Page 1

Foundations of Design : REPRESENTATION, SEM1, 2018 M2 JOURNAL - FLATNESS vs PROJECTION Sophie Rhodes

998175 Colby Vexler, Studio 14



Question 1: What is Pictorial Space according to Le Corbusier? Le Corbusier states that ‘real space is only the fruition of a lived perspective’, suggesting the understanding of a three dimensional form is engendered through multiple viewpoints and movement around the given form. Pictorial space is observed from a distance, consigning it to frontality as it is a spatial depth that ‘cannot be be entered or circulated through’ physically, due to the planar nature of a canvas. Distance and frontality together permit knowledge of the real which is understood solely through inference.

Question 2: The Flatness of Le Corbusier’s painting’s are attributable to two properties. What are they? And what are these pitted against? The flatness achieved in Le Corbusier’s paintings is ascribed by two properties; ‘Pure Extension’ and ‘Marriage du Contour’. Using ‘Pure Extension’, Le Corbusier’s objects appear to exist on a uniform plane as they are are all tinted white and do not contrast with their respective background. ‘Marriage du Contour’ is a consistent and purposeful continuity of edges which produce coherence and fluidity between shapes. These attributes combined contest the suggestion of depth and dimension within the painting.



The left elevation was used at the front of the projection, while the right elevation corresponds to the rear of the projection.



Scan of uncombined pencil drawing from the front (see previous page,left image).



Scaned image of finalised handdrawn projection. Additonal coins were later added to the composition on illustrator to add visual interest and further the ‘mario narative’. The Section cut lines were drawn in 0.4 pen, while internal lines were drawn with a 0.1 pen.


WEEK 4 READING: AXONOMETRIC PROJECTION: NEW GEOMETRIES AND OLD ORIGINS Question 1: Explain the difference between Pictoral (in this case perspectival) space and Projection?

Pictorial space differs from axonometric projection primarily due to the presence of vanishing points. Vanishing points are used in pictorial space to generate perspective, limiting the space due to the single, fixed point of examination. However, projection depicts objects in correlation to their accurate spatial dimensions while also providing freedom and fluidity. A projection’s parallel nature allows the collapse or prolonging of distance, expanding perspective’s ‘apex of the finite visual cone into infinity’. Pictorial space works in the symbolic register, contrasting projection which incorporates the ‘measurability and transmissibility of orthographic projection’ with ‘immediacy of a perspective view’.

Question 2: Where did Axonometric projection first arise, and why? The origins of axonometric projection are attributed to early militaristic studies of ballistics and projectile motion. The military used these projections to easily visualise the three dimensional trajectories of artillery projectiles and chart them accurately. Though axonometric projection first arose ‘alongside that of perspectival projection’, if this was attempted using perspective, the parabolic path of the projectiles would be distorted. Later in the 18th and 19th centuries, axonometric projection was taught in engineering schools as descriptive geometry. For architects and the like, it offered an extension of the ‘scientific/mathematical basis for architectural representation’. In the 20th century, avant-garde artists used axonometric projection as an unorthodox way to interpret the world and construct new ones.



World 14-18 is an underground cave scene comprised of rock masses, carved platforms and lava flows. The fragmented rock of the cave roof joins the two elevations together. The thickening of this roof provides a strong sense of enclosure to the cave system, while the fracturing opens up views of the carved platforms below. Within the foreground of the world an elongated wall creates a secondary visual connection between the two elevations. The framing effect of these two dominant projections enables a synthesis of information from both the rear and front elevations. The limited colour palette of World 14-18 gives the landscape its underground character and delineates the narrative of carved platforms. The subdued blue hues of the rock are juxtaposed by the warm hues of the lava, while the linear nature of the platforms are contrasted by the irregular rock textures and lava flows. These features provide layers of detail and visual depth which convey the rocky landscape of the underground world.




Here, the axonometric workspace has been set up in preperation to project the first 2D elevation template forward on a 45 degree angle. A3 greaseproof paper has been overlayed.

The second 2D elevation has been projected backward so that it interacts with the first 2D elevation. An additional layer of trace paper has been overlayed to retrace the 2H pencil lines with pen.

This screenshot shows the ditital development of my projection, before shadow, gradient and texture was added. The original elevations were used as a colour palette refference to fill in the drawings.


Module 2 Flatness vs. Projection - Axonometric Mario World  
Module 2 Flatness vs. Projection - Axonometric Mario World