Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Natalie Ang
966016 Talia Stoch + Studio 22
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM, ERWIN PANOSKY. Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer’s rules for perspectival projection is as follows - firstly, a central vanishing point is determined by the perpendicular drawn from the eye to the picture plane and all perpendiculars will meet at this central vanishing point. Secondly, all parallels, regardless of which direction they lie, have a common vanishing point. If the line is parallel to the horizontal plane, their vanishing point is the horizon. If they form 45 degree angle with the picture plane, then the distance between their vanishing point and central vanishing point is equal to the distance between the eye and the picture plane. Lastly, the dimensions lessen as they recede in space.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a fully rational, infinite, unchanging space. It is space produced by construction and this concept can be expressed through the fact that at every point in space, it is possible to draw similar figures in all directions and magnitudes. Homogenous space means one is able to “see with a single and immboile eye” and that “the planar cross section of the visual pyramid can pass for an adequate reproduction of our optical image”.
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INVISIBLE CITY: Hidden Cities 3 - Marozia
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OLD QUAD ISOMETRIC
Framework of Old Quad
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Hidden Cities 3: Marozia
OLD QUAD ISOMETRIC WITH NOTATIONS Natalie Ang, 996016
Key Movement Heavy Light Thresholds Time Glance Stare People Perspective 1 0
1m
2.5m
5m
Perspective 2 Openness Closedness
Old Quad Isometric with notations
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QUAD PERSPECTIVE 1 + 2 Perspective 1 This is a view into the centre of the old quadrangle. It depicts a very closed and constricted vision that creates a sense of claustrophobia. Marco Polo, the viewer, would only be able to see the end of the seemingly never ending layers of columns. Seeing as I decided to take on the concept that within the grime and dirt in the city, Palo is still able to see the light at the end of the tunnel, where a more beautiful and free city awaits, I thought the closedness of this view depicts the filthy and obscene city Polo first enters in.
Perspective 2 The second view is of the edge of the quadrangle on the northwestern side. It provides a diagonal perspective that creates a sense of spaciousness. Furthermore, this view is also positioned at the end of the first view, the “opening horizon� Polo will enter after making his way through the inital grimy city. This view is a representation of a more liberal and open city. However, due to the transition from the previous city, there are still dark elements lingering around the periphery of this new city. The two perspectives form a juxtaposition of light and dark, oppression and freedom and closedness and openness.
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PERSPECTIVE SCENE 1 + 2 Perspective 1 This scene is about Marco Polo’s initial entrance into the city of Marozia, which is described on the first page of the story. As described by a sibyl, Marozia is a city infested with grime and mould. From this idea of a “rat” city, I have decided to incorporate images of stray animals and pests that live on the street, emphasising the lack of order and unkept nature of the city. Furthermore, I interpreted this initial city to be claustrophic, rendering its inhabitants anonymous and impersonal. As such, I reflected this through the crowds of characters inserted.
Perspective 2 This perspective is of Marco Polo’s return into the city of Marozia, where the “old century is dead and buried”. Consequently, this idea of the emergence of a new city , where the air has been cleared of the previous mosquitos and gnats that used to inhabit it, is depicted through characters who are more free-minded and carefree. I also incorporated two different thresholds in this scene, where one part still retains its coblestone floor and the new city features a more earthy flooring to depict the transition from a hard, grime ridden city to a softer, freer city.
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WEEK 4 READING: MAPPING THE UNMAPPABLE : ON NOTATION, STAN ALLEN. Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) According to philosopher Nelson Goodman, autographic practice are arts that “depend for their authenticity upon the direct contact of the author”. Autographic arts, such as paintings and sculptures, physically establish outcomes. Conversely, in arts such as music and poetry, where authenticity is described differently, Nelson Goodman calls these arts allographic as the work exists in multiple copies and “can be produced without the direct intervention of the author”. As such, allographic arts are open to variations and subject to change, due to the variations in understanding and interpreting notations. Essentially, allographic arts depend upon notation due to the transitory anture of the work itself. They produce new realities, imagined by the means of notation.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architects need new representational techniques to enable them more freedom to experiment and create new structures and form. Traditional representations, such as perspective and orthographic, are only able to capture stable and fixed objects, however it is only limited to a two dimensionality. Consequently, in modern times, these traditional representations are incapable of reflecting the technological transformations of society. Subsequently, new representational techniques that “engage time and change, shifting scales, mobile points of view” are needed,
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FINAL DRAWINGS Hidden Cities 3: Marozia Natalie Ang, 996016
Key Movement Heavy Light Thresholds Time Glance Stare People Perspective 1 0
1m
2.5m
Perspective 2
5m
Openness Closedness
Perspective 1
The isometric drawing of the old quad with notations depicts the movement of Marco Polo in the story of Hidden Cities 3 : Marozia. Through the use of notation, the transition from one city to the other and the spatial qualities of the city including the contrast of openness and closedness are portrayed.
Perspective 2
Final drawings which includes an isometric and two perspectives.
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APPENDIX
Initial brainstorm Characters used in Perspective 1 https://hr.wikipedia.org/wiki/Žanr-scena
Background used in Perspective 1 https://www.widewalls.ch/decay-art-artists-photographers/
Characters used in Perspective 2 https://el.wikipedia.org/wiki/Αρχείο:Sandro_Botticelli_038.jpg
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