Module 4 Journal - Foundations of Design: Representation

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Saran Kim

904662 Mr. Emmanuel Cohen // Studio 1

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM BY ERWIN PANOFSKY

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Dürer’s rules define parspective, a “planar, transparent intersection of all those rays that fall from the eye onto the object it sees”; firstly, all perpendiculars meet at the central vanishing point. Secondly, parallels in any directions share a vanishing point. Thirdly, the vanishing point lies on the horizontal line if parallels are on the horizontal plane. If they form 45 degree angle with the picture plane, then the distance between a vanishing point and the central vanishing point equals to the distance between the eye and the picture plane. And lastly, the dimension lessens as they diminish in the space.

Question 2: Describe homogenous space? (Maximum 100 words)

Homogenous space is a fully rational, infinite and unchanging space. Panofsky argues that it means “[to] see with a single and immobile eye” and that “the planar cross section of the visual pyramid can pass for an adequate reproduction of [the] optical image”. A purely mathematical homogenous space, is distinguished from perceptual view “confined within certain spacial limits”. Since homogenous space represents the logic function, ideal purpose and meaning instead of substantiality, it is a “space produced by construction”. Homogenous space, the metric space of Euclidean geometry, is based on the postulate, and is contrasted against visual and tactical space.

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INVISIBLE CITY: Cities & The Sky 5 - Andria

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OLD QUAD ISOMETRIC

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Isometric framework of the quadrangle

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Cities & the sky 5: AndriA

OLD QUAD ISOMETRIC WITH NOTATIONS

Key Movement Stare Glance Perspective 1 Perspective 2 Openness Closedness 0

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Light / Dark Crowds

Isometric drawing of the quadrangle with notations

Thresholds Passage of time

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QUAD PERSPECTIVE 1 + 2 Perspective 2

The plan of quadrangle and notations showing the movement of Marco Polo

Perspective 1

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Perspective 1 (above)

Perspective 2 (below)

This is a view into the quadrangle from its edge on the southeastern side. It provides a diagonal perspective that creates a sense of spaciousness as the viewer (Marco Polo) can see layers of columns in a dynamic angle.

Since I took the concept of day and night and Palo’s shifting understanding of the city from story, I thought the openness of this view has a harmonious relationship with the daytime atmosphere - Polo’s initial perception.

The second view is from the opposite side of the quadrangle, showing the area of it that was not included in the first perspective. This view is a representation of night, when the true connection between city and stars (sky) is revealed in the night time. By positioning the view on the opposite side, two perspectives form a quality of polarity, in combination with day and night, light and dark.

PERSPECTIVE SCENE 1 + 2 Perspective 1 Perspective 1 is about Marco Polo’s initial thoughts on the city of Andria, described on the first page of the story. Marco Polo considers that “Andria is the only city I know where it is best to remain motionless in time”. From this idea of “motionless” city, I decided to insert images of street clocks, emphasising the aspect of time in the city. Furthermore, I interpreted Marco Polo’s understanding that citizens “take care not to make the slightest change in [their] city and [their] habits”, as a conservative action in shaping the city. This idea is reflected in the use of wooden blocks in basic geometric forms, as if Polo believes that people of Andria avoid making creative and dynamic changes in the city.

Perspective 2 Perspective 2 is a representation of the city of Andria from citizens’ viewpoint that is explained to Marco Polo in the second half of the story. The main point people of Andria are making is that “city and the sky correspond so perfectly”, that the city can also influence the constellation as it is influenced by it. I found that the telescope is a key object, that is utilised to identity the connection between sky and city. The wooden blocks with more creative configuration contrast against simple, plain blocks dominating in the perspective 1.

