M4 journal by hugh

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Hugh Foster

916339) Hana Nihill Studio 22

WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durerâ&#x20AC;&#x2122;s rules for perspectival projection? In order to understand the rules of Durerâ&#x20AC;&#x2122;s perspectival projection his understanding of the Picture must be comprehended first. The picture can be imagined in accordance with the window definition, a planar cross section through the visual pyramid where the pyramid apex can be seen as the eye. The eye is then connected to the individual points within the space represented. The visual rays then determine the apparent position of the corresponding points in the image. The system can be drawn in a plan to develop the geometry for the width and elevation for the height. This information is then combined in order to obtain the desired perspectival projection. The following laws then apply to this perspectival projection. All orthogonals meet at a central vanishing point, determined by the perpendicular drawn from the eye. All parallels in any direction they lie will have a shared vanishing point. Lastly that equal dimensions will reduce consistently in accordance with there reduction into space. Thus they can be calculable using the proportional preceding with the use of the eyes location.

Question 2: Describe homogenous space?

Homogenous space can be seen as a collective of infinite fixed points, establishing all points to one another which cannot be replicated in real life. The ultimate basis of the homogeneity of geometric space is that all its elements known as the points joined in it, are the simple determining factors or guidelines of position. They posses no independent content of their own, outside relation to the position which they occupy in relation to each other. Homogenous space is never given space, on the contrary space produced by construction. The geometrical concept of homogenous space can be expressed by the postulate figures in all directions and magnitudes. This ultimately results in a space that the immediate perception can not postulate. Therefore, visual space and tactical space are in fact not homogenous compared to the homogeneity of Euclidian geometry.

INVISIBLE CITY: Insert your city name here... Hidden cities 4- Theodora Recurrent invasions racked the city of Theodora in the centuries of its history; no sooner was one enemy routed than another gained strength and threatened the survival of the inhabitants. When the sky was cleared of condors, they had to face the propagation of serpents; the spiders' extermination allowed the flies to multiply into a black swarm; the victory over the termites left the city at the mercy of the woodworms. One by one the species incompatible to the city had to succumb and were extinguished. By dint of ripping away scales and carapaces, tearing off elytra and feathers, the people gave Theodora the exclusive image of human city that still distinguishes it. But first, for many long years, it was uncertain whether or not the final victory would not go to the last species left to fight man's possession of the city: the rats. From each generation of rodents that the people managed to exterminate, the few surviviors gave birth to a tougher progeny, invulnerable to traps and resistant to all poison. In the space of a few weeks, the sewers of Theodora were repopulated with hordes of spreading rats. At last, with an extreme massacre, the murderous, versatile ingenuity of mankind defeated the overweening life-force of the enemy. The city, great cemetery of the animal kingdom, was closed, aseptic, over the final buried corpses with 159 their last Beas and their last germs. Man had finally reestablished the order of the world which he had himself upset: no other living species existed to cast any doubts. To recall what had been fauna, Theodora's library would preserve on its shelves the volumes of Buffon and Linnaeus.

At least that is what Theodora's inhabitants believed, far from imagining that a forgotten fauna was stirring from its lethargy. Relegated for long eras to remote hiding places, ever since it had been deposed by the system of nonextinct species, the other fauna was coming back to the light from the library's basements where the incunabula were kept; it was leaping from the capitals and drainpipes, perching at the sleepers' bedside. Sphinxes, griffons, chimeras, dragons, hircocervi, harpies, hydras, unicorns, basilisks were resuming possession of their city. 160

OLD QUAD ISOMETRIC

2.5m

The following iso depicts the quad that will be used as the space to insert notations in accordance with the story and finally create 2 perspectives in accordance with the notations. It essentially acts as the creative realm to which we are confined to. It was made using a plan and elevation of the quad and then extrapolated and created in rhino using 3d modelling techniques.

