Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Oliver McNamara 910844 Hana Nihinl 22
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Reading: Perspective as symbolic form
Question 1: What are Durer’s rules for perspectival projection? When Durer theorised his developments for perspectival projection he stipulated certain requirements of lines and where they should terminate. Many of his contemporaries envisioned his perspective view as a ‘window’, which the viewer could experience a new reality. This was conducted by means of placing objects and figures within the picture plane while tapering the scale of the subjects to reach a point of ‘geometric resolution’, giving the viewer access to a private scene of specified dimensioning. It can be noted that in Durer’s works all perpendicular lines meet at the vanishing point, creating a standard rule for all perspectival works, hence delivering a constant point of view.
Durer’s Melancholia
Question 2: Describe homogenous space? The idea of homogenous space can be simply explored, or considered, as the antithesis of perspectival space. It is a space that doesn’t requires a datum, but instead exists as a ‘functional reality’ where each object exists to give relation to another. Hence this space crosses over into explorations of the infinite with the ability to create geometric form anywhere within the space to the same size and dimensions to each other. Whereas Durer’s perspectival space is unhomogenous and anisotropic, rendering it a purely subjective form of representation.
Station Design from: RICE School of Architecture
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Benernice the Hidden city
I was given the story of Berenice to interpret and convert into scenes within the Old Quad, located at Melbourne Uni. Berenice is the story that reflects upon a city that struggles to supress its multifaceted nature. It contains on ‘just’ city and an‘unjust’ city, both under the same name, but differing in character and visual form. Most of the story delves into the symbolic imagery of the cities ‘dualities’ and how one visitor would observe this complexly composed city. In order to encapsulate these deeper meanings of Berenice I will ensure many symbolic elements are on display within the perspective views, while also incorporating notation in the isometric view that indicates the action of the narrative within the space.
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digital process
One possible perspective view taken in Rhino using screen capture. A warm light effect is created through manipulation of the sun command, allowing for change in direction and intesity of light. This alongside the images of tables, bowls, subfloor mechanics and a map are highlighted by broad camera position, chosen after experimentation with angles at the set (noraml) head height.
A top down view of my annotations. This was taken during a brainstroming session I had, allowing me to place all possible ideas down on the model, which I would later refine and moderate.
The perspective view correlating to the top view (right). This give the viewer the correct and final view point for the module. I can now see that some elements are lost behind columns while others become too clear, or overcrowing to the space. Hence these images now allow me to consider placement of notation more carefully and perhaps lend to a more sparing use of symbols and shapes
More digital process
This is the front perspective of my isometric view. I have turned the view to ‘ghosted’ to show how the figures in the centre fall beneath the floor are a circle arrangement. This concept is still under progress but it encapsulates important moods, with gentle mood on the right and an oppressive figure on the left with arrows creating the feeling of energy.
Here is a rendered view of my perspective view. To get the warm lighting and strong shadows I experimented with the sun command. This eventuated to give an effective display of space that allows the environement inward but it’s figures are inclosed.
The second view makes more dramtic use of the shadowing in Rhino. Shadows are long, dark and drawn out and angled towards the viewer for an effect that places the viewer in the hidden areas. With the choice to place the homogenious viewer in this viewpoint influcence the interpretation of the images, which will come later in the photoshop stage.
Old QUAD ISOMETRIC
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This is the wireframe of the isometric. Roofing sections have ben done in blue so that they stand out visually. Later I will uniform all of the lines, while making the vault transparent to give more insight to the notation.
Old QUAD ISOMETRIC WITH NOTATIONS
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Here is the completed quad isometric clearly displaying the notation work I completed. The entire collection of symbols piece together the idea of my narrative, aided by a symbol of my own creation, located in the top left corner of
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Precedent
In oder to attain the cryptic nature of the City Berenice and all the intricacies that Italo Calvino describes I chose to research another hidden city, that of Romes unground tunnels. These tunnels make up a larger part of an underground network one that effectively runs the city, allowing for secrets to travel unseen and workers to labor without disruption effectively symbolising some of Calvino’s words he sees one city ‘secretly inside another’. Rome’s underground tunnels
Another intersting angle to approach the duality of Berenice is to consider Piranesi’s prisons. The underground or ‘hidden’ aspects of this city are described with a tone reminicent of a prison as within the city are moods of ‘bitterness’ ‘resentment’ and ‘rivalry’. A tense atmosphere could be simply created in my perspective with an emulation of the light and dark effect utilised in Piranesi’s work to effectivly dramatise the frame.
Prisons by Piranesi
Further, another image that surfaced in my readings of Berenice, was that of the classical Roman baths loacted in the United Kingdom. It is a structure of intergrity and beauty, but overall serves as a purposeful entity that facilitates bathing. Its architectural deatils, reminicent of anceint Greek techniquies also appear in the readings the unjust city characterised by its ‘triglyphs, abaci, metopes’, moreover linking it strongly to the text and it architectural imagery.
Exterior of Roman Baths, Bath UK
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quad perspective 1 + 2 The First View (unjust city) This view creates a welcoming space. It appears unrestricted with large openings and a sense of exposure to nature. Inside the decorations are refined and suited to a class of high distinction. All of the objects line the great hallway created by the singularity of the view. The artifacts hold only superficial notions beauty to mask evidence of unruly behaviors of murder, imprisonment and torture.
