Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Claire Woodward
(915 504) Carl Areskoug + Studio 15
1
WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The concept of perspectival projection, as described by Durer, is a one point perspective by which the eye line is always on the horizon and follows three rules. Whereby perpendicular and orthogonal lines must meet at the same vanishing point, moreover any parallel lines, regardless of their directionality, must have the same vanishing point. For horizontal projections, this point must be the horizon and lines of a 45-degree angle within the picture plan should reflect the distance between the picture plan and the eye of the viewer as equal dimensions gradually recede proportionately towards a vanishing point. These features create a representation that aims to act as a window into a space.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space refers to a ‘central perspective’ and in turn is a mathematical, unchanging, infinite physiological perception of space. This space rather aims to reflect a functional space. Points within a space aim to reflect an objects position and relationship to the space. Moreover, this allows an object to be drawn with the same magnitude from any given point and any given direction. These qualities are created following two assumptions; that we see with a single and immobile eye and that the planar cross section of the visual pyramid can pass for an adequate reproduction of our optical image. Therefore, this explores the discrepancy between reality and the eye and demonstrates that perspective drawings are not true representations of what you see.
2
CITIES & SIGNS 1: TAMARA
3
OLD QUAD ISOMETRIC 0.01mm lines used for vault and ribs to create a transperant appearnce so that symbols can be seen clearly below
0.25mm line weight and rendered exterior to indicate section cut
0 1m
4
2.5m
5m
OLD QUAD ISOMETRIC WITH NOTATIONS
Layered arrows enhance the encroaching emotional heaviness felt as you walk through Tamara, also exemplify how direction is dictacted by Tamara.
Layered circles demonstrate how the characters are hidden within the columns at different levels acting as guardians - hence their dense placement close to portals. Circles indicating the guards to protect unwanted people entering through the portal (indicated by my created symbol) to the true Tamara
0 1m
2.5m
5m
Curved lines indicate darkness to demonstrate Tamara’s desired to deter visitors from entering this space
5
QUAD PERSPECTIVE 1 + 2 Perspective 1: The Arrival It was important to capture the emotions and appearance as you ‘arrive’ in Tamara as it explores the confusion and curiosity felt. It would be expected that you would arrive at a bustling city, full of life and activity, but in reality, you arrive and the city doesn’t appear to be there at all. Only after closer inspection do you begin to see the hints of human life and activity in the form of figures, signs and light. This view also illustrates the way the architectural nature of the Old Quad dictates framed views through the repetition of groin vaults and columns, reflecting a canopy of trees. Perspective 2: An Insight
6
This second view is important further explain some of the concepts explored throughout Marco Polo’s chapter. Consequently, it is a closer view that zooms in directly on two portals. This perspective begins to give away some of the secrets of Tamara as it allows you to inspect closely the detail of each feature. Even so, it is still clearly dictated by the city as the use of light and dark directs your eyes to specific spots and hides others. This is also why white lines were used with a clearly defined hierarchy of line weights as it helps to frame these spaces through contrast and depth.
PERSPECTIVE SCENE 1 + 2
Specifically, perspective one remains rather untouched. The chaos and life is restricted to the constraints of the architectural forms of the Old Quad helping to integrate these spaces. Moreover, it alludes to the features you will begin to see as you travel through the space.
Perspective two aims to encourage viewers to take their exploration and attention to detail a step further. Some of the hidden features begin to reveal themselves such as the doors to the portal entries, the signs are more obviously placed and the figures hidden in the trees and bushes begin to reveal themselves. Even so, the true meaning is never revealed, the content on the signs is often ambiguous, one eye or parts of the figures are still covered so true form is never revealed.
Overall my perspectives aim to create a sense of confusion but beauty. While most things are hidden and hard to find there are constant signs of human life and activity. These hidden characters throughout the perspective encourages viewers to explore the space in more depth. The heavy leaves in the foreground make the city appear as if it is overgrown and untouched but just organically developing with time. Light is highly important throughout the perspectives as it indicates a space beyond while leaving what this could be hidden. Thus, encouraging imaginative exploration. Directionality is also predetermined through subtle uses of light and dark as well as physical signs and barriers. Animal footprints reflect the path Marco Polo takes as he travels through the city illustrating that this dictation is apparent for everything that enters the space. It is also highlighted through the use of warning sign, rock piles, dark shadows guide viewers away from spaces. This reflects Tamara’s desire to hide some natural beauties from visitors as behind you can see a glimpse of a cascading waterfall. Finally, the use of heavy line weight helps create framing which in turn illustrates the way Tamara controls what you view and how you remember what you see throughout your visit as they only desire to give you a taste of the beauty that lies beyond.
7
WEEK 4 READING: MAPPING THE UNMAPPABLE ON NOTATION
Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) The difference between autographic and allographic is the manner in which the author contributes to the discussed piece. Autographic relies on a direct contribution from the author for example a sculpture, painting, more generally artworks by which an author controls the representation and it consequently cannot be reproduces. Allographic, however, does not rely on an author’s direct contribution. Consequently, it has the ability to be reproduced from a distance and acts as an interoperative diagrammatic notational device, for example a plan from an architect is later interoperated by a construction team who reproduce it as a building.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) It is important that manners of representation follow the developments of technology. This creates an interdisciplinary environment which will result in well composed designs that are highly informative and play with different mediums, for example architecture incorporating film, and music. This develops a form of architectural notation by which representations are more abstract such as emotions, movement and time thus providing a greater insight into the space that otherwise would not be obtained. This will allow architects to address not only a building or space but the greater social and political needs of society adding a new dimension to representational techniques.
