Sunday, June 21, 2009

Model Link

Model Images

Draft Offices

Prada's Office: Curved suface as roof of the office that indicates the movement, as a feature of modernism.

Obama's Office: Intersected boxes connected each other with hanging copper strips, whcih connect the office to the bridge at the same time as well.

Sunday, May 31, 2009

Are They Wrong???

At first glance of these two sketches, the one-point perspectives seem like incorrect. I didn't say that what I did was correct; but actually they could be absolutely right to some extent!

Before explaining the reasons for this, one renowned architecture should be displayed here:

Image reference:

Can you imagine the plan of this square???
(You may get wrong if you don't think carefully!)

To check the answer, click here:

(Can you see that: actually the two sides of
St Peter's Square
are not parallel... )

Now, let's go back to the first question!
Think about it: do they have to be the 'F' as a regular one?

Here is a different 'F':

To be honest, I did this F-shap one-point perspective in a wrong way when I was drawing it. However, usually the 'wrong' thing be a absolutely right...

Do not be constrained by Directed Thinking all the times when you are designing something creative!

One-point, Two-points and Three-points Perspective

One vanishing point is typically used for roads, railroad tracks, or buildings viewed so that the front is directly facing the viewer. Any objects that are made up of lines either directly parallel with the viewer's line of sight or directly perpendicular (the railroad slats) can be represented with one-point perspective.
One-point perspective exists when the painting plate (also known as the pixture plane) is parallel to two axes of a rectilinear (or Cartesian) scene — a scene which is composed entirely of linear elements that intersect only at right angles. If one axis is parallel with the picture plane, then all elements are either parallel to the painting plate (either horizontally or vertically) or perpendicular to it. All elements that are parallel to the painting plate are drawn as parallel lines. All elements that are perpendicular to the painting plate converge at a single point (a vanishing point) on the horizon.

Two-point perspective can be used to draw the same objects as one-point perspective, rotated: looking at the corner of a house, or looking at two forked roads shrink into the distance, for example. One point represents one set of parallel lines, the other point represents the other. Looking at a house from the corner, one wall would recede towards one vanishing point, the other wall would recede towards the opposite vanishing point.
Two-point perspective exists when the painting plate is parallel to a Cartesian scene in one axis (usually the z-axis) but not to the other two axes. If the scene being viewed consists solely of a cylinder sitting on a horizontal plane, no difference exists in the image of the cylinder between a one-point and two-point perspective.

Three-point perspective is usually used for buildings seen from above (or below). In addition to the two vanishing points from before, one for each wall, there is now one for how those walls recede into the ground. This third vanishing point will be below the ground. Looking up at a tall building is another common example of the third vanishing point. This time the third vanishing point is high in space.
Three-point perspective exists when the perspective is a view of a Cartesian scene where the picture plane is not parallel to any of the scene's three axes. Each of the three vanishing points corresponds with one of the three axes of the scene.

One-point, two-point, and three-point perspectives appear to embody different forms of calculated perspective. The methods required to generate these perspectives by hand are different. Mathematically, however, all three are identical: The difference is simply in the relative orientation of the rectilinear scene to the viewer.

Text Reference:

Texture of Movement

Two-Point and Three-Point Perspectives