M4 journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Melissa Tan

912630 Anneke Prins, Studio 10

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM Panofsky. E, translated by Wood. C.S., Zone Books

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) There are a triad of laws that Durer has created as an index for perspectival projection. The first of the three rules states that the vanishing point centrally connects all “orthogonals”. Said vanishing point is determined by the projections that run from the apex perspective of the eye to the picture plane. Secondly, lines that extend in parallel to one another share a common vanishing point, irrespective to the directions they lie on. Finally, the dimensions within a perspective do not reflect an object’s true measurements. Instead, as entities are viewed closer to the vanishing point and further from the eye, equal dimensions diminish progressively.

Question 2: Describe homogenous space? (Maximum 100 words)

Unlike information psychophysiological space depicts, homogenous space illustrates a mathematical representation of our perception. Through an apex view, the homogeneity of geometric space is delineated by connected points that detail the position of space in which they occupy. In this sense, space is constructed within the formative points that devise it, allowing the possibility of space to be drawn in all directions and magnitudes.

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INVISIBLE CITY: Cities & Eyes 1 : Valdrada

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OLD QUAD ISOMETRIC

Cities & eyes 1: Valdrada

0

1m

2.5m

Old Quad projection without notation.

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5m

OLD QUAD ISOMETRIC WITH NOTATIONS Cities & eyes 1: Valdrada

Key Large Oar Strokes Shallow Oar Strokes Heavy feeling Light presence Dark presence Reflection in thoughts Interacting with the water Tentative steps Space transitions 0

1m

2.5m

5m

Light/dark Free floating Passage of time Standing in boat

Old Quad projection with notation.

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QUAD PERSPECTIVE 1 + 2

This perspective allows the eye to be drawn past the limitations of the quad and into an open background. Details within the quad will be exemplified as this perspective only shows a small section. I aim to use this for my scene one as it has a lighter feel, reflected in the ambience of the open pillars.

I have chosen this view to juxtapose that of the first perspective. This perspective is more structured and parallel to the horizon, providing the viewer with more information into the quad as it originates from one vanishing point. This will be used for my scene two as its structured view will create a sense of forced formality, inciting uneasiness within the viewer.

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PERSPECTIVE 1 SCENE DESCRIPTION Story A young couple walks along the shores of Valdrada. The water below reflects the two almost entirely; mimicking their faces, gaits and emotions. He loves her, as did his reflection, and her to him as well.

Ripples echo beneath their wandering feet in the puddles that bridge their world to the parallel below, harrowingly distorting the once pristine mirror image. While one couple continues to walk serenely hand-in-hand, the other reflects an awry shadow; tired and effete.

One boy holds his lover’s hand with tenderness and affection; the other with reluctance. One girl admires her partner in adoration and love; the other with malevolence. Both are silent; one weighted with unspoken words and the other void of any further conversation.

Two couples walk upon mirrored puddles; one real, one fake.

Relevance a;sldkfja;slkdf

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PERSPECTIVE 1 OBJECT PLACEMENT

I attempted to seemlessly transition the quad into the background by allowing the water to run over the quad flooring.

This allows viewers to see Valdrada as an open world.

White marble covers the pillars of the quad, overall lightening up the scene and forging and ethereal aura.

Rocks are one of the most prevalent features in this scene. The ripples surrounding them symbolise that even the most solid objects in Valdrada are subject to disfigurement.

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The willow trees droop from the quad’s ceiling creating a romantic atmosphere and casts shadows along the reflected surface of the quad.

I deliberately put more ripples under the couple, alluding to the distorted relationship that underlies their current state.

The reflection of the white swan is inverted, depicting a black swan in the water. I’ve chosen this contrast to depict the disparity between the two worlds.

PERSPECTIVE 2 SCENE DESCRIPTION Story Death lies on his mind perpetually. All his moments of misconduct have finally been realised – comprehended in utmost clarity with his moral compass no longer askew. Like the many others that he silenced, it was now his time.

An eerie fog illuminates the presence of god’s messengers; an ivory deer and stag posted to accompany the deceased to the pearlescent gates of heaven. Intercepted – they fall. Arrows fired through their hides of incandescent fur, subsequently halting their mission; austere and formidable.

The spectral perpetrators are non-other than the mirrored souls that had belonged to the humans quelled by the man who kneels before them. Unfeeling, they tortuously relieve the messengers of their task – sealing the fate of the prostrate man, allowing him to succumb the eternal darkness that awaits him.

Relevance a;sldkfja;slkdf

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PERSPECTIVE 2 OBJECT PLACEMENT

I included a heavy rusticated stone texture to reflect the mood of the scene: looming and formidable. If I had covered them in marble like the previous scene it may have looked too pristine.

One of the two deer messengers are shot with arrows. They are surrounded by small demons that notably dont have reflections.

