Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Renqicao
904925 Siavash Malek 5
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
INVISIBLE CITY:CITIES&DESIRE 3 DESPINA
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) First, all perpendiculars or ‘orthogonals’ meet at the so-called central vanishing point,which is determined by the perpendicular drawn from the eye to the picture plane. Second,all parallels,in whatever direction they lie, have a common vanishing point.If they lie in a horizontal plane,then their vanishing point lies always on the so-called horizon,that is ,on the horizontal line through the central vanishing point is equal to the distance between the eye and the picture plane. Finally,equal dimensions diminish progressively as they recede in space,so that any portion of the picture - assuming that the location of the eye is known - is calculable from the preceding or following portion.
Question 2: Describe homogenous space? (Maximum 100 words)
The ultimate basis of the homogeneity of geometric space is that all its elements, the ‘points’ which are joined in it, are mere determinations of position, possessing no independent cotent of their own outside of this relation ,this position which they occupy in relation to each other.Hence homogeneous space is never given space ,but space produced by construction.
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OLD QUAD ISOMETRIC
OLD QUAD ISOMETRIC WITH NOTATIONS
This is the linework of Old Quad
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QUAD PERSPECTIVE 1 + 2
PERSPECTIVE SCENE 1 + 2 Perspective1
Perspective1
This view shows the inner part of old quad from the front directly. Because the city can be reached in two ways, and I assume the city is in the middle of old quad, a view like this can give us a clear idea about the city from each way.
This scene shows the city seen by the sailor. The background shows the other way to Despina(desert).Despina got its shape from the desert in this scene. The sailor recognizes the shape of camels in the desert far away through the haze.He desperately wants to leave the sea.So he starts to dream: He sits in a caravan which takes him away from the sea.(the caravan is floating on the sea to show it is only his illusion) The massive shape of a camel in this scene is the city in his eyes. However the camel and the caravan are shaped by the desire of him, the reflection of the buildings in the sea is the real city.
Perspective2 This view also shows the inner part of old quad directly ,but from the opposite direction to the first one. This view suits for the scene as it shows the other way to the city clearly.
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Perspective2 This scene shows the city seen by the camel driver.The background behind the quad is the sea opposite to the city.The camel driver only sees skyscrapers, radar antennae, windsocks and chimneys. But he relates all of those to a boat which can take him away from the desert. The huge steamboat is the form received by Despina in this scene.It is in the desert with skyscrapers, radar antennae, windsocks and chimneys on it to show it’s a mirage which is mixed by the reality and the illusion.
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WEEK 10 READING: MAPPING THE UNMAPPABLE ON NOTATION
FINAL DRAWINGS
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic are those arts, like painting and sculpture,that depend for their authenticity upon the direct contact of the author. However, the work of allographic arts exist in many copies and can be produced wothout the direct intervention of the author. Allographic arts are those capable of being reproduced at a distance from the author by means of notation. They do not imitate or reproduce something already existing, they produce new realities, imagined by means of notation.
Despina locates at the threshold between the sea and the desert. It receives its form from the deserts it opposites.The ‘mirage‘ symbol implies the area where it receives the form.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architects need new representational techniques because traditional representation presume stable objects and fixed subjects. But the contemporary city is not reducible to an artifact. The city today is a place where visible and invisible streams of information, capital and subjects interact in complex formations. They form a dispersed field, a network of flows.In order to describe or to intervene in this new field architects need representational techniques that engage time and change, shifting scales ,mobile points of view, and multiple programs. In order to map this complexity, some measure of control may have to be relinquished.
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