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#17111 Architecture ad lib | PARALINE OBLIQUE



Paraline Oblique
ad libs
A paraline oblique is a paraline drawing of an oblique projection, having all lines and faces parallel to the picture plane drawn to exact scale, and all receding line perpendicular to the picture plane shown at any convenient angle other than 90°, sometimes at a reduced scale to offset the appearance of distortion.

A paraline oblique exhibit projectors that are oblique to the picture plane.

The Fabric of Mental Space

STUDIO | Poiesis: Experimental Constructs

The Fabric of Mental Space Hand Drawn, ink on vellum, 150x65 


Through geometry, we voice of nothing but lines, strata, and segmentation, lines of journey and intensities, operative arrangements and their construction, their plane of dependability, and their units of measure. These lines of stratification not only provide a quantification but define as always being the measure of something else. Line alone has nothing to do with signifying, but as an assemblage are an apparatus for land-surveying and mapmaking to assay the structure of mental spaces. . . | continue reading


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Oblique projection: Drawing the misconstructions of reality

BLOG | Twigging Perspective

Oblique projection is a type of technical drawing and is primarily used for producing two-dimensional images of three-dimensional objects.

 


Technically, oblique projection is a type of parallel projection where it projects an image by intersecting parallel rays (projectors), and from the three-dimensional source object with the drawing surface (projection plane). In both oblique projection and orthographic projection, parallel lines of the source object produce parallel lines in the projected image. The projectors in oblique projection intersect the projection plane at an oblique angle to produce the projected image, as opposed to the perpendicular angle used in orthographic projection. . . | continue reading


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Romance of the Three Kingdoms and the Chinese graphic Modus Operandi

BLOG | Twigging Perspective

Chinese perspective is seen to follow well-prescribed principles and to act on a rational solution to the problem of depicting perspective in a scroll format. Its dominating principle is that of oblique orthographic perspective (in which transversals are shown as horizontal and receding orthogonal conform to a uniform oblique).

 

In less known Chinese paintings from the 13th century, a notable degree of convergence between orthogonality and local regions of a scene ameliorate the strong illusion of divergence that is perceived in the strict orthographic scheme. This subtle form of oblique convergence seems likely to have been developed to compensate for this divergence illusion. The widespread employment of these stylistic choices in Chinese painting is evaluated in the framework of Panofsky’s characterization of perspective as a symbolic rather than literal form of spatial representation and its role in the culture of the imperial courts of the Chinese dynasties. 
How was it, then, that the Chinese painter, who insisted on truth to natural appearance, should have been so ignorant of even the elementary laws of perspective as the West understands it? The answer is that he deliberately avoided it, for the same reason that he avoided the use of shadows. … Why, he asks, should we restrict ourselves? Why, if we have the means to depict what we know to be there, paint only what we can see from one viewpoint? (Sullivan, 1984, p. 176) . . . | continue reading


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Klee’s Spatial Illusion and the Everyday Visual Experience

BLOG | Twigging Perspective

In 1921, Paul Klee delivers a lecture in perspective. There he explains to his students that “the point of the entire procedure is simply to be able to exercise control,” and that “accurate perspective drawing has no merit whatsoever, if for no other reason than anybody can do it.”


After the departure of Gropius, the Bauhaus comes under the direction of Hannes Meyer, its radical functionalism. Is at this time that Klee held a course titled Contributions to a Pictorial Theory of Form, and here, under the heading “Deviation from the Form”, Klee gave his students forewarning of the theme of “stray centres,” or “stray viewpoints.”
A year later he painted Uncomposed Objects in Space (1929), in which the entire composition seems governed by linear perspective. In reality, the vanishing point is dislocated to multiple “stray centres” and the perspective is so off centre that it could not even be classified as axial or ‘fishbone’ perspective, the latter term having been used by Erwin Panofsky two years before to describe ancient perspective.



Panofsky ‘fishbone’ representation method, was a complicated spherical perspective that could be schematized in a ‘fishbone’ pattern, in which the points of convergence were aligned on a vertical axis. Klee probably had no direct knowledge of Panofsky’s idea, but . . . | continue reading


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Paraline Obliques: a matrix of viewpoints

Praxis | diaLOGs

 

There is a considerable number of variations when opting to represent a design though paraline obliques. Check this matrix of choices to help you to decide which viewpoints are best relative to the type of the object being depicted. . . | continue reading


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‘Oblique Drawing: A History of Anti-Perspective’ by Massimo Scolari

BLOG | Bookcase

For more than half a century, Erwin Panofsky’s Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us.


Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde and remains the dominant form of representation in China. In Oblique Drawing, Massimo Scolari investigates “anti-perspective” visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life  . . . | continue reading


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How to construct a paraline circle at 45°

TUTES | Fundamentals

In paraline drawings, all circles appear as ellipses except true circles — those that appear in planes parallel to the picture plane.


 Follow the four-step instruction to constructing a paraline circle at 45° that recedes to the right.  
. . . | continue reading


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STUDIOParalleli Modo

Plan with simultaneous exploded oblique views

STUDIO | Praxis: Paralleli Modo

Split worm’s eye axonometric

STUDIO | Praxis: Paralleli Modo

Multioblique Combination

STUDIO | Praxis: Paralleli Modo series

Non-vertical Z-axis stepped plan

STUDIO | Praxis: Paralleli Modo series



 

for more work about 'paraline drawing' click on the icon

other articles and work . . .

Architecture as Borderline Condition: The logos of form beyond tectonic boundaries

BLOG | Spaced Out

The logos of form beyond tectonic boundaries | first thoughts

In the architectural scenario, there is always an assumption of thresholds and limits. Based on the hypothesis that limit is what sets the frontier of something that outside of itself will cease to exist and for that matter, allowing that something new start; my interest lies in the union of the space that ends with the one that begins — a no-man’s land of space and suspended time. . . | continue reading


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The Oblique Function by Claude Parent and Paul Virilio

BLOG | Critique of Architecture's Pure Reason

The Oblique Function was first developed in the 60’s by Architecture Principe (Claude Parent & Paul Virilio) and since then is still the main element of Parent’s architecture.​

The idea was to tilt the ground in order to revolutionize the old paradigm of the vertical wall. In fact, being inclined, the wall becomes ‘experiensable’ and so are the cities imagined by the two French architects. The oblique is fundamentally interested in how a body physically experiences a space.
The slope implies an effort to climb up and a speed to climb down; this way the body cannot abstract itself from the space and feel the degrees of inclination. . . | continue reading


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The Syntax of Visual Language

BLOG | Visualising Thinking

Functional visualisations are more than innovative statistical analysis and computational algorithms.


Despite today’s graphics diversity, many projects tend to follow noticeable trends and common principles, which lead to an emergent taxonomy. This Syntax, a palette of visual elements, that consider colour, text, imagery, size, shape, contrast, transparency, position, orientation, layout, to name a few, are the building blocks of a new visual language. . . | continue reading

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Paris Moderne: The Emerging New Metropolis Scale

BLOG | Exquisite Urban Corpse

The production of urban space is always an exchange of contentious forces, and the Parisian story is a very complicated one. The operative alternatives were influenced not only by Haussmann and the Beaux-Arts tradition, but also by the two great wars and their following reconstructions, by the political and social conflicts, and by the intellectual currents of the day.

When we think of Paris and its magnificent landscape, it is the city of Haussmann’s nineteenth-century with its clear and omnipresent agenda that we envision.

The Second Empire’s projects have long determined the discourse on urban planning in Paris. They have become the familiar framework for understanding the city as the “capital of the nineteenth century” and the modernity associated with the grand bourgeois experience. . . | continue reading


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Cartooning the Landscape: A map into Chip Sullivan’s creative mind

BLOG | bookcase

One of the singular talents in landscape design, Chip Sullivan has shared his expertise through a seemingly unusual medium that, at second glance, makes perfect sense–the comic strip.


For years Sullivan entertained readers of Landscape Architecture Magazine with comic strips that ingeniously illustrated significant concepts and milestones in the creation of our landscapes. These strips gained a large following among architects and illustrators, and now those original works, as well as additional strips created just for this book, are collected in Cartooning the Landscape. . .  | continue reading

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Lichia Draws. . . beautifully!

VISITOR GALLERY

Lichia is an urban designer turned self-taught illustrator based in Toronto, Canada.


She is also the founder and Creative Director of Gotamago, a stationery and gifts brand. She is fascinated by nature, animals, cities, and people interacting with their environments. . . | continue reading

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Poiesis | de-Folium series

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Assembly Line(s)

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Assembly Line(s) is an exploration of the behaviour of the line as apparatus.

Drafting the Mondrian’s Cube

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step-by-step | creating a figure-ground diagram

Tutes | Urban Grounds


A figure-ground diagram is a two-dimensional map of an urban space that shows the relationship between built and unbuilt space. It is used in the analysis of urban design and planning.

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Further Readings

Living Cities at the TATE Modern

BLOG | Showtime


‘Navigation and Pedestrian Mobility’ by Carlos Esponda

VISITOR GALLERY


15 Great Examples of Conceptual Architectural Models

BLOG | Modelmaking


Classificationing: Bryan Cantley tonight at The Bartlett

BLOG | Bulletin


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