Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Jane Novella
900724 Raynaldo Ali, Studio 3
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
INVISIBLE CITY : CITY OF DOROTHEA
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words)
Durer speaks to has “seeing through” as his fundamental definition of perspective. Perspective is not only looking at an isolated object, instead looking at a ‘transformed’ view, like looking a space through a window. Or, looking through a top of a pyramid, which is our eye, and put other 4 base points on different objects to achieve requested perspective. Durer calls this a “planar, transparent intersection of all those rays that fall from the eye onto the object it sees” and has 3 rules within. All orthogonal must meet at a vanishing point, our eye, perpendicular to current plane. All parallels share a common vanishing point. If parallels form 45-degree angle with plane, then distance between their vanishing points to eye with the eye to the plane is equal. Identical measures are proportional to decreasing space, hence, any region of the view is similar in scale and calculable from the previous portion.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a view that is unchanging and ‘infinite’, a ‘mathematical’ space, which is achieved by seeing with single stagnant eye and planar of imaginary pyramid needs to reach standard multiplication of own visual view. The basic of this concept is that all the points in it determine the positions in reciprocal relation, without independently forming the view. Points are vacant before actually used to express the relations, which makes their homogeneity to be questioned their existence and meaning. Homogenous is said to be ‘unreal’ and limitless because it is a region that exists by construction of many possibilities of central perspective in which geometrical elements can be represented. Here, there is no ‘absolute’ position and direction, as each view has its own significance. Rough visualization of DOrothea. As it is impossible to draw a representative and a scene from the passage in limited space, I decided to draw only one section of 9.
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OLD QUAD ISOMETRIC
OLD QUAD ISOMETRIC WITH NOTATIONS
Isometric View : City of Dorothea without notations. Color is involved to show cut-sections and to specify each symbol. Difference in height is applied to give more dramatic feeling of being ‘compacted’ in an area. Also to give a ‘flowing’ feeling, showing relaxation and excitement, a turbulence of heartbeat. Symbols given are generalized for those who belong to the same group, excluding Marco Polo and the camel driver.
Keys :
*Note that Marco and Driver have the same notations except for perspective view
Perspectives : 1 & 2
Crowds: - People - Marco and Driver Light - brightness
Passage of time
View/Sight : - Glance - Stare (& for a character) Movement : - Crowds - Marco and Driver
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1m
2.5m
5m
Roofworks are originally given lighter line weight than the blockworks. Intersected plane is given heavier line wieght than the blockworks. All this to concentrate the difference between depth and to increase clarity of work.
Good Vibe
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1m
2.5m
5m
Border : - Rigidity & Fluidity
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QUAD PERSPECTIVE 1 & 2
PERSPECTIVE SCENE 1 & 2
Perspective 1 : Marco Polo’s. Rendered View & Make2D
Perspective 2 : Camel Driver’s. Rendered View & Make 2D
Perspective 1 : Marco Polo’s view. Arranged marriage between nullible girls from one section of the city with man from the other. Goods on the floor are the monopoly items being exchange within the families. A scene of present and past. What’s happening in the scene is something that has been done as a tradition from the past. On the left side is a ‘visual’/imaginary vision of the camel driver. As the camel driver who took him here told him about his past experience, Marco is trying to imagine it.
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Perspective 2 : Camel Driver’s view. Arriving at the city gate near the market in the morning excites him for a new start after his long journey in the desert. The deep gaze of a beautiful lady makes his heart throbbed, be even more romantic with the swing mood created by the trumpets player. The crowded market of Dorothea never fails to intrigue tourists to visit and have fun. The story continues with the scene of Marco Polo, as if has been taken back in time to experience a festive Dorpthea. Which is why in the image, neither Marco Polo nor the driver is present because Marco Polo is inside of the camel driver’s memory.
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WEEK 10 READING: PRACTICE ARCHITECTURE, TECHNIQUE AND REPRESENTATION
FINAL DRAWINGS
CITIES & DESIRE 1 : DOROTHEA
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words)
Autographic and Allographic are both two of the art forms defined according to Nelson Goodman. Both are involved with the use of notations. Autographic is the art that its credibility and value depends to the direct contact with its creator ( painting and sculpture). The author is involved fully within the creation of art. While Allography is the type of art which credibility and product could be developed and improvised, without direct contact with the creator, with the help of notations. (Musical pieces, poetry, theatre) This is why, everytime an allographic piece is edited, it produce another new reality. However the authenticity of an art is not determined with the amount of contact with the author, but with the internal structure of process work towards its final.
The isometric drawing itself has given out a clear story and scene about how Dorothea looks like. The presence of perspective view give a strong information about citizen’s daily live and a part of the culture
Question 2: Why do architects need new representational techniques? (Maximum 100 words)
I realized, however, these infomations are not well depicted inside iso view as can be seen that I did not put any symbol that describe what citizens are doing and what objects being used. 0
Even to begin with, architecture has been an ambiguous mixture of representation, it is very abstract and could vanish in the process, yet the product is durable and physically exist. Due to this form complexity and paradox, architectural practice do need new representation techniques instead of by only notations such as graphic information with measurement and specification. Moreover, as the world is continuously evolving in technology, architecture also becomes more advanced. Sticking to current representative media wouldn’t give the best result and interpretation of the architecture. It needs notation that can adapt to the change in terms of anticipation, visibility, endurability, collectivity and digitally presentable.
1m
2.5m
If it is classified from chronologically order in time, then the first scene should be the camel driver’s view, then it goes to the future. However, if it is ordered as it is in passage, then Marco’s view should be where the story starts.
Perspective 1 : Camel Driver ( Past )
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5m
Perspective 2 : Marco Polo ( Present - Past)
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APPENDIX 1 - WORK IN PROGRESS
Notations seen from the top view.
Product of first experiment.
Rough visualization of first perspective.
Perspective of Marco Polo in the making process. (Emphasize in background)
Picture of original trial and errors followed by very first concepts. Isometric view in the process of live painting.
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Differences in line weight.
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APPENDIX 2 - REFERENCES Objects, characters and backgounds ;
Textures :
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