Fod landscape m4 journal mario olinda

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Mario Yohanes Rinaldy

(917889) Studio Tutor Name + Studio 19

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) According to Durer, perspectival projection follows the rules of: having a vanishing point where all perpendicular orthogonals meet; all parallels have a common vanishing point, in which if they lie on a horizontal plane, the vanishing point will be in the horizon line, but if they lie on a 45-degree angle, the distance between the vanishing point and the central vanishing point is equal to the distance between the eye and the picture plane; and finally, equal dimensions diminish and decreases over the space of the projection.

Question 2: Describe homogenous space? (Maximum 100 words)

Homogenous space is not neccesarily a line, and can be defined as a geometrical space that is produced by construction, in which the concept of homogeneity can be applied on the basis that it is possible to create drawings and figures from all sides and magnitudes, being constructed by a set of rules and instructions.

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INVISIBLE CITY: OLINDA

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HIDDEN CITIES 1: OLINDA

OLD QUAD ISOMETRIC

Key People Rebirth Expansion Shape/Time Perspective 1 Perspective 2

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The isometric view of the Old Quad building with transparent roofs viewed from the South East in 1:50 scale

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HIDDEN CITIES OLD QUAD ISOMETRIC WITH NOTATIONS

1: OLINDA

Key People Rebirth Expansion Shape/Time Perspective 1 Perspective 2

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Symbolic notations and symbols with a key explanation has been added in according to the intrepretation the the given Hidden Cities story of Olinda, a concentric circle city, in 1:50 scale

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QUAD PERSPECTIVE 1 + 2 PERSPECTIVE 1 This first perspective view was chosen as it signifies the growth and passage of time.

The view has a vanishing point on the left side of the image, which the starting point of time is based, while it continues to left, expanind into a much bigger space. The view also feature the central part of the Old Quad building, which later symbolises the heart of the city.

PERSPECTIVE 2 This view was chosen to emphasise on the symmetry of the city. Olinda was described as a city shaped in concentric circles. In this view, it greatly emphasise on the center part of the Old Quad building, as the heart and starting point of olinda.

The view is symmetrical on both sides, which defines the constant concentric circles growth of the city.

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PERSPECTIVE SCENE 1 + 2 PERSPECTIVE 1 In this view, a symbolic intrepretation of the city can be seen. The story of Olinda has a lack of characters and scenes, but rather an emphasis of literal and visual description. First, the fountain located in the center of the Old Quad building symbolises the center of the city, the origin point of the city. Fountains are also associated with oldness and the source of water, in which it can be intrepreted as the source of life of the city. The circular tiles represents the general shape of the city, concentric circles. The kids playing and the old man walking symbolises the passage of time and the condition of the city. Usually, a city’s oldest part is in the center, but in Olinda, the newest part is in the center, while the oldest part of the city is in the outskirts, hence the placement of the kids and the old man. This placement referenced back to the isometric view, where the darker the rings, the older it is. The roof of the building simply symbolises the skylights of the city, where the story describes that the city’s skylights can be seen from above PERSPECTIVE 2 In this view, a literal visualization of the city can be seen. While reading the story, it can be argued that the city undergoes a modernization throughout time, as although the city started in the center, logically the oldest, the story said that the newest part of the city is in the center. This argument can be applied to Melbourne. The starting point of Melbourne is the Hoddle Grid by the Yarra River. As time progresses, it expanded and new suburbs were made, carrying the old style architecture of the Grid. However, if we look at Melbourne now, the Hoddle Grid, now the CBD, is the most modern part of the city, with tall modern skyscrapers, while the suburbs of the city still maintains its old architecture. In the perspective, a ‘model’ city was placed inside the Old Quad building. The high rises are located in the direct center of the building, while the outskirts of it are represented by old city walls, classical buildings, and small town and villages.

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WEEK 4 READING: MAPPING THE UNMAPPABLE

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Based on philopsoper Nelson Goodman’s statement, the key dividing factor between autographic and allographic practice is the intervention of the author. For example, artworks such as painting and sculpture need to have direct contact by the author to support their authenticity, while other types of artworks such as music and poetry, exists in many examples and does not need the intervention of the author and can be reproduced with means of notations.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) The architect’s drawings can be similarly compared to a musician’s musical score, both does not concerned with imitating reality. However, an architect’s drawings can turn into a built form, creating a conceptual mixture of abstractness and realization. The end work of an architect is not ephermal just like music, and a mean of representation with notations is needed. Architectural drawing is transitive, and is within the contact of inconsistent reality. Representational techniques are what made an architect’s creation possible, and the constant ‘balance’ between abstractness and constructability makes it possible to engage with complex reality.

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FINAL DRAWINGS

Hidden Cities 1: Olinda

Key People Rebirth Expansion Shape/Time Perspective 1 Perspective 2

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Perspective 1

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Perspective 2

There are several correspondence between the isometric view and the two perspective, which emphasises a central imagery and circular form. In the isometric view, several rings in different elevation surrounds the center piece. These rings represent the shape of the city, as well as the passage of time as the city expands in accordance with the outward pointing arrows, with the different shades of gray from the center into the outskirts.

The lighter gray symbolises “new”, and the older gray symbolises “old”. As the city expands outwards, Olinda’s newer parts started in the center, while the older parts of the city are located in the outskirts. The rings if viewed from the top will resemble age circles that can be found in a cut tree trunk, as the city grows in a similar manner, and if viewed from the side, the combination of the rings and the center piece resembles a blossoming flower, which the city’s growth manner featured. The centre piece itself consists of circles and inward pointing arrows, The circles symbolises people, the most crucial element of the city, and with it being grouped and stacked, it symbolises the society of the city.

The inwards arrows symbolises re”birth” or recreation. As the city expands, symbolised by the outwards arrows, it returns back to the center where the newer Olinda is createed.

In resemblance with the perspectives, a strong emphasis on centrality and circularity were seen in both views. The first view greatly symbolises the passage of time rings with people of different age groups. It also focuses on the fountain as the souce of life and center of the city, while the skylights of the roof are a notable feature of the city. The second view takes on a literal visualization, translating the story of the city into buildings and its arrangements as a model city.

Mario Yohanes Rinaldy, 917889

The final presentation of the module, with the isometric view and key and the two perspectives

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