Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Jiahong Huang
900513 Emmanuel Cohen, Studio 1
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) First, all perpendiculars or “orthogonals” meet at the so-called central vanishing point, which is determined by the perpendicular drawn from the eye to picture plane. Second, all parallels, in whatever direction they lie, have a common vanishing point. Finally, equal dimensions diminish progressively as they recede in space, so that any potion of the picture is culculable from the preceding or following portion.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space is never given space, but space produced by construction, the reality of it is a purely functional and not a substantial reality. The terminal foundation pf the hmogeneity of geometric space is that all “points” in one of it are mere determinations of position, they have no content without carrier--geometric space, and relate to each other. Their homogeneity signifies nothing other than this similarity of structure, grounded in their common logical function, their common ideal purpose and meaning.
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INVISIBLE CITY: THE STY 2: BEERSHEBA
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OLD QUAD ISOMETRIC
0
1m
Isometric without symbols
4
5m
OLD QUAD ISOMETRIC WITH NOTATIONS
0
1m
Isometric of the city
5m
Regular Narow CharHeavy Linght Glance Stare Moving Light & Passage of
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QUAD PERSPECTIVE 1 + 2 Perspective 1: The position of seeing this scene is where the light most sufficient in the city, standing here, Marco Polo can see everything clearly, the decoration on vault, people’s wearing, columns, everything people like and what they want to show can be clearly transmited.
Perspective 2: The position of seeing this scene is the darkest place in the city, what could be seen here in the city are in shadow. Dark is what human refuse to meet biologically, by this view can we find citizens in Beersheba are afraid of, what they do not want to perform or what they want ot hide.
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PERSPECTIVE SCENE 1 + 2 Perspective 1: The house is the place where citizens live in, this scene is the actual emvironment and what people want to present. Citizens decorate themself and the vault to show their emphasis--the heaven and themself, the treasure they like, but in fact, what they want is just to make themself looked decent, broken tiles on columns tell every thing that they ignored the broken circumstance. Citizens do not care about the world underground, they employ cleaners to keep the world looked clean, but it is just a show, they do not even find rubbish are not clean off. Marco Polo stands there and sees the chase of treasure of citizens, but also sees the price they pay for chase that the polluted air, muddy ground and rubbish mountain out of the city.
Perspective 2: The position Marco Polo stands in is the darkest place on the city, fron here, he sees the most real scene that evil things are the main features in this city. Spider, mouse, snake, the representatives of greedy, culculating and miserly make what the world have disappeared, in the mean while, people are still in the imagine of their expect of future or the heaven, what the can see or they want to see is the peaceful sea. In the contrary, the most important thing and the true treasure is the ground, here representated by brocaded carpet which was not be aware by citizens.
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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic: like painting and sculpture, it depends for their authenticity upon the direct contact of the autor. Allographic arts are those capable of being reproduced at a distance from the arthor by means of notation. Allofrapgic arts poerate through interpretation and on the bais of convention. they are subject to changing standards of performance.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) To elaborate the consequences of architecture’s mixed status requires looking more closely at the interaction of the built and the drawn. Architectural drawing is transitive in nature, uniquely capable of producing something new from something else. In order to map the unmappable territory, the convention of representation itself need to be rethought. The representation of the contemporary city is no longer determined by a ceremonial opening of gates, by a ritual of procession and parades, nor by a succession of street and avenues. From now on architecture must deal with advent of a ‘technological space-time.’”
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FINAL DRAWINGS Cities & the sky 2: BeerrsheBa
Regular View Narow View Characters Heavy Mood Linght Mood Glance Stare 0
1m
2.5m
5m
Moving Speed Light & Dark Passage of Time
Perspective 1
Perspective 2
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