Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Marissa Samrai
(1003391) Anastasia Sklavakis Studio Class 19
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) A perspectival view is described to us by Durer as a window in which the viewer observers an entire picture in space rather than individual objects in isolation. According to Durer, within the correct construction of a modern ‘linear perspective’ several laws apply. Firstly, all the lines projecting back from the object in perspective must meet at the vanishing point, usually located on the horizon. Next, all parallel lines travelling in any direction, vertical, horizontal or at 45 degrees, must have a common vanishing point. Lastly the dimensions of lines travelling back in space diminish, thus creating a logical and visually ‘correct’ image for the human eye.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is essentially a purely mathematical space, where all elements within it determine the location in space of the overall object, rather than individual, discrete points. This form of space is therefore produced by the elements constructed within it, hence homogenous space is never given but instead produced by what is within it.
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INVISIBLE CITY: Laudomia
The city assigned to me is entitled Laudomia, and is the fifth story in the final chapter of the novel, Cities and the Dead. My interpretation of this story revolves strongly around the three time phases Marco Polo depicts, the city of the unborn, the city of the dead and the city of the living. These three phases in time interact together and inhabit the same city at the same time, and various symbolic elements are used throughout the novel to help the reader understand the nature and characteristic of each time phase. For example, the notion of an hour glass is illustrated at the closing of the story, where Marco Polo suggests that each grain of sand demonstrates the passage between birth and death, where the last inhabitant of Laumodia is the last grain to fall. This analogy strongly relates back to the idea of the three time phases and the connection between these seperate yet continuous time frames.
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OLD QUAD ISOMETRIC
Cities & the DeaD 5: LauDomia Marissa Samrai, 1003391
Key Portal Mood Population Glance Observe Ponder Threshold 0
1m
2.5m
5m
Perspectiv
The Old Quad isometric without annotations informs the viewers of the basic structural components and construction of the Old Quad. The chosen modified design helps the viewer to decipher between the three different cities as mentioned in the text. The Old Quad retains is original dimensions however some elements are raised to add further interest and potential for creativity in the piece. The furthest side from the viewer is the City of the Dead, where citizens and visitors are coaxed to step down, eventually reaching the stairs to the underworld. The central component is the City of the Unborn where the ‘citizens’ are elevated from the rest of the city as they are ‘detached from any (citizens) before or after’. Finally, the closest platforms belongs to the City of the Living, which is positioned symmetrically to the City of the Dead because ‘the arrangement of the dwellings repeat’ across these two cities.
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ities & the DeaD 5: LauDomia OLD QUAD ISOMETRIC WITHC NOTATIONS Marissa Samrai, 1003391
Key Portal Mood Population Glance Observe Ponder Threshold 0
1m
2.5m
5m
Perspectiv
The notations aim to aid the viewer in understand the emotions and overall sensory experience of Marco Polo as he explores the city. Focusing predominantly on the senses that can be related directly back to perspective images, this notated isometric shows intensity of mood, population density, types of visual observations etc. In the story, Marco Polo explains and describes some areas of the city in greater detail than others, therefore I aimed to focus on these actions through the use of notation.
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QUAD PERSPECTIVE 1 + 2 Perspective One Choosing an angle that allowed the viewer to appreciate the various levels created in the Old Quad was essential when capturing a perspective. The lighting was also specific to the city the perspective is capturing, this image is taken on the far side of the Old Quad and is therefore part of the City of the Dead. The darkness and shadows that are cast on many of the walls relates to the somber mood of this city. Furthermore, some openings of light allow certain elements to be the focal point of the piece once Photoshop techniques are applied.
Perspective Two Marco Polo describes several captivating elements in the story that commonly refer back to the City of the Unborn. This enticement inspired me to create a perspective that showcased the complexities and uncertainties of this world. Furthermore, the themes present in this world are in stark contrast to that of the world captured in the first perspective, thus adding breadth to the overall composition. Because this particular city is elevated from the other cities, the lighting is more dramatic, hence, encapsulating a different mood and tone.
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PERSPECTIVE SCENE 1 + 2 Perspective One This perspective captures several scenes set by Marco Polo in the story in a single image. The City of the Dead have busy, crowed streets with towering dwellings and crammed spaces. The image produced doesn’t show any of the ‘dead’ people, however instead captures the ‘living population’ who ‘pay visits to the dead’ as they ‘decipher their own names on their stone slabs’. The city communicates ‘toil, anger, illusions and emotions’. Through the chosen images of unexpressive people, gloomy streets and crowds hustling, I aim to probe these emotions though my interpretation of the scene and how Marco Polo depicts it.
Perspective Two The second perspective was harder to conceptualize as Marco Polo’s depictions were more open ended and open for interpretation. Therefore, to create a contrast between the two images, I decided to create a more dramatic scene with open plains and debris to reflect the abandoned yet occupied scene. The piles of rubble are the most symbolic features in this image as they represent the unborn as depicted by Marco Polo. The individual pieces represent the unborn population, where the piece on the top of the pile is the last inhabitant of the city. This feature also runs into the city of the dead in perspective one, symbolic of the recently deceased population accumulating in piles.
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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) According to ‘Practice Architecture, Technique and Representation’ allographic practice and autographic practice are opposites. Allographic art can be reproduced, as the ability to recreate forms doesn’t rely on the creator but instead the mode and accuracy of communication. This mode of practice relies on interpretation via the communication of notation, this is found, for example, in music poetry and theatre. In direct opposition is the practice of autographic art, which relies on the unbroken an sustained relationship between the creator and their work. Autographic practice is dependent of the authenticity of a painter or sculptor.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) In stark contrast to traditional representations, the contemporary world is more complex and incapable of being simplified. Therefore, in order to interpret and illustrate this broadening spectrum, architects today must devise new ways to ultimately communicate information via different pathways and into different forms. Instead of creating a new form of representational technique, architects are urged to expand their base of techniques available. Although it may sound straightforward, the expansion of this base is highly complex as it requires its users to acknowledge the adaptability of new representational techniques, for example the capacity to measure whilst also intervene.
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FINAL DRAWINGS Cities & the DeaD 5: LauDomia Marissa Samrai, 1003391
After viewing both perspectives it becomes apparent that neither are over complicated or multilayer with too much information. They are comprehendible and illustrate an interpretation of the perspective depicted.
Key Portal Mood Population Glance Observe Ponder Threshold 0
1m
2.5m
5m
Perspectiv
Therefore I wanted to reflect this same idea in the isometric through simple symbols and gradients. I purposely didn’t overcrowd the space purely because I wanted it to be clear to understand. I started by organising the elements that were on the ground, such as the ‘mood’ and ‘population density’. Many elements in my legend can be directly related to the perspectives, such as the crown in perspective one or the footprints in perspective two. This direct relationship shows that there is a connection between the two forms of representation, and thus demonstrates a clear ability to present the same information in different contexts for different purposes. As a whole composition, I am highly satisfied with the depth of interaction between the three elements. After observing for acouple moments, the viewer should be able to draw the lines between the three components and thus aid the them in understanding the narrative behind the composition derived from the narration by Marco Polo.
Perspective 1
Perspective 2
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