Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Zhexing Huang (Kim) 913199 Hana Nihill - Studio 22
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WEEK 9 READING: PERSPECTIVE OF SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? According to Durer, the rules of perspectival projection are as followed: - All perpendiculars or “orthogonals” meet at a central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. - All parallels have a common vanishing point. If they lie in a horizontal plane, their vanishing points aways lie on the horizon line, which is a horizontal line through the central vanishing point. If they form a 45-degree angle with the picture plane, the distance between their vanishing point and the central vanishing point is equal to the distance between the eye and the picture plane. - The appearance of equal dimensions diminish gradually as they recede in space.
Question 2: Describe homogenous space? Homogenous space is an infinite and unchanging space which assumes a fixed point of view. It is “purely mathematical”, and is based on the idea that “all its elements, the ‘points’ which are joined in it, are mere determinations of position”; this suggests that the points and lines in a homogenous space are expressions of ideal relations rather than representations of the structure of real perceptual space. In other words, homogenous space is never given space; it is space produced by construction.
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INVISIBLE CITY: RAISSA
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OLD QUAD ISOMETRIC
This model was initially made in Rhino, then the linework was transformed into a 2D illustration by using the command “Make2D�. After exporting to Illustrator, the line weights were adjusted so that they showed visual hierarchy.
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OLD QUAD ISOMETRIC WITH NOTATIONS
Hidden Cities 2: Raissa After the model of the old quad was completed, a series of symbols were added into Rhino. These symbols are chosen according to the plot of the story, in order to represent concepts such as camera angles, positions and movement of the characters, mood, etc. In addition to the existing symbols provided by the template, I added some linebased symbols to show the idea of an “invisible thread of happiness� inside a cursed city of sadness.
Fast Movement
Key
0
1m
2.5m
5m
Stare Perspective 1
Glance
Perspective 2
Light Mood
Characters
Intense Mood
Object/Animal
Curse
Slow Movement
Thread of Happiness
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QUAD PERSPECTIVE 1 + 2 For the first scene I intended to depict a moment when the officer and the lady gaze at each other in love, while the officer’s horse looks towards the attractive francolin bird that was brought to life by the painter. This perspective suited this scene as it provided a general wide angle view so that a variety of characters and objects could be included, and a close relationship could be established between foreground and background.
For the second scene I aimed to depiect the moment when the francolin bird has just been brought to life by the painter, who dances ecstatically next to his canvas, being proud about his masterpiece. Because this persepective isd a zommed view, it could be effective in emphasising the expression and movement of the painter, as well as highlighting the relationship between the painter and the brid. The low angle of this perspective could also help to create a more dynamic composition.
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PERSPECTIVE SCENE 1 + 2 As discussed, this scene was created to depict a love story between the officer and the lady. Although immersed in and greatly affected by the suffocating sadness in the surroundings (shown through the broken windows and the cursed crying baby heads), there is clearly a deep level of affection and love between the man and the lady. Consequently, their connection forms an invisible thread of joy.
The second scene depicts the painter dancing as the francolin bird flies away from his canvas. Though all the characters are skeletons (symbolising death and sadness), their body gestures suggest the opposite. The broken windows in the background were created in Rhino as an addition to the original quad model, and the render texture of the ceilings was added in Photoshop.
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WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION
Question 1: IWhat is the difference between autographic and allographic practice?
Autographic arts are physically present and depend their authenticity upon the direct contact of the author (e.g. paintings and sculptures), they have a tangible existence that does not require the use of notation to be realised. On the other hand, allographic arts are much more abstract -- they commonly share an ephemeral quality, therefore require the use of notation in order to bring the works to reality (e.g. musical compositions). Through notations, allographic arts are capable of being reproduced in many copies without the direct intervention of the original author, which means that the works can be open to interpretation and change. Consequently, the authenticity of allographic arts is not about the contact with the original author, but the internal structure of the works as set down in the notations.
Question 2: Why do architects need new representational techniques? According to Stan Allen, in a work of architecture, the continual shuttle between the abstraction of architectural representation and the unyielding concreteness of the building makes it possible for architects to work within the complexity of the real, and to engage the shifting field of the contemporary city. Due to technological advancement and the phenomenon of modernity, all cities today are “instantaneously conencted as part of vast networks, in which images, data and money flow freely�, as opposed to being static, separated or isolated due to the differences in geographic location. Consequently, in order to meet new challenges, architectural representation should address the effects of technology on contemporary cities, in such a way that it engages time and change, shifting scales, mobile points of view, and multiple programs.
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FINAL DRAWINGS Hidden Cities 2: Raissa
Fast Movement
Key
0
1m
Perspective 1
2.5m
5m
Stare Perspective 1
Glance
Perspective 2
Light Mood
Characters
Intense Mood
Object/Animal
Curse
Slow Movement
Thread of Happiness
Perspective 2
Zhexing Huang (Kim), 913199
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