OLD QUAD ISOMETRIC WITH NOTATIONS

Key Movement Glance Stare Spaceshift Tonal variation light to dark Time jump through each generation Light feeling Heavy feeling crowds of people

2.5m

perspective 2 perspective 1

From the isometric created I was then able to create a diagrammatical notation of the story through the quad. the allographic creation can be seen as an ephemeral and temporal representation of theFauna movements ,fluidity and descriptions of Marco polo. The isometric can be seen as a temporal environment, that transcends through time to represent the past, present and future as Marco moves through time and essentially the quad his experiences are mapped from start to finish. The realm outside the quad which I have incorporated can be seen as the unpredictable future of Theodora in which Marco highlights at the end of the story. The time jumps in the first perspective represent the struggle humanity faced in their battle against the fauna, ultimately representing their dark and gloomy existence. The second scene represents the new and rebuilt utopian city cleared of all fauna or so they thought. The mystical creatures can be seen lurking in the library in which I have aimed at representing in the second scene and through Marcos movements. The fauna outside the represents the dark future in which Theodora faces as explained by Marco, leaving it up for interpretation. The use of notation allows new realities to be imagined and new possibilities created, my scene can be seen as an allographic and autographic representation transcending through time and space. Playing with the ideas of the finite of a past history and infinite possibilities of the future. Like a musical score it has transcended though time to convey the planning of my two perspectives. Portraying the complexities, themes and motifs established in Marco polos experiences.

QUAD PERSPECTIVE 1 + 2 The view chosen suits the first scene as it covers a large area of the quad. In my isometric notation the first section of the story covers the struggle of humanity against the fauna,as each generation conquers a new impeding element of fauna up until the faunaâ&#x20AC;&#x2122;s extinction. The view would need to cover a large area in order to illustrate the battle humanity faced against the fauna in this perspective. The seen has been set from the approximate height of Marco polo, to give the effect of human perception. This perspective was chosen from the beginning of the quad in order to depict the start of history for Theodora.

The second perspective represents the new and rebuild Theodora in the form of a futuristic Library. The view is more intimate as it is aimed at providing the space of the sleeperâ&#x20AC;&#x2122;s quarter of the library. The view has been set from human height once again and looks out to the end of the quad. The end of the quad can be as a metaphorical representation of the end of the story, and ultimately the transition from present to future (outside area). It is for these reasons that this this perspective was chosen.

PERSPECTIVE FIGURE CHOICE FROM STORY PERSPECTIVE 1

Hidden Cities 4: tHemes Humans

Fauna

Texture

Humans

Fauna

Texture

Perspective 1 Recurrent invasions racked the city of Theodora in the centuries of its history; no sooner was one enemy routed than another gained strength and threatened the survival of the inhabitants. When the sky was cleared of condors, they had to face the propagation of serpents; the spiders' extermination allowed the flies to multiply into a black swarm; the victory over the termites left the city at the mercy of the woodworms. One by one the species incompatible to the city had to succumb and were extinguished. By dint of ripping away scales and carapaces, tearing off elytra and feathers, the people gave Theodora the exclusive image of human city that still distinguishes it. But first, for many long years, it was uncertain whether or not the final victory would not go to the last species left to fight man's possession of the city: the rats. From each generation of rodents that the people managed to exterminate, the few survivors gave birth to a tougher progeny, invulnerable to traps and resistant to all poison. In the space of a few weeks, the sewers of Theodora were repopulated with hordes of spreading rats. At last, with an extreme massacre, the murderous, versatile ingenuity of mankind defeated the overweening life-force of the enemy. The city, great cemetery of the animal kingdom, was closed, aseptic, over the final buried corpses with 159 their last Beas and their last germs. Man had finally re-established the order of the world which he had himself upset: no other living species existed to cast any doubts.

Perspective 2 To recall what had been fauna, Theodora's

159 their last Beas and their last germs. Man had finally re-established the order of the world which he had himself upset: no other living species existed to cast any doubts.

PERSPECTIVE FIGURE CHOICE FROM STORY PERSPECTIVE 2

Fauna

Humans

Perspective 2 To recall what had been fauna, Theodora's library would preserve on its shelves the volumes of Buffon and Linnaeus. At least that is what Theodora's inhabitants believed, far from imagining that a forgotten fauna was stirring from its lethargy. Relegated for long eras to remote hiding places, ever since it had been deposed by the system of nonextinct species, the other fauna was coming back to the light from the library's basements where the incunabula were kept; it was leaping from the capitals and drainpipes, perching at the sleepers' bedside. Sphinxes, griffons, chimeras, dragons, hircocervi, harpies, hydras, unicorns, basilisks were resuming possession of their city. 160

Hugh Foster, 916339

Texture

PERSPECTIVE SCENE RENDER 1 + 2

The characters from rhino were then added to perspective 1 utilizing the information created in the isometric notation and the story

The characters from rhino were then added to perspective 2 utilizing the information created in the isometric notation and the story

PERSPECTIVE SCENE FINAL1 + 2 The use of characters, objects and textures can all be linked back to the themes, motifs and descriptions illustrated in the story. The positioning of them also relate to the order in which they were described in the story. The placement was then used in accordance with the notation isometric. I feel the vast array of characters, use of dark shadows and overlayed textures has effectively created a dark and extremely confusing seen, in order to accurately represent the gruesome and complex battle described by Marco polo.

