Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Amelia good
914362 Carl Areskoug Studio 17
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer’s rules for perspectival projection stated that “All perpendiculars or ”orthogonals” meet at the so called central vanishing point... Second, all parallels, in whatever direction they lie, have a common vanishing point... Finally, equal dimensions diminish progressively as they recede in space, so that any proportion of the picture is calculable from the preceding or following portion.” However in reality, Durer’s defined perspectival projection is not true, as the eye is not a flat plane but instead the retina is a concave surface.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a purely mathematical concept where points are joined to create a geometrical space that is a ‘mere determination of position’. While homogenous space can be calculated and measured, it is arguable as to whether it represents reality as it cannot continue into infinity nor does it depict how our eyes view space.
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INVISIBLE CITY:
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OLD QUAD ISOMETRIC
CITIES & SIGNS 1: TAMARA Created using provided dimensions template. The Old Quad forms the staging area for my story. After visiting the site I found strong links between a contemporary version of the story and the current day use of the Old Quad.
Key Time jump Slow movement Brightness Heavy feeling Stare Glance Superficiality 0
1m
2.5m
5m
Perspective 1 Perspective 2 People
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OLD QUAD ISOMETRIC WITH NOTATIONS Through the use of annotations I am able to convey not only the physical journey of Marco Polo but also the emotional one. I have introduced my own symbol ‘Superficiality’ to convey the lack of connection that Marco Polo has with Tamara as highlighted in the text “visiting Tamara you are only recording the names with which she defines herself ... beneath this thick coating of signs, whatever it may contain or conceal, you leave Tamara without having discovered it.”
CITIES & SIGNS 1: TAMARA
Superficiality, my own symbol, aims to represent the ‘shinyness’ of something that is all about its external image. This was hard to do without texture or colour therefore my symbols attempts to depict a glimmer on a surface. This superficiality covers all of the people in the spaces, as well as advertisements or brand placements.
Most of the people in my quad are alone and they are all facing away from each other with empty space in the middle. This represents the inability to know other people without looking beyond the surface.
There are time jumps coming from both perspective points showing the leap into a con-
The brightness demonstrates not only
temporary world.
the physical light that can be experienced in the Old Quad from the open centre, but also the feeling of ‘the grass always being greener on the other side’: you are forbidden to cross
Stare and Glance are used
Key
to demonstrate how the only
Time jump
thing that the author notices
Slow movement
are the brands and symbols.
Brightness
the velvet rope unless you have status.
Heavy feeling Stare Glance Superficiality 0
1m
2.5m
5m
The movement is slow, constant and winding, as there is no direct description of Marco Polo’s movements, just a com-
Perspective 1 Perspective 2 People
mentary of the things he passes.
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QUAD PERSPECTIVE 1 + 2 Perspective 1 This perspective shows Marco Polo’s view as he first enters the scene. You can see across the span of the whole quad not only highlighting the archways of the structure itself, but also the interplay between the characters as they all ignore each other and circulate outside of the space.
Perspective 2 This view depicts Marco Polo’s exit of the scene. The bare space (with a tilt towards the floor) and almost hidden view of the characters show the lack of connection that Marco Polo made.
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PERSPECTIVE SCENE 1 + 2 Perspective 1 Contemporary status The characters are modern depictions of the characters in Marco Polo’s story, who go practically unnoticed due to a focus on their clothing and accessories with branding symbols that are ‘valuable not in themselves but as signs of other things’. The posters and advertisements reference the jutting signboards and demonstrate a need to acquire things that display status, wealth and superiority. Perspective 2 - Superficial clarity This perspective represents the superficial images that Marco Polo retains from Tamara. The significance of the brands in establishing an impression is highlighted by the blurring of the surrounding figures. This also serves to simplify and dehumanise the characters as individuals. Encapsulating the line “The eye does not see things but images of things that mean other things”
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WEEK 4 READING: MAPPING THE UNMAPPABLE - AUTOGRAPHIC VS ALLOGRAPHIC Complete your reading before attempting these questions:
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic work and its authenticity depends greatly on a direct link to the author, it depends on an individual’s own presentation and is more bespoke. Allographic work can be interpreted and reproduced easily without distortion from the original through the use of notation. “The guarantee that authenticity is not the contact with the original author, but the internal structure of the work as set down in score.”
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architecture is neither clearly allographic or autographic due to the mix of universal notations and an individual’s vision with spaces changing context and landscape. For this reason traditional methods of representation can be seen to fail in conveying and executing a plan. However an architect can rarely build their own truly autographic work, due to time, resource and skill restraints. New techniques, such as 3D-modeling and printing, provide a better medium to portray ideas to a variety of audiences more clearly and with more personal influence than pervious techniques. Adopting these techniques helps an architect’s vision be better understood.
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FINAL DRAWINGS CITIES & SIGNS 1: TAMARA
The lack of pattern and uniformity in my notations is intended to create a sense of Marco Polo’s inability to connect and find a deep understanding as to what the city Tamara is beneath its superficial display of status. In this way the annotations more closely align with how Marco Polo interacts and feels about the characters and other elements in the perspective, rather than a more rigid depiction of his journey. Key Time jump Slow movement Brightness Heavy feeling Stare Glance Superficiality 0
1m
2.5m
5m
Perspective 1 Perspective 2 People
Perspective 1- Contemporary status
Perspective 2 - Superficial clarity
Amelia Good, 914362
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APPENDIX
Sandstone texture used in both
Stone floor texture used in both
Pictures from the Old Quad
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APPENDIX Elements used in perspective 1
Nike & Puma
Chanel
Air Jordan
Apple & Stussy
Adidas
Velvet rope
Apple Store
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APPENDIX Elements used in perspective 2
Blurred Nike
Multiple fashion brands poster Blurred Channel
Blurred Nike Air Jordan
Blurred Adidas
Blurred Chanel
Multiple sports brands poster
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