The man hangs his head either in acceptance or defeat. His reflection below is starting to vanish, symbolising his impending fate.

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The abyss beyond the old wooden cupboard is the source of both the cloaked figures and small demons, representative of a gateway to hell or, perhaps, the mirrored Valdrada.

Led by vegeance and retribution, the cloaked figures have come to collect the man. These figures have no reflection as they are the mirror beings of those the man had previously killed.

These demons are merely aids to the cloaked figures, intercepting the two white messengers.

WEEK 4 READING: MAPPING THE UNMAPPABLE: ON NOTATION Allen S., 2000, Practice: Technique and Representation, Overses Publishers Association.

Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Although both represent the authors conceptualizations, they differ in delivery. On one hand, autographic practice is explicitly done by the author who is in direct contact with the creation of their art.

This ensures the authenticity of the work is completed by the author as is in painting and sculpture. Conversely, art that is able to be reproduced through notation and without the commitment of the original author is classified as allographic. As these arts are conveyed through notation, the operation of interpretation may alter through varying perceptions.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Despite architectural plans being transitive in nature, the buildings they gestate are anything but. Within the context of an everchanging social milieu wherein technology advances at a thriving pace, the principles of notation must adapt to new mechanizations. The conventions of interpretation assimilate to the vast changes and dilemmas presented by new technology, combatting both digital aspects and modern building techniques.

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FINAL DRAWINGS Cities & eyes 1: Valdrada

Key Large Oar Strokes Shallow Oar Strokes Heavy feeling Light presence Dark presence Reflection in thoughts Interacting with the water Tentative steps Space transitions 0

1m

2.5m

5m

Light/dark Free floating Passage of time Standing in boat

Perspective 1

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Perspective 2

APPENDIX - PROCESS

Preliminary scene sketches

Rhino perspective imported into Photoshop.

Adding main textures and objects.

Implementing reflections of the roof, objects, and intended beings.

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APPENDIX - SCENE 1 REFERENCES

http://zezete2.centerblog.net/ rub--arbres--49.html

http://aomori.deviantart. com/art/Mini-rock-tutorial-148439390

http://snitchseekerrpg.wikia. com/wiki/File:Water_Plants.png

http://runawaywithyou.deviantart.com/art/easy-tutorialdrawing-rocks-397855649 https://hands-across-the-seasamplers.com/symbolism-sampler-motifs/

https://img.clipartfest.com/61e 3556da50f917cf6796047062d 2d02_showing-post-media-for-

http://closz.deviantart.com/

http://zt2downloadlibrary.wikia.

willow-tree-cartoon-wwwcartoonsmixcom-cartoon-willowtree_710-710.jpeg

art/Tutorial-How-I-make-thestone-439254235

com/wiki/File:Water_Lily_(Zeta-Designs)5.png

https://hobbydb-production.s3.amazonaws.com/ processed_uploads/subject_photo/subject_photo/image/400/1412110963-2-6205/ Swan.jpg

http://www.marbleoftheworld. com/

http://www.lughertexture.com/ water-see-lake-foam-texture/ water-ocean-2321

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http://black-wing24.deviantart. com/art/Fire-Stone-and-WaterTutorial-292635407

http://www.dzzyn. com/10-plants-flowers-pngimages-free-cutout-plantsfor-architecture-landscapeinterior-renderings-part-1/

http://webblaster48.deviantart.com/art/far-awayisland-92002663

http://www.100layercake.com/ wedding-ideas/131037/oregonforest-engagement-photo

APPENDIX - SCENE 2 REFERENCES http://www.myfreetextures. com/a-dark-and-deep-seamlesswood-texture/

https://alzaidi-alaa.blogspot. com.au/2015/03/png_50.html http://www.ninjamanager.net/ showthread.php?t=11658 https://www.alsim.com.mx/ wp-content/uploads/2016/03/ nube_002-1.png

http://www.freetexturesdownload.com/download/LeavesFree-Textures-11681.jpg http://taptal.ykt.ru/css/img/ cloud1.png http://hollysreadinghollow. blogspot.com.au/2015/04/mymichigan-bucket-list-70-thingsto-do.html

https://garyguth.com/wp-content/uploads/2015/04/stonewall1.jpg

https://www.etsy.com/au/listing/168715256/of-conscienceand-loss-white-forest-stag

https://blender.stackexchange. com/questions/27044/compositing-fog-destroys-png-alpha-inimages-as-planes-when-usingcycles

http://www.deviantart.com/art/ Deer-Dandy-380162700

http://www.eclipsemusicproject. com/

https://www.frenchbedroomcompany.co.uk/storage/frencharmoires-wardrobes

https://ja.klear.com/profile/ AAcidland

http://snitchseekerrpg.wikia. com/wiki/File:Water_Plants.png

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