Recursion. The Undimensional Method: A speculative exploration of formalism through an unconventional approach to the orthographic, scale and site.

<p><b>In a society of mass-production, architects, conscious of their social responsibilities, can be lead to focus on urban issues such as town planning, prefabrication, housing or building developments that often prioritise time and money over human needs. The architect’s duty, however, should embody the emotional and psychological needs of both, people and place. In the context of this thesis, formalism, scale and the orthographic will be the measures to which people (humans) and place (site) are represented. Traditionally, scale and the orthographic drawing in architecture have been independently discussed, but their dependant relationship is yet to be creatively challenged. This thesis argues that formalism can act as a mechanism to vehicle a relationship between the two.</b></p> <p>This thesis re-evaluates some of the traditional design methods and conventional approaches to architecture. A speculative and unconventional approach will aim to reconstruct the orthographic, test the limits of translation in scale and redefine a new conceptual term to ‘formalism’. To achieve this, an anthropomorphic and unidimensional methodology will be generated, considering the site as the client, a representation of people and place simultaneously. This project will not present a resolved building design as an ending solution but looks to present a methodological process to find the outcome of this research. It is through the application of this method that a novel strategy for formal design is identified.</p> <p>In a digital age, the use of the orthographic projection has gradually become marginalised in preliminary architectural design processes and is generally utilised in succeeding final designs in the technical construction drawings. The orthographic, as a device of representation, demonstrates an inability to be manipulated and is commonly interpreted as a static construct. This limitation activated an interest to challenge or reconfigure the constructs in the early design phases.</p> <p>There is a significant relationship between representation and perception. How something is perceived visually and the way it is experienced spatially, can offer direct comparisons but also provides the potential to discover what happens in between. In architecture, the perception of the conceptual drawings to the final built design is almost disparate. To explore this relationship; representation, perception and experience, this work will oscillate between the 2nd and 3rd dimensions. Drawing will be used as the mechanism for the 2D realm and modelling the mechanism to demonstrate the 3D realm.</p> <p>This investigation will position its focus into two main parts. First, critiquing the orthographic projection and notions of form and formalism, creating the methodology and initial designs. The second part concerns challenging the idea of fixed scale in the application and development of the design. A speculative and explorative process gives rise to the creation of a new methodological approach to architecture. A formally recursive theme is discovered through the developmental process which denotes infinite iterative possibilities that can be applied and adapted repeatedly to any specific site.</p> <p>Architects should aim to contest the traditional design methods codified in our field, and not always conform to the conventional approaches. The method proposed could be a solution for a future of architecture that can adhere to the many different layers and values in our society simultaneously. As a result, architectural formalism could embody the needs of both people and place in an era where this has slowly been diminished.</p>

Orthographic Projection and the Elaboration of the Imaginary

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>

Orthographic Projection and the Elaboration of the Imaginary

<p>With the development of digital technologies, orthographic projection has been slowly removed from the process of architectural design. Instead, orthographic projection drawings are increasingly utilised purely post-design in the form of technical construction documents. Yet, according to Robin Evans orthographic projection is an active agency in the formation of images, and an effective agency for the elaboration of imaginary objects. Furthermore, for Iain Fraser and Rod Henmi orthographic projection produces conceptually sophisticated constructs whose abstract representation of space allows certain aspects and relationship to be seen which may not otherwise be visible. This thesis argues that the reduced role of orthographic projection in the process of design has affected architects' ability to elaborate the imaginary. To investigate the potential of orthographic projection in the elaboration of the imaginary, this thesis expands upon Marco Frascari's written theory of technological images as a palimpsest displaying three overlapping relationships: (1) between a real artefact and the reflected or projected image of it, (2) between a real artefact and its instrumental image, and (3) between the instrumental image and its symbolic image. To expand upon this theory graphically this thesis employs a methodology of architectural drawing as research. Outlined by Clemens Steenbergen, this framework proposes three distinct forms of architectural drawing that constitute research. This thesis couples these three forms with Frascari's three overlapping relationships of a technological image: (1) The Reproduction Drawings aim to register more accurately how something is made up through a process which interprets the object of observation and incorporates it into memory. These drawings embody the first overlapping relationship of Frascari's, technological image, between a real artefact and the projected image of it. (2) Analytical Drawings reveal abstract qualities and potentials by reducing the complex compositions of the first series to their elementary geometric forms, lines and grids. These drawings embody the second overlapping relationship, between a real artefact and its instrumental image. (3) Experimental Drawings project the reproduction and analytical drawings into an existing context to expand upon or reinforce the relationships and conceptual connections formed in relation to the site in the preceding two series. The effects of these interventions are assessed and altered, ultimately leading to new concepts and new compositions. These drawings aim to elaborate imaginative relationships between buildings and architectural ideas, through a process Frascari terms a mutual measure derived from a familiar nature. These drawings embody the third and final overlapping relationship between the instrumental and its symbolic image. By extending upon Frascari's theory graphically, this thesis argues that orthographic projection remains a valuable tool in the process of design. The real artefact chosen to demonstrate the continued value of orthographic projection is Wellington's Civic Square. This site was selected as the buildings located around its formal rectilinear domain offer a heterogeneous mix of civic architecture, ranging from the strictly orthogonal Town Hall and City Gallery to the curvilinear Public Library and City Administration Building. This site offers the opportunity to test both the advantages and disadvantages of orthographic projection, for the reading of architecture and the elaboration of the imaginary, within a formally diverse existing urban environment.</p>