Once again the use of characters and objects in this seen can all be linked back to the themes and motifs described in the story. My use of texture has been used to create a futuristic and utopian existence of the new and rebuilt Theodora. The use of animal skin as a texture has been used in order to illustrate the death of the typical fauna illustrated in the previous perspective. The librarian can be asleep as a sphinx stands over her, as in the story it illustrates that a mythical creature watches over the sleeper in the library. The creatures lurking outside the the quad can be seen as the animals that have escaped into the city and future. The use of the galaxy texture and characters outside has been utilized in order to represent the uncertain future of Theodora. The shadow use has been aimed at illustrating the dark and uncertain future of Theodora. All elements combine to create a bold abstraction of the experiences of Marco polo.

WEEK 4 READING: STAN ALLEN Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic arts can be seen as the concept and practice of Art associated with painting, sculpture and so on. They depend on their authenticity upon the direct contact with the author. They are very much a permanent form of art created by an Artist with a specific goal in mind. Allographic practice can be associated with the Art involved in music, poetry and theatre. The concept of authenticity in allographic practice, strays from the autographic as numerous copies can exist as well as being produced without a direct intervention of the author. It essentially can operate through interpretation and on the basis of convention. The art is completely ephemeral, allowing the participant to immerse themselves on an emotional level. The use of notation in allographic can be seen as the defining factor and characteristic in order to qualify into this category of art. The use of notation allows new realities to be imagined and new possibilities created.

Question 2: Why do architects need new representational techniques? Architecture can be seen as a mix of both autographic and allographic practice. On one hand there is the set of drawings and renders which can be seen as the autographic and permanent section of architecture. But the architectural drawings are not viewed in the same way a painting is, they serve as a purpose in order to construct something that does not exist yet. The drawings are also subjected to notations and in order for the builders/ client to understand the idea. The drawings do not depict reality,thus they can be considered allographic. The end product in architecture as goodman quoted is, “ not ephemeral”. Thus architectural drawings are not an able to completely represent the final product/building. They are not an end in themselves like a painting nor are they transparent technical instruments. Thus it can be argued that the building is not realized in the design stage but instead in the final form of the built and completed structure. It is only then that the architect’s idea and creation has been 100 percent depicted and realized. Therefore, there is a constant battle between the abstraction of the architect’s drawings and the concrete and permanence of the building. This problem can be seen clearly in the ‘illegible city’ created by architects. Choosing to look at the surface of the city instead of the bigger picture the contemporary city has become an urban sprawl of unsympathetic, unrelated and uncharacterised structures. Architecture must be produced in order to combat the crippling effects of urbanization and the contemporary mass of the modern city. In order to combat this the use of notation maps and diagrams could be used to create new ways of working around the contemporary city, in order to create not only buildings but an urban environment sympathetic to its environment and people using it. Architecture can no longer be seen as a machine, it must be seen as a complex, adaptable, temporal organism able to work fluidly and harmoniously in its environment and with its inhabitants. In many ways the use of notation and allographic methods will be able to aid architects in combating the illegible city. On a side note in this modern age methods such as BIM could be used to further tackle these problems.

FINAL DRAWINGS The final plan and layout clearly demonstrates the link between the new reality imagined through the isometric notation and the 2 perspectives. Drawing a link between the descriptions illustrated by Marco polo to create a new, individual and creative seen set in both time and space. a permanent depiction of the ephemerality of time, representing the past, present and future as a collective.

Hidden Cities 3: tHeodora

Key Movement Glance Stare Spaceshift Tonal variation light to dark Time jump through each generation Light feeling Heavy feeling crowds of people

2.5m

perspective 2 perspective 1

Fauna

Perspective 1

Perspective 2

Hugh Foster, 916339

APPENDIX

Make 2d lines perspective 1

Make 2d lines perspective 2

APPENDIX

perspective 1 experimentation,

APPENDIX

perspective 2 experimentation,

APPENDIX

experimentation of both experiments to form continuous and multiple forms of perspecival points, creating a fluid in some way ephemeral space. My aim was to push distort and overlay the experiments in order to look translate a realm of infinite instead of finite. Very much inspired by the readings of stan allen and of Erwin Panofsky explored. Or is this just a representation of the chaos in illegible city ?