Fod landscape m4 journal template(1)

Foundations of Design : REPRESENTATION, SEM1, 2017 M4 JOURNAL - FRAME vs FIELD Zhuoqing Li

(student number: 886823) Emmanuel Alexander Cohen Studio 26

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WEEK 9 READING: PERSPECTIVE AS SYMBOLIC FORM

Question 1: What are Durer’s rules for perspectival projection? (Maximum 100 words) The first rule of Durer is that all perpendicular or orthogonal meet at the so called central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plane. The second rule of Durer is that all parallels, in whatever direction they lie, have a common vanishing point. If they lie on a horizontal plane, then their vanishing point lies always on the so called horizon, which is on the horizontal lines through the central vanishing point. In addition , they happen to form a 45 degree angle with the picture plane, then the distance between their vanishing point and the central vanish ing point is equal to the distance between the eye and the picture plane. Finally, equal dimensions di minish progressively as they receded in space, so that any portion of the picture is calculable from the preceding or following portion.

Question 2: Describe homogenous space? (Maximum 100 words) The homogenous space is never given space but the space can be given by construction. The ho mogeneity of it signifies this similarity of structure, grounded in their common logical function and is described as a central perspective making two tacit but essential assumptions. Firstly, we see with a single and immobile eye, and then that the planar cross section of the visual pyramid can pass for an adequate reproduction of our optical image. These two premises are rather bold abstractions from reality, if by reality we mean the actual subjective optical impression. For the structure of an infinite, unchanging and homogeneous space, in short a purely mathematical space is quite unlike the structure of the psycho-physiological space.

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INVISIBLE CITY: CITIES & THE SKY2: BEERSHEBA

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OLD QUAD ISOMETRIC

0

1m

2.5m Old quad isometric without notations

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5m

OLD QUAD ISOMETRIC WITH NOTATIONS

Key Perspective1 Perspective2 Heavy mood Light mood Quick step Slow step People Stare Glance 0

1m

2.5m

5m

Treasure Light / Dark

Final old quad isometric with notations

Transition of space 5

QUAD PERSPECTIVE 1 + 2 Perspective 1 I divide my whole old quad into two parts : celestial and infernal city, using a special transition of space placed in the position of diagonal line. The perspective 1 is in the right part, representing the infernal Beersheba, a city full of desire of money. This view focuses on a corner of the infernal city , so it can be appropriate to show a scene where two misers are chatting in the infernal city.

Perspective 2 I divide my whole old quad into two parts : celestial and infernal, using a special transition of space placed in the position of diagonal line. The perspective 2 is in the left part, representing the celestial Beersheba , a city that is dirty but full of freedom. This view focuses on a corner of the celestial Beersheba, so it can be appropriate to show a scene where a wise woman sitting in a corner of celestial Beersheba who is the only one knows the true treasure in Beersheba, and it is in contrast to the perspective 1.

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PERSPECTIVE SCENE 1 + 2 This scene represents the infernal Beersheba, a city full of desire of money and pure gold, diamond, and other expensive jewelry, I choose valuable material and several treasure boxes, diamond capitals for the building to show it is magnificent. It can be seen in the story that the citizen in the infernal city are all miserly, calculating, and greedy. Therefore, I choose two famous misers : Grandet from a novel wrote by Bozac and Harpagon from an opera by Moliere. This scene focuses on a conversation between Grandet and Harpagon.

They all pay too much attention on calculating so it can be seen from their expression that their conversation is not very harmonious, and when they are chatting the Grandet still stares at the treasure box. I also choose a hell background for this scene. In addition, I add a lion in this scene to represent that the desire of money in the infernal city is just the same as the desire of meat of the beast.

This scene focuses on the celestial Beersheba, “a celestial body that shines with all the cities riches”, enclose in the treasury of some ‘freedom’ (rubbish). This celestial city is old and shabby, so I use cracks to show it is shabby, which is in contrast to the magnificent infernal city. In addition I add some substance which is is dark and malleable and thick on the floor to make it consistent with the story. This perspective illustrates the true treasure of the Beersheba, so I choose an old woman who is ordinary but wise, and she is the person who knows the secret of Beersheba: “It is true that the city is accompanied by two projections of itself, one celestial and one infernal; but the citizens are mistaken about their consistency.” The old woman sits in the corner of this scene,

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not rich but serene

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WEEK 10 READING: MAPPING THE UNMAPPABLE ON NOTATION Complete your reading before attempting these questions:

Question 1: IWhat is the difference between autographic and allographic practice? (Maximum 100 words) Autographic is traditional artworks, like paintings and sculptures, which depends for their authenticity related to the author. This is different in music, poetry or theater as they can be produced without the direct intervention of the author. It can be defined by performance.

However, allographic is different, it is art that is capable of being reproduced at a distance from the author by means of notation. It operates through interpretation and on the basis of convention. The notation of practice is a defining aspect of allographic arts.

Question 2: Why do architects need new representational techniques? (Maximum 100 words) Architects always need to find a better communication method to communicate with the public which can contribute a lot to the development of architecture. Architects need new representational techniques because there is a need to map an unmappable territory which is the new urban phenomena, “edge cities” or “generic cities”, which is the result of technological and social changes. In order to sustain its own relevance, architecture needs to address the social and political implications of the shifts from artifacts to effort.

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FINAL DRAWINGS CITIES & THE SKY 2: BEERSHEBA

Hint: How Detailed does the drawing need to be?

Consider the ‘readability’ of the notations within the isometric projection and how the notations tell the same story as the scenes graphically illustrated in your perspectives.

Key Perspective1 Perspective2 Heavy mood Light mood Quick step Slow step People Stare Glance 0

1m

2.5m

Treasure

5m

Light / Dark Transition of space

Perspective 1

Perspective 2

Zhuoqing Li, 886823

M4 Final A1 PIN-UP Drawings

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APPENDIX List Of Images https://goo.gl/images/fhgIrW :Harpagon https://goo.gl/images/txXtev :Grandet https://goo.gl/images/4tY1jx : old woman https://goo.gl/images/lnNlSG : coins https://goo.gl/images/3Ah36m : golden patterns https://goo.gl/images/JYALrc : stars https://goo.gl/images/m36Cw4 : treasure boxes https://goo.gl/images/zYHdT4 : tassels https://goo.gl/images/F88ksk : Diamond https://goo.gl/images/2JLt7p : lion2 https://goo.gl/images/zyjghD : rubbish https://goo.gl/images/bFX0i8 : crack https://goo.gl/images/j1gomD : Yellow marble https://goo.gl/images/rH2EXS : Black marble https://goo.gl/images/k6dH9F : hell

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