Calvino City 2: adelma Mitchell Grant Gardiner, 950518
Foundations of Design : REPRESENTATION
Key
Movement- Faster/Slower Pace
Viewing/Looking: Stare
Viewing/Looking: Glance
SEM1, 2017
M4 JOURNAL - FRAME vs FIELD Person
Interior/Exterior Threshold
Mitchell Grant Gardiner Light/Dark
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1m
2.5m
5m
950518 Colby Vexler, Studio 1 Passage of time - Narrative flow
Mood: Light
Mood: Heavy
Camera Position: Perspective 1
Camera Position: Perspective 2
Momemnt of Realisation
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM, ERWIN PANOFSKY
Question 1: What are Durer’s rules for perspectival projection? - All perpendicular, or ‘orthogonal’ lines meet at the ‘vanishing point’, which is dertermined as a perpindicalr drawn from the eye to the picture plane. - All parralells share a common vanishing point. - Equal dimensions diminish progressively as they recede in space.
Question 2: Describe homogenous space? Homogenous space is mathematically defined space, never explicitly given, but produced by construction elements which consist of points that are joined; determinations of position, possessing no further content of their own. “The geometrical concept of homogenity” allows the possibility of being able to represent similar figures in any direction and magnitude any any point within this indicated space.
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INVISIBLE CITY: Calvino City 2, Adelma
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OLD QUAD ISOMETRIC
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1m
2.5m
5m
The basic structure of the old quad, with the addition of a split level and connecting staircase, as alluded to in the narrative.
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OLD QUAD ISOMETRIC WITH NOTATIONS Calvino City 2: adelma Mitchell Grant Gardiner, 950518
Key
Movement- Faster/Slower Pace
Viewing/Looking: Stare
Viewing/Looking: Glance
Person
Interior/Exterior Threshold
Light/Dark
0
1m
2.5m
5m
Passage of time - Narrative flow
Mood: Light
Mood: Heavy
Camera Position: Perspective 1
Camera Position: Perspective 2
Notations have been added to provide a systematic visual representation of the interpreted narrative.
Momemnt of Realisation
5
QUAD PERSPECTIVE 1 + 2 This centre-edge, ground-evel vantage point serves as an ideal place of entrance into the quad, as it has been integrated into my narritve that is derived from the provided story. What is shown in the scene, alludes to, yet doesn’t fully reveal the details of the space and the scenario as they are in turn represented in the second frame. The wall created by the split in floor plates provides a perfect place to include what appears to be the end of a market row, as though Marco has moved through a market into the covered space. The open space on the right provides an obvious area for the direction of movement of the viewer and the scenario to follow.
Here the second frame is again set up with a camera location set towards the edge of the available space, which allows for a deeper and more expansive outlook. The stairs, while not entirely central, serve a as a focal point, with this vantage being an ideal choice to maximise them as a striking visual element. The large central column draws the viewers attention towards the main figure; who is central to the narrative and also featured in the background of the first frame, as a preamble to his symbolic significance to the scenario and journey of the protagonist, Marco Polo.
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PERSPECTIVE SCENE 1 + 2 This first scene is a representation of what Marco Polo experiences as he enters the scenario of the narrative. He is shown to be moving through a market into the quad, coming to realise that the people around him are in fact ‘dead’, in some sense of the word. The figure in the foreground is quite obviously dead, while the figures in the background are too small to see clearly. The man in the centre background is shown holding a skull, a symbolic representation of the the building realisation that Marco has somehow found himself in a realm of the dead. The less-than-living nature of these background figures is revealed in the second frame as Marco moves through the quad. The smokey atmosphere and floating ash, along with the rough, delapitated nature of the quad add to the overall ‘dead’ vibe of the scenes, an aesthetic that was infuenced by the ‘udspide down’ from Stranger Things.
This second scene is a clear development, following on from the first, with four of the five figures being shown for the second time, yet in more detail, and clearly as being among the ranks of the no longer living. The centre figure has now dropped the skull and appears to be confronting the viewer; representing that Marco is himself confronting and considering what it actaully means, in that everyone he comes across is dead. The other shoe has dropped, or in this case the skull. The line of stevdores carrying barrels on the stairs are now in full view. I wanted to include these characters, because the repetiton and novelty of the barrels creates a striking visual, as well as being a direct reference to the orignal story. Also, in contrast to the obvious motion of the stevedores, is the old man prone on the stairs, the fever victim that Marco sees. The background shows a waterfront cityscape, and provides period appropriate context to both images.
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WEEK 4 READING: MAPPING THE UNMAPPABLE, STAN ALLEN
Question 1: What is the difference between autographic and allographic practice? Autographic art pieces are physically present, with their authenticity being dependent on direct contact from the creator, such as a painting or sculpture. They pocess a tangible existence that does doesn’t require the use of notation to be realised. Allographic arts are generally more abstract, often with an ephemoral quality; as such requiring the use of notation to aid in the realisation or presentation of the work, such as musical compositions. Due to this element of notation, allographic art can be reproduced without the ivolvement of the original author, in turn leaving the a piece open to iterpretation and development. In contrast to autographic practice, the authenticiy of allographic work is related not to the direct involvement of the creator, but to the structure or direction, as indicated in the notation.
Question 2: Why do architects need new representational techniques? Stan Allen writes, that in the practice of architecture and urban design, the interplay between the abstraction of architectural presentation and the unyielding concreteness of the building allows architects to operate within the complexity of the real, and engage the shifting field of the contempory urban landscape. Due to technological advancement and the phenomenon of modernity, cities today are “instantaneously connected as part of vast networks, in which images data and money flow freely”; they do not exist in a static or isolated context. In order to meet new challenges, architectural representation must also elvolve to address the effects of technolgy on the contemporary city, engaing the time, place , development, shifting scales and mobile points of view that exisit.
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FINAL DRAWINGS Calvino City 2: adelma Mitchell Grant Gardiner, 950518
Key
Movement- Faster/Slower Pace
Viewing/Looking: Stare
Viewing/Looking: Glance
Person
Interior/Exterior Threshold
Light/Dark
0
1m
2.5m
5m
Passage of time - Narrative flow
Mood: Light
Mood: Heavy
Camera Position: Perspective 1
Camera Position: Perspective 2
Momemnt of Realisation
Perspective 1
Perspective 2
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