Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Maiken Stromgren Skogstad 978409 Mitchell Ransome, studio 6
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? According to the reading, perspective means ‘seeing through’, and that is how Durer sought to clarify the concept of perspective. It is explained how one should speak of a fully ‘perspectival’ view of space when the entire picture has been transformed, not when isolated objects such as houses or furniture are represented in “foreshortening”. Perspectival projection is meant to make the viewer believe that they are looking through a “window” into space, and the vanishing point serves a great purpose to this idea.
Question 2: Describe homogenous space? Homogeneous space is, according to the readings, an infinite, unchanging and purely mathematical space. “The ultimate basis of the homogeneity of geometric space is that all its elements,…, are mere determinations of position,…” Homogeneous space is space produced by construction, and is a space where every object relates to each other, with no obvious purpose. It is merely an estimate of our own optical perception.
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INVISIBLE CITY: Perinthia
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OLD QUAD ISOMETRIC
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2.5m
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Old Quad Isometric Projection without notation
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OLD QUAD ISOMETRIC WITH NOTATIONS
Key Characters Mood - Light Mood - Heavy Perspective 1 Perspective 2 Movement - Slow 0
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2.5m
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Movement - Fast Stare Glance
Final image of Old Quad Isometric Projection with complete notations
Passage of Time
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QUAD PERSPECTIVE 1 + 2 The first part of the description of Perinthia by Marco Polo, is mostly centred around the creation of the city, and the value of the work of the astronomers. Therefore, the first perspective is from a view that gives the Old Quad a natural outlook onto something that can be a sky full of stars. It is also in a slightly more darker setting, which suits the story.
The second part of the story was about the natural development in the city when it comes to families and children, and ended with explaining how the city also had dwarves, hunchbacks and three-headed children locked away. Due to this, it was natural that the second perspective was in a brighter setting with more shadows in the back to develop into something more mysterious.
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PERSPECTIVE SCENE 1 + 2 First perspective: “City Perfect”. The idea that astronomers would use the stars to create a perfect city, greatle influenced the use of different characters. I chose to use the two men looking through a telescope to show the importance of the planning of a city, the reading woman to show the importance of knowledge in a community and the man in the back to show the elegance and high-standard of a part of the community. The couple to the right is meant to be a slow transition into the next perspective so both perspectives have a connection with each other and a continued story. I wanted to keep the perspective realistic and minimalistic, because the purpose of the Old Quad in my perspectives is purely as a gathering point like a platform on a hill top.
Second perspective: “Hidden Secrets”. The concept of the second perspective is all about the development of life. I chose the pregnant couple to show the beginning of family life, and the woman with the children to show the further development. The little girl to the right is meant to symbolize innocence. I chose to use an obese man and a dwarf to the back, to highlight the different and somewhat “unusual” characters to be found in Marco Polo’s description of the city. The background of this perspective is a city square with the Old Quad still working as a platform on a hill top, created as a gathering point and a look- out point.
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WEEK 4 READING: MAPPING THE UNMAPPABLE
Question 1: IWhat is the difference between autographic and allographic practice? Autographic practice is the practice of painting and sculpture, which depend on their authenticity and the direct contact with the author. Allographic practice is found in music, poetry or theatre, where the work exists in many copies and can be shaped without the direct intervention of the author. Therefore, the difference between these two practices is the influence of the author and the diverse standards of performance. Allographic practice is subject to changing standards, is characterised by the use of notations and can be expressed by many, while autographic practice can only be established by the original creator.
Question 2: Why do architects need new representational techniques? According to the reading, architectural drawing is impure and unclassifiable, and its link to the reality it designates is complex and changeable. It is neither allographic nor autographic, but more a curious mixture. Allen argues that architects must resolve to using newer representation techniques, due to the ever-increasing advancement and development in communication and technology. The older techniques cannot address newer problems, but instead, never techniques more suited for representation must be evolved.
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FINAL DRAWINGS Cities & the sky 4: Perinthia Maiken Stromgren Skogstad, 978409
Key Characters Mood - Light Mood - Heavy Perspective 1 Perspective 2 Movement - Slow Movement - Fast 0
1m
2.5m
Stare
5m
Glance Passage of Time
Perspective 1: “City Perfect”
Perspective 2: “Hidden Secrets”
In the story of Perinthia, Marco Polo entres at the front centre of the Old Quad. The mood is light, and continues to be, as he walks around the inspiring astronomers and acknowledges their purposeful planning. He can see out on the sky full of stars and the great view of the city, and gets an impression of Perinthia as a wellestablished city with high standards. As he walk around the astronomers in a slow pace, he now turns to face a different perspective of the city. The emerging of families with children of several ages and the natural development of the society is highly present, and the mood is still light. As he walks further through the Old Quad, he now gets a glimpse of a dwarf and an obese man, and starts to stare at them and walk in a faster pace. The mood is heavy, mainly because of these “unusual” characters, but also because of the screams coming from the cellars and the attics, where the city has hid away three-headed or six-legged children. He passes the dwarf and the obese man, and the sound of the hidden children fades, and as he again faces the beautiful view of the ocean and sky full of stars, the mood gets lighter, the pace gets slower, and in total forgetfulness of the secrets of the city, he wanders out of the Old Quad and continues his day.
Final drawings of Isometric Projection and Perspectives
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APPENDIX: CHARACTERS IN FIRST PERSPECTIVE
The astronomers.
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The educated woman.
The well-off man.
The couple in love.
APPENDIX: CHARACTERS IN SECOND PERSPECTIVE
The little girl.
Woman and children depicting family life.
The pregnant couple.
The obese man.
The dwarf.
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APPENDIX: TEXTURES AND BACKGROUND
Texture used on the columns.
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Texture used on the roof.
Texture used on the floor.
APPENDIX: PROCESS
Modelling the Old Quad in Rhinoceros.
Editing the line weighs of the 2D Isometric of the Old Quad with narrations.
Working with the characters in Photoshop, making sure they have the right quality and size.
Adding flames in Photoshop to give the Old Quad a more lifely feel to it.
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