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WEEK 4 READING: MAPPING THE UNMAPPABLE (FROM PRACTICE: ARCHITECTURE, TECHNIQUE AND REPRESENTATION) BY STAN ALLEN Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic objects are those that “depend for their authenticity upon the direct contact of the author”, whereas allographic objects “exist om many copies and can be produced without the direct intervention of the author”. Allographic arts are subject to the change in their representation, due to the variations in understanding and interpreting notations . While autographic arts physically establish outcomes, such as paintings and sculptures, allographic arts are results of their transitory nature, or response to the need of collaborative structure, for example music or theatre. Allographic arts utilise notation as an internal structure to reproduce the authenticity of works.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Because the available representational techniques are incapable of reflecting the technological transformation of the society. The traditional representations were designed to capture stable and fixed objects, however, the city in present modern time consists of “ visible and invisible streams of information, capital and subjects interact[ing] in complex formations”. Therefore, the new technique that can “engage time and change, shifting scales, mobile points of view, and multiple programs” is needed.

This involves engaging the invisible aspects including light, shadow and transparency, working simultaneously with abstract and reality, developing notations for interacting with the strategies that create positive changes to city.

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FINAL DRAWINGS Cities & the sky 5: AndriA

Key Movement Stare Glance Perspective 1 Perspective 2 Openness Closedness 0

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2.5m

5m

Light / Dark Crowds Thresholds Passage of time

The isometric drawing shown above represents the movement of Marco Polo in the story of Cities & The Sky 5: Andria. Through the use of notations, the behaviour such as stares and glances, and the spatial qualities of the city including the contrast between light and dark, are depicted.

Perspective 1

Perspective 2

Saran Kim, 904662

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BRAINSTORM

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DEVELOPMENT Thales -> a Greek philosopher -> philosophy in city

Looking down city from cliff? -> X The scale does not fit under the quad

Real building under construction -> X

Statues of other philosophers? -> X Not directly relevant

issue with its scale

“Statue of Thales” - from story Complex blocks: stronger sense of craftsmanship and creativity -> people’s influence on city

A water slide - more structural movement? -> X Scale does not fit

“A toboggan slide” from story

Story based on the concept of shaping the city -> how can the cityscape be represented in restricted space?

People as “cogs in a meticulous clockwork” - from story Images of cogs within clocks overlapped onto columns -> implying the nature of the framework of city

Wooden blocks: discrete building units that can indicate fragments of city being configured and arranged carefully in accordance of people’s will

Plain, basic blocks: representing conservative, prudent approach to shaping city

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DEVELOPMENT Books / stacks of paper -> X They may be able to articulate the depth and quantity of documents astronomers recorded, but not highly relevant to story

Old telescope -> need to care about its proportion to human scale and to dimensions of the quad

Wide pasta for the idea of long scroll of paper with all the findings? -> X Not fitting in the context of the story

Documentation/reports from story Highlighting the selfconfidence of people that there are relationship between city and the sky

A telescope - from story A key object that can show people’s desire to find connection between city and sky

Constellations - from story This can highlight not only starts, but also the figures and objects formed by connecting stars higher relevance to the state of city

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Sky at night - from story Can be overlaid on the vault to depict the starry sky

“motionless in time” from story Having street clocks may highlight the importance of the aspect of time to the city

DEVELOPMENT The long exposure images of cars’ taillights -> X They effectively communicate the idea of rays of light like stars’ orbit, but they cannot be proportionate to the available space

“Its every street follows a plant’s orbit” - from story Orbit as a key expression of the movement of starts - the long exposure images of starts may imply their orbit

Intersections of highway -> X it was difficult to justify where roads are leading to, and to fit it under the quad

Circular objects?

Circular utility holes Made of metal, they have polished appearance and the intricate design that associate with the constellations

Circular farming (bird’s eye’s view) This geometrically arranged land can represent the existence of numerous stars and their planets’ orbit around them

For the same reason as Intersections of highway, circular pedestrian paths -> X

Shadow theatre / municipal kennels from story -> X I did not find them as the focus of the story

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DEVELOPMENT - PERSPECTIVE 1

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DEVELOPMENT - PERSPECTIVE 2

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