Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Yupeng GAO 978292 Anastasia Sklavakis, Studio 19
1
WEEK 10 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Perspectival projection originally means ‘seeing through’. Durer’s rules for it are firstly, a central vanishing point, determined by the perpendicular drawn from eye to the picture plane, is the place where all perpendiculars join together; secondly, a horizontal line through the central vanishing point is where all parallels’ only common vanishing point lies; thirdly, if they form a 45-degree angle with the picture plane, the distance between their vanishing point and central vanishing point is the same as between the eye and the picture plane; lastly, equal dimensions lessen gradually in space.
Question 2: Describe homogenous space? (Maximum 100 words)
Homogenous space can be described as a purely mathematical space which is infinite and unchanging. It merely focus on the similarity of structure, based on common logical function, common ideal purpose and meaning. There is no strict homogeneity of position and direction for which they it is constructed against visual and tactical space. Moreover, Panofsky argues that two important assumptions of homogenous space is that firstly observing with a single and fixed eye; secondly, the “planar cross section of the visual pyramid can pass for an adequate reproduction of our optical image.”
2
INVISIBLE CITY: Eusapia
3
CITIES & THE SKY 3: EUSAPIA
OLD QUAD ISOMETRIC
Yupeng GAO 978292
The city of Eusapia comprises two parts. One was above the ground while the other was built underground. According to the narratives, mostly the dead lived underground and the people alive were living above. Moreover, two parts of the city had merged together in a way, which was hard to recognize the differences. Therefore, I regard the old quad as a transfer station between the two different parts, so I divide it into two parts, where the upper, at top right, owns one third and underground one owns two thirds. More importantly, the gravity of the underground world is in an opposite way, which makes it upside down.
0
1m
2.5m
5m
The old quad isometric without notation
4
CITIES & THE SKY 3: EUSAPIA
OLD QUAD ISOMETRIC WITH NOTATIONS Yupeng GAO 978292
Key Human characters Dead/undead characters Mood - Heavy Mood - Light
In terms of the notations, most significantly, due to the downwards structure and the life with opposite gravity of the underground part (bottom left section), the symbols of notations have to be on the top of the “ground� otherwise they cannot be seen clearly. Moreover, I have used different groups of arrows to show the different atmosphere in both parts of the city, of which the mood in underground part is lighter than the upper one). In addition, all notations are accurately aligned with the images shown in the two perspectives.
Perspective 01 Perspective 02 Stare Glance Movement - Slow Movement - Fast Light / Dark 0
1m
2.5m
5m
Passage of Time Transition of Space
Old Quad Isometric with notation
5
QUAD PERSPECTIVE 1 + 2 Perspective one represents the entrance towards the underground city of the dead from the upper part where most of the people are alive. This perspective would largely show relationship between two parts of the city where many people on the top would migrate to the underground in order to enjoy life and flee care or they sometimes put the corpses there, supervised by hooded brothers who formed an organization to bridge the communication and connection between two parts. Moreover, not only the details of the entrance, through the centre of the image, the exterior of the Old Quad will also be depicted, which means that the feelings, overall understanding and atmosphere of the upper city can be shown largely. In addition, people or the undead are coming from the right of the image towards the “gate“ of another world.
Perspective 1 Perspective two is aimed to depict the life of underground part of the Eusapia. The view point is set to show the scene as much as possible while not lose the details of the figures. Therefore, the corner of the plan is the perfect point for observation, where Marco Polo just entered the underground world through the entrance above and was being shocked by the scene of the first glance. Furthermore, a column was been cut off, which was corresponding to the narrative which demonstrates the slight but innovated changes done by the dead. In addition, diverse layers of depth can be shown easily in this view with sufficient depth, which is critical for creating the sense of three dimensional effects and reality.
Perspective 2
6
PERSPECTIVE SCENE 1 + 2 In perspective one, the “transfer station” (entrance) between the living and the dead is shown. Therefore, I have chosen two groups of people who are carrying corpses, entering the dead world through the vague and bright “blackhole”, in order to flee from the reality and lead an enjoyable life. There are also two hooded brother with shiny eyes and glowing outline, which indicates their unusual status. In the background, the exterior, where the upper city located, is depicted with darkness, sadness and loneliness, which shows the imitation and the over-emphasized illusion of dead world in a narrative way.
Perspective 1 Perspective two mainly depicts the central life of the underground city. On the bottom right, a corpses just woke up to become an undead while a group of undead and human were having fun, drinking and singing together harmoniously and peacefully. On the left hand side, a clock shop was located where brocken clocks were on sale. All the figures that were undead were becoming more and more like skeleton, which might truning them into one evantulate
Perspective 2
7
WEEK 11 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) On the one hand, according to Goodman, art work like painting and sculpture, whose authenticity relies on the direct contact of the author, belongs to the autographic arts. The authenticity of it can hardly be transferred or altered. On the other hand, allographic arts could be reproduced without author by use of notation. For example, music and poetry as allographic arts can exist in many copies and operate through interpretation from the notation, which leads to great innovation and the new reality based on the notation.
Question 2: Why do architects need new representational techniques? (Maximum 100 words) The conventional and traditional representation were only capable of capturing the stable and fixed objects and this method can no longer meet the requirement of reflecting the complicated, dynamic and rapidly transformed society today. For example, the contemporary importance of light, transparency or the technology like air conditioning or the large digital screen all contribute to both visible and invisible streams of information and dynamic interaction with environment, which are difficult to express in the traditional method. Therefore, new representational tech-niques are needed to a great extent.
8
FINAL DRAWINGS
CITIES & THE SKY 3: EUSAPIA Yupeng GAO 978292
Key Human characters Dead/undead characters Mood - Heavy Mood - Light Perspective 01 Perspective 02 Stare Glance Movement - Slow Movement - Fast Light / Dark 0
1m
2.5m
5m
Passage of Time Transition of Space
Perspective 1
Perspective 2
Final drawings with isometric, perspective 1 & 2
9
APPENDIX 1:
Hooded brother in Perspective 01.
Groups of undead and people in Perspective 02.
10
Some important Original images of the characters in the drawings
Details in Perspective 01.
People carrying the corpses in Perspective 01.
Former choice
People carrying the corpses in Perspective 01.
Some images of background or texture
APPENDIX 2:
Image of texture of the entrance in Perspective 01
Image of the texture of the Columns in both views.
Image of Skulls, used to merge with the face of undead in Perspective 02
Image of the texture of the Roofs/Ceilings in both views.
Image of huge clocks in Perspective 02.
11