Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Stephanie Markerink 914884 Vaughan Cockburn, 24
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PERSPECTIVE AS SYMBOLIC FORM BY ERWIN PANOFSKY
Question 1: What are Durer’s rules for perspectival projection? There are three main rules for perspectival projection. The first is that all perpendicular lines or orthagonals have to meet at a ‘vanishing point’ that is determined by a line drawn from the eye to the picture plane. The second is that all parallel lines must have a common vanishing point to ensure balance, the most obvious of examples would be the use of the horizontal horizon line. The third rule is that there must be equal intervals of spatial recession and these intervals must diminish progressively. This rule informs the positioning of the eye.
Question 2: Describe homogenous space.
Homogenous space is a conceptual idea that has yet to be wholly invented, however there are some forms of perception considered to be somewhat homogenous. Homogenous refers to a relationship of parallel lines that correlate to the idea of having infinity in a plane. This mathematical construct erupts from the illusion of physcophysiological space. A formula is used to predict relationships between objects and vantage points to create a more functional representation of perspective. Homogenous space is determined when from all individual points of a scene you can identitfy similar figures despite the placement, direction or magnitude.
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INVISIBLE CITY: VALDRADA
INTERPRETATION OF STORY In Marco Polo’s explorations, his discovery of Valdrada offers both a explicit and implicit exploration of the self and the physical excitment of the city. There is definitely a physical beauty captured in the story. The description of the water and how the physical buildings interact with the shores of the lake convey an atmosphere of possibility. However, as Marco Polo further familiarises himself with the city, he discovers a sense of paranoia, erupted from the constant eye of the water’s reflection. The water mirrors every action, whether good, bad, lustful, or hateful, and thus your life is duplicated and yet seperated. The two worlds that Valdrada’s inhabitants live in are inverted and thus are paralleled opposites of each other. The power of the mirror is augmented in its ability to either increase or diminish a situations value.
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OLD QUAD ISOMETRIC
Isometric of the Old Quad. This perspective will in the next stage of design showcase the direction, speed and experience of Marco Polo’s exploration in the city of Valdrada.
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OLD QUAD ISOMETRIC WITH NOTATIONS
A N N OTA T I ON Marco Polo’s path is symetrical to follow the theme of reflection the is present throughout the story. He has two perspectives that are inverted juxtapositions of each other. Polo quickens and slows his pace based on the level of level of excitement and the desire to move away from a scene. These ideas will be further progressed in the addition of characters and textures.
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QUAD PERSPECTIVE 1 + 2 PE RS PE C T I VE O NE
I chose a symmetrical composition for this first perspective to allow me to further develop the idea of reflection. By having a symmetrical view it opens the opporunity to have an inversion of a scene. As Marco Polo enters the city this possibilty the first angle from which he will take in the city’s atmosphere. Thus having a reflected perspective symbolically and visually represents the city well.
PE RS PE C T I VE T W O
In contrast to Perspective One, this composiiton if asymmetrical. I chose this because it allows a sense of excitable chaos to be created. I want to symbolically show that even though they ‘live for each other’, the two cities are opposite, ‘not equal’. In addition, this perspective is when Marco has reached the opposite side of the city that he started from and is now looking from the back in. This further relates to the two cities’ inverted and separated, yet dependant relationship.
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PERSPECTIVE SCENE 1 + 2 PE RS PE CT IV E ON E In this perspective I chose to firstly focus on the dark, grim sections of the city’s story, with the dominant focus on the murder scene. The composition is symmetrical with inverted images rippling out to the edges. Meanwhile, a girl’s dead body centralises the scene. I chose to focus on symbolic elements in my design, these include: The shattered mirror: the ground of the city is a mirror that has broken to symbolise the how the corrupt action of murder has been caught in the reflection, leaving a permanent scar on the city. The column pattern: the column has been textured with the painting ‘Geurnica’ by Picasso. This is a painting that reflects great trauma and chaos in a city and the shattering effects that has on the towns people. This fits perfectly to the idea that the trauma and chaos of the city is captured in the reflection, or captured in a painting. In addition, the grieving figures in the painting contribute to the mournful moment of sudden death. The chaotic waves: In the background of the scene, wild waves roar around the city’s edge. This relates directly to the description of the citiy being ‘built on the shores of a lake’ but also creates a cage like dome over the city as the wave is caught concaving back onto the city. This alludes to the idea that the civilians are trapped in the mirror, and trapped in the constant recording of their dark deeds.
PE RS PE CT IV E T W O In complete juxtaposition to Perspective One, I chose to create chaos in a lively, rambunctious atmosphere. The scene harnesses the excitement, lust and love that is evident in Marco Polo’s tale of Valdrada. Loosely inspired by the Moulin Rouge, I created an upbeat scene with dancers, lovers, trapez artists, and art. However, unlike the first perspective there the reflected images and figures are lost in the crowd of other’s images and figures. Thus creating an seductive sense of intriuge to explore the scene and find each pair. In addition there are symbolic elements featured: The painted floor: The ground of the scene is actually a painting by Leonid Afremov of the Moulin Rouge. He employs an excitable use of texture with brisk strokes and flourishes. Visually and contextually this contributes to the enticing and festive chaos that Marco Polo describes. Tonal control: The use of lighter and brighter tones throughout the majority of the composition emphasise the light-hearted and joyful nature of the scene. (Unlike the stressful darker tones used in Perspective One.) However, the roof features a signficant tonal shift to a deep black shadow. This is symbolic of the allusion of having only happiness, and also to foreshadow a repeat of the possibilty of events found in Perspective One.
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MAPPING THE UNMAPPABLE BY STAN ALLEN
Question 1: What is the difference between autographic and allographic practice?
Autographic practice is specialised and unique to the creator and thus it cannot be readily replicated. This is particularly seen with fine arts as the work of one artist cannot be remade by the hands of another. Allographic practice, on the other hand, requires no first hand imput by the creator to recreate a design. This means an object, design or system could be infinitely replicated. These two practices are complete juxtapositions in the ability to recreate a product, system or environment.
Question 2: Why do architects need new representational techniques? An architect ability to successfully represent their ideas is what determines their success. The use of restrictive representational techniques can hinder the comprehension of a design idea and thus contribute to its termination. Architect’s representational techniques have been restricted in relation to a consideration of basic human sense. However, with the progressive development of collage, technical cubism and various projections the ability to present one’s concepts has broadened. The overall motion of design is fluid and as it constantly shifts, progresses and adapts, so to must the representational tools that the designer must use to retain current and efficient in their design communication.
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FINAL DRAWINGS CITIES & THE SKY 3: THEKLA
ANNO T AT I O N My representation of the city of Valdrada was symbolically presented with a focus on the ways in which the reflection of an action heightens the emotions of a scene. ‘At times the mirror increases a thing’s value, at times denies it - the two Valdradas live for each other but there is no love between them’. These concluding statements about the city hold the conceptual boundaries of the story. I wanted to represent this juxtaposition between the inverted reflections, to show how the ramifications
Key Regular View
of the mirror’s reflection changes depending on the nature of an
Narow View Large Step
action. The first perspective is clear and presented with clarity. This
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conveys the idea that the murderer is caught red handed in the reflection. However the second perspective is more chaotic but with an excitement. This conveys how the mirror can enhance the feeling of a space/event because of the augmented allusions created. Overall, the two perspectives link with Maro Polo’s symmetrical path through the space to symbolically elucidate the complex connection between the two Valdradas.
Perspective 1
Perspective 2
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