Fod landscape m4 journal template(1)

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD James Cowie

910210 Brooke Elizabeth Gibson + 13

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WEEK 9 READING: PERSPECTIVE AS A SYMBOLIC FORM

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

Durer defines perspectival space as a surface being reinterpreted as a picture plane, upon which objects or lines are projected. Durer further summarises perspectival space into three rules; with the first being all perpendiculars or orthogonals must meet at the vanishing point. The vanishing point is a point that is itself perpendicular from the eye to the picture plane. Secondly, all vanishing points must have a horizon line; a horizontal line through the central vanishing point. Finally, objects are relative to one another in terms of space and distance; as equal dimensions diminish progressively as the recede into space.

Question 2: Describe homogenous space?

Homogenous, or continuous, space is that which is infinite and unchanging, thus fully rational space.

Homogenous space is produced by means of mathematical construction; being defined by a central perspective, which consists of a single and immobile eye (individual vanishing point) and a planar cross section that is a reproduction of the optical image. Furthermore, it is of purely logical functionality, with points being expressions of ideal relations, rather than dimension driven.

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INVISIBLE CITY: Pyrrha

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OLD QUAD ISOMETRIC

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OLD QUAD ISOMETRIC WITH NOTATIONS

The notations are a symbolic representation about the city of Pyrrha. The first perspective is shown having less people, through the singular and smaller circle, while also being a lighter and more inviting scene, through the lack of wind (the singular wavey line) and outwards pointing arrows. In essence, an idealised city or dream. In contrast, the second perspective represents a harsh reality through larger clumps of people and a darker setting, seen through the inward pointing arrow symbolising melancholia and the thicker curved line, detailing heavier winds. Furthermore, the semi-circular dashed line highlights the transition from serenity to chaos.

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QUAD PERSPECTIVE 1 + 2 The

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tion, as the dream is the main point of focus for the first scene.

The second perspective had more information to include, specifically houses clumped at intervals, therefore this view allows for imagery detailing such to be viewed in entirety, and not be cropped to fit the picture plane. Furthermore, it also helped emphasise the melancholia felt by Marco Polo to the extent he found himself corned in reality that wasn’t to his expectations.

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PERSPECTIVE SCENE 1 + 2

The essence of this scene was to interpret Marco Polo’s envisionment of the city he described as ‘Pyrrha’ in his dreams. Although largely abstracted, the core ideas expressed in the story are nonetheless apparent. The city is seen as the towers in crystal ball suspended by a hand emerging from a goblet; as Pyrrha is believed to be high towers enclosed like a goblet. In the distance there can be seen a bay, indicative of Pyrrha’s percieved geographical orientation. To further highlight the granduer notions of the idealised city, materials such as marble and venetian tiling, as well as detailing on the column bases, has been employed. The doves, a reference to the doves of Piazzo St Marco in Venice, and the women, dressed in finer outerwear of the 14th and 18th centuries, are primarily used to fill in unused voids; however, still follow in sync, as these may have been the inhabitants of Pyrrha. Furthermore, the composition of lighting and imagery combined creates a gentle scene of an idealised city, perhaps only visited through dream.

In contrast, the second perspective is representative of the unexpected reality that Marco Polo encounters on his arrival to Pyrrha. It is confronting to the extent that it represents the antithesis of the city Polo had seen in his dreams. Once more, the scene is largely abstracted to amplify such. This is seen through replacing the clumped buildings with Henry Moore’s sculptural sketches, being enlarged humanoids, as these add more tension and have the effect of overwhelming the figure of Marco Polo. A jester is seen laughing at Polo, representing the embarrassment that Polo potentially felt on discovering Pyrrha to be not what he thought. Furthermore, a desert backdrop, along with a dust mask, has been employed as means of showing simultaneously the dust, but also rolling coast. When looked at through the arches, the desert is ambiguous in form to a large extent, and can therefore be interpreted as such a landscape.

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WEEK 4 READING: MAPPING THE UNMAPPABLE

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

Allographic practice, or art, is ultimately something which can be reproduced. Allographic art operates therefore on the basis of notation; which is defined by interpretation and convention. Architectural drawings for instance, are an example of an allographic practice. Drawings are defined by convention, such as markers and scale, but also dimension; thus, can be reproduced as any given time. In contrast, autographic practice involves arts like painting and sculpture, that depend on the authenticity upon contact of the author. It is that which holds inherent value as an original piece of work.

Question 2: Why do architects need new representational techniques?

Technological change is the predominant catalyst for architects needing new representational techniques.

As technologies become more complex, simultaneously means of understanding and representing the tangible through the intangible evolve and adapt. Furthermore, the impacts of economic, social and cultural change have had a profound influence over how information is represented. For instance, human reliance on information technology, has changed the perception of a city being a place of architectural prominence.

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FINAL DRAWINGS Cities & Names 3: Pyrrha

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2 1

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Key 1 5

2 3 4 5 6 7

0

1m

Perspective 1

2.5m

8

5m

Stare Glance Large Step Regular Step Joy Melancholia Group Wind

Perspective 2

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