Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Sandra Lin
(915202) Carl Areskoug Studio 15
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) All orthogonal lines meet at a vanishing point created by a perpendicular (created by the eye to the picture plane). The distance of this vanishing point (of the lines) to the central vanishing point (on the plane) is the same as the distance between the eye and the picture plane. All parallels have a common vanishing point (45 degrees to picture plane). Durer’s rules for seeing or perspective, use a vanishing point and horizon line. As a result of these elements, dimensions within the plane can diminish mathematically as space recedes. The proportions are calculated using eye level of the subjects within the frame i.e. generating a horizon line (eye level line). Perspective is an immediate sensory impression; hence this method does not foreshorten the object because the plane is the focus of how space is projected and reinterpreted.
Question 2: Describe homogenous space? (Maximum 100 words)
It is rational space that is infinite and unchanging. This effect is often generated by a central perspective or one point perspective. Through construction (of an image), new space is used which creates a new vanishing point meaning new directions and magnitudes. However, space is not homogenous, it only appears and is represented this way. Points and relationships of geometries in perspectival space, that create the homogenous space effect, cannot be translated outside of this position. This means that homogenous space only exists within that plane and in that position. The concavity of the eye means that 2D can never be an accurate representation because everything we see is perspectival and our vision constantly moves. Attempting a perspectival construction (i.e. projection) to give actual size and form is contrary to retina distortion. Homogenous space does not capture the ‘retinal image’ or the ‘visual image’.
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INVISIBLE CITY: CITIES & SIGNS 3: ZOE
“wonder’s what the palace will be like... the theater, the bazaar” “every building is different” “following the scrawl of canals” he immediately distinguishes the princes’ palaces....the temples” “in his mind.. a city made only of differences” “individual cities fill it up” “that is not true of Zoe” “features ..in his mind also mingle” “Zoe is the place of indivisible existence” “What line separates the inside from the outside?” Zoe is physically unlike other cities, it is not easily dividable. Yet Marco Polo travels around expecting to see what he would in any other city. He searches for the palaces, the theatres and the bazaar. His imagination connects reality with expected reality to create a third alternate perspective. Marco Polo aims to follow the canals and separate the differences but this is not possible because the canals do not exist, and the entire city is indivisible.
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OLD QUAD ISOMETRIC
Line weights were adjusted separately in illustrator before adding in symbols to create a sense of dimension and perspective
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Cities & signs 3: Zoe OLD QUAD ISOMETRIC WITH NOTATIONS
Key People
Fascinating
Interesting Perspective 1 Perspective 2
Fast pace Slow/Leisurely pace 0
1m
2.5m
5m
Gaze Stare
Private Space Public Space Time and Transition Refocus
The symbols used are my interpretation of the provided ones. However the decided meaning is not strictly specified and maay vary slightly depneding on the audience and the way they see space.
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QUAD PERSPECTIVE 1 + 2
The Forum This angle captures the crowd found in the central city space. It subtely divides the frame into three sections but also allows movement across the space. This blurs the division between spaces and scenes as featured across the isometric and within the story. This perspective highlights that “every building is different” with “no diffintive order”Calvino, Invisible Cities.
Palace and Politics This view was specifically chosen to replicate the directed perspective of renaissance and roman architecture. The columns act as a frame, directing the focus down the centre, and consequently making everything else less important.
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PERSPECTIVE SCENE 1 + 2
This perspective aims to capture the bazaar, temple and theatre that Marco Polo imagines Zoe would have. The columns of the Quad act as divides for the different areas. But these divides have gaps between them that can be penetrated by figures. The actors or players who belong at the theatre encroach into the Bazaar centre, making the space physically indivisble. The blurring tool was used on the columns and capital to draw attention away from the structure and refocus on the space.
This perspective further emphasises how the space directs Marco Polo’s imagination. He would walk around to this area of the Quad, and look directly down the corridor expecting to see the prince and his luxurious gardens and dwelling. Yet once again this is just his imagination, his interpretation of the space. The Grand Canal can be seen through the arch on the left and the Senate through the right. This is to highlight once again that Zoe is actually indivisible, one space borders another, but the transition space is ambiguous. “What separates the inside from the outside?”
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WEEK 10 READING: MAPPING THE UNMAPPABLE Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic space is captured in notation. Its integrity and authenticity relies on direct contact or imput of author, meaning it is a subjective space. The internal structure of the area is laid down personally and in order. This internal structure is what forms the notation. On the other hand, allographic space depends on notation and produces new space imagined by notation. Simply put, autographic space needs the autograph of the owner, a replica of this space becomes allographic because it is reproduced using notation. The notation is not created in allographic space as the author does not intervene. Architecture involves both types of space but architectural drawings can be called a form of notation, particularly when numbers and text are added by the architect. This notation generates a language that is used to convey certain ideas or concepts.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) An architectural drawing is an assemblage of spatial and material notations that can be decoded as a set of instructions used to describe the space, however it is remains only a representation. New representational techniques are needed because of aa need for new cognitive maps that capture the splintering perspectives of modern society. Designers are constantly trying to represent life perfectly on paper; hence need to develop representational techniques to compensate for complexities. The key issues are the visible and invisible relationships involved in a design or building space. Architecture aims to capture beyond what is produced in initial graphic description, the real effects of real life e.g. atmosphere. It tries to capture the uncapturable complexity and unpredictability of the real through notation. New representational techniques help to create an effective communication system that creates an interdisciplinary autonomation of information. This moves beyond traditional methods such as plan and elevations which are less abstract compared to notation, hence allowing less room for interpretation.
