M4 journal - Sophia Miriam Harrison

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Sophia Mirriam Harrison

914382 Emmanuel Cohen - Studio 1

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer stresses 3 rules specifically in relation to perspectival projection. The first rule stipulates that all perpendiculars meet at a central vanishing point, which is drawn from the eye to the picture plane. Secondly, all parallels have a common vanishing point no matter where they lie in relation to one another.

Thirdly, that equal dimensions diminish progressively and that their recession in space allowing any portion of the picture to be calculable.

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

Eisenman defines spatial homogeneity by implying thatw all objects within the space are bound together via mathematic relationships in a purely functional matter. The objects hold no independent content, only that which relates to the other objects and their positions. In Panofsky’s description, these objects “are merely determinations of position” while also saying that this is a space produced by construction making the objects even less autonomic; they themsleves do not even create the space which they exist in.

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INVISIBLE CITY: Andria

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OLD QUAD ISOMETRIC

1m

0

2.5m

5m

Old Quad isometric without notation

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OLD QUAD ISOMETRIC WITH NOTATIONS

0

2.5m

5m

Old Quad isometric with notations

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QUAD PERSPECTIVE 1 + 2 Perspective 1 I chose this view because it is bold, symmetrical and ordered; these values are intrinsic to the city of Andria and the themes that I wanted to explore through my scenes. This view also creates a nice frame for the characters to reside within.

Persepective 2 I chose this view because it gives a very different perspective to the first view but also because it allowed me to not only focus on the foreground but to extend into the back corner giving an added level of complexity to the drawing. This was particularly useful for the themes of looking back in history from the present day.

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PERSPECTIVE SCENE 1 + 2 Perspective 1 This scene shows the order, precision and elegance of the city and its inhabitants. The text describes the city as “flowing calmly” and I have tried to depict this calm through lighting as well as the sleeping cat. The order and elegance I have shown through the marble floor and walls as well as the camera view where the scene is richly framed; the effect is of strength and directness. Lastly, the sky and atmosphere is intrinsic to the city hence the celestial fountain sculpture, the astronomical wall paintings and the space setting outside of the quad.

Perspective 2 This scene is a juxtaposition of the order and precision of perspective 1. Here the elders are recounting to Marco Polo of the plague that took over the city some years before.

Thus, in the background, it is darker and uglier.

The death and decay is echoed in the sky through a lightening bolt - “any change in the city involves some novelty in the stars”.

The contrast of the lightness and calmness of the foreground, accentuated by the flowers and books, and the dark mess, including blood and rats, of the background highlights the time jump as well. I maintained continuity through the marble walls and floor as well as the space setting outside of the quad

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WEEK 4 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 practice refers to mediums such as painting or sculpture that are defined by authenticity and are inspearable from the author whereas allographic practice refers to mediums such as music, poetry and theatre, which can be reproduced and repeated any number of times. The interpretation of allographic mediums relies on the notations intrinsic to the form. It is an interesting division of art practices. It makes me wonder if allographic arts then evolve rather than change; whether the various reproductions become part of the original work or if they are separate.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architects need new techniques due to the simple fact that we are living in very different times to when architechtural drawing was first imagined. The modern city has lost its structural coherence; it is unpredictable and dependent on different things than once before; such as technology. Computers, smart phones, shifting design themes and innovations all work together to inforce the necessity for representational changes. Allen talks of architectural notation as being a mixture of both autographic and allographic technique, which means to me that it can take on the best of both worlds; it is limited by authorship but also open to flexibility and interpretation.

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FINAL DRAWINGS CITIES & THE SKY 5: ANDRIA

Key Perspective 1 Perspective 2 Number of people Glance Stare Walking pace - thinner = quicker Heading backwards in time 0

1m

2.5m

Dark and turbulent times

5m

Light and calm times Regarding the view

Perspective 1

Perspective 2

Insert your annotation

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