Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Je Tan
915959 Naomi Ng Studio 2
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer proposed three laws for perspectival projection. All perpendiculars converge at a central vanishing point drawn from the eye to the picture plane. All parallels share a common vanishing point depending on the direction in which they lie. If they lie in a horizontal plane, then their vanishing point will be the on the horizontal line through the central vanishing point. Equal dimensions will diminish progressively as they recede in space, thus making any portion of the image an be predicted from the preceding or following portions.
Question 2: Describe homogenous space? (Maximum 100 words) Homogenous space is space in which elements function in reciprocal relationships. They possess no content outside the context in which they exists and therefore are merely expressions of ideal relations. For homogenous space to be rationalised, it must be assumed that the image is perceived with a single, immobile eye and that a planar cross-section of the visual pyramid is passable as a representation of a human’s optical image. However, the infinite, unchanging nature of homogenous space is an abstraction of human perception, in which optical limits and subjectivity define the view.
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INVISIBLE CITY: HYPATIA
The city of Hypatia is one in which conventional assumptions do not apply. The narrator, Marco Polo is left confused by this and it is only after he realises that a detachment from this assumption will he gain an understanding of the city.
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OLD QUAD ISOMETRIC The model of the old quad was constructed in Rhino and edited in Illustrator. For the assigned novel chapter, the model was not altered, as the perspective views and isometric would not require any elements in the model to be changed.
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1m
2.5m
5m
Old quad isometric without notations.
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OLD QUAD ISOMETRIC WITH NOTATIONS Notations in the model describe the narrator’s journey through Hypatia’s great library. The narrator’s confusion is demonstrated through the indirect and uneven path that is taken. The meeting of the narrator with another person in the library sets the scene of Perspective 1. After the meeting, the narrator moves through the threshold separating the library from the outside word. Here, his conversation with the philosopher in the garden allow for a greater understanding of Hypatia. Perspective 2 is set in third person, looking down at the narrator as he leaves the model with an even and direct movement.
Key Movement
First Perspective
Stare Glance Light Mood
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1m
2.5m
Heavy Mood
5m
Second Perspective
Confusion - Understanding Transition of Space Progression of Time
Old quad isometric with notations.
People/Crowds
Dark/Light Threshold
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QUAD PERSPECTIVE 1 + 2
This view was chosen for Perspective 1, as it allowed for the division of light and dark areas, while providing arches in which the outside garden could be framed. The perspective is taken from the narrator’s first person view of the scene and therefore it is set at eye level. The first person view indicates the subjectivity of the narrator.
Perspective 1 unedited.
Perspective 2 was taken from a higher viewpoint looking down at the scene. This perspective is from a third person view and indicates a more objective approach to the scene, thus setting it apart from Perspective 1. Light from outside is cast into the model and onto the columns and floor, creating a lighter atmosphere compared to the first perspective.
Perspective 2 unedited.
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PERSPECTIVE SCENE 1 + 2 This scene is taken from the narrator’s perspective before he enters the garden outside. From this view, confusion and the narrator’s subjective impressions on the space are seen. The idea of the “change (that) regards not words, but things” was implemented through the separation of elements and objects found in the light and dark portions of the scene. One of the ways the themes of association, understanding and deception are demonstrated is through the inclusion of an impressionist painting, which flows from a man’s pipe to the outside. This painting is representative of the narrator’s confusion and individual impression of the scene. As the paint flows from a pipe and does not obey the scene’s shading or perspective, it defines the scene’s surreal and deceptive nature. The philosopher in the garden represents a threshold of understanding, as he stands on the edge of the painting and the real garden, which is correctly lit and set in the correct perspective. Perspective 1.
This scene is taken after the narrator leaves the garden with the philosopher. Set in third person, it represents an objective view of the area, free from the narrator’s impression and subjectivity. Designed to build on the themes established in the first perspective, many of the elements and objects found in that scene are also included in this perspective. After the narrator’s conversation with the philosopher, he realises that he must disregard any associations that he holds with places and things. This is represented in the objective approach to the scene as well as the emptiness of the library, bar the narrator. Logic distorted in Perspective 1 is returned to normal here, for example the lit torch in sunlight in the first scene is now extinguished.
Perspective 2.
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WEEK 10 READING: MAPPING THE UNMAPPABLE Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic practice is that which depends entirely on its authenticity through contact with its author. Such practices include painting and sculpture. Allographic practices are those which can be reproduced through means of notation at a distance from the original author. The authenticity of allographic works comes through the form of the work’s internal structure. It is subject to interpretation and changing standards of production, thus making allographic work the re imagining of a concept subject to the notation applied upon it.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Progression of society in technological, political and economic factors contribute to the development of an urban site which is no longer definable by purely physical and geographic elements. Traditional representative styles reduce urban sites to ‘artifacts’ through the assumption of stable and fixed subjects. The modern age calls for new representational techniques which can convey the multitude of intangible streams and networks present in today’s buildings and cities.
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FINAL DRAWINGS Cities & signs 4: Hypatia Je Tan, 915959
Key Movement
First Perspective
Stare Glance Light Mood
Heavy Mood 0
1m
2.5m
Confusion - Understanding Transition of Space Progression of Time
5m People/Crowds
Perspective 1
Second Perspective
The final illustration consolidates the themes found in the perspectives and isometric. The narrative of Marco Polo’s journey in Hypatia is represented in terms of themes and ideas, using the library as a stage in which to frame them.
Dark/Light Threshold
Perspective 2
Module 4 Final Pin Up.
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APPENDIX
Drafting of themes and perspectives.
Isometric concept. Perspective 1 concept.
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Perspective 2 concept.
Progress of model construction
Isometric progress.
Rendered view of model.
Perspective 2 progress.
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Concept Perspective 2.
Old quad with notation, top view.
Original isometric notation symbols.
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IMAGE SOURCES/REFERENCES
Baron, Henri. A Reclining Turk Smoking Hookah. 1844. Camuccini, Vincenzo. Roman Women Offering Their Jewellery in Defence of the
Coture, Thomas. Romans in Decadence of the Empire. 1847.
State, c.1825.
Lemoyne, Francois. Apotheosis of Hercules. 1736.
Kinkade, Thomas. Stairway to Paradise. 1998. Floris, Frans. The Fall of the Rebellious Angels. 1554.
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Monet, Claude. The Water Lily Pond. 1899.
Messina, Antonello. St Jerome in his Study. 1475.
Perugino, Pietro. The Delivery of the Keys. 1481.
Waldmuller, Ferdinand Georg. Roses.1842.
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