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FINAL DRAWINGS Cities & signs 3: Zoe Marco Polo travels clockwise around the city indicated by the time line. This line is feint as it is just guide to represent the unrestricted imagination about the possibilities of the space. The sym-bols used to capture his spatial movements are not defined by the quad sec-tions, instead by his mental journey through the invisible city of Venice. As Marco Polo travels around the city, he gazes and stares at areas that capture is his attention; these are either fascinating or interesting to him. Arrows within the crowd/people symbols show the direction of their glances. The movement arrows show his speed , corresponding with how interesting the area is. Key People
Fascinating
Interesting Perspective 1 Perspective 2
Fast pace Slow/Leisurely pace 0
1m
2.5m
Gaze
5m
Stare
Private Space Public Space Time and Transition Refocus
The created symbol conveys the idea of refocusing on a new part the city after a ‘leap’ across time and space from a previous dis-trict. Each ‘leap’ is located where a canal would be on the actual map. These are based around a canal map of Venice and common Roman city planning layouts. The Old Quad represents the inner workings of Marco Polos mind. The perspectives are what he can see through his mind’s eye and the isometric is his movement through the dreamed Venice. There is no one light source in either perspective to determine location or time, in-stead space is illuminated throughout. This highlights different focus areas (lighter areas) that draw attention and add to the ambiguity of the space.
The Forum
Palace and Politics
Sandra Lin, 915202
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APPENDIX
Further Concept Exploration The main overarching theme in the city of Zoe was the idea of an indivisible city with an indi-visible existence. The name Zoe means ‘breath’ which is associated with lightness and intan-gibility. The imagination of Marco Polo is intangible, hence my interpretation of Zoe was that it was a dream. The city of Venice is condensed within the Old Quad to create a space where reality and imagination mingle like a dream in the mind’s eye. Calvino illustrates that in every point of this city there is a new space. Everything in the city of Zoe mingles. This creates an ambiguous space. The setting of the quadrangle provides the illusion that the area is divisible but because of the characters and the setting around them, there is no definitive divide. In-separable space, space that is real and unreal, shared and separate, is reflected in the iso-metrics and perspectives. Roman City Plan
To represent this Perspective 1 (The Forum) is framed so it captures three ‘sections’ of the Old Quad. To reduce focus on the quad structure and refocus attention on the spaces between, the blurring tool was used lightly on the columns and capital to unfocus them. In Perspective 2 (Palace and Politics) the image is framed so the gaze is directed toward a vanishing point at the end of the quad corridor. This juxtaposition highlights that though these perspectives are within the same structural confines, depending on the framing and staging, completely differ-ent subjective interpretations of space are created. The perspectives capture the combined existing and imagined city highlighting the ambiguity of the space. The perspectives are a projection of what characters and sites Marco Polo imagines that he would encounter based off the isometric- i.e. whether there is a density of space or many people in that area etc. These characters are easily recognisable figures. Therefore, he can recall them and subconsciously place them in his imagined city of Venice. In Perspective 2, the prince and his family are shown to represent the Canal Plan of Venice
‘prince’s palace’ mentioned in the story. The family and the spatial setting (surrounding textures) do not exist, they are figures of the im-agination and intangible. Similarly, in Perspective 1 the market figures are also illusory and act as sign posts and imply the area that Marco Polo is in. e.g. an actor links to a theatre setting. The characters (which belong in different settings) overlap to emphasise the indivisibility of the space. The characters themselves do not necessarily form a cohesive whole or setting be-cause the details of the surroundings change when the focus shifts from figure to figure.
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APPENDIX
Zoe by Mr Centreswa
ZOE by Karina Frantzen
Research on Interpretations of Calvino’s City of Zoe Each of these interpretations show a highly detailed scene. The structures cannot be divided and are all interconnected. Each element/shape together forms the cohesive whole of the city. The straight lines that form the edge of the structures in each illustration are like the columns of the quad, and do not divide. Instead throughout all three there is an unseen guide of movement which the figures or structures flow around. Zoe by Matt Kish
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APPENDIX
Inspiration for imagination and indivisibilty Two separate sections in this city are completely unique, yet they coexist along side each other. Similarly my chosen perspective views mimic this as they are located beside each other as seen in the isometric. The difference in direction of camera placement alllows for two alternate settings.
Renaissance and Medieval Style This image replicates Marco Polo’s dream setting. This is the city he knows and remembers and it is this city that he projects onto Zoe. Marco Polo imagines the spaces between the canals and the dwellings and sites he would encounter. The style of characters used in the perepectives was based off of this.
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APPENDIX
Physical Indivisibility of Space This model replicates the indivisiblity of Zoe. The spaces between are similar to the canals of Venice, which the city is built around. It mimics the condensation of the city into the rectangular quad space. The transparency in the blocks functions similarly to the spaces between the columns, acting as a penetrable divide. This model is densest around the centre, corresponding to the centre in the bazaar location int the isometric is densest at the centre of the quad.
Comparing Perspectives Variations of the same perspective had to be considered alongside each other to determine the differences. The angling of the camera was important in capturing the areas of space to the sides and in particular the position of the vanishing point. The central focus is strongest when the camera is angled straight at eye level. However this focuses too much on the quad and not the space between so the camera was moved slightly lower.
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