Fod landscape m4 journal pdf 2

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Alessandro Antoci 849802 Hana Nihil, Studio 19

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection?

Durer viewed perspective as the process of “seeing through”, derriving from the latin meaning of the word, ‘perspectiva’. He perceived it as a transformation of the enitre picture as a pose to adjusting the scope of several elements in the frame. To do so, he used vanishing points and peoples distances being reduced to denote depth. This served to convert the surface upon which the induvidual objects are presented upon, creating a more realistic depiction of depth. In addition, Durer’s primciples of perspectival projection consist of the picture as being a window view into another world, a view gives priority to the viewer. This acts to emphasise the image’s transition from canvas to the observer’s view into a world with perceptable depth.

Question 2: Describe homogenous space?

According to the renaissance academic Leon Battista Alberti, all space is homogenous. It is the space where all objects exist, linked by a “single calculable medium”. Homogenous space raises ideas regarding the nature of space and the differences between surface and spatial objects. In particular, this notion highlights how all objects are bound to interconnected to each other, through universal and mathematical relationships.

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HIDDEN CITY: OLINDA

Olinda which, in its reduced dimensions retains the features and the flow of lymph of the first Olinda and of all the Olindas that have blossomed one from the other; and within this innermost circle there are already blossoming-though it is hard to discern them-the next Olinda and those that will grow after it.

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OLD QUAD ISOMETRIC

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CITIES & THE SKY 3: THEKLA OLD QUAD ISOMETRIC WITH NOTATIONS

Key Regular View Narow View Large Step

remember to insert your scale bar

Regular Step Small Step Difficult Step City Sign

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Physical Link

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QUAD PERSPECTIVE 1 + 2 Perspective 1 This viewpoint gives the reader an overview of the layout of the buildings, in particular the concentric arrangement. The viewpoint highlights how the structures derrive from a central point. Furthermore, this perspective centrally frames the objects, framed by the pillars and arches of the quad, exhibiting the rigid arrangements of the entire system.

Perspective 2 The main objective of this view is to showcase the differences in height between the different regions. This perspective also serves to expose the differences between the different buildings and how the inner-most ring of buildings pushes outward on those around it.

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PERSPECTIVE SCENE 1 + 2

Perspective Scene 1 The scene shows the central point and all the rings of the city derriving from a central point, a seed. Like scene 2, the perspective shows the decay of buildings from the different regions in detail. However, in this instance, mainly of the older, outer regions of the city.

Perspective Scene 2 This scene is a close up of the quad and the buildings, showcasing the passage of time.

Also, this provides a clearer view of the ceiling, the cracks annd mould appearing in the sections of the quad furthest away from the expanding city centre.

The choice of building is Le Corbusier’s Unite d’Habitation, a revolutionary housing project encompassing a city within a single unit. I chose this building since the‘squares’ within each building combine to emphaisie the perspective, reinforcing a continuation of time.

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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:

Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic arts are art forms where the value of the work lies within the original artwork, they depend on the authenticity of a direct link between the artist and their work. Artforms where this practice is most evident include sculpture and painting, works that re physcially present.

Allographic arts obtain their value not mainly through value in the original work of art but their value derriving from the original artwork. Hence, they are able to be reproduced “at a distance of the author”, through a method of notation. Artforms such as theater, music and poetry all classify as allographic artf. As this artform is an artisit’s interpretation of the already exisiting, there is a guarantee in regards to a degree of conformity to the basic structure of the work.

Architecture as an artform draws aspects from both practices. Like allographic art, architecture is not concerned with imititating what already exists. Instead, it derrives from other styles and forms as well as the fact that until constructed (consisting from of a series of drawings) is a yet to be realised work, awaiting to be transposed into physical form. Furthermore, they serve as autographic artworks by being durable and physically present, having a solid connection to the author, in this instance, the architect.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) In order to remain relevant in society, architecture needs to work beyond the simple means of representing an image, rather embody the social and political implications through its works. Since notations are incomplete representations of the final artwork, they are left open to interpretation, consequently invoking the consideration of social and political representation as the artform is completed in physical form. However, cities today are everchanging and rapidly evolving environments, comprisised of fast flowing “visible and invisible” information. In order to stay pertinent, architecutre constantly requires new representational techniques. This enables the incorporation of the “simulataneous and interplay of information” in abundance todays cities, suggesting new ways of working.

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FINAL DRAWINGS Cities & the sky 1: Olinda Hidden Cities: Olinda

The character begins their journey at perspective 1, peering through a gap between 2 buildings and viewing the city of Olinda in front of them. They walk through this gap, then begin to crouch, in order to observe a set of buildings smaller than those before.

The character then makes thier way to perspective 2, at the heart of this city. They are now having to crawl and squeeze through the gaps, since the buildings are miniature in order to arrive at the city’s point of origin, the centre.

Key Standing tall Crouch Crawl

The rings showing the passing of time on the isometric view is not representative of the movements of the character. Rather they represent the expansion of the city over time, and how it decomes decayed and abondened.

Stare Building Seed Time 0

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Perspective 1

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Perspective 2

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