8
FINAL DRAWINGS Cities & signs 1: tamara
While the isometric notations are detailed and busy, the ordered nature ensures that they do not become overpowering and is consequently well composed. This is also an important feature to reflect the emotions and movement in the perspectives.
Key Persecptive 1 Perspective 2 Glance Stare People Heavy 0
1m
2.5m
Movement/ Step
5m
Darkness Portal
In order to ensure the overall layout is well composed and visual sticking it is important there are similar tones within both perspective so that their relationship is instantly apparent
Perspective 1: The Arrival
Perspective 2: An Insight
Claire Woodward, 915 504
9
APPENDIX Inspiration : Images The overgrown nature these trees create dark encroaching emotion which will help enhance the heavy dark
Trees on Royal Parade covering the
environment I want to illustrate. This
roads and paths creating an arch. The
will enhance the undefined nature of
groin vaults of the Old Quad act as a
Tamara where the city is not clearly de-
architecture representation of this thus
fined and at first glance it all looks the
the use of trees and vies will blend well
same - nature is a good symbol of how
with the story setting, enabling me to
you cannot see detail at a glance but
link the Venice story into the Old Quad
instead only after closer inspection will
so that it appears natural and organic.
the intricate features show, a concept
I also like the way the shadows manipu-
reflected in Marco Polo’s depiction of
late the ground.
Tamara.
This stone face would allow me to blend Hidden holes, windows and doorways
characters into the structure so that
act as signs of civilization and dwellings,
they are hidden and appear as hidden
while still appearing overgrown which
guards of Tamara. This will also allow
will blend well with the Old Quad and
me to make a hidden city that forces
the tree canopy I want to create.
viewers to fully explore the image to see all the details creating the atmosphere explained in the story
10
Inspiration : Quotes
The eye does not see things but images of things that mean other things. This quote from city and signs chapter 1 has been the leading concept throughout my design of both the perspectives and isometric representations. It indicated a repeating theme throughout the city of the Tamara that nothing stands in its true form but as a sign of what is hidden behind. To reflect this I don’t want to have any characters in their full form as this would contradict the importance of signs and abstract representation discussed throughout.
You walk for days amoung trees and among stones
You leave Tamara without having discovered it. This quote made me question why Tamara cannot be discovered. This lead me to explore the concept of hidden spaces or locations and what if Tamara can’t be discovered because it doesn’t stand where it is defined by a map. This lead me to to think about the concept of portals and if the Old Quad wasn’t actually Tamara but rather the series of gateways that leads to the true city of Tamara. This, again, links with the discussion of signs throughout.
A print in the sand indicates the tiger’s passage; a marsh announces a vien of water; the hibiscus flower, the end of winter
This line is key to the design of the perspectives as it will allow me to use the structure of the Old Quad to enhance the design additions I make so that the two spaces - the one in explained in the story and the given Old Quad frame, will link naturally thus appearing as a though they were always paired.
This quote inspires some of the symbols and textures that I want replicated in my perspectives as they will directly link my designs to the story demonstrating the clear correlation between the words and the images.
The city says everything you must think, makes you repeat her discourse.
You could never really know what you were seeing with just a glance... there [is] always so much more - Sarah Dessen, Just Listen
This explains the way in which the city - or as I imagine the Tamara locals/guardians, has complete control over the way someone moves through the city. They also have the ability to dictate what parts of the city they reveal to you. I want to reflect this by clearly defining spaces through the use of objects (rocks, foliage etc.) and using shadows and contrasts to indicate where light is leaking through from the spaces outside of the Old Quad.
This quote I came across in a book I was reading and it resonated with me as it linked directly with the concepts explored in Marco Polo’s chapter. It discusses the manner in which architecture can act as a frame depicting from a distance only what you desire to see at a glance. But to fully gain an informed understanding of the space you must look at the detail and take the time to explore. I want to reflect this in my perspectives by hiding my characters, some will be prominent some less visible in order to encourage viewers to look beyond the face value and to really look at the detail. This reflects the key themes discussed in the chapter.
11
Process : Sketches and Planning
Drawing a plan helped ensure my notations had purpose and reflected my perspectives accurately
12
As notations are placed in a 3 dimensional space I wanted to use this to my advantage to exaggerate and emphasise the emotions and qualities I was trying to convey
By writing a list of key ideas I am able to reflect after and use them as a checklist to ensure I achieved my intended concept
Process : Digital Development
Working Perspectives
Own Symbol Design
Square edges help it
Overlapping circles
blend with the straight
create a midpoint that
edges of the other
reflects a meeting of
triangular notations.
places to a central point, thus illustrating my idea of a portal to take you to the true Tamara.
Original texture for columns meant to replicate wood, however it was too chaotic
Base textures added in Rhino using material
detracting from design and didn’t blend well
layers
with characters.
Key Editing Techniques Shadows created by duplicat2mm line white to create
ing layer and creating a colour
a white glow then white
overlay which I then offset slightly
paint brush with low opac-
and then blurred giving it a natural
ity used to gradually blend
look.
0.3mm line weight on features in the foreground
White haze created by overlay-
and 0.1mm at the back to
ing a white paint layer and then
create depth
decreasing the opacity.
Vine segments placed to-
An image of a light beam placed
gether using the tranform
under footprint layer, with low
tool and the eraser so that
opacity so that it highlights the
they blend seamlessly and
print against the dark ground.
then black paintbrush tool to create shadows.
13