Red

Perspective

Perspective
In the case of the flat surfaces lying below the level of the eye, the more remote part appear higher. In the case of lines extending toward, those on the right seem to be inclined toward to the left, and those on the left seen to be inclines towards the right.

Perspective naturalis
Euclid- (3rd cen bc) assume light travel in straight lines and observed the geometric laws governing.

Roman/ Perspective
- Parallel lines converge towards the observers and not a perspectual vanishing point.
- Roman perspectives learn drawing from Greek.

1. Roman theatre
- Distance made it possible for space itself to become an object of artistic presentation

2. Pompeiian wallpainting
- No particular view point, more imaginery

Perspectiva artificals
15-16th century optical theory, had distanced itself from classical optics.

1. Studiolo, Designed by Frances co di Giorgio Martin. 1439- 1502
Suggest varies form

2. Albertis window
- grid system
- Albertis emphasized the difference between the drawings of paintings and the whole architects. Both reveal deepth but different way.

3. Sebastiaco Serlio
Perspectivea artificalis was of interest to painters and architects who designed theatrical stage sets.

4. School of Pierodella Francseca

5. Vincenzo Scamozzi, Teatro Sabbioneta 1588-90
- Vertical and horizonetal
- Interested in ballistics, encourage perspectives

6. Borrouim Palazzao Spada 1540
" Ideal regular model and deformed real model"
- expand imagery
- Juxaposition

Anamorphosis/ Distorted perspective

1. Hans Holbein Two Ambassador 1553
This drawing in scale, but skull distorted

2. Abraham Boss Mauceri universelle

3. Quadratuva: fusion/ archtecture and painting
light described mathematically because nature is mathematical and that light is the link between corporeal and physical world.

Perspective as the privileged form of symbolisation

1. Andcca Pozza, 1684- 05
2. Pietro Autoni 1674

Camera obscura
1. John Jalcob Schcceblev, 1719
" A geometric vision of a transcendatal infinity, symbolic and yet distant form living space."

2. Palace and garden of Versaillis, J bowles 1726

3. Giovanni Battista Piranesi, St Retur Square 1764

4. Giambattista Piranesi, 1760-61
"explore and de structure how genus space"

Visionary Space + Infinity
19th century, scientific archtectural drawing.
19th century, axonometry- Engineer complex 3 dimensional, distortion convention of engineering works

1. Henry Hobson Richardson, 1974-5

2. La cite industrielle, Tony Garnier 19193.


3. Enrich Mendelsohn 1917
- outline
- Berliner Tageshitti

4. Gerrit Rietveld
Schroedier House

5. Frank Lloyd Wright
" No man even built a building worthy of the name architecture who fashion

6. Richard Neutra 1928

7. InaCom

8. Neutra, Beard House

9. Le Corbusier 1930s

10. Zaha Hadid, (AA) Hong Kong Peak Club Project 1982

Way of seeing by John Berger

Seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact tht we are surrounded by it. The relation between what we see and what we know is never settled.

Soon after we can see, we are aware we can be seen. This reciprocoal nature of vision lead us to develop the dialogue and images.

An image embodies the way of seeing our perception depends upon our own way of seeing. Images increases the awareness of history. The more imagination the work, the more profoundly it allows us to share the artist's expereince of the visible. However, the image of art, often mystify rather than clarify.

Mystification: process of explaining away what might otherwise be evident.

For example in Frans Hals's painting, the Frans Hals portray the Governors and the Governesses of an Alms House for old paupers in the dutch seventeenth century city of Harrlem. A confrontation occurs.

For: His works is in spirit of bitterness, not criticism. His painting suggests each woman are equal important. Evidence are shown from the rhythmical arrangement and subdued diagonal pattern fomed by their head.

He also suggests it is a fashion to portray the Regent with hat on the side of the head. It is libel to say he portrays the Regent in drunken state.

Against: " We can see from the Regent in the tipped slouch hat, which hardly cover any of his hair, eyes not focus, suggest he is in the drunken state."

As a matter of fact, Hals lost his reputation.

"Hals unwavering commitment to his personal vision, which enriches our consciousness of our fellow men and heighten our awe for the ever increasing power of the mighty impulses that enabled him to give as a close view of his life's vital force."

This is a mystification.

Rotation city

Interpretation of the film- Nostalgia

Throughout the film “Nostalgia”, I understand that there are many media to perceive interior and spatial design apart from just analyzing space through the process of measuring and drawing.

Andrei Tarkovsky uses a very new cinematic language to present the in depth levels of feeling reveal from his movie Nostalgia. The images that he uses- water, fire, candle, dog, ruin building…etc shows material imagination.

Water, fire and candle
Water, fire and candle are very symbolic elements in the film. Bachelard states” One cannot dream profoundly with objects. To dream profoundly, one must dream with substances.” The mixture of the substances- water and fire strongly hint the psychological logic of Domenico’s violent end where as candle shows the association of flame and life, the personal memories that are from Tarkosvsky.

Dog
Tarkovsky uses a wolfhound rather than a dog to show the contradictory images of safety and threat, fidelity and savageness. Once again, in the scene of ruin Italian cathedral and the Russian house, shows a strike of too literal and fabricated.

Ruin building
Ruin has played a very essential role of a building; it recalls the history from the past and eventually moves on with a new structure. However, the leaking and flooded building implies the tragic sentiments hidden behind the utilitarian face of architecture.

Tarkovsky also considers on the basis of architecture- space, lighting and sounds.

Space
The style of Tarkovsky creates the space of the scene are very slow and prolonged. Each scene is like a piece of painting. It is just like you enter into a gallery, standing in front of a painting; interpret it for more than 10 minutes. There are several scenes that Tarkovsky achieves to go beyond the space from the screen. Here are the examples:

1. Opening scene. Car drives across foggy landscape to the left frame, then return left.

2. St. Catherine’s pool. Camera uses parallel techniques to
film the pool shows the black bar to tell the existence of arcade.

3. End of film. Taxi around pool carves square shape while

camera moves parallel to the pool in front.

lighting
Lighting is a very essential element to create space. Tarkovsky uses windows and doorways to create looking out or into for space. In the scene where Gochakov enters his room, shows the use of abstract counterpoint of spaces (which means juxtaposition/contrast), alternating in darkness and light.

1. When Gorchakov enters the room, light seeps into darkness through shutter.

2. He opens shutter to reveal courtyard dark light flooded
into room

3. Closed shutters and switch on lamp. Turn off blinking light

bulb. Turn on lamp.

4. Reflection of blue natural light from bathroom.

5. Turn on electrical light of bathroom suddenly flooded by

bright white light.

Sound
Tarkovsky uses natural sounds to activate the viewer’s sense of space and scale. He shapes the space with music beyond the screen. He always has a reason for the sound.

1. End scene. Slowing down the tape recorder to show the

horror when Domenico is on fire.

2. Domenico’s house. The rain drops create the sense the dense volume.

3. The dog moves the bottle. It takes nearly one minute to

show the movement of the bottle rolling on the floor. The sound suggests the size of the space in the room.

I download this movie without subtitle; therefore my understandings of the film are most likely relying on the notes and from the visual images. However, the beneficial is that I can focus more on the film techniques Tarkovsky uses, which I can empathy the feeling in a more in depth level rather than from texts. Tarkovsky states “There is only one way of cinematic thinking- poetic”. “When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality. “” Poetry is untranslatable, as all art.” Overall, I really like this film. I like the way how a film can present in a very fine art form, at the same time the film considers the basis of architecture.