M4 journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Mehboob Madatali Chatur 903803 Anastasia Sklavakis, Studio 10

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WEEK 9 READING: PERSPECTIVES SYMBOLIC FORM (ERWIN PANOFSKY)

Question 1: What are Durer’s rules for perspectival projection?

Durer’s rules for perspectival projection are subjected to the vanishing point - an imaginary point where all perpendicular/orthogonal lines of the perspective projection meet. It creates an illusion of a threedimentional space on a planar surface. Durer’s three rules are: 1. All parallel lines in a perspective will share a common vanishing point; 2. The perpendicular lines that appear to be drawn from the ‘eye’ will ultimately converge at the vanishing point; 3. To maintain the illusion of proportionalc change throughout the depth of the [erspective, the dimensions decrease gradually at a constant rate for a particular ‘set distance’.

Question 2: Describe homogenous space?

A homogenous space is an unchanging and infinite space made by construction and mathematical tools. It is a space whereby every object relates to each other with no overall purpose. It is assumed that a view is projected from a single static point (or a fixed eye), as it produces one common vanishing point for a particular object or set of objects. It can be said that it is an approximation of our own optical perception.

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INVISIBLE CITIES - CITIES & NAMES 2 :LEANDRA Gods of two species protect the city of Leandra.

Both are too tiny to be seen and too numerous to be counted. One species stands at the doors of the houses, inside, next to the coatrack and the umbrella stand; in moves, they follow the families and install themselves in the new home at the consignment of the keys. The others stay in the kitchen, hiding by preference under pots or in the chimney flue or in the broom closet: they belong to the house and when the family that has lived there goes away, they remain with the new tenants; perhaps they were already there before the house existed, among the weeds of the vacant lot, concealed in a rusty can; if the house is torn down and a huge block of fifty families is built in its place, they will be found, multiplied, in the kitchens of that many apartments. To distinguish the two species we will call the first one Penates and the second Lares.

Within a given house, Lares do not necessarily stay with Lares, and Penates with Penates: they visit one another, they stroll together on the stucco cornices, on the radiator pipes; they comment on family events; not infrequently they quarrel; but they can also get along peacefully for years -- seeing them all in a row, you are unable to tell them apart. The Lares have seen Penates of the most varied origins and customs pass through their walls; the Penates have to make a place for themselves, rubbing elbows with Lares of illustrious, but decaying palaces, full of hauteur, or with Lares from tin shacks, susceptible and distrustful.

The true essence of Leandra is the subject of endless debate. The Penates believe they are the city’s soul, even if they arrived last year; and they believe they take Leandra with them when they emigrate. The Lares consider the Penates temporary guests, importunate, intrusive; the real Leandra is theirs, which gives form to all it contains, the Leandra that was there before all these upstarts arrived and that will remain when all have gone away.

The two species have this in common: whatever happens in the family and in the city, they always criticize. The Penates bring out the old people, the great-grandparents, the great-aunts, the family of the past; the Lares talk about the environment before it was ruined. But this does not mean they live only on memories: they daydream of the careers the children will follow when they grow up (the Penates), or what this house in this neighborhood might become (the Lares) if it were in good hands. If you listen carefully, especially at night, you can hear them in the houses of Leandra, murmuring steadily, interrupting one another, huffing, bantering, amid ironic, stifled laughter.

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OLD QUAD ISOMETRIC

0

4

1m

2.5 m

5m

This is an isometric view from the SE of the Old Quad without notations and symbols.

OLD QUAD ISOMETRIC WITH NOTATIONS

Key Population Density Perspective 1 Glance

Penates

Lares

0

1m

2.5 m

5m

Perspective 2

Stare

Light Mood

Movement (slow to fast)

Heavy Mood

An isometric view of the Old Quad with mapping according to the story narrated. It shows the movement of Marco Polo, the perspective points, the moods and the crowds in the area. Additonally, it shows the interaction and distribution of the Penates and Lares.

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QUAD PERSPECTIVE 1 + 2 Perspective One: The Penates The perspective suits my scene as it is set inside the house, specificaly in the kitchen.

