Analysis The Composition Of The Image And Taxonomy Of The Spatial Elements - Perspectival View Of The Iconic Image - Engineering Assignment Help

Assignment Task -

INTRODUCTION: THE CONSTRUCTION OF IMAGES

During the first half of the semester, students were introduced to the foundations of spatial representation through the  measurement, taxonomy and depiction of the physical realities of their own domestic spaces. Through the use of  collages, students expanded the interpretation of their forms of domesticity under the lenses of three distinct topics  (micro/macro, inside/outside, fantasy/reality). The ongoing enquiry was documented in the investigation-diaries in form  of sketches, texts and other mixed techniques. 

During the completion of. Assessment 2, students will analyse a selection of iconic cinematographic images and spaces. In his book, ‘The Architecture of the image: Existential space in Cinema’, the architect Juhani Pallasmaa studies how  classic film directors (Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky) used  architectural imagery to create emotional states in their movies. He also explores the similarities between the  landscapes of painting and those of movies. Cinema, Theatre, Art, Architecture and Landscape architecture construct 

frames of life, situations of interactions between actors and horizons of understanding of the world. Ultimately, all these  forms of Art, are means to re-signify the familiar and imagine the extraordinary. The study of the cinematographic  masterpieces invites students to explore varied representation techniques, but also to integrate composition,  performativity and temporality in spatial representation.

ASSESSMENT 2 DESCRIPTION 

In this task, students will further improve their observation and drawing practices across varied representation  techniques to explore a selection of iconic cinematographic images and spaces. Each tutorial will focus on the work of  a different film director or film-category. (Wim Wenders, Stanley Kubrick, Joel David Coen e Ethan Jesse Coen, Wes  Anderson, Australia, Dystopia, all time classic films, David Lynch, Yorgos Lanthimos, etc) 

Through 2D and 3D drawings, students will reconstruct the most representative spaces of the films and dissect the  spatial characteristics of the most iconic scenes. The drawings will include the physical realities of the scenes (architectural and landscape elements the visible characters; the objects; plants and animals etc). Students will also  analyse the compositional strategies (the position of the camera, framing choices) and the atmospheric decisions  behind the selected shots (lighting techniques, shadows, contrast). The investigation diary should be used to sketch  the re-construction of the scene and to collect the information about the film’s period and its socio-historical context.  The task aims to equip students with the technical skills to spatialize the scenes through orthographic and axonometric  drawing but also expects students to critically interrogate the role of spatial design in the construction of the image. 

The task will be divided in the following steps, inspired by the architect and historian Philip Steadman’s investigation of  Vermeer Paintings: 

1) Selection of the image. Each student will work individually on a selected scene but will also collaborate with her/his team that will work on the same film. Each team will be formed by a group of 3-5 students divide the most iconic scenes  of each film. 

2) Analysis the composition of the image and taxonomy of the spatial elements that compose it. The layer index  will serve as a reference to categorize the observed elements. 

3) Drawing the spaces of the scene: orthographic drawing (plan and section) and axonometric drawing. The scale  of the drawings will be negotiated with the tutor depending on the spatial complexity of the image. Students are 

expected to use the techniques learned from Assessment 1 and to use the layer index to organize the drawings’ elements. Once, students have drawn all the visible elements they can complete the drawings with more information  about the setting that they find during the investigation. For instance: sets of lighting, hidden structures that support the  set, etc… 

4) Position the camera and set the view to recreate the iconic image to extract the same perspectival view of the  iconic image. 

5) Post-produce the iconic image: Students will apply a selected post-production technique to their iconic image. This last step, invites students to interrogate the capacity of graphic representation to construct varied interpretations of the original spaces of the scene. The final post-production techniques will be further explained in the lectures and  tutorials.

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