Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Yue Yan
994311 Junhan Foong - Studio 11
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? Durer interpreted perspective as a process of “seeing through,” so all perpendiculars or ‘orthogonals’ meet at the vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. Secondly, all parallels regardless of their direction, have a common vanishing point. The vanishing point will lie on the horizon if the parallels lie in a horizontal plane. Finally, equal dimensions diminish progressively as they recede in space to the background. This means that if the location of the eye is known, any portion of the picture will be calculable from the preceding or following portion.
Question 2: Describe homogenous space?
Homogenous space refers to a geometric space that produced by construction, rather than a given space. All its elements are mere determinations of positions. The reality of these elements is a purely functional and not a substantial reality. From every point within a homogeneous space, and it must be possible to draw similar figures in all directions and magnitudes.
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CITIES AND SIGNS 3 - ZOE
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OLD QUAD ISOMETRIC
Isometric Drawing without Notations
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OLD QUAD ISOMETRIC WITH NOTATIONS
Isometric Drawing with Notations
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QUAD PERSPECTIVE 1 + 2 Perspective 1 As the photo on the left shown, there is a contrast between the left part of the image and the right side of the image. The great tonal contrast helped me to convey a sense of hierarchy - the wealth and the poor; the royal palace and the slum. There is an opened arch that absorbed most of the natural light, which represents the powerful, wealthy royal. For the opening space, I was intended to put a background image with extravagant decorations.
Perspective 2 This perspective view was taken after the character looks around the city, then turn back to look at, perhaps reflect on what he has seen. Spatially, perspective 2 looks quite similar to perspective 1 without characters and objects. However, the lighting here does not have strong contrast, producing a sense of harmony and unity.
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PERSPECTIVE SCENE 1 + 2
Perspective 1 - Hierarchy A sense of order is important in this scene. The characters I chose have different identities: the high priest, the prince, people in a tavern, and people in the slum. I didn’t draw a broader/ fence or other physical barriers here but used the contrast between the light and dark, texture of the walls, as well as the background to emphasise a sense of hierarchy.
Perspective 2 - Market Scene Although the characters have different identities and background, they are more interactive and engaged in the scene. As the text describes, “in every point of this city you can, in turn, sleep, make tools, cook, accumulate gold, disrobe, reign, sell, question oracles”, everyone plays his/ her role here. I added flowers, trees and foggy air in the background, to show an environment that appeals bright, lively, welcoming. This forms a strong contrast with the other scene, so the traveler “is unable to distinguish the features of the city”.
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WEEK 10 READING: PRACTIVE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION Question 1: IWhat is the difference between autographic and allographic practice?
Autographic practices depend for their authenticity upon the direct contact of the author, while allographic arts can be produced without the direct intervention of the author and the work can exist in many copies. Allographic arts do not imitate or reproduce something that is already existed. They produced by means of notation, operating through interpretation.
Question 2: Why do architects need new representational techniques? Architects need new representational techniques as the contemporary city is a complex system of interactive information. In contrast, traditional representational techniques focused on stable, fixed objects. The urban site today is no longer simply geographic. It is a place where visible and invisible streams of information interact in complex formations. Architectural drawings are transitive, and the new representational techniques make it possible in the first place.
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FINAL DRAWINGS Cities & signs 3: Zoe Yue Yan 994311
The notations not only show the character’s movements, but also transform his emotional feelings. With the graphical notations, the viewers are able to identify where the two perspectives were taken from, the thresholds, and the distance between the people. Key Mood - Light Mood - Heavy Glance Stare People Transition of space Movement - Slow Movement - Fast Perspective 1 0
1m
2.5m
5m
Perspective 2 Rest/Look around
Perspective 1
Perspective 2
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