Frame vs. Field Foundations of Design: Representation Module 4
Module 4 tampers with the concept of perspective, and the way expectations can be exploited. It examins the relationship between concept and reality through the use of movement and notation.
Sam Delamotte: 835413 Group 9 Anneke Prins
WEEK 9 READING // PERSPECTIVE AS A SYMBOLIC FORM
Perspectival projection draws on the concept of a singular, wholesome point of reference. This form of projection attempts of projection attempts to represent objects just as they would be seen with the naked eye. There are thee rules in perspectival projection:
1. All perpendicular or “orthogonals” meet at the so-called central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. 2. All parallels, in whatever direction they lie, have a common vanishing point. 3. 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 proportion.
Homogenous space can be described as the relationship between the observable space and mathematics. It is the communication of perceivable points and space into a mathematics form such as orthogonals. These forms have a singular nature in the sense they there are representations of subjective locations.
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Invisible City // Phyllis 3
Old Quad // Isometric 4
ANNOTATION As seen there, were some difficulties regarding shading the symbols as like paint failed in some parts. Notation was used to map Marco Polo’s initial movements throughout the city which are seen much more adventurous. The notation also displays the use of characters, position of perspective views, moods within that section of the city (running via columns) and his direction of sight, noting significant elements through staring and abstract details within the glances.
Key Perspective 1 Perspective 2 Movement (slow - fast) Joy Sadness Glance Stare
Time passed One person Two people Four people
Old Quad // Isometric with Notations 5
PERSPECTIVE 1: INFATUATION The image shown is the first perspective chosen for these scene. There was not an extensive amount of exploration completed to get to this point as the main themes were already chosen. As the text portrays a contrast between the tourist vision and resident, it was decided to use these two themes as the perspective views. This scene places a low camera angle (1m) focusing on a highter target (2.5m) in order to represent the concept of ambition. This is set as a point of realisation, where Marco Polo is overseeing this whole city for the first time with complete admiration.
PERSPECTIVE 2: REPETITION The second perspective view shown represents quite the opposite. As Marco Polo becomes more familiar with the city’s quirks and beauty, it becomes lost throughout the cityscape and rather a norm. He begins to lose interest in this city which was once to beautiful, painting a cold, dark image. This is illustrated through an opposite camera angle to ‘Infatuation’. A view from a position which was once so powerful now focuses more on the round before him rather than observing the city. The undertones of repetition have drawn all joy from this city.
Old Quad Perspectives 6
PERSPECTIVE 1: INFATUATION W/ CHARACTERS The inclusion of characters begins to communicate the elements of joy in the passage. The heavily populated area is seen as much more lively and active. Inclusions of both families and singles draws upon the concept of limitless possibility and exploration commonly felt when traveling. The use of orientation also allows for expansion of this area into that on the right; expanding the space and opportunity. Shadowing is set in a way which demonstrates the most amount of sun light shining through to this space.
PERSPECTIVE 2: REPETITION W/ CHARACTERS There is a great deal less character inclusion in these scene for a very deliberate effect. By excluding life, movement and saturation, the scene communicates a stronger theme of loneliness. The final exert from this story draws on a concept of relationship, or rather partnership, that further motivates the themes of seclusion. The child and statue are a form of representation. This attempts to associate the child and his sense of appreciation with the final line of the story, reading “Many are the cities like Phyllis, which elude the gaze of all, except the man who catches them by surprise.�
Old Quad Perspectives // Characters 7
REPETITION In this perspective, a minimalist approach denotes the value Marco Polo sees in this city. Having lived there, the appreciated dwindles away. This is contrasted by the last part of the text, reintroducing the notion of aesthetic appreciation through the young, lone boy view the statue with such value.
INFATUATION The crowded cityscape promotes an idea of love for this city. The inclusion of textures and materials promotes the idea of joy, a period in which Marco Polo views everything as plentiful as it is. A place open to all people, and all values.
Final Perspective Scenes 8
WEEK 10 READING // PRACTICE: ARCHITECTURE TECHNIQUE AND REPRESENTATION
The art of architecture is one which represents a great deal of adaptation and freedom of expression. In some way, it is a form which can be demonstrated in both allographic and autographic projection while still holding the same value for the most part. The concept of allographic form demonstrates a metaphorical understanding to the text, which allows for the practice of replication. It focuses more on the contextual presence of a form rather than physical. On the contrast, autographic form denotes the idea of reproduction. It holds value rather in the original, pure form of the content, believed to be reduced by repetition.
The development of a form is crucial as time passes, both as a method to better communicate and commonly also to reinvent the form. Adaptation of representational techniques is crucial in establishing progression and understanding the fluid nature of architecture over time.
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Final Presentation CITIES & THE SKY 4: PHYLLIS
FINAL ANALYSIS
Key Perspective 1 Perspective 2 Movement (slow - fast) Joy 0
1m
2.5m
5m
Sadness Glance Stare
Perspective 1: Infatuation
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Perspective 2: Repitition
Time passed One person Two people Four people
Overall, this was a very difficult task for me. This was not due to the constraints of the assignment, but rather communication via this technology. It was a very time consuming process as there were many layers involved. As well as that, some technical difficulties were experienced. When creating the live paint, some of the symbols which were intersecting with the elements of the drawing (such as the columns) were not made available to paint. It is believed this is because the Make2D command on Rhino only draws the curves which are visible. However, I was still not able to overcome this and fix the problem. As well as this, I struggled with some issues regarding shadowing of certain characters. When these layers were set on the ‘multiply’ effect, some of them would disappear completely. This resulted in inconsistencies of the model.
Appendix
CHARACTER EXPLORATION
CHARACTER MAPPING WITHIN THE QUAD
APPLICATION OF TEXTURES
These were the original characters chosen for the scene. However, this was later changed as there was not a great range of different characters to include and they were difficult to develop.
As seen, the majority of characters were located within the two main views of the perspectives. They were chosen in this location as to not confuse views overlapping in the perspectives.
Due to the first perspective aiming to communicate joy through a busy, up tempo tourist location, a range of different techniques were used. This included a great deal of textures and characters throughout this scene.
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