The Second View (just city) The secondary view gives an insight into the subordinate city. It is a city of function and purpose devoid of sophisticated pleasures. People are tasked with their work and their machines are designed only for function. To display the areas of labor I have given a restricted view, both in terms of lighting and room layout. The quads columns create obstacles to the viewer constricting the space to elicit and feeling of containment.
perspective Inspiration This frame is taken from the film adaption Brazil, of the George Orwell novel 1984. It encapsulates a man trapped within ‘the machine’ trapped within the director’s mise en scene. Dreary greys and blacks surround the figure that is constricted by the things that surround him, a neat arrangement prevents movement and creativity. His plight within these dramatic scenes of entrapment could perhaps be mimicked within the exploration of the ‘just’ city of Berenice.
Shot from Terry Gilliam’s film ‘Brazil’
The image from Visconti’s ‘The Leopard’ encapsulates the royal parade of excellence of a dyeing class. Within this frame is arranged ornate, enameled decor, which elevate the room to one of stupendous glory. It’s material beauty is therein where is shallowness lies preventing any observation of failure of decay which is present within the narrative of ‘The Leopard. In parallel to this is the ‘false’ city of Berenice with its pompous shows of grandeur attempting to mask shortcomings. This therefore opens up an avenue of exploration for my perspective scene.
Shot from Luchino Visconti’s film ‘The Leopard’
perspective scene 1 + 2 Perscpecive One In this scene one-man inhabits a world or shaky glory. The grandeur is present with Greek columns, many vases, ornate candleholders and relics of the past. But working against the mood of revelry are the cracks that are appearing, revealed through dyeing petals, piles of rope and looming nooses. Creating a word devoid of hope overcast by clouds.
Perspective Two The god Apeliotes features centrally in this view, bringing forth the winds of change. He embodies the transition from the world of glory to ones of harsh truths. To contrast the first view this scene embraces the destruction of the first to become a darkened work of harsh truths. It also demarkates the working class sector of Berenice with grinding gears, steel fences and steam. An overall depressive feel overcomes the window with long shadows and pools of blood creating an eeire atmoshpere.
Perspective objects
I’ve extracted some of the images form the first frame to observe them individually. On the left is a traditional Greek column included in the descriptions of Berencie, with the Venetians taking influence from the Greek architecture. Next to that is a medieval style sword that acts as a metaphorical symbol for the cities inherent nature of two realities (hence double edged blade). The rope and fallen rose petals are the hints to the cities decay, the rope becomes the noose and the death in the petals outlines the frivolous nature of material charm.
Here are some more images now from the second view. These were particularly important for the story of the perspective so I selected them. The cogs represent the idea of the machine and all of the industrial activity that occurs in the hidden city. I chose the yin yang symbol to embody the balance that Berenice attempts to encompass in its different living spaces. While I have also included the god Apeliotes to present a literal symbol of change, or force of change that allows Berenice to exist as two independent realities at once.
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reading: Stan Allen essays: ... ARchitecture technique and representation
Question 1: What is the difference between autographic and allographic practice? The philosopher Ben Goodman theorised the two ideas of autographic and allographic execution. Firstly, autographic practices are works or designs that where in direct contact with the artist easily defined through the fine arts by a painting for example, as the artist applies paint directly onto the canvas. While the allographic undertaking is a rather distanced version of one’s work that can be duplicated and copied many times. These terms are therefore interesting when considering architecture, where conundrum arises where the Goodman reflects ‘[they] are a curious mixture’ of both practices, hence enabling the design to be both the direct and indirect creator of there works.
Ferdinando Galli-Bibiena, Baroche Theatres
Question 2: Why do architects need new representational techniques? In the modern age, or any in fact, designers must do their best in order to communicate ideas into livable, creatable realities, which we can experience as individuals and as a larger cohort. When completing planning of any building or structure many architectural symbols and requirements align a base-line to which we work and create but this is a rather distancing practice, one that encourages allographic practices and denies any sense of feeling with the work. While when considering Goodman’s discussion on notation, in music, design, he really underlines the ‘transportive’ nature of these symbols and how these ‘abstract machines’ can enhance visual realities and bring greater levels of clarity for designers as they represent their ideas. Udo Kasemets, TImepiece for Solo Performer
Final drawings Hidden cities 5: Berenice
Key Movement Viewpoint 1 Viewpoint 2 Worker’s path Energy Figure Religious presence
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Directed energy
Perspective 2
Oliver McNamara 910844
My completed presentation layout with perspective views and isometiric notation
Now all of my conceptual ideas have come together in a final composition. It allows for the relation between the isometric notations and the perspective views to become clear. For my views it is important to consider that I flipped each to suit a more pleasing visual composition, so when referencing the isometric they are mirrored. Each of the symbols are outlined for the isometric as well, hence giving an indication of how humans would inhabit and move around this space when it’s in operation. The views attempt a more symbolic angle therefore less figures to reduce cramming in the scene. As I explained earlier each object becomes a metaphor that fits within the narrative and moreover how each space is individual but apart of the same idea of Berenice.