Module Four
Frame vs. Field
You Win!
Reflection
In this final module of FoDR, we were assigned a short story from Italo Calvino's Invisible Cities, which we had to analyse and interpret using a model of the University of Melbourne's Old Quad. The final deliverables included an isometric notation of the model we create, giving an overview of the interpreted narrative, as well as two perspectives which included characters and assets extracted from renaissance paintings, topped off with a black and white filter and a colour wash.
I enjoyed nearly all aspects of this module, with the only tedious part being the search and selection of the characters. I feel that this last module really helped me to hone in all the skills I have learned and developed upon within FoDR, especially with Rhino, and tied in all of my newfound knowledge into one module.
Tamara
Tamara is the first City of Signs in Italo Calvino’s Invisible Cities, and is a city no one can really visit. Being a city of signs, Tamara is always covered by a series of signs, which act as a thick façade that obscures the vision of the real Tamara. In this sense, “you leave Tamara without having discovered it” as the authentic Tamara hides behind the “signs” of the city.
One of the main themes of Tamara is the idea of representation and symbols. These symbols are brought to the reader as objects within the city, with things such as “halberds” that denote the barracks, and “the volumes of Averroes” symbolising knowledge and learning. The idea that the value of objects lie in what they symbolize, and not what they physically are themselves, is constant throughout the extract.
Annotation and Analysis of Tamara
Perspective 2 First Attempt
Modelling the Old Quad
After the initial modelling of the unmodified Old Quad, I was rather lost as to where to take it next. Even with the annotated extract, I was struggling to find a meaningful scene to model, and it wasn't until multiple conversations with multiple people such as my tutor and my friend that I was able to come up with a clearer vision of the perspectives.
My initial perspectives were quite underwhelming in terms of my modification of the model, though they were a start to my process of familiarising myself with how far I could alter the Old Quad model. Having said this, my initial perspectives were still the starting points of my final two perspectives, and some elements such as the Hermes character, and ceilings flying away, can still be seen.
Perspective 1 First Attempt
Perspective 2 in Progress
Iterative Process
After I had a clear vision of what I wanted to model, I started developing my two perspectives. At this moment, I still had no idea where to go with the isometric, and just had my two perspectives split into two parts of the model.
Perhaps my favourite part of the modelling was the manipulation of the blocks, as I moved them around and used CageEdit to stretch and distort the shapes of the columns and whole sections of the Old Quad to my liking. The isometric view started to make more sense to me the more I developed my Perspective 1, as it made sense to have a connection between the two perspectives, which is where the blocks on the sides lead down to, as well as through the hole in the floor.
Perspective 1 in Progress
360° View of Model
Composition
Perspective 1 (before revisions)
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Perspective 2 (before revisions)
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*Hover over perspectives above to reveal Golden Ratio*
The composition of the two perspectives follow the golden ratio, as characters and objects are laid on the path that the golden spiral takes, as well as on the intersections of the different rectangles that make up the spiral. The pinnacle of the spiral is used as the main point of focus, and is aimed to convey the narrative of the perspective and of the city. In perspective one, the spiral starts at the traveller, Hermers, and the pinnacle is situated at the hole in the floor that shows the real Tamara underneath, suggesting that Hermes, as the God of Travel, wants to travel and see the real Tamara for himself.
In perspective two, the spiral of the golden ratio follows the descent of their morality into evil. Starting with a white dove, symbolizing hope and purity on the bright side of the perspective, the spiral journeys to the dark side, passing through the partially moral worshipper, on to the worshipper hidden behind the weeds within the shadows, and the black crow symbolizing evil and death, finally ending on the pinnacle of the spiral where stormy chaos stirs.
Isometric Notation
In the isometric drawing, the entirety of the field of the scene is shown, accompanied by notations that guide the viewer through its narrative which is otherwise unknown. The upper section is situated in an area where time stands still, notated by the time/temporal threshold square, as the abrupt and defined edges symbolise the stoppage of time, as it is contained and concealed within the bounds of the façade, while the lower section has time passing normally.
The drawing follows a traveller, Hermes, who ventures through the city, starting at the upper quad in front of the façade, making their way through into the real Tamara, the lower quad, interrupted by areas of disturbance where the columns of the real Tamara are being sucked into the upper quad, where they risk becoming signs and mere façades of the city of Tamara along the way.
The people of Tamara are also given three paths, one upwards, one straight ahead, and one downwards, paralleling choices of good, neutral, and evil. This has also been portrayed in Perspective 2, where the three characters are each either basked in light, partially in the light, and completely in the shadows, also showing the morality of the different characters and citizens of Tamara.
Isometric Notation (final)
Final Perspectives
“...whatever it may contain or conceal...”
“...the cornucopia, the hourglass, the medusa...”
“...whatever it may contain or conceal...”
Perspectives (final)
Hover ^^ for Quotes | Click ⏸️ to pause ^^
Perspective One depicts the Tamara that all travellers see, the city that serves as a front to the true Tamara underneath, as seen through the hole in the floor tiles and the objects. The use of objects serve as the signs constantly mentioned throughout the extract, and are a common theme throughout the two perspectives, though Perspective One uses rather superficial and basic signs, depicting rather obvious meanings. This perspective is the result of the phrase “whatever it may contain or conceal”, as the city within the perspective is contained within the floors that curve inwards, encapsulating the fake city itself, and as it conceals the real city in the background.
The tension wash was chosen for the perspective, as the tension and resistance of the fake Tamara fighting to keep everything contained and concealed is a point that the perspective conveys about the narrative of the extract.
Perspective Two is an exclusive view that only us viewers are able to see, as it depicts the true Tamara that is almost always concealed by the signs of the fake Tamara. In this perspective, a temple within Tamara is seen, where three worshippers are situated, representing the people of the city. The differences in shadow and light connote the morality of the worshippers, as light symbolizes good, and shadow evil. The ceilings, pillars, and floors of the temple also help to show the contrast in atmposphere on the dark and light sides, as the dark side is falling, cracking, and breaking apart, while the light side remains fully intact and free of cracks.
The delirium wash was chosen for this perspective, helping convey the idea that the people praying to the wrong and evil gods have been tricked by the signs into becoming delusional worshippers.