Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Sylvia Marshall
996269 Anastasia, 16
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PERSPECTIVE AS SYMBOLIC FORM - ERWIN PANOFSKY What are Durer’s rules for perspectival projection?
Describe homogenous space:
Primarily Durer defines the concept of perspective as that which the act of “seeing through”, and all the objects that are places within the framed view come together to be recreated into the concept of the “picture plane”. It is upon this that all information is held for one to recieve the understanding of the interactions of all the singular objects together. Whether this is just a sense of understanding gained from the perspective projection of a correct representation is not important.
The homogenous space is mathematical andunchanging, and never ending. All points in this space join up, acting as the determinants of position in relation to each other. This space is created from the interconnecting construction of all these points, and that from these, closely related points and objects can continue in every direction and of every magnitude throughout the homogenous space.
Durer laid down such rules for the perspectival projection: firstly, the central vanishing point serves as the meeting place for all of the perpediculars; secondly, a common vanishing point is shared by all parallels; thirdly and lastly, in receding in space, equal dimensions will progressively diminish.
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INVISIBLE CITY: ZENOBIA
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OLD QUAD ISOMETRIC
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Slanted perspective of the Old Quad, showing
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OLD QUAD ISOMETRIC WITH NOTATIONS I wanted the viewer to feel as though they were about to enter the city space, rather than already being within the space. I thought of the space as an art gallery, with objects randomly placed, also with the dimensions of the space being broken with objects that seem to be floating. Marco Polo himself is looking from the outside of the model space with his focus placed upon certain objects, some he will glance at and other demand a stare, acting as the main focal point of the perspectives. The light is placed at the front of the model, moving towards the back of the scenes. There are also certain areas that contain major objects, creating a heavy mood, while empty spaces create the balance of a lighter mood.
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QUAD PERSPECTIVES PERSPECTIVE ONE: On entering this part of the city, I wanted the viewer to have the sense that they were enterring into a new place, about to take in all that was happening. Setting this perspective at the very front of the model meant that this sense of entering and discovering could be felt.
PERSPECTIVE TWO: This perspective allows a wider view of the quad area and for the differing areas of movement to be seen. It contrasts with the more vertical like angle of perspective one and instead offers a horizontal version. It is also based upon the idea of entering and being presented with the various objects.
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PERSPECTIVE SCENE ONE & TWO Perspective one features a guitar man in the very front, acting as a symbol of the bohemia of this world, meanwhile, next to him is featured the cover of Invisible Cities, stuck onto a pillar like a poster. Water colour flowers are featured within the scene, a way of showing the Romanticism of the old city, while Doge’s Palace fills the background, reminding one of the original city that Marco Polo was writing about. Based upon the text and its description of the houses being of “bamboo and zinc”, I placed a Japanese lattern box in the centre of the columns. Using the box shape as a base, I placed a sculpture by Paolozzi, St Sebastian III, upon it. The sculpture is representative of the ideas of the different layers and “various heights” in Zenobia, thus I was constantly bought to the imagery of modern art and layering of cubism, hence I thought that this sculpture was able to capture this idea of the layering and provide a visual representation of the city in an objectual scale. The fish upon the ground and the Japanese lady follow along these ideas created based upon the bamboo, which bought me to think about how the context of the city could range from European to Oriental. Marco Polo speaks of the fish poles that lie around the city, hence, i was bought to the idea of Japanese culture again. The floating objects are once again a play upon the idea of modernism and layering. Perspective two utilises many of these same ideas and themes. I gave this perspective a differing background as I wanted to give the sense that one is moving through the city and seeing different parts. I used linoprints by MC Escher and once again placed sculptures by Isabelle Bonte throughout the perspective as a did for perspective one. Bonte’s work was able to capture the essence of Zenobia, a city of many layers and much movement. I wanted my perspectives to show hidden meaning, while being able to show the aspects of the text in an abstracted way. The flat man of perspective two, as I call him, is one of my own drawings, along with the guitar man in perspective obne, and also the floating line shapes and flowers. The flat man in particular is a rebellion against what was expected in this module, and i wanted to escape the realism that was placed in other versions of this module. The theme of modern art helped me to propel my ideas and represent the city in a way that I imagined. For me, Marco Polo’s own description of Zenobia was abstract. In perspective two I also added the image of the floating city, a way to confuse the real perspective of the city, combined with the drawings of Escher, demanding what the true limits of the frame are.
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PRACTICE ARCHITECTURE, TECHNIQUE AND REPRESENTATION CRITICAL VOICES IN ART THEORY AND CULTURE - STAN ALLEN ESSAYS What is the difference between autographic and allographic practice?
Why do architects need new representational techniques?
Autographic and allographic practices can be distingusided by the contact, whether necessary or not, from the author or creator in relation to the work that has been made.
In order to work beyond depthless imagery and map the territory that is unmappable there needs to be innovative new concepts thought of for architects to sustain the relevance of architecture in the modern age. This is based upon the new dynamics of a city and the shift from the effect and the artifact. Within these two features of the city, there is a complexity of transition between the two, and to show this there is a need for new representational techniques.
Autographic practices require the direct influence or work from the the original author in order to be created, such as original physical artworks, for example, paintings and sculptures. Allographic practices utilise the work of an author, such as music and theatre, but do not need driect contact with the author. The major feature of allographic practice as the means to achive this is the use of a universal notation system.
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FINAL DRAWINGS InvIsIble cItIes 2: ZenobIa Sylvia Marshall 996269
Each object within my perspectives holds certain relations to the text of Marco Polo, relating to his description of the city. As Marco Polo is the narrator I wanted him to be very much outside of the world, about to enter in. He is able to look at what is around him, staring at some objects, and glancing at others.
Key Heavymood mood Heavy Light mood Light mood Large Step Glance Regular Step Stare Small Step Showing Difficult dark Step-to light space ww Floating City Signobjects 0
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Physical Link Characters Perspective One Perspective Two Line of focus and movement of Marco Polo
Perspective 1
Marco Polo is there pontificating the materials and the making of the city, and those who live there. The surreal ideas of the city that he brings about are shown in my objects, hence, there was no need for me to completely fill my perspectives with a lot of action and objects. I prefer the simplicaity and minimalism, in which symbolism and meaning exists. My notations, therefore, did not need to be highly detail and extravagant as they are simply there to show placement of objects and characters and the movement and focal focuses in the perspectives for Marco Polo.
Perspective 2
Insert your annotation
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APPENDIX 1 https://zothiqueelultimocontinente.files.wordpress. com/2010/04/m-c-esther-convex-and-concave-1955-lithograph.jpg
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2 http://footnotesonart.com/more.php?id=45&year=2018 4 1
3 http://www.idesignarch.com/contemporary-house-in-seattlewith-japanese-influence/ 4 Isobelle Bonte 5 http://www.idesignarch.com/contemporary-house-in-seattlewith-japanese-influence/ 6 https://www.behance.net/gallery/36233889/Invisible-Cities 2 5
7 Isabelle Bonte 8 http://judithweingarten.blogspot.com.au/2017/02/the-invisible-city-of-zenobia.html
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