The objects I used are refelctive of these, including a cooker, cooking pot, utensils and household items. Moreoever, Pentates (cats) are shown inside. A window is alos added to show the outside street.

Perspective Two: The Lares This perspective suits the scene described as it is set outdoors on the streets. More human figures are used to show thatit is a much more busy are than the previous scene. Also, Lares (dogs) are shown. The sides of the streets will be filled iwth shop facades.

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PERSPECTIVE SCENE 1 + 2

Background Information / Inspiration:

The Penates are gods of the household, while the Lares are gods of the cities.

Hence, I interprates cats to be the species that represent the Penates and dogs to represent the Lares. Cats are usually konw to be indoor pets, while dogs are outdoor pets - hence why I chose these species. Lres and Penates are described to interact with each other both peacefull and chaotically., which are shown in thye images. The Penates belive Leandra to be their home, thus why they dominate the images with more of them in the city.

Perspective One: The Penates In this perspective, we are able to see the Penates around the kitchen of the household, but the also interact with the Lares without chaos. A lare and oenae are seen together here together peacefully. A Penate is also seen to be outside the window as they also interact with the outside world. Additionally, statues of a Lare and Penate are kept amongst the other Greek gods on the shelf, to show their importance in religion.

Perspective Two: The Lares In this perspective, we are able to observe the Lares in the city, and also their interaction with Penates.

We are also intoduced to the chaotic side of their intercation. The intercation of the Lare and the man aslo show that they are peaceful species.

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WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION (STAN ALLAN)

Question 1: What is the difference between autographic and allographic practice?

An autographic practice is an art form that cannot be imitated by anyone else besides the creator of that style. The expression of that art form can only be established by the creator.

On the other hand, an allographic practiceis a mathematical or simple notation that allows easy translation and teaching, thus it can be easily reproduced. It encompasses an art form that can be interpreted, such as dance moves.

Question 2: Why do architects need new representational techniques?

Architecture is neither an autographic or allographic proctice, as it is a mix of universal notations and an indicidual’s vision of spaces and a landscape. Thus, new representational techiques are needed. With the ever increasing advancement in technology and communication methods, there is an obvious rise in sociopolitical networks as well. Therefore, these newer problems are to be addressed via newer techniques since older techniques cannot make up for what is required in today’s era.

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FINAL DRAWINGS CITIES & NAMES 2: LEANDRA Mehboob Madatali Chatur, 903803

Key Population Density Perspective 1 Glance

Penates 0

1m

2.5m

Perspective 1: The Penates

5m

Lares

Perspective 2

Stare

Light Mood

Movement (slow to fast)

Heavy Mood

The drawing does not need to be fully detailed, but rather give the impression or summary of what happened in Leandra during Marco Polo’s visit. Polo is seen to explore both the indoors and outdoors and spectate the interation and duties of the Penates and Lares.He moves slowly inside the house as there is no crowd, and he can stare onto the streets, but once he is outdie he has to move quickly due to the polullation density and only gets the chance to glare around. He notices more Penates than Lares as he had the chance to fully observe the area carefully, adn also Peantes belive that Leandra is their home, while Lares are visitors to the area.

Perspective 2: The Lares

Final presentation of The City of Leandra

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APPENDIX: CHARACTERS AND OBJECTS

The followingare the most prominent objects and characters were used to better narrate the story. (Not to Scale)

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APPENDIX: ATMOSPHERE AND MATERIALITY

Rough Concrete

Srone Bricked Wall

Rocky Road

Wood

Clouds

The following textures were sued.

Dust smoke

Smooth Concrete

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APPENDIX: PROCESS (COMPUTER)

Using Illustrator to change line weights Rendering of Per1

Rendering of Per2

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Mapping using Rhino

Using Rhino to place the characters

APPENDIX: PROCESS (SKETCHES)

Sketch on the palcement of characters andf objects in both perspectives and what they represent.

Brainstorm and base map of how I would put symbols and notations to represent various parts of the stury.

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