M4 Frame vs Field

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Julien Q Macandili

826591 Carl + Studio 17

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Durer’s rules for perspectival projection are: (1) orthogonals meet at the central vanishing point, (2) all parallel llines have a common vanishing point, if the parallel lines lies on the horizontal plane then their vanishing points always lie on the horizon; if they are 45 degrees with the picture plane then the distance between their vanishing point and the central vanishing point is equal to the distance between the eye and the picture plane and (3) equal dimensions diminish progressively as they recede in space.

Question 2: Describe homogenous space? (Maximum 100 words)

Homogenous space is a “fixed view”, a space produced by construction and can be geometrically expressed as that from every point in space it must be possible to draw similar figures in all directions and magnitudes. All its elements (points) are only determinations of position and possesses no other independent content on their own outside of this relation.

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INVISIBLE CITY: Zirma

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OLD QUAD ISOMETRIC

Cities & the sky 3: thekla

0

1m

2.5m

5m

Make2d of the Old quad model as a stage.

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Cities & the sky OLD QUAD ISOMETRIC WITH NOTATIONS

2: ZiRMA

Key Person Crowd Blind Man

Use the eyedropper tool to copy colours and line Cont. moves weights across into your isometric drawing.

Transition of space Darkness 0

1m

2.5m

Train window scene

5m

Perspective 1 Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

Perspective 2

Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

The scenes are seperater by corridors (refer to perspective cameras) and represent different memories, the travellers’, Marco Polo’s, and Marco Polo’s travelling companion (no perpective). A self created is used to differentiate space between the two scenes (a rectangle block) Usekey the eyedropper tool to copy colours a and line Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

weights across into your isometric drawing.

Use Use the eyedropper tooltool to copy colours andand line line the eyedropper to copy colours Use the eyedropper tool to copy colours and lineinto weights across into youryour isometric drawing. weights across isometric drawing.

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QUAD PERSPECTIVE 1 + 2 Perspective 1 includes characters such as a girl walking a puma on a leash, a blind black man tapping his crane, and a lunatic in a corner; all of which evoke confroting imagery. The characters are therefore shown front on as to appear confronting.

Further, the straight corridor is also chosen to reiterate the nature of the imagery .

Perpective 2 is focused on Marco Polo’s memory and therefore his perspective of Zirma. In this scene, Marco Polo remembers dirigibles flying around in all directions.

The perspective looks up to put the focus on the dirigbles much like what Marco Polo himself did. Furthermore, the view accentuates the space and the characters in it making the old quad appear bigger and the fat lady character to, favourably, also appear larger, and ultimately make the imge more bizzare.

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PERSPECTIVE SCENE 1 + 2

Traveller’s memories of trauma as described by Marco Polo.

The scene is composed as Marco Polo begins to walk into the other traveller’s memories of Zirma.

The blind black man is Rogue One’s Chirrut Imwe (a manikin in his clothes), the lunatic in a corner is Alex de Large, and there are also girls with big cats as pets in the bottom far corner. Importantly, the characters are personified traumas as they are told and composed to appear aggressive and unsettling. The repetitive nature is due to the line “ Memory is redundant: it repeat signs to that the city can begin to exist” that was conclusive of the story.

Bizzare memories but memories nonetheless by Marco Polo.

This scene is to be interpreted as Zirma: Marco Polo’s memory, as the city itself. There are dirigibles crowding the scene, a character tattooing, and a fat lady fanning herself. My main goal was to use the characters embedded in the story to make a surreal scene, with the help of repetition and patterns, that represents a collage of memories that dont particularly have a linear relationship but is rather a collection of experiences that is organised by the mind. The organisation process creates a form out of memory and the form becomes Zirma.

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WEEK 4 READING: MAPPING THE UNMAPPABLE Complete your reading before attempting these questions:

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic practice has a more direct to the artist and cannot be reproduced by another without losing its value, examples in the autographic arts include painting, sculpture and photography. Allographic practice, on the other hand, operates through interpretation and on the basis of notation or convention, they also depend on notational practices as a consequence of the ephemerality of the work itself e.g music, theatre.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) New ways of representing is needed as new phenomenas surface due to technological and social changes. Traditional representational techniques presume fixed objects but the contemporary city cannot be confined to an artifact, it is instead a place where “visible and invisible streams of information, capital and subjects interact in complex formations�. For architects to describe or intervene, there is a need for representational techniques that engage with time, change, shifting scale and mobile points of view.

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FINAL DRAWINGS CC ities && thesigns sky 2: ZiRMA ities Zirma

Key Person Crowd Blind Man

Use the eyedropper tool to copy colours and line Cont. moves weights across into your isometric drawing.

Transition of space Darkness 0

1m

2.5m

Train window scene

5m

Perspective 1 Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

Perspective 2

Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

Use the eyedropper tool to copy colours and line weights across into your isometric drawing.

Use Use the eyedropper tooltool to copy colours andand line line the eyedropper to copy colours Use the eyedropper tool to copy colours and lineinto weights across into youryour isometric drawing. weights across isometric drawing. weights across into your isometric drawing.

Perspective Perspective 11: Travellers’ memories of trauma as described by Marco Polo

Perspective Perspective22: Bizzare memories but memories nonetheless by Marco Polo

Julien Q. Macandili, 826591

There are hidden ‘blind man’ notations in the iso, the same arrow notation but attached to the movement notation points to where he is.

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