Fod landscape m4 journal

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Megan Corbett

914475 Anastasia Sklavakis - Studio 27

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WEEK 9 READING: TITLE OF READING

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words)

Durer when describing the construction of a pictorial view, lists two major rules that determine its perspective nature. He states firstly, that all orthogonal lines must converge towards a singularity or numerous vanishing points, then goes on to describe the importance of the horizon line in portraying a proper perspective view.

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

Harmony within all the formative elements of a space that cohere to both a structural and functional set of dimensions/ rulings.

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INVISIBLE CITY: Zobeide.

Interpretation:

Zobeide is a city constructed from numerous peoples shared dream of chasing a woman through an enchanting white city. However, in both their waking and sleeping lives she was neither captured or seen again.

The key theme of this story I chose to focus my model on was the transition from a visionary space to a more realistic one as seen by my two perspectives. through these perspectives I also wanted to convey a mysterious and dark atmosphere, due to how the story bases itself in a dream world and as Marco polo shifts into ‘reality’ he finds the city is not as beautiful as the dream suggested. It has because a mechanism through which the men want to trap the women in an “ugly” trap. Additionally, I featured specific elements from the story to further portray this, such as characters and textures that fit the plot.

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OLD QUAD ISOMETRIC

The model was created based off an area dominated by a series of columns which define the space. The dark sector behind the columns marks the place where the women who is sighted in the dream and also the view point from which the second perspective is centred.

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OLD QUAD ISOMETRIC WITH NOTATIONS

The notation comprised of three points of representation: Focus:

In the Isonometric on the left, key characters like Marco polo and the women are featured, as well as arrows detonating the direction of sight for the characters. Additionally, the tunnelled vision present in perspective one that pulses towards the woman’s silhouette is represented by a twisted form of triangles which gradually open up towards where the figure is standing.

Space:

Two types of linier markings describe the characteristics of the space.

The variating dashed lines show a change of thresholds from the enclosed cage to the open area for the characters to move around as if

circumambulating (draws reference to the religious/meditative use of a cloister akin

to the old quad), and then again marks an opening from the constructed city to the dream spaces. The second type is the irregular shape which is present around the edges of the space between the central columns and marks where the dream spaces converge with the quad.

Transitions:

The major transitions that occur within the model are from when Macro Polo after dreaming

about Zobeide, visits the city itself. His dreaming self, shown as the circle moves towards his second position as a square. The shapes gradually morphing movement symbols indicate the changes: dream into reality, night into day and from two different views in perspective. The transition is imperative to the stories meaning as it is through a comparison of the dream city and Zobeide that Marco Polo grows to un-romanticise the constructed space.

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QUAD PERSPECTIVE 1 + 2 Perspective 1.

I treated the way I set out my perspectives by thinking of them as scenes taken from the story. So, in my first perspective I chose a view point that is looking straight down though the colonnade at the open wall recess to show a very focused scene with a centred convergence point for all the forms.

Perspective 2.

Following the story, as the city is built it becomes increasingly more twisted and dark in nature as they tried to trap the women. With this in mind I built a cage in the centre of the space which is not seen in the first seen, showing the dreamers wish to capture her.

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PERSPECTIVE SCENE 1 + 2 Dream Scene. within the scene I only used two characters to show one person’s dream that lead them to Zobeide.

The silhouette of the woman against the moon with fog drifting funder her gives it a mystical effect while the warped view and the large outstretched hand show the intense desire the dreamer has to reach the running figure.

Constructed Realm.

Contrasting this, the second scene has three figures all looking towards the viewer. they are all also dresses in typical outfits that are worn during the venetian carnival, adding another layer of intrigue and making their gaze unsettling. On top of this I placed a white outline of a figure within the cage, suggesting that they are still searching and waiting for the women to appear again.

The arches I added to connect the two perspectives, as the lead to dream spaces that twist unnaturally from the central space. this draws connections to the specific architecture structures mentioned in the story as well as how the room is my interpretation of the point where all the versions of her disappear, inspired by the interdimensional doors in monster Inc.

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

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic and Allographic practices are both extensively used across many areas of design work including architecture to describe something that has not yet been constructed/fabricated in reality. while Autographic adheres to a very tradition means of portraying subject matter by trying to draw or model it at an accurate level of detail, Allographic takes a very different approach. It aims to represent the space through means of notation and abstract symbols that in some ways enable the viewer to ascertain more than they might from an autographic sketch. A comparison to this method is music notation, in which intricate melodies can be transcribed from the simplest of shapes.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Although the Autographic and Allographic techniques are utilised to great effect within the architectural area of design, both can never fully encapsulate a physical building. They lack the ability to foresee uncontrollable factors that are intrinsic to design, as it constantly needs to adapt to new problems present from numerous sources including the site of the building where the light might not have a desired effect and the positioning of openings must therefore be manipulated. Each of these changes removes the plan or sketch further and further from reality, making it increasingly inaccurate. However, this does not mean they are not essential, in fact they can be considered more important than the building itself as they describe its raw design envisioned by the architect.

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FINAL DRAWINGS Cities & Desire 5: ZobeiDe

Key Dream Perspective Room View Direction of vision Woman Marco Polo’s Position Dream Spaces 0

1m

2.5m

5m

Threshold Changes Transition and Movement.

Warping of Subjective View

Combined together, the Perspective view and the Isonometric portray the interpretation I took on the invisible cities story of Zobeide.

Perspective 1: Dream.

Perspective 2: Constructed Realm.

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APPENDIX

Planning Diagrams.

Shown on the right are my initial designs for my interpretation of Zobeide, the upper diagram is mainly notes and a visual representation of the theatrics nature I wanted my perspectives to have.

Beneath this is a later plan of how I could translate these effects through a more Allographic process.

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TEXTURES

White Limestone - From text.

Cobblestone - adding pattern, differentiating the floor from the other light spaces.

Dark Marble - emphasise columns giving them more shape than a pure whitewashed version would.

Painted Brick - dark colour signifying that it was not a part of the dream city, they wall off the old quad cutting of the woman’s point of disappearance as show in perspective 1.

Basalt - a dark marker emphasising the base of the columns as well as the raised areas which indicate a change in thresholds.

Lanterns - emphasise perspective, help shape the space.

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