Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Johann Garimort
(916192) Nina Tory-Henderson, Studio 8
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? Durer’s’ simplified explanation of perception is that of a picture pane which is projecting a representation of the space behind. Through this concept, perspectival projection can be employed utilising the following rules; all perpendicular lines meet at a single central vanishing point, all parallel lines have a shared vanishing point and equal dimensions gradually recede proportionally as they move backwards through the projection towards the focus point.
Question 2: Describe homogenous space. Geometrically, homogenous space means that at any point in space, it is possible to draw similar figures in every direction and of the same magnitude. Within perspective drawings objects lose there similarity and they instead become expressions of their relationship within the picture. In this, homogenous space becomes the space constructed between objects in perspective drawings.
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INVISIBLE CITY: TRADING CITIES 2 CHLOE
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OLD QUAD ISOMETRIC
Isometric drawing of the Old Quad at the Universtiy of Melbourne, to be used as the location of the story taking place in the city of Chloe.
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OLD QUAD ISOMETRIC WITH NOTATIONS As Marco Polo enters the Old Quad from the position of perspective 1, he glances at the surrounding scene and steps tentatively into the enclosed space. He notices crowds of people, with darting eyes gathering in the quad to shelter from a passing storm. As he glances down he is frightened by a leopard and walks quickly away taking larger steps into the next part of the quad. As he slows he glances again and is startled by a small flock of pigeons who scatter and so he again walks quickly into an end chamber of the quad where he captures hes breath, waits and relaxes. He uses the time to take a longer look at the scene in front of him. He takes interest in the man looking out into the rain and so walks calmly towards him, where he pauses beside him and glances longingly off into the driving rain. remember to insert your scale bar
With nothing to see and with the rain subsiding Marco Polo walks out into the remainign rain and city of Chloe.
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QUAD PERSPECTIVE 1 + 2 Perspective 1: This view, looking slightly upwards and at an angle to the back corner showcases the height of the quad and makes a number of columns visible. This allows me to introduce a number of characters which, as my story indicates that the people avoid each others gaze, use the columns to partially hide characters and allow them to glance at each other. In addition the columns allow ambiguity in the frame, what is hidden behind the columns, what is being shown by not being included? This is especially true of the column in the front left of view, removing a large portion of the floor from view.
Perspective 2: In contrast to perspective 1, this perspective allows for more exploration of open space and provides a more direct view, no longer hidden behind the column, This allows me to show what might happen if my characters could fulfill their desires. The position of the camera allows the middle columns to explore the idea of perspective as they clearly shorten into the vanishing point.
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PERSPECTIVE SCENE 1 + 2 Anonymous citizens taking shelter from a passing storm Story: The city of Chloe has many different people living within it including a blind man with a leopard, twins, a lady with a fan, a lady with a parasol, an epehbe and a fat lady, all of whom have gathered in the darkness of the quad as a storm passes, with the occasional flash of lightening. The characters don’t look at each other, they are all looking in different directions, although they occasionally glance at each other and wonder what fantasies could play out if they are given the opportunity. Field vs Frame: The blind man is not visible, although a hand holding the leopards leash can be seen - is this the blind man?
Theatre of Fantasy Story: With the curtains drawn the citizens of Chloe are free to live out their many fantasies, the leopard is free and on the hunt for pigeons, the pigeon is looking dapper in a top hat, the fat lady can dance, the parasol is open, the blind man can see and kiss he’s lover, the ephebe is now a strong boxer and the lady is no longer hiding behind her fan. Field vs Frame: Who is the boxer fighting behind the pillar? What is the lady with the parasol doing, all we can see is her parasol? The fat lady is not visible but is this her leg dancing between the pillars, or one of the twins now grown up?
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WEEK 4 READING: MAPPING THE UNMAPPABLE
Question 1: What is the difference between autographic and allographic practice? Autographic practice requires the direct involvement of the authour to provide authenticity to the final product, such as a painter completing a masterpiece. Allographic practice allows for separation between the authour and their final design, such as a composer’s song which can be shared and played by many people. In this way autographic practice retains its authenticity as its tied to the authour, while allographic practice which allows for distance between the authour and their work creates the opportunity for authenticity to be lost.
Question 2: Why do architects need new representational techniques? As technology changes and new building opportunities are created, architects need to develop new representational techniques to allow for the design and construction of buildings that utilise these advances. Relying on sketches and technical drawings limit what is capable, Architects need to explore new representative techniques to convey these new designs and possibilities.
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FINAL DRAWINGS OF CHLOE TRADING CITIES 2: CHLOE
Symbol Key Tentative Step Regular Step Glance Longer Look Crowd Frightend mood Calmed mood Darting Eyes Period of waiting 0
1m
2.5m
5m
Perspective 1 Perspective 2
Perspective 1: Anonymous citizens taking shelter from a passing storm
Perspective 2: Theatre of Fantasy
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