Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Melvin Dinata
(900429) Colby Vexler Studio 14
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Perspectival projection is defined by Durer as not only observing an isolated object but also at a “transformative” angle such as looking out of window or from a “virtual pyramid”. The tip of the pyramid is our eye level and the base is the object the eye sees. All orthogonal transparent intersection must meet at a vanishing point and all parallels should share a common vanishing point. Similar measures must also be proportional to the decreasing space.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is an unchanging, ‘infinite’ view which all elements/ points in a homogenous space are joined through reciprocal relation, only to be representations of position rather without individually constructing the view. It is considered limitless as the geometrical figures in this space can be drawn from every point in space in every direction and magnitude. Such system of view is observable by a single stagnant eye and the planar of ‘virtual pyramid’ to reach own visual understanding.
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INVISIBLE CITY: EUSAPIA
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OLD QUAD ISOMETRIC This figure shows the linework of the Old quad from an isometric view. Ceiling elements (e.g. vaults) are given lighter lineworks than wall or floor elements (e.g. columns) to provide greater clarity in reading the space of the old quad.
Shaded 3D rendering of Old Quad Isometric (Not according to scale)
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OLD QUAD ISOMETRIC WITH NOTATIONS This figure shows the old quad isometric lineworks with notations included. The main concept of the notation highlights the gradual change of atmostphere, from dead and tense upon arrival to ease and lively once settled down. Different colours are used to provide 3-WWdimensionality to the notational symbols for each reading.
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QUAD PERSPECTIVE 1 + 2 The first chosen perspective is a centralised, straight view of the quad from one of the middle openings. This is inspired from conventional ballroom shots which greatly exhibits a sense of depth and space. The main element of this perspective is the heavy emphasis of capturing the space’s focus as the centre. This central focus will then be filled with the “carefree moments that take first place”of all the other activities ‘conducted’ by the underground ‘citizens’. This perspective also arrange the columns such that they hide the remaining side spaces from being observable which is intentional for the hiding of “work also performed underground”.
The second chosen perspective is taken from a corner of the old quad which serves the purpose of exposing the previously hidden spaces in perspective 1. From this view, an effect of row is shown on the left side which will then be used to line the various stores (e.g. clockstore and barbershop), following the arrangement commonly found in marketplaces.
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PERSPECTIVE SCENE 1 + 2 Te first scene captures the central and main activity which the whole underground Eusapia revolves upon. As the story captioned: “it is their carefree moments which take first place”. The figures found within the scenes follow largely as what is mentioned within the story - corpses seated around laden tables, dancing or playing trumpets. Many figures are compactly placed within the centre to further capture the lively and carefree moments of Eusapia. The characters within this scenes are a mixture of skeletons and humans, both dressed and acting like living human. The centre of this scene is taken by a dancing couple consisting of a skeleton and a woman. This is done with the intention of creating and heightening the interaction and intermingling of figures, blurring the lines between the living and the dead - “in the twin cities, there is no longer any way of knowing who is alive and who is dead”. Additionally, the ceiling of the centre chandelier is made of transparent glass to maximise additional lighting from the street lights or other buildings. This is to demonstrate the “innovations made my the dead, surely the
The second scene potrays the remaining activities and figures present as described by the story - clockmaker , barber, big-game hunters etc. The figures are intentionally placed compactly again to reveal the actual liveliness of the area which could not be seen from the sides of Scene 1. The hooded brother is placed infront and brighter than other figures to show the “vast authority of this confraternity in Eusapia”. The sudden contrast of brightness in the middle of the old quad is done to recreate an underground effect with artificial lightings such as the chandelier being the only source of light in Eusapia. (This is done by using ‘pointlight’ in Rhino). Hence, the gradual lighting changes from a vertical manner (top brightest to bottom darkest)
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WEEK 4 READING: MAPPING THE UNMAPPABLE Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Authographic and Allographic are the defined art forms which involves the use of notations. Autographic is the art that depends upon direct contact with the maker for its authenticity and value such paintings or sculpture. However, allographic are arts where their credibility and richness could be developed without the maker’s direct invovement thorugh the help of notations. Their authenticity is therfore defined by the process of work rather than the amount of contact made with the original author.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architecture has always been an undefined mix of representative language which requires a new representational techniques due to its abstractions and its impossibility of ever approaching the transparency and simplicity of discursive language. Additionally, the ever improving technology and urban situations in the world requires architecture to also becomes more advanced and accurate in representating contexts. Current representative methods would become obsolete with the different global context and hence need to adapt in terms of presentability and interpretation.
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FINAL DRAWINGS
Cities & the DeaD: eusapia
The notation describes the movement of Marco Polo from 3 openings, with the main entrance located on the middle of the bottom left face of the quad. Initially, slower and bigger steps are taken by Marco as he stops to stare at the grandeur that immediately greeted him upon arrival (ballroom effect of Perspective 1). This later turned into faster steps as he observed the unnatural stillness and living-like features of the characters. The narrow passage squeezed by the shops on both side also provides a tense atmosphere. (As seen from perspective 2). However as he gets closer to the stage filled with music, his perception of life and death becomes blurrer and eventually gets pulled into the middle - the dance floor - which is the climax of Eusapia’s essence of living. Although theres no movement from the Eusapians due to being corpses, their likeness to living makes Marco feels as if they are able to throw glances at him as he explores the area.
Key Crowds Stare Movements Light /Joyous Heavy/Tense
The notations are arrange in such way that it is enough to show a crowded , lively atmosphere but also remains easily readable. An overly complicated notation would prevent the reader from being able to imagine and appreciate the experience of the exploration within the space.
Perspective 1 Perspective 2 0
1m
2.5m
5m
Glance Conscience Movement of Time Gradation of Lighting
Perspective 1
Perspective 2
Melvin Dinata , 900429
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