Module 4 had the most interesting prompt in my opinion, due to the aesthetic nature of Italo Calvino’s writing.
The assignment was to simply construct a city based off of a sample text from the “Invisible Cities” collection using Melbourne University’s “Old Quad” structure as a base. Then, to further add depth and interest, characters were to be cut from pre-modern paintings to act as the visual storytellers enhancing the narrative of the story sample.
Invisible Cities - "Zobeide"
Zobeide - Analysis
The city text I was given prompted many points of inspiration, in its identity as a city of dreams. The whimsical, moonlit nature of the city imme- diately captured my attention, as well as the image of the chased “naked woman” of im- measurable beauty. The first character that had immediately come to mind was that of Venus - from Bottocelli’s famous renaissance painting. Consequently, I wove her into the final perspec- tive renders, albeit on a low-key scale.
This was due to the predominant themes and characteristics of the city of Zobeide.
Within the text, it was evident that while the woman had been chased, she had never been caught - more a ghost of desire than a main character of reality. Additionally, the city had been formed around her - which is why I ended up positioning her centrally amongs the float- ing, dream-like platforms of my city.
Furthermore, the text mentions that outsiders, or “new men from other lands” would be appalled by the “ugliness” of the city - comparing it to that of a trap. Yet strangely enough, the citizens themselves would never complain, as it was their own, personal dream that only they could ever understand.
Invisible Cities - "Zobeide"
With the isometric view of my “invisible city” I aimed to frame the city as giving off the impression of floating, and perhaps in a chaotic state of disarray. The floating platforms and deeper - levelled centre was meant to reflect a sensation of spiralling in a dream, where Venus is found in the deepest parts.
As a result, I wanted the main atmosphere and weight to be found in the centre of the city, with the rest of the floating elements circling around it - revolving around the centre to mimic a whirl- pool.
The two perspectives I have chosen also reflect the story of Zobeide, as one is taken from the perspective of being “within the city”, and the other is viewed from the angle of an “outsider”.
Perspective 1
This first perspective is that of an outsider. Correlat- ing to the text, this is meant to represent the city in its lost and chaotic atmosphere, where its citizens are always in a state of endless pursuit, trapped in a world of their own creation.
The filter used for this piece was known by the name of cyniscm, and I found that to be quite befitting of how an “outsider” would view the city and its inhab- itants. Additionally, how the filter is cooler in tones befits the dream-like atmosphere, reminiscent of the sky yet simultaneously melancholy.
The city from this angle feels the least cohesive, and the most broken-up. Whilst the second perspective feels more solid and balanced, this first perspective is meant to feel almost weightless and on the verge of collapse.
Perspective 2
Unlike the first perspective, this second view is that of an insider - a citizen of the city of Zobeide and the fantasy that they live in.
For this perspective, I used the delirium wash, to bet- ter reflect the whimsical and almost hallucinatory quality of the narrative.
For the characters, I’ve stuck with the theme of Bot- tocelli’s artworks and used used a character from the Primavera as the centrepiece.
I felt it quite befitting how he seems to glance upwards, gazing with a sense of passion and ele- gance, lost, yet comfortable in the world he exists in. This perspective is meant to feel more alive, with the addition of plants and the distinct framing of the moon, casting down its comforting glow.
Research & Reflection
Durer’s rules for perspectival projection:
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Perspectival projection, in Durer’s eyes, is centred around the central vanishing point - where all lines in a space should meet at, regardless of their original direction. This vanishing point is infinitely distanced from the observer, yet the distortion created from this distance is not proportional, and the objects in a composition can still be enlarged or reduced. Perspectival projection is a subjective approach to observing and recording a space.
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Homogenous space and what it is:
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Homogenous space consists of a uniform structure, where the is a constant regularity of composition. It is not accurate like an orthographic or isometric drawing, but contains a certain science and ruleset that gives measurability to points within a space (of which are defined by their relation to one another). It is a space where elements are set in their respective and specific locations, consistent throughout the entire space. In this concept, space is eternal, repeating itself through information, and while the content within the space may change, the way in which it is represented stays constant throughout.
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Autographic vs allographic practice:
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Autographic: works that have been creatied through autographic practise are inseparable from their creators. They require the artist to prove authenticity and quality.
Allographic : wotks which do not require the set authenticity of the artist, and can be interpreted and re-interpreted freely in an way desirable.
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The need for new representational techniques in architecture:
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The world evolves at a fast pace, and therefore the constrains of capitalism be- come an overarching requirement. The need to assimilate into this ever-changing worl means that independence, and creativity can be lost, meaning that it is nec- essary for architects to invent new representational techniques