Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Tina Luo
(756481) Carl Areskoug - Studio 17
1
WEEK 9 READING: TITLE OF READING Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words)
Durer’s rules for perspectival projection were firstly, that all perpendiculars would gather at a vanishing point (VP) that has been decided based on what eye level the observer would view the image. Furthermore, all parallel lines would gather at a VP regardless of direction, and the VP would always be on a horizontal line that represents the “horizon” of the image. Additionally, an object’s dimensions will begin to grow progressively smaller as it recedes into the horizon, to show that the location of the object is going further away from the current viewpoint.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is a uniform and unchanging space whose elements are only related to each other in that sense in the image that they are in. It is a constructed space not akin to reality, and every point in that space must be able to produce similar elements and figures no matter which direction they are facing or being drawn from.
2
INVISIBLE CITY: OLIVIA
3
OLD QUAD ISOMETRIC
This is the non annotated version of the Old Quad in isometric, built on Rhino, with the vaults, ribs and arches layers turned off. This clearly shows the layout of the Old Quad, and enabled me to clearly plan out where my notations were going to be.
4
OLD QUAD ISOMETRIC WITH NOTATIONS
The notated version of isometric Old Quad is shown above. I decided to start With Marco Polo’s path at Perspective 1 (red arrow), where he takes a slow, lesuirely path through the rich and properous side of Olivia, adding in symbols of light and little crowds of people. Notice that the space for the lighter side is a lot less congested than the market, and poorer outskirts of Olivia, which is represented by the larger crowds of people and faster, more rushed pathing. My own symbol, which was in the shape of a droplet, represents the flow and contrast between the ilight and the dark, and also symbolises the canal which runs through the city - the lifeline of the people, both rich and poor.
5
QUAD PERSPECTIVE 1 + 2 For Perspective 1, I decided to pick a view starting from one of the corners so that I could represent the richer part of Olivia as a isolated corner/sector of the city, surrounded by the poorer outskirts, and contrasting it as an oblivious little world occupied by nobles who do not know of the outside suffering and the concept of work. The long view allowed me to also show the arches becoming the “mullioned windows”, and gave me a space to play with inner and outer features. It also gave a long path for Marco Polo to stroll through and admire, because it showed clearly the columns, arches, ribs, and vaults, which I had planned to change to marble or other texture that represented a “filigree palace”. The perspective gave the illusion of a much larger space and distance, which allowed for me to fit in a lot of things in the background. This supported my isometric that I had planned ahead.
Perspective 2 was easily determined because I had decided I would be presenting it as the canal/ canoe night scene, therefore a perspective view from the side that showed a larger arch opening would let me represent that arch as a canal mouth. This allowed for enough space for the canoe, and other features such as docks, bridges, and extra characters if need be.
6
PERSPECTIVE SCENE 1 + 2 In Perspective 1, I chose to insert the exact things that were listed in the narrative such as “fringed cushions on the seats by the mullioned windows�, choosing things that would be sufficient in representing the grandeur of Venice in the medieval ages. Due to most of the cities being based off of Venice, I thought to add scenery with water involved, because in the story, canals are also mentioned. This must mean that Olivia is a water-based city, similar to that of Venice. The scenery also adds to the concept of the noble’s palaces being isolated from the poorer sectors, being on the other side of the canal. I chose noble ladies mainly because it added to the elegant, delicate and feminine atmosphere that the description of the palace presented. Marble textures were used on the walls to give the palace a sleek and royal feeling. Small pets such as the peacock described in the story, and a puppy were represented to show that the nobles were properous and rich enough to afford exotic creatures and take care of whatever they wanted easily.
I decided to make the scene of Perspective 2 to be night time, therefore the colours chosen were quite dark. The tree was chosen to add to the shadows of the nighttime and also represent nature and flow in the canal area, because the canal was the only natural divide between the two areas of Olivia: the light and the dark, and something which they both shared and used. The canoe scene was mentioned in the narrative to be representing the free-spirited and refined part of Olivia but also reminds us that the city is not what is seems to be and posseses a darker side. That is what I try to depict in Perspective 2. The canal itself is a free flowing feature of the city, and the girl who rides the boat has a conflicted expression on her face, which contrasts with the serenity of the view. The texture of the columns was also chosen to be granite, a more common material than marble. Ths is a definite polar opposite to marble, which you would usually associate with richer materials, which just heightens how even outside the palace, things are made differently and used differently.
7
WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic practice possesses the direct involvement of the author of the work, whereas allographic practice can be produced by other people who are not the original author from a distance through notations, and the authenticity of allographic works rests in the actual work itself and do not need direct contact with the author/do not need the author to be there in person.
