Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Lauren Thomson 911599 Hana Nihill, Studio 22w
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection?
Dürer’s rules for perspectival projection are that all perpendicular lines meet at a ‘vanishing point’. This is ‘determined by the perpendicular drawn from the eye to the picture frame’. The second rule is that all parallel lines meet at a vanishing point. This vanishing point is on the ‘so-called horizon’. Though we did not physically draw a vanishing point where our lines would meet for this module, if we were to extend each line, they would eventually meet at one point. The third rule is that ‘equal dimensions diminish progressively as they recede in space’. This should mean that things appear smaller if they are situated further back.
Question 2: Describe homogenous space?
Homogeneous space is reliant on us seeing these drawings with a ‘single and immobile eye’ and that the drawing accurately captures what our ‘optical image’ would be. It is also purely mathematical and unchanging. As we created the structures for this module in Rhino, we ensured that the mathematics and accuracy would remain correct no matter which way we viewed them.
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INVISIBLE CITY: RAISSA
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OLD QUAD ISOMETRIC
0
4
1m
2.5m
5m
OLD QUAD ISOMETRIC WITH NOTATIONS
0
1m
2.5m
5m
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QUAD PERSPECTIVE 1 + 2 This view suits my scene as I want the focus to be on the windows which will be in the wall. In the story, it mentions children smiling and leaning out windows as an example of moments of happiness within the city. There is also quite a lot of large, dark space included that I would like to leave empty to show the children’s isolation from the rest of the world and what is going on around them.
This view suits my scene as the large number of columns give the view a busier feel. I want this scene to be the opposite of the other scene; hectic rather than peaceful. This view also allows lots of light to come through, whereas the other view is a lot darker in comparison. I want the other scene to portray that the children are quite literally “in the dark”. They are oblivious to the sadness that surrounds them as opposed to this scene that is completely light and crowded with sad figures.
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PERSPECTIVE SCENE 1 + 2
I chose to just include the children and dog mentioned in my story to show their isolation from the rest of the world. As opposed to the other scene, I have included a stone wall around the perimeter of the quad to again show how closed off they are from the world, and because it helps to make the scene darker, again showing how they are in “in the dark�. The cracks in the stone symbolise how the world is crumbling all around them yet they seem to be oblivious to it.
The man sitting at the worktable and the man covering his ears are directly related to the description in the story, though the rest of the figures I included are only inspired by it. I have chosen to leave the background blank and light, to show how everything is in the open with these people, who reflect the sadness that corrupts most of Raissa, and that nothing is hidden from them.
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WEEK 4 READING: PRACTICE - ARCHITECTURE, TECHNIQUE & REPRESENTATION Question 1: IWhat is the difference between autographic and allographic practice?
Notation is the key feature of, and heavily relies on, Allographic arts. This is due to the arts that Allographic arts is based upon is not static (such as poetry or music) and commonly built around movement (dance etc.). As a result, they show things that otherwise could only be imagined. In contrast, Autographic arts are generally based upon arts such as painting and sculpture, which require a more ‘direct contact of the author’. Allographic arts is more directly relatable to this module, as it helps to describe movement and more symbolic features of the story that otherwise can’t be shown.
Question 2: Why do architects need new representational techniques? The text argues that architects need new representational techniques as the ones we use today, such as architectural drawings, do not sufficiently capture the ‘experience’ of architecture. The effects created by architecture are never truly reflected by the limits of current representational techniques. Though this is very applicable to architectural drawings, the perspectives we have created in this module, though not entirely realistic still, are able to capture aspects of building design more easily using light and shadow.
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FINAL DRAWINGS Hidden Cities 2: Raissa
Key Stare Crowds/People Light Mood Heavy Mood Light Dark Camera Position 0
1m
Perspective 1
2.5m
5m
Perspective 2
The large circle featured in my notations represents the group of people in the sad perspective, though I have only used small circles to represent the children to show how isolated and unaware of the world around them they are. Similarly, I have used the ‘light mood’ symbol only once and covering the whole of the crowd circle, but small ‘light mood’ symbols above the children to show how their happiness is isolated to them only, and is seemingly separate from the world surrounding them. The arrows show that the people featured in the sad perspective are staring (generally in a downwards direction), something commonly associated with sadness and boredom. The closely dashed curved line surrounding one side of the quad represents how the children are in the dark whereas the line on the outside of it is made of dashes spaced further apart. This is showing how the world outside them is light and not hiding anything. I think I have shown enough notations to convey my ideas without using too much so that it is crowded.
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