FoDR M4 journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Yichen Cao

900359 Carl Areskoug Studio 15

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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 state that all perpendicular orthogonals meet at the vanishing point. All parallels, regardless of direction have a common vanishing point. If the object is located on the horizontal plan, the vanishing point is located on the horizon line. However, if the object is perpendicular then the difference between the vanishing point and the central vanishing point is equal to that between the eye and the picture plan. Another rule stated is that equal dimensions should dimishing proportionally. Therefore, any portion of the picture can be calculated from it former or following parts.

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

Homogenous space is infinite or unchanging. Space is homogeneous when given a construction that is purely mathematical. It assumes that we see with a single static eye rather than with two eyes. Some consider it as a space “produce by construction“ rather than a “systematic abstraction“. Homogenous space is neither directly measurable nor accurate.

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INVISIBLE CITY: OLIVIA

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OLD QUAD ISOMETRIC

Isometric Old Quad using Make2D command to build in Rhino.

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OLD QUAD ISOMETRIC WITH NOTATIONS

Isometric with linework adjusted in illustrator, with section painted in black and vault and ribs stokes sized down. Using symbols to show Marco Polo’s journey and emotional changes.

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QUAD PERSPECTIVE 1 + 2 Perspective 1 This view gives different layers of depths so that I can arrange characters in different orders. There is a chunky column in the front which brings heavy mood and contrast with the delicate white peacock by its side. Futhermore, it gives beautiful contrast of shadows and lights.

Perspective 2 This view gives great openess. It has more shadows from this angle compared to the first one.

Also it leaves a light spot on the left corner where I can put the character that I want people to concentrate on.

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PERSPECTIVE SCENE 1 + 2 The falsehood This perspective depicts the scene in the story that a white peacock is spreading it tail, walking on a lawn. I tried to extend the content of the story by making the women on the streets seems to mock at the poor girl. As a saying in the story goes, “Falsehood is never in words, it’s in things.“ I tried to convey that sense of sarcasm and depict the detachment of this city. I use collage in different art forms but closely related to the story on the background and the contrast brought by pop dots and sandstone texture on the column to make the sense of sarcasm even stronger.

A destined tragedy This scene depicts a lady who is trying to escape from the chase of the Mafia. Her plan is to take on a gondola that is leading to the carnival and hide her face under a mask. But unfortunately se failed. There is a white peacock laying in blood, which symbolises the tragedy. There is a mafia sitting in the bar, on which the wall has seven cutouts of scenes from film noir which foreshadows the lady’s death. For the background I was trying to make it looks like a galaxy pouring into the river by using clipping mask, galaxy texture and water brushses to blur the edges.

It was dedicated to collage art. To bring some realness to the river, I use different water brushes and grass brush.

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WEEK 4 READING: TITLE OF READING

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic depends for its authenticity upon hte direct contact of the author. It must be developed and produced by the same person. Examples are painting and sculpture. Whereas allographic arts can exist in many copies. They are those capable of being reproduced at a distance from the author by means of notation. Examples for allographic arts includes music, poetry and theater. Allographic arts operate through interpretation and on the basis of convention. They are subject to changing standards of performance. The use of notation is the defining characteristic of the allographic arts due to the ephemerality of the work itself or the need to coordinate an complicated collaborative structure such as dance or symphonic music. In these artforms, the abstract schemas of representation preced the tangible form of the work. Last but not least, allographic arts do not imitate or reproduce something already existing, they produce new realities by means of notation.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Everyone interprets things differently. And what architects does is to represent subjective experience like emotion or phenomenoly in quantifiable ways like numbers and notations. Therefore developing new representational techniques and incorporate different mediums assist architects to represents combining abstraction and quantifiability.

But technique is never neutral, and the means of representation always leave a trace on the construction. It is this continual shuttle between the abstraction of architecture’s graphic instruments and the concreteness of the building that defines the work of the architect, and makes it possible for architecture to work within the complexity of the real, and to engage the shifting field of the comtemporary city.

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FINAL DRAWINGS Cities & signs 5: Olivia

The isomectric view shows the journey of Marco Polo in city Olivia. Arrows represent Marco Polo’s movement.

Symbols representing emtions are floating in the space and in different size to quantify the degree of heavy or light moods. Curvy lines shows the passage of time in the story. Circles on the ground represents people in the city.

Key Regular View Narow View Large Step Regular Step Small Step Difficult Step City Sign 0

1m

Perspective 1

2.5m

5m

Physical Link

Perspective 2

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Appendix

This view gives openess and layers of depths. The way I arranged the orders and ajusted the sizes of the characters follows the Durer’s rules for perspectival projection. I scaled those characters using BoundingBox. Those silhouettes are traced in outlines in illustrator first, then made by using PlanarSrf in Rhino. This view also gives a contrast of shadows and light. So I placed the white peacock and the lost girl under light and shadow respectively to create the contrast.

Compared to the first scene, this one has more shadows than lights, so it creates a heavy mood that I was looking for. In this scene, instead of placing the characters that represents darkness under shadow, I placed the dead peacock under the brightest spot in this scene because I want to make people concentrate on the strongest shock that I create and to immerse them in the same emotional crashes as Macro Polo experienced.

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Characters

I added a white peacock that was killed in my scene not only because it makes strong contrast with the peacock that is spreading its tail, but it also serves as a metaphor that represents the purity of the city Oliva, and it was killed to reveal the A lost and poor girl walking on the street of city

The fountain represents the prosperity of Olivia in a

decadence of the city. I placed it under the direct light to make the contrast even stronger. To get a clean transparent

Olivia.

subtle way. Instead of using a palace, the fountain

background and all the edges of the feathers, I use RGB channel for image matting. I use brushes and blood texture in

can be seen as a part representing the whole.

photoshop to make it looks more realistic.

I use the Rialto bridge in Venice to match the backA wagon

ground setting of Invisible cities.

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Characters

I took this figure from the famous painting The Lady of Shalott by John William Waterhouse in 1888. In the original

The Lady of Shalott is an 1888 painting by the English Pre-Raphaelite painter John William Waterhouse. It is a represen-

poem, the lady was sitting on a boat leading to her death. It adds a sense of destined tragedy and a layer of poetic

tation of a scene from Alfred, Lord Tennyson’s 1832 poem of the same name.

aesthtic to the scene, which is the mood I was trying to create. I used channels for image matting and added she to a gondola to match the background setting in Venice. I also added a mask in her right hand to represent she’s on her way to a carnival. In her left hand she’s holding a peacock feather, which connects her to the peacock.

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Backgrounds

This background is from the 1942 painting called Nighthawks by Edward Hopper. I use it because it creates a mood of ten-

Nighthawks is a 1942 oil on canvas painting by Edward Hopper that portrays people in a downtown diner late at night.

sion and detachment in the scene. I use brushes and textures to change the sign to Olivia. In the background I use clipping mask to get seven cutouts which are originally from film noir. Although the scene froze, but those hints on the background continue to tell the story and reveal the destined tragedy on that girl.

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Appendix

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The build up process of the 3x3 Old Quad model in Rhino.

It took me several times to get the make2D right.

Isometric view without vault can make it easier to see through the movements of Maco Polo and his

Old Quad, University of Melbourne.

mood changes.

References:

Dogma Architecture

A Garden for Fantasy by KooZA/rch

North Bank by OMMX Architects

Pulp Fiction, Director: Quentin Tarantino, 1994. The cinematic Montage way it used to tell the narrative largely inspired me to deconstruct my original story and create contrasts and symbols. It has affected my choices on adding characters.

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