Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Miao Juan Toh
(917893) Jun Han Foong + Studio 11
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WEEK 9 READING: TITLE OF READING
Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Perspectival view of space is when the entire picture has been transformed into a “window,” and when we are meant to believe we are looking through this window into a space. It does not matter whether this projection is determined by an immediate sensory impression or by “correct” geometrical construction. Only a drawing of the entire system in plan and elevation is needed to determine the figure appearing on the intersecting surface. The plan yields the width, the elevation yields the height. When they are combined on a third drawing, the desired perspectival projection is obtained.
Question 2: Describe homogenous space? (Maximum 100 words)
The ultimate basis of the homogeneity of geometric space is that all its elements, the ‘points’ which are joined in it, are mere determinations of position, possessing no independent content of their own outside of this relation. Their homogeneity signifies nothing other than this similarity of structure, grounded in their common logical function, their common ideal purpose and meaning. Therefore, it is never given space, but space produced by construction. The geometrical concept of homogeneity can be expressed by the postulate that from every point in space, it must be possible to draw similar figures in all directions and magnitudes.
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INVISIBLE CITY: ZENOBIA
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OLD QUAD ISOMETRIC
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1m
2.5m
5m
Isometric Projection of Quad without notations
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OLD QUAD ISOMETRIC WITH NOTATIONS
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1m
2.5m
5m
Isometric projection of quad with notation
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QUAD PERSPECTIVE 1 + 2 Perspective 1 I choose to set it at this view becaue it able to show me 4 main empty spaces which gives me different spaces that I can play around with
Perspective 2 It shows me the other side of the room but at the same time it slighty reveals the other side of the room. This enables readers to deduct+ where are they in the old quad.
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PERSPECTIVE SCENE 1 + 2
The passage gives me insight on the difference on how Marco Polo views the city of Zenobia and how the common people view its hometown. I envisioned the space to be a large pavillion in a desert, which mainly serves as a common public space. It is decorated with zinc roofing, fluttering ribbons on the eaves and syrian interior. The quad depicts what the city seems to be and what the city really is.
Perspective 1 Marco Polo is welcomed by the Mayor and his wife. The mayor introduces the city to him and shows him who the queen of Zenobia is (portriat hanging at eye level to show its importance to people’s point of view). He then takes him around to meet the common people of Zenobia.
Perspective 2 Here the frontal view seems simple and plan (representing the peace in the city). However, the back of the space is partially covered by temporary bamboo walls. It creates a mysterious vibe as its atmosphere is heavier and darker. The unusual calmness makes Macro Polo uncomfortable.
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WEEK 4 READING: TITLE OF READING Complete your reading before attempting these questions:
Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Autographic arts, like painting and sculpture, depend for its authenticity upon the direct contact of the author. However, in allographic art, the concept of authenticity is described differently. These artworks exist in many copies and can be produced, without the direct intervention of the author, by the means of notation. Functionally, the use of notation is the defining characteristic of the allographic arts and it depend upon notational practices because of the ephemerality of the work itself (poetry, or music), or the need to coordinate an intricate collaborative structure (dance, or symphonic music for example).
Question 2: Why do architects need new representational techniques? (Maximum 100 words) A representational drawing that tries to simulate unpredictable and intangible effects will always fall short, freezing, diminishing, and trivializing the complexity of the realized building. New tools are needed to work more effectively within the immaterial networks and systems that comprise the city in the late 20th century. Traditional representations presume stable objects and fixed subjects but the contemporary city is not reducible to an artefact. New field architects need representational techniques that engage time and change, shifting scales, mobile points of view, and multiple programs. To map this complexity, some measure of control may have to be relinquished.
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FINAL DRAWINGS Thin CiTies 2: Zenobia
In consideration of ‘readability’ of the notations within the isometric projection, lineweights of the isometric projection need to adjusted so that the symbols do not seem like they are intersecing the isometric projection on the same plane. Lighter lineweight are used on areas in the back and center of the isometric projections. Key Movement People
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1m
2.5m
Perspective 1
Light Mood Heavy Mood Stare Glance Perspective1 2 Frame Threshold Passage Light/Dark
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Perspective 2
The movement symbol shows us the footpath of Marco Polo. He first enters the area shown in Perspective 1 and is quickly hurried into other areas of the quad. He takes a glance at the small gallery section of the quad. Marco Polo analyses the unnatural calmness of the city’s pubic space. Frames are used to show areas of interest of Marco Polo. The dark area of the quad, which is partially covered by the bamboo walls is marked with a threshold. The passgeway is the entrance of the quad.
Miao Juan Toh, 917893
Isometric projection with notation and Two Perspectives
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