Module 2 Journal - Foundations of Design: Representation

Foundations of Design : REPRESENTATION, SEM1, 2017 M2 JOURNAL - FLATNESS vs PROJECTION Saran Kim

904662 Mr. Emmanuel Cohen // Studio 1

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WEEK 3 READING: leger, le corbusier, and purism by rosalind krauss Question 1: What is Pictorial Space according to Le Corbusier? (Maximum 100 words) According to Le Corbusier, the pictorial space is “that which cannot be enterd or circulated through”.

Pictorial space is observed from a distance, and as a result it represents the composition of the volume which Le Corbusier calls frontality. In his paintings and drawings from the mid- and late 1920s, pictorial space is constructed by three distinctive steps: the conversion of objects’ form into flat, crisp contoured shapes, holding a sense of depth; arrangement of contours of objects for reinforcing the continuity of edges; the particular use of colour and texture to transform the representation of distance and depth.

Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they?

And what are these pitted against?(Maximum 100 words) The flatness of Le Corbusier’s paintings is attributed to the relationship between shape and texture. Texture is strongly associated with the presence of depth and three-dimensional qualities which seem to oppose the definition of contour on the surface. However, the fusion of shape and texture in the continuity of the surface, Le Corbusier achieves two properties to be intertwined and mutually enhance legibility of one another. Le Corbusier challenges contour and texture by the conceptual distance, and as the outcome of the sophisticated and thoughtful application of these properties, his paintings provide the balanced perception of the flatness.

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Mario’s world

BACK

FRONT

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1st Mario’s world

The image of the back side of the Mario World which key features have been traced from the original illustration

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Combined Mario’s world

The image scanned and refined on Photoshop

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WEEK 4 READING: Axonometric projection: New geometries and old origins by Stan Allen Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection?

(Maximum 100 words) The main difference between pictorial (persoectival) space and axonometric projection is the vanishing points. By having vanishing points, perspective creates the limit to the space. In contrast, having parallel properties of elements, axonometric projection achieves to produce more open and extensive space. Architects recognise that axonometric projection “combined the immediacy of a perspectival view with the measurability and transmissibility of orthographic projection” (p.20), meaning itmaintaining actual measurements and geometric properties, allows it to be flexible and convertible. By it being parallel, the axonometric projection possess the simultaneity of space and time that perspectives do not have.

Question 2: Where did Axonometric projection first arise, and why? (Maximum 100 words) Axonometric projection first arose in ancient visual practices and it has been developed “alongside that of perspectival projection” (p.19). Its earliest description of axonometric projection was in a military context, for visualising artillery projectiles in three-dimensional representation. Axonometric projection was then taught in engineering schools in 18th and 19th centuries, deepening the relationship with mechanization and industrialisation. In the architectural context, axonometric projection “extended the scientifict/mathematical basis for architectural representation” (p.20). The history of axonometric projection is closely related to technical studies more than visual arts and architecture.

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Illustrated Mario’s new world

The sections of Mario World provided were portraying a mysterious atmosphere under the sea. In order to convert the original illustrations into axonometric drawing, I considered the structure of rock mountains in the three-dimensional environment.

By human perception, the illustration of rocks creates an image of undulating, rough and organic forms, which can be found in the real world. However, I decided to take only the outlines of the mountains from the illustration, and combined it with the concept of topographical map (plan), where the increases in elevation are denoted by linework. This allowed the pictorial image to be interpreted as the vision of rock mountains with emphasis on depth.

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APPENDIX

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2 1: Drawing axonometric drawings, starting with creating a draft, then overlapping a layer of tracing paper for refinement. 2: Tracing the fine linework on a new layer using a light box. 3: Importing the scanned and adjusted drawing onto illustrator, tracing using Pen Tool and adding gradients.

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