1. Wolfgang Sievers, BHP House at the corner of Bourke and Williams Streets, Melbourne, 1973
About the photographer
Born in Berlin, Germany, on 18 September 1913, Wolfgang Sievers was an Australian architectural and industrial photographer, in which his works incorporate architecture, manufacturing industries, mining and workers, from 1938 through to 1991. Sievers began learning photography at the age of fifteen, assisting in his father’s (Johannes Sievers) work. From 1936 to 1938, he obtained his formal photographic training at the Contempora School for Modern Applied Arts in Berlin, an off-shoot of the Bauhaus school, where he also became an instructor. There his ideas and work were influenced by the application of Bauhaus aesthetic principles
…show more content…
The centre point of interest is the building situated in the middle as the foreground, however, is positioned further away than the two other buildings in the midground, in which they act as a frame for the middle building. The background consists of the sky. The location and the leading lines of these buildings line up with the rule of thirds. This photograph is laid out vertically.
5. This photograph was taken at a medium distance away from the subject and shot at a low angle. Because of this, the buildings are portrayed to be towering over the viewer, therefore underlining their power and significance.
6. The photograph is in traditional black and white and used silver gelatin print. The exposure and contrast of this photograph, as well as the cropping, have been edited.
7. The source of light of this photograph is natural, yet the lighting, however, is still dim. The direction of lighting is unclear, as between the two buildings on each side it is extremely dark, but when it reaches to the middle building which is further away, the lighting becomes brighter.
Cultural frame
8. The purpose of this photograph is for