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Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Lara Damjanovic

(997 607) Mitchell Ransome + Studio 6

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Dürer’s rules for perspectival projection? Dürer’s suggests that there are three rules which apply to perspectival projection, the first being that all perpendicular lines must meet at a central vanishing point which is the line drawn from the observing eye to the picture plane. The second rule is that all parallel lines must have a common vanishing point and the final rule is that all equal dimensions diminish progressively as they recede toward the vanishing point.

Question 2: Describe homogenous space? Homogenous space can be described as fully rational and purely mathematical space which depicts geometric elements in their relation to one another. Homogenous space describes a functional reality rather than a substantial space or the visual, psychological experience of a space.

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INVISIBLE CITY: ANDRIA My depiction of the city of Andria was inspired by the two phrases, “...motionless in time” and, “... some novelty amongst the stars”. I imagined an angelic city, pure and utopian, where every movement was choreographed and deliberate. Time is never wasted. The imagery of life flowing calmly; the motion of celestial bodies; an unchanging heaven; all of these notions were drawn upon to create the atmosphere of Perspective 1. Perspective 2 was inspired by the astronomers peering into their telescopes, reporting explosion, expansion, contraction and minute changes in colour. A careful and calculating people who find explanations in cosmological happenings, who trust in the unforeseen; that there is always a reason. They are described as being self confident and prudent, considering themselves and others. It is this holistic philosophy that I wanted to portray in Perspective 2.

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OLD QUAD ISOMETRIC

South-w esterly isometric view of the Old Quad structure. The vaulted ceiling and roof structure is a dashed line to make the drawing more readable.

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OLD QUAD ISOMETRIC WITH NOTATIONS

Key: Groups of People

Sound/Volume

Public Realm; Light/Social

Private Realm; Intense/Philosophical

Wonderment Panorama Gaze Perspective 1 Perspective 2

Light / Dark Passage of Time Interior/Exterior Thresholds

Notational diagram describing the movements and atmospheric qualities of perspective scenes.

Speed/Direction of Movement ;catchup; hurried; regal pace; ‘turn about the room’

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QUAD PERSPECTIVE 1 + 2 Perspective 1 This scene depicts what Marco Polo would have observed as he approached the city of Andria. The setting sun illuminates the scene; the last mellow hours of the day. I chose this broad perspective as it allows for the addition of landscape elements to describe the wider context of Andria’s setting. Using a deep perspective allowed me to create complexity in the narrative; layers of movement; smaller scenes within; possible story lines that extend beyond the story of Marco Polo’s experience.

Perspective 2 This perspective is from the northern end of the building looking back into the astronomer’s atelier. It is here that Marco Polo discovers the workings of the city; the meticulous study of astrological and cosmological events shaping the city of Andria. In this scene he is no longer the observer; instead, he stands in the centre of the room discussing the synchronisation of city and cosmos. The camera is turned slightly upward to highlight the grandeur of this room; the vaulted ceiling will be diaphanous, transitioning seemlesly into the heavens. Moonlight streams through the tall windows.

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PERSPECTIVE SCENE 1 + 2 Perspective 1: Motionless in time... With this perspective I wanted to convey an atmosphere of tranquility, calm and spiritual ease. The citizens of Andria, who have more time than they need, go slowly through the city; celestial bodies. Lounging, dozing and lazy bodies occupy the foreground. The woman lying languidly over her tambourine, looks at the viewer (in this case Marco Polo), and draws him into the scene. There is a sense that everyone has their place and knows where they are heading. There is certainty in their duties and still time to ponder. The roof reflects imagery of the heavens, each column dedicated to a luminous star and the constellation it is a part of. A floating astrological map hangs over the city; “and thus the days on earth and the nights in the sky reflect each other”. The building is set high, as close to heaven as possible, the best vantage point from which to observe the cosmos. Planets and stars are exaggerated in their size and proximity to the scene, emphasising the connection to the world beyond earth.

Perspective 1: Some novelty among the stars... This scene is set in the astronomers observatory where the cities’s astral rhythm is studied. Marco Polo is seen standing in the centre of the scene, discussing the ever changing quality of the city with one of its intellectuals. The citizens are seen in groups or solitaire, musing over the wonder of the comos. The atmosphere is more urgent than in the first scene as expressed by the darker lighting, and enclosed space. It is here that Andria’s people must exercise their virtues of self-confidence and prudence. They are seen calculating the risks and advantages of their interventions; arguing for or against an idea; every suggestion must be deliberated and thought through.

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WEEK 4 READING: MAPPING THE UNMAPPABLE

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

Autographic practices include those which require direct intervention or manipulation by the author or artist to exist. They cannot be reproduced or interpreted by another hand and still be considered authentic. Allographic practices however, are those arts which an be reproduced independently of the author or artists through the interpretation of notational information. The authenticity of the work lies in the structure of the notation, which allows the work to be recorded and recreated at will. These arts are of an ephemeral nature and it is for this reason that their abstract expressions must be translated into a tangible form.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) New representational techniques are required to respond to the transient nature of contemporary cities. With intangible overlays, networks and systems now being part of the core structure of modern cities, architects can no longer rely on tangible and finite definitions of form and space to convey their interventions. New techniques must be developed and employed which address the dynamics of time and change.

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FINAL DRAWINGS

Cities & the sky 5: AndriA Lara Damjanovic, 997 607

Key: Groups of People

Sound/Volume

Public Realm; Light/Social

Private Realm; Intense/Philosophical

Key:

Wonderment Panorama Gaze Groups of People

Sound/Volume

Public Realm; Light/Social

Perspective 1 Perspective 2

Light / Dark Passage of Time

Private Realm; Intense/Philosophical

0

1m

2.5m

Interior/Exterior Thresholds

5m Wonderment Panorama Gaze

Speed/Direction of Movement ;catchup; hurried; regal pace; ‘turn about the room’

Perspective 1 Perspective 2

Light / Dark Passage of Time Interior/Exterior Thresholds

Speed/Direction of Movement ;catchup; hurried; regal pace; ‘turn about the room’

Perspective 1: Motionless in time

Perspective 2: Some novelty amoung the stars

The isometric notational diagram illustrates the movements, atmosphere, setting and views of Marco Polo and other characters populating the perspective scenes. Symbols are used to describe the intensity, speed , impact and location of these qualities. The combination of the isometric diagram and the rendered perspective views, gives an understanding of both the sequence of events through the space as well as the experience of these environments.

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APPENDIX: PHOTOSHOP PROCESS

The step by step process of creating the two perspective scenes in Photoshop using the Make2D line work exported from Rhino and edited in illustrator.

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APPENDIX: RENAISSANCE CHARACTERS

A selection of the renaissance characters used to populate the City of Andria. The background of each was removed and then converted to line work in illustrator.

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APPENDIX: NOTATION

The choreography of the scene in plan view.

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The location of the notational elements was adjusted once the perspective scenes where complete and some characters had moved or their movements altered.

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IMAGE REFERENCES : PERSPECTIVE 1

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PERSPECTIVE 2

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M4 Journal - Frame vs. Field - Lara Damjanovic  
M4 Journal - Frame vs. Field - Lara Damjanovic  
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