FoD:R Module Four

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Liam Blanc

(996663) Liang Hu + Studio 23

1

WEEK 9 READING: PERSPECTIVE OF SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) Albrecht Durer had three rules for constructing a perspective drawing, by which one could create an image that was not measurable, but could peer through the image to show what the eye to see. The image had to abide by the rules of; all perpendicular lines meet at a central vanishing point; all parallel lines meet on a vanishing point that relates to their orientation; that all lines are scaled relatively to portions as they diminish into the image, shrinking in proportional amounts as to remain mathematically measurable, if not physically.

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

Homogenous space refers to a creation of an image that contains objects that are mathematically related to each other. It is in the form of if you took the view out of a window, and transcribed it mathematically onto a page, keeping the vanishing points and horizon lines intact in a more exact fashion.

These objects are created within the image in direct relation to one another, and thus can only truly exist within the image.

2

INVISIBLE CITY: Zenobia

“Those that through the years and the changes continue to give their form to desires, and those in which desires either erase the city or are erased by it” This was one of the important phrases for me, inspiring me to discuss how people were constantly trying to change the form of Zenobia to fit their needs, or having their needs forgotten under the pressure of the city itself.

“Grown through successive superimposition from the first, now undecipherable plan” This was another key quote, and I think if the text needed to be summarised the word superimpositions would be the most important one to take into consideration. It defined the city as one that was growing over the top of itself, constantly building and layering, but not always benefiting.

3

OLD QUAD ISOMETRIC

1:50

0

1m

2.5m

5m

In my isometric I really wanted to capture the intricacy of the staircase and its implications

4

OLD QUAD ISOMETRIC WITH NOTATIONS

1:50

0

1m

2.5m

5m

With my notations, I wanted to show how people were migrating through the space, and how each level had a certain feeling of interconnection between them.

5

QUAD PERSPECTIVE 1 + 2

Perspective One This two point perspective was used to illustrate the overall interconnection between the cultures and religions within the Old Quad. This shows a broad overview of the tumultuous relations between the cultures, each one fighting to make its impression on the city. The city itself is not an “unhappy or happy city” but is one that fights over the identity the city holds, and has long since forgotten its original ideals.

Perspective Two This two point perspective illustrates the important connection between the lower ground, the staircase, and the upper ground. I wanted to show how the importance of a so called ‘downward spiral’ in the society of the city.

This physical manifestation brings the idea of people fighting to get to the clarity that the higher platform provides, and to bring their ideals with them.

6

PERSPECTIVE SCENE 1 + 2

“Absolution” This image explores a concept of struggling to rise above the difficulties in the everyday. The city of Zenobia has no single identity, because all who inhabit it are trying to impose their own desires within it. Those who aren’t have had their desires changed by the city itself.

“Transcendence” This scene shows the physical representation of transcending. The spiral staircase shows the upward climb of Zenobia, whilst simultaneously showing the decline.

This represents the straying from its original ideals, the changing in how that ideal is perceived, and the way this new path clouds the vision of all those who live within.

7

WEEK 10 READING: MAPPING THE UNMAPPABLE: ON NOTA-

Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) Nelson Goodman first described these two forms of notation. He talks of them in terms of two types of permanence; Autographic, in which the author play a direct role in the creation of every single piece, whereby without their hand it wouldn’t retain its narrative. Alongside this is Allographic representation, where the work can be copied and represented multiple times over, without the direct intervention of the author. This translates into literal terms as a piece that needs the author to be deciphered with absolute certainty, and a piece that is universal through its notations, and can be read by anyone.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architectures only limiting factor throughout time has been the imagination of the author, and the laborious techniques required to visualize their imagination. With new representational techniques such as three dimensional modelling and stronger computing techniques, architects have the abilities to not be limited by any physical factor, and their imagination can be fully explored and realised within a world that can rationalise ideas without compromise.

8

FINAL DRAWINGS THIN CITIES 2: ZENOBIA Liam Blanc, 996663

Key Perspective One Perspective Two Glaring Look Glancing Look Threshold Light Change

1:50

Groups of People 0

1m

2.5m

5m

Movement Light Feeling Heavy Feeling

Perspective 1

This isometric view and final images show the true story of Zenobia, or ore accurately, this version of Venice. The notations included show the flow of Marco Polo as he crosses the room, crossing the line indicating a large passage of time, and seeing how the world around him changes. This story shows how there is still conflict within Zenobia, and realises the ever present struggle to discover the identity that the city holds.

Perspective 2

9

APPENDIX - CHARACTERS

These images were sourced through the google search engine, and attempt to capture a range of cultures and religions, that might live in a tumultuous Zenobia.

10

APPENDIX - TEXTURES

These were the textures I used throughout my model, sourced online through google image search. I used some textures like the cloud of smoke in combination with the starry night, in order to create a different depth of effect within different textures. I used these textures with various layer masks in Photoshop in order to create my perspectives.

11

APPENDIX - FIRST ATTEMPT

This was my first rendered Make2d in rhino, as I tried to capture the staircase in regular perspective view, and incorporate a small amount or characters into the model. The characters appear red due to the colour of their layer in rhino.

The rendered image show the lighting and shadows I wanted to create within the image. I wanted to show a good amount of contrast within the image and this level was quite good for the effects I was looking for, giving a good amount of shadows and sunlight on each character.

I didn’t end up using this view due to firstly a misalignment of my make2d due to my rendered image having been taken at a different resolution. However I also felt it missed a lot of the scale within the city.

12

APPENDIX - FIRST ATTEMPT

This was my original physical design of the old quad, incorporating elements of superimposition, in order to physically show some elements of the text. I decided against this as I felt it both overcomplicated the view as a whole, and lost some of the meaning that the text held below the surface level, without adding any compelling narrative.

This view is my first attempt at a two point perspective image, with the same characters I had whilst experimenting with single point perspective. This was my inspiration for my second perspective, with added characters and visual perspective.

This was another perspective taken within the first model of the old quad. Incorporating a stack of platforms, that would later be latticed with supporting beams.

13