Question 2: Why do architects need new representational techniques? (Maximum 100 words)
Architects need new representational techniques because there are things that are intangible or in a person’s imagination that cannot be mapped using traditional techniques. Due to traditional tools and representations assuming fixed and set objects, it is unable to represent the complex and ever changing cities that is now part of our technological age, where things continue to move and shift, both visibly and invisibly.
8
FINAL DRAWINGS Marco Polo starts off at Perspective 1, in the closest corner to the viewer, taking a slow and leisurely path, as indicated by the ample spacing and thicker movement symbols. He gazes along the palace hallway at the prosperity of the scenery. The atmosphere is quite light, as represented by the symbols, and every character in Perspective 1, is represented by the light symbols.
CITIES AND SIGNS 5: OLIVIA
Key Slow /faststeps Dark mood Light mood
0
1m
2.5m
Stare and glance Groups of people Light and dark border Day and night border Perspectives
5m
Contrast and fl ow
As he turns right, he heads out into the external world, as represented by the solid threshold line, and contemplates darkly (heavy mood symbol) as he gazes across the bridge and canal, over to the other side of town. This is where he talks about a bustling and brawling Olivia that is covered in soot and grease, swarmed by hordes of travellers and traders in a very different, industrial sector of the city. I added in many crowds of people, and smaller, thinner and tightly packed groups of movement symbols, representing that his speed of movement has been heightened as he rushes through the market area. Marco Polo ends at Perspective 2, where he slows down to look from the darker side of town across the canal at night, and observes the bridge, girl on a canoe and the dock. The droplet symbols represent the light and dark contrast between the two worlds of the city of Olivia.
“Perspective 1 - Light Little World”
“Perspective 2: The Other Side”
Final drawings of isometric, and two perspectives of the city of Olivia
9
APPENDIX List of image URLS: Perspective 1: - Floorboards: https://www.armtec.com/wp-content/uploads/LandscapingAnd-Site-Amenities-Patio-Slabs-Peninsula1.jpg - Lawn: http://www.myfreetextures.com/wp-content/uploads/2015/01/grasstexture-number-1.jpg - Two ladies: https://s-media-cache-ak0.pinimg.com/736x/4c/a1/62/4ca1625fcdf e7b8789185f017918fe5f.jpg - Three ladies behind: https://s-media-cache-ak0.pinimg.com/originals/0a/26/8a /0a268a80d23ffb75f6bbd8f2c073e3b3.jpg - Couch: http://img.archiexpo.com/images_ae/photo-g/63930-9225641.jpg - Scenery: http://media6.trover.com/T/535adc60323043757b0000db/fixedw_ large_4x.jpg - Dog: http://www.warrenphotographic.co.uk/photography/bigs/21868-BuffAmerican-Cocker-Spaniel-pup-with-hamster-white-background.jpg For my own symbol, I decided to colour it black on one side and leave it white on the other, with a dark lining, to show the shape
Perspective 2: -Tree: https://teachtheyoungerwomen.files.wordpress.com/2013/12/nature___rivers_and_lakes_flowering_trees_near_the_water_041725_.jpg - Bridge: https://commons.wikimedia.org/wiki/File:Venice_-_Ponte_S._Maria_ Nova.jpg - Girl: https://en.wikipedia.org/wiki/The_Lady_of_Shalott#/media/File:John_William_Waterhouse_-_The_Lady_of_Shalott_-_Google_Art_Project.jpg - Lamp: https://jazminabroad.files.wordpress.com/2012/06/dscf7432.jpg - Dock: https://static.turbosquid.com/Preview/2014/07/08__16_13_01/thumbnail2. png127f37a6-08ec-4bf6-8699-b499c20fbf31Original.jpg - Background: http://wallpaperrs.com/uploads/nature/earth-reflectionbeautiful-cloud-night-water-calm-mist-lake-mountain-out-of-this-world-wallpaper-8-14297749082.jpg
10
of the white half. This was to represent the two sides, a bit like a yin and yang symbol , because I had to try and think of something that could be used to represent not only the water but also the theme of contrast.-
Zoomed in view of the personalised symbol
Split photo into two to do the side nd back view for the Perspective 1; these two images are one; a serene view of one of the Venetian palaces in the background.
Originally the outlines for Perspective 1, I had to correct the Illustrator file because it would not link to Photoshop, and therefore a lot of the textures could not actually transfer over, as the program did not differentiate between the characters and the floor. I chose the positioning of the characters based on whete Marco Polo would be walking, how he would interact with the characters themselves, and where he would end up.
For Perspective 2, I had a dock inserted into Rhino in the previous trial version, but I had apparently distorted the image in Rhino too much, and it ended up being very difficult to fit a png image into the outline. Therefore, the image to the right is the second, successful trial version where the dock was removed and only the lamp, bridge, tree, and canoe is left over. For the tree, in Photoshop, it was difficult to fit it perfectly, so I used the lassoo and marquee tool to copy parts of the tree and fit it into the outlines.
11