Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Tony Cheung
(913682) Anneke Prins + Studio 10
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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? According to Durer, there are three rules, or laws for perspectival projection. The first being that all parallel lines or projections in a perspective will share a common vanishing point. The second is that all perpendicular lines that appear to be drawn from the ‘eye’, or the viewer, will eventually converge at the central vanishing point. Thirdly, to maintain the illusion of proportional change throughout the depth of the perspective, dimensions recede gradually, that is, at a consistent rate for each ‘set distance’.
Question 2: Describe homogenous space.
Homogenous space is the space produced by construction. That is, the purely mathematical space that can be constructed to be infinite and unchanging. Here it is implied that the view is projected from a single, static point or fixed eye, as there is only one common vanishing point. This mean it can only approximate our own optical image. All the components or connecting points on a homogenous space are merely coordinates, with no purpose outside the overarching composition.
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CITIES & EYES: BAUCIS
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OLD QUAD ISOMETRIC
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The Old Quad Isometric, created from Rhino software.
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OLD QUAD ISOMETRIC WITH NOTATIONS
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Mapping the movement and observationsof Marco Polo through isometric notation. (Explained later on page 9.)
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QUAD PERSPECTIVE 1 + 2 This first perspective is referencing to the first section of the extract, upon Marco Polo’s first impression of the city ‘in the clouds’ from the ground. The vertical elements are obscured by the columns that run across, and while the ground is scarce of creatures, foliage and nature are abundant.
This second perspective refers to the second section of the extract, where the full view of the city is more frontal and no longer restricted to the side opening of the Old Quad. Less columns are blocking the perspective, creating a wider, spacious atmosphere than the first.
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PERSPECTIVE SCENE 1 + 2
This scene references the initial sighting of the ground, as seen from the dirt textures and foliage spread across the bottom half. The top arches are covered in clouds, hinting that the obscured city is stilll present wherever you go. The mirror at the bottom is a cloud reflection as such. Additionally, the stairs and ladder imply ways of accessing the upper region. The softer, milder greys are used to express the transition to a loftier destination in the sky.
This second scene explores the atmospheric expanse of the cloud city in all its glory. The angle is projected to be more open, spacious and free, just like a cloud. Components such as swings, beams and telescopes express the curiousity of the cloud city inhabitants towards the ground. This distinct separation between the ground and the sky sets apart these hidden denizens from the rest of the world, and yet intends to study the world they left long ago.
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WEEK 10 READING: MAPPING THE UNMAPPABLE ON NOTATION
Question 1: What is the difference between autographic and allographic practice?
Autographic practices refer to art forms which cannot be imitated by anyone else besides the original author. That is, true expression of the forms can only be established by the creator. On the other hand, allographic practice refers to art forms that are interpreted in many different processes, and can be expressed through various means not bound by the creator. This means that allographic arts are subject to notational conventions which leaves a margin of replicating and interpreting by others.
Question 2: Why do architects need new representational techniques? The ‘contemporary age’ of cities and urban spaces pose many more challenges than just the ordinary geographical location. Advancements in communications and technology led to the rise of social and political networks, some which take more priority than just material networks and systems. These changes simply cannot be covered or addressed by old representational techniques. In this present age, architectures must both simultaneously work on the concrete and abstract of design to be effective.
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FINAL DRAWINGS CITIES & EYES 3: BAUCIS
Key 1st View 2nd View Steps Darkness Light Long wait Gaze 0
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Perspective 1
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Elevation
The Isometric Layout & Notation: Marco Polo slowly makes his way through the woodland forest before stumbling across the cloud city in the sky. His gaze is drawn upwards to the centre of the old quad, where the presence of the city’s denizens are slowly revealed to him. Here he contemplates the existence of these omni-present, watchful beings, with all their telescopes, swings and sky-high platforms. This world; human or not, is of a great mystery to him, and it is only after a great deal of time does he make his way back down towards the earthen forest; to the place where the world is once understood again.
Perspective 2
Tony Cheung, 913682
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