Analiza kartografske projekcije karte Nova Lusitania

The map named Carta Geographica de Projecçaõ Espherica Orthogonal da Nova Lusitania ou America Portugueza e Estado do Brazil from 1798, together with its 1795 (?), 1797 and 1803 versions, is undoubtedly one of the cartographic monuments developed by Portuguese cartography from the late eighteenth century. Its organizer was the geographer, astronomer, and frigate captain Antonio Pires da Silva Pontes Leme, who relied on the work of 34 people, including astronomers, geographers, and engineers, who, although only mentioned in the 1798 version, contributed to the creation of all versions. All of them are similar in appearance, but differ in size, content, details, amount, and distribution of toponyms, which will be the subject of another paper. The greatest similarity, however, concerns the defined map projection. The objective of this paper is to analyse and present the possible hypotheses and conclusions about which map projection was adopted for all versions of Nova Lusitania, through the identification of characteristics that allowed to infer and prove the adopted projection. The applied methodology verified that in the bibliographic search, the information about the map structure is insufficient. An article presented by General Djalma Polli Coelho in October 1950 states that the projection suggested by its title, as orthogonal spherical, appeared to be the Sanson-Flamsteed equal-area projection. However, the expression Carta Geographica de Projecçaõ Espherica Orthogonal allows us to infer also the transverse orthographic projection. Through parameters defined for the two projections, it was possible to establish the comparative elements for a cartographic analysis, which would allow us to conclude and prove the structure adopted for the map, allowing to conclude if the adopted projection for the Nova Lusitania was an azimuthal orthographic equatorial projection, or a Sanson-Flamsteed, sinusoidal projection on the meridian 315°, defined west-east, (counterclockwise), from the El Hierro (Ferro) Island. This meridian is referenced approx. –62°39'46" off the Greenwich meridian.

A Live Experience of Four-Dimensional Structure

Selective attention is well known for 2D patterns and perceptual alternations are well established for 3D structures projected into 2D, such as the Necker cube. Here, these concepts are extended to the spatial fourth dimension in the form of the mathematical structure of the 4D hypercube. In orthographic projection, its 2D outline figure has multiple and highly dynamic percepts of up to 28 different 3D interpretations, which correspond to local 3D views of the 4D hypercube. Thus, the spontaneous operations of perceptual processing can provide direct insight into conceptual structure in the fourth dimension.

Point Cloud Scene Completion of Obstructed Building Facades with Generative Adversarial Inpainting

Collecting 3D point cloud data of buildings is important for many applications such as urban mapping, renovation, preservation, and energy simulation. However, laser-scanned point clouds are often difficult to analyze, visualize, and interpret due to incompletely scanned building facades caused by numerous sources of defects such as noise, occlusions, and moving objects. Several point cloud scene completion algorithms have been proposed in the literature, but they have been mostly applied to individual objects or small-scale indoor environments and not on large-scale scans of building facades. This paper introduces a method of performing point cloud scene completion of building facades using orthographic projection and generative adversarial inpainting methods. The point cloud is first converted into the 2D structured representation of depth and color images using an orthographic projection approach. Then, a data-driven 2D inpainting approach is used to predict the complete version of the scene, given the incomplete scene in the image domain. The 2D inpainting process is fully automated and uses a customized generative-adversarial network based on Pix2Pix that is trainable end-to-end. The inpainted 2D image is finally converted back into a 3D point cloud using depth remapping. The proposed method is compared against several baseline methods, including geometric methods such as Poisson reconstruction and hole-filling, as well as learning-based methods such as the point completion network (PCN) and TopNet. Performance evaluation is carried out based on the task of reconstructing real-world building facades from partial laser-scanned point clouds. Experimental results using the performance metrics of voxel precision, voxel recall, position error, and color error showed that the proposed method has the best performance overall.