that there are other things going on in the cities that Marc

•Marsh – water

Polo, as a visitor, cannot see or experience completely. The contrast of between the busy-

•Hibiscus flowers

ness of the city on the left and the openness of the landscape on the left reinforces the

•*Signboards

fact that Macro Polo was overwhelmed walking in. The excessive number of signboards

•*Statues and shields

intensifies the chaotic atmosphere.

to showcase a wide overview of the city. The symmetry enables a clear perspective with

(*Lion, *dolphin, towers, and stars) •Warning signs

In contrast, the second perspective is a narrower and closer view of the city. I wanted it

•*Temple, statue of God

to be Marco Polo looking pass the city before leaving it. In this scene, Marco Polo saw the

(*Cornucopia and Medusa)

more implicit aspects of Tamara after a closer observation.

•*Grocer & vendor •Tooth-drawer’s house •*Tankard •Tavern •*Barracks •Scales •*Halberds •*Hourglass •Pythagorean school •Brothel •Palace •Prison

Top view of the Notation Diagram

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PERSPECTIVE SCENE 1 + 2 The first scene captures the moment where Marco Polo first entered the city of Tamara. The people in the space felt Macro Polo’s presence immediately as he stepped in. Some characters had quick glances at Polo but shortly got back to do their own activities. I aimed to create a setting that appears to be welcoming yet, at the same time, a feeling that Polo didn’t quite belong or felt comfortable/connected with the place and people.

Keeping the characters in the same style was important to ensure the entire scene looks cohesive (the people in the scene as one community), thus I sourced most images from paintings in the Renaissance and the 13th century.

Furthermore, I also wanted to create a sense that Marco Polo didn’t know which way to go, thus the short glances in multiple directions at the start (shown in the notation diagram). The perspective of the scene is somewhat symmetrical and the distribution of people is also quite balanced, therefore it becomes less obvious where Marco Polo would/should go (left or right). Many characters were hidden behind columns and so, to see more of what is in the city, Marco Polo walked the end/back of the city, talking more glances in different directions (this is where he walked in a loop before scene 2).

The second scene illustrates a psychological representation of Marco Polo’s own perception of Tamara. Through the use of perspective, the emphasis is on the pathway Polo took to exit the city. My intention was to fabricate a sense of ambiguity and confusion with the subjects in frame being a mixture of Polo’s own mental imagery and the physical forms in place. His movement here was slow as he was observing his surroundings while simultaneously pursuing an internal self-reflection.

The core concept was to encapsulate the notion of “the eye does not see things but images of things that mean other things” and that “valuable not in themselves but as signs of other things”. In other words, Marco Polo merely “seeing” the city was not enough to comprehend the essence embodied within Tamara. He failed to appreciate the meanings associated with the things in the city and the values of things that transcended their physical forms. To embody this in a visual representation I made all the signs on the ground translucent such that the objects behind the signs still have silhouettes showing through. Symbolically, this denotes the intangible barriers that prevented Marco Polo to truly understand certain aspects of Tamara. He was only able to understand partial of what he saw and that meant not recognizing the “texture” of some things.

Despite leaving Tamara “without having discovered it”, Macro Polo left with self-introspection. I deliberately wanted his entrance to the city to be around the same area where he left the place. This enabled me to demonstrate the contrast in the approach Marco Polo saw things before and after his visit to Tamara. Marco Polo’s perception of the “openness” changed after his experience of Tamara’s chaotic condition. Once described as “rarely does the eye light on a thing”, he interpreted the sky differently - “the sky opens… you are already intent on recognizing figures: a sailing ship…”. Eventually, he began to see things as the sign of other things.

The signboards have foreign symbols and language that Macro Polo failed to recognize, but more importantly, he also didn’t realise that meanings are given or imposed upon objects which result in sentimental connections. The transparency of the sign on the ground implies that they are slowly being forgotten by the people. The meanings of objects fade with people’s memories. For instance, gravestones are physical objects that people have strong sentimental associations with, yet as generations pass the value and meaning also fades with time. Future generations wouldn’t have that close connection with the gravestone of their ancestors.

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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic practice results in an art form that has direct interaction with the author in which the inherent value is its authenticity and originality. The arts are physically established outcomes, for example, sculptures and paintings. Since there are different interpretations on the notations, they are subject to alterations in their representation. On the other hand, allographic practice produces multiple copies without the author’s direct intervention. The arts have transitory nature and there is the need for a collaborative structure to reproduce the authenticity. These are works such as music and theatre.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architectural representation combines universal notations with the individualistic visions built upon the social and environmental context. The representational technique is ever-changing with technology.

While imitating reality may not be crucial, there is still a need for engaging time, scale, the mobility of perspective and other aspects to fulfil the contemporary city setting. The practices that exist currently are insufficient to encapsulate the technological transformation of society. Traditional approaches were formulated to depict unchanging objects. Nevertheless, new systems, the novelty in communication, should convey both visible and invisible information that interact in complex formations.

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FINAL DRAWINGS Cities & signs 1: tamara Lloyd Hsieh, 996484

Key Stare Glance Movement Light Mood Heavy Mood Crowds Imaginary Subjects Transition of Space 0

1m

2.5m

Light / Dark

5m

Time Perspective 1 Perspective 2

Perspective 1

I only focused on Macro Polo, as an individual, moving through space. There weren’t many interactions between Polo and the surroundings, rather it was about his experience in the city. The details in the notations closely correspond to the two scenes that I illustrated. Most of the notations are very straightforward and easy to comprehend. I added my own notation, the imaginary objects, to portray how Polo’s own mind was reflected in the scenes.

Perspective 2

Final Pin-Up Presentation in A1

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