Foundations of Design: REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD James Urlini
(921240) Anastasia Sklavakis - Studio 27
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM Question 1: What are Durer’s rules for perspectival projection?
Question 2: Describe homogeneous space?
Durer’s first rule was that all perpendicular/orthogaonal lines meet at a central vanishing point, which is established by a perpendicular line drawn from the eye to the picture plane. His second rule was that all parallel lines have a common vanishing point, regardless of their direction. If they are drawn in a horizontal plane, then their vanishing point will always be on the horizon (a horizontal line running through the central vanishing point).
Homogeneous space is a space that opposes the concepts of perception and perspective and exists outside of psychophysiological space. It is purely mathematical space that has no physical constraints, simply continuing to infinity in all directions. Every point in homogeneous space can connect with any number of other points in similar formations in every direction and infinite amount of times.
His final rule was that equal dimensions recede at a constant progressive rate; allowing for a calculation of a point to be made from observing the locations of the lines before and after it.
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INVISIBLE CITY: DESPINA (CITIES & DESIRE 3)
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Cities & QUAD DesireISOMETRIC 3: Despina OLD
Key Perspective 1 Perspective 2 Speed and direction of This is a 3D modelled scaled replica of the the Marco Polo’s movements Old Quadrangle located at The University of Areas where people are present Mebourne. It will be used as the space in which Change in time and individual an interpretation and staging of Despina will be experience Heavy emotional experience created.
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1m
2.5m
5m
Light emotional experience Ocean / Desert (Exterior Space)
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Cities & Desire 3:WITH Despina OLD QUAD ISOMETRIC NOTATIONS Entering Despina from the north side , the traveller notices the ocean to the south almost immediately. He then quickly travels through the city to reach the docks, where he boards a windjammer and sails off for a period of time. Upon returning to Despina, the traveller reflects upon his past self.
Key Perspective 1 Perspective 2 Speed and direction of Marco Polo’s movements Areas where people are present Change in time and individual experience Heavy emotional experience
0
1m
2.5m
5m
Light emotional experience Ocean / Desert (Exterior Space)
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QUAD PERSPECTIVE 1 + 2 Perspective 1: View from the Desert Featuring a pillar on the right hand side and an arch leading to an exterior space on the left hand side, I chose this perspective so that the viewer is peering into a new city having just arrived by camel from the desert. I wanted to elicit a sense of discovery and vagabondage.
Perspective 2: View from the Ocean As this perspective is centred around reflection, contemplation and individual experience, I wanted to represent the mood through centrality and a series of converging pillars leading to an opening. The perspective has been established in order to provide an orderly frame for the objects to reside in.
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PERSPECTIVE SCENE 1 + 2 Perspective Scene 1: View from the Desert This scene depicts the view of a traveller after arriving in Despina from the desert. It represents the view onto the ocean and the dock that opposes the city’s desert entrance. Whilst the city is based on duality, I have constructed the foreground (the centre of the quad as a whole) as a cultural epicentre to represent a collision of worlds - reinforced by the presence of foreign merchants and visitors. I have also included sacks of produce as reference to their economy and trade. The linework that demarcates the brick columns has been removed as the dock’s columns, like the decking, is made of wood. Additionally, the windjammer and sailor are placed in line of the focal point in order to emphasise the yearning to sail and travel.
Perspective Scene 2: View from the Ocean Evocative and spiritual, this scene represents the traveller’s reflection upon revisiting Despina, the city from which he escaped the desert to sail away to foreign lands. With crates in the foreground as references to the trade and the same tavern sign from Scene 1, the location is established to be Despina. Set at night, the traveller is able to reflect without the distraction of people. He is able to envision ghostly apparitions that remind him of his past travels and inform his desire to return.
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WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION Question 1: What is the difference between autographic and allographic practice?
Question 2: Why do architects need new representational techniques?
Autographic and allographic practice is differentiated by the presence of authorial intervention and contribution. Practices that involve the artist’s intellectual property being actualised with the artist’s support are considered to be autographic (painting, sculpture). Alternatively, allographic practice does not require the original creator to be present in the creation of the work as it can be adapted and interpreted (theatre, music, poetry). Notation aids in the information of allographic practice but it is up to the performing artist to execute their own interpretation.
Architects need new representational techniques because the current techniques are outdated and need to consider the new age of communication and networking. The old techniques do not understand the boundaries of the physical universe and thus make faults in the eventual architectural design of a building because information was not conveyed properly. New design techniques would incorporate different types of notation to reduce the possibility of idealistic concrete design which cannot be actualised and instead transform representation into a process of interpretation and engagement.
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FINAL DRAWINGS These are the final drawings for Module 4, consisting of an isometric drawing of the Old Quad with attached notations and scale and two perspective scenes from within the Quad.
Cities & Desire 3: Despina
This was used in a pin up presentation to conclude the module.
Key Perspective 1 Perspective 2 Speed and direction of Marco Polo’s movements Areas where people are present Change in time and individual experience Heavy emotional experience
0
1m
2.5m
Light emotional experience
5m
Ocean / Desert (Exterior Space)
Perspective 1
Perspective 2
James Urlini, 921240
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