M4_ by JINGXIN YE

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD JINGXIN YE

(859311) Emmanuel Cohen Studio 26

WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? Durer has three rules for perspectival projection. Firstly, all perpendicular or othogonal lines must meet at a vanishing point which trvolves around a perpendicular line drawn from the eye to the picture plane. Secondly, all parallel lines need to meet at the same vanishing point and finally rqual dimensions need to disappear as they move further in space so that any portion of the picture is measurable.

Question 2: Describe homogenous space?

Homogenous space is unchanging, intimate and mathematical. All lines connect to one central point, establshing how the lines relate to one another, The homogenous plane refers to a more mathematical sense of area, whereby in a geometrical planeit must be possible to draw similar figures and of all magnitudes from every point in the given space. This space is not known to be a “given space” rather it is produced through the means of construction- it is of a functional reality than a substantial one. The point in the space are representations of their position, which outside of the image have little indepence.

INVISIBLE CITY: City & Sky 2：Beersheba

OLD QUAD ISOMETRIC

0 1m

2.5m

The line weight of the ribs and vaults are 0.01mm and of the rest are 0.1mm. This helps highlighting the elements under the Old Quad's

ities & the sky OLD QUAD ISOMETRIC WITHCNOTATIONS

2: BeersheBa

Key Camera Position

People Heavy Feeling Transition of Space

Stare Glance Movement 0

2.5m

Light Feeling

Final old quad with notation.

QUAD PERSPECTIVE 1 + 2 Quad perspective 1 This view enabled me to interwine objects amongst and throughout the columns. This scene created an inextricable interconnection between the objects themselves and the natural strcture of the buildings.

Quad perspective 2 This view is set at the centre of the quad. It is the area where an amount of sunlight is blocked out with the presence of the columns, thus creating a sense of darkness. Because in the story it mentions that the city below the ground is like a darkhole and is dirty and messy.

PERSPECTIVE SCENE 1 + 2 LIGHT VS DARKNESS

SCENE 1 “MAGNIFICENT HEVEAN” This scene is represents the celestial Beersheba which is a city of pure gold, a jewelcity. The citizens accumulate noble metals and rare stone. So I put many sparkle object and add gold texture on the column to make it looks magnificent. In oder to make it reasonable all the objects are lit by direct sunlight. In addition, I select the sun, star and cloud element to show this is a celestial city. I make the characters in the distance to highlight the objects.

SCENE 2 “THE FECAL CITY” This scene focuses on the Beersheba below the ground. As the story mentions that it is full of rubbish, dirty and messy” or even that its substance is dark, like the pitch that pours down from black hole tho black hole......” It is obvious that I put many dirty objects to creat a sense of sick and twisted world. Also I add the crack on the column add the dark hole at the back to make it more creepy. Because this is the world from the belif of the citizens so it is not real. Hence, I scale the objects especially the rat in a bigger size to make this city abstract.

WEEK 4 READING: MAPPING THE UNMAPPABLE ON NOTATION

Question 1: IWhat is the difference between autographic and allographic practice?

The main difference between autographic and allographic practices are the role of the author of the work, and moreover the nature of their contact with the works, be it direct or indirect. Autographic practices” depend for their authenticity upon the direct contact of the author. Conversly, according to Philosopher Nelson Goodman, allographic practices can “exist in many copies and can be produced without the direct intervention of the author”. Therefore, the metaphorical distance associated with the author and the work is the distinguishing factor between these two practices.

Question 2: Why do architects need new representational techniques? Architects always need new representational techniques because, as it stands, there is currently on” inadequacy of image as a descriptive mechanism”. Allen contends that today’s architectural techniques of representation presume stagnant objects and subjects, whereas in reality, in today’s citities,”visible and invisible streams of information, capital, and subjects interact in complex formations”. Essentially, Allen is arguing that representational techniques must incorporate various facets of our reality;time, scale, points of view, etc. In order to do this, he states some representational “control may have to be relinquished”.

FINAL DRAWINGS Cities & the sky 2: BeersheBa

Key Camera Position

People Heavy Feeling Transition of Space

Stare Glance Movement 0

Perspective 1

2.5m

Light Feeling

Perspective 2

Final A1 Pin-up Drawing JINGXIN YE 859311

APPENDIXï¼&#x161; CHARACTERS AND OBJECTS

APPENDIXï¼&#x161; TEXTURE AND BACKGROUND