Foundations of Design : REPRESENTATION, SEM1, 2018 M4 JOURNAL - FRAME vs FIELD Alana Brown
915496 Emmanuel Cohen + Studio 7
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? Durer’s first rule of perspective projection is that all orthogonals meet at a central vanishing point. The second condition is that all parallels share a vanishing point, regardless of what direction they point in. The third regulation is that if the parallels are on a horizontal plane the vanishing point lies on a horizontal line. Conversely, if they form a π/4 radian angle with the picture plane, the distance between a vanishing point and the central vanishing point equates to the length between the eye and the picture plane. Finally, the dimensions lessen as they diminish in space.
Question 2: Describe homogenous space?
Homogenous space is an expression of pure mathematics that is unchanging and infinite. The concept centers on geometric space where all elements are determined by position, however one element does not present any further independent content, relative to one another. Homogenous space is functional yet also not supportable realism as its components are mere expressions, lacking in of content.
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CONTINUOUS CITY: Leonia
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OLD QUAD ISOMETRIC
Isometric exported directly from Rhino and line weights altered to 0.25
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OLD QUAD ISOMETRIC WITH NOTATIONS
Isometric completed with notations. The base of the quad was altered to reflect the organic flow of rubbish, which is what the story is based on.
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QUAD PERSPECTIVE 1 + 2 Perspective 1 – Snapshot from Rhino File This perspective was selected as it highlights the undulating steps, whilst also providing a view of the vault above. The characters are positioned in a sitting motion to demonstrate how people would act with their surroundings in this space.
Perspective 2 – Snapshot from Rhino File This perspective was selected as it showcases the curvature of the steps looking downwards. The characters where likewise positioned to extenuate the convexities and concavities of the model, but also to give a sense of human scale within the space.
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PERSPECTIVE SCENE 1 + 2 Perspective 1
Perspective 2
The main focus of the storey was rubbish, therefore rubbish is incorporated into every aspect of the two perspectives; The character are made from rubbish, the textures where selected for their grit, the background is rubbish and rubbish it also incorporated into the scene. The background also has a city in reference to the surrounding cities that are mentioned within the storey. Within the storey specific items such as unmated shoes, calendars of bygone years, withered flowers were mentioned and also subtlety incorporated into the scene.
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WEEK 4 READING: PRACTICE, ARCHITECHURE, TECHNIQUE AND REPRESENTAION
Question 1: What is the difference between autographic and allographic practice?
Autographic is described within the text as being dependent ‘for their authenticity upon the direct contact with the author.’ Therefore, autographic practice is one in which the creator makes the subject directly, without someone needing to interpret the design, such as paintings and sculpture. The works are original from the creator and are the direct translation of the authors ideas. Allographic within the text is prescribed to ‘exists as many copies and can be produced without direct intervention of the author.’ This can be interpreted that works are able to be produced away from the author through the use of notations. An example of allographic practice is a plan or a blueprint being understood by a builder and the constructed. Allographic principals are also more likely to change across fields depending on people’s understanding of different notations.
Question 2: Why do architects need new representational techniques? New representational techniques are required as time progresses as a result of changing circumstances. Traditionally representations of works were stable and fixed. However, as the contemporary city progresses is becomes a mass of varying networks of information that are all required to interact with each other. Such as public transport, sewerage, roads, ect. By developing new representational techniques, it allows for a fluid exchange of information. For instance when looking at a modern city new maps and diagrams would lead to new approaches of working out intricate changing aspects.
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FINAL DRAWINGS CONTINUOUS CITIES 1: LEONIA
Key Crouds/People Movement Stare Passage of Time Light Mood Camera Position 1 Camera Position 2 0
1m
Perspective 1
2.5m
5m
Perspective 2
Completed work inclusive of one isometric
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APPENDIX - INSPRATION My concept began at looking at photos of rubbish and artworks that included both the idea of a city and rubbish.
The below artwork inspired me to not only have human characters within my perspectives but people made from the rubbish surrounding them.
My model progressed when contemplating how to translate the flow of rubbish into my design. I began looking at organic architecture.
My model progressed when contemplating how to translate the flow of rubbish into my design. I began looking at organic architecture.
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APPENDIX - CHARACTERS Below is a collection of all of the images used to create the characters featured within the perspectives
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APPENDIX - TEXTURES Below is a collection of all of the images used to create the textures featured within the perspectives Wall Textures
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Vault Textures
Floor Texture
APPENDIX Below are some unfinished perspectives and isometric that where completed before the undulating steps where incorporated into the design. Unfinished Isometric
Unfinished Perspective 1
Unfinished Perspective 2
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