M4 - Alisa Poon

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Yuet Tung Alisa Poon 917562 Emmanuel Alexandra Cohen

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WEEK 9 READING: TITLE OF READING

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) There are mainly three Durer’s rules for perspectival projection. According to Durer, the first rule is ‘all perpendiculars or “orthogonals” meet at the central vanishing point’. The central vanishing point is determined by the perpendicular drawn from the eye to the picture plane. Secondly, all parallels, no matter in what direction they lie, all have a common vanishing point. Lastly, equal dimensions diminish progressively since they recede in space.

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

According to Durer, “Homogeneous space is never given space, but space produced by construction”. It is an infinite and boundlessness space which needs a fixed point of view. All elements of the homogenous space, like points and lines are mere “determinations of position”. Which means that, for every point in space, it must be possible to draw similar figures in all directions and magnitudes.

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INVISIBLE CITY:

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OLD QUAD ISOMETRIC

1m

2.5m

5m

Isonometric view of the old quad Light lines for the rib and vaults, dark lines for the columns and floor.

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OLD QUAD ISOMETRIC WITH NOTATIONS

Key Large Step Regular Step Small Step Gaze Glance Light/Dark Time Passage 1m

2.5m

5m

Heavy Mood People

Notations are used to show the movement of Marco Polo, perspectives, people and mood etc.

Perspective 1 Perspective 2

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QUAD PERSPECTIVE 1 + 2 Perspective 1 The perspective is looking to the right as a side view of eudoxia. Representing how people see eudoxia in confusion.

Perspective 2 Its a perspective looking straight to the end in the middle. I choose this because the carpet is the most important thing in the city where you need to examine clearly to see it.

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PERSPECTIVE SCENE 1 + 2 Perspective Scene 1 The first perspective is the scene when marco polo was in confusion. As the reality of eudoxia. From the text, The mules’ braying, the lampblack stains, the fish smell and throngs is what marco can see in the incomplete perspective of eudoxia.

Therefore, corresponding objects are used. Victorian people walking with a cool face, donkey and boxes of fish. Old wooden floor, worn-out wall and alike stairs in two sides the background are used to show the chaos.

Perspective Scene 2 This is the scene that marco saw the moment that an oracle was questioned about the mysterious bond between the carpet and the city. To one way, is the starry sky and the orbits in which the world revolve. To another way, is an approximate reflection that people can see, crooked street, clouds of dust, fire and darkness.

The picture shows a reflective of the two way. The imaginary for the upper part and the reality of what people can see for the below. Theres a chandelier in the middle to show how divine is this place is. I got a round carpet as the text said the carpet is : laid out in symmetrical motives whose patterns are repeated along straight and circular lines.

Techniques like layers of mask, visibility and feather are applied in photoshop for this scene to create such atmosphere here.

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WEEK 4 READING: TITLE OF READING

Question 1: What is the difference between autographic and allographic practice? (Maximum 100 words) According to Nelson Goodman, autographic practice (like painting and sculpture) depends for their authenticity upon the direct relationship to author. In contrast, allographic practice where the work exists in many copies and can be produced without the direct intervention of the author. The main difference is that the latter can be reproduced at a distance from the author by means of notation while the former cannot.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) According to Allen, “the dry, unemotional form of notation makes no attempt to approach reality through resemblance�. Notation cannot really represent an architecture drawings. There are lots elements, shifting of scale, complexity and unpredictability of the real. It is noted that the idea of how the city is changing and the notion of stability result in a need for architects to have new representational techniques.

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FINAL DRAWINGS Cities & the sky 1: eudoxia Starting from the SE, the story starts. following the movement of marco polo . The first perspective comes. He discover the chaotic enviornment with fish smells, mules’ braying, people walking by and throngs. It the dark side - reality of Eudoxia.

He wents on large steps shown with the thick arrow notation as he was quite confused and lost. He walk fast and glance the disorder environment with lots of people walking by.

Key Large Step Regular Step

He went over the quad and enter the center of the quad from the left side. At the end of the story, he enters the hidden place of eudoxia: which is the place where the carpet located. He walks in with small steps to show the tension. A dotted line box is used to show the transitional passage of place. Bringing to the second perspective : the orcle and the bond between the carpet and the city.

Small Step Gaze Glance Light/Dark Time Passage 0

1m

2.5m

5m

Heavy Mood People Perspective 1 Perspective 2

Perspective 1

With the symbol there, it represent the heavy mood in this divine place. Marco polo looks up and down with the arrow notation to see the carpet and the starry skies. There are a circle dotted line to show the light inside and offset black line to represent darkness outside this divine place.

Perspective 2

Yuet Tung Alisa Poon 917562

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APPENDIX

Screenshot in Rhinocerous: building the old quad.

Screenshot in Rhinocerous: adjusting the sun and shadow.

The layer I made for the reflection in perspective two. It is a pictures with layers of the scene itself, fire and the houses.

Screenshot in Photoshop: making layers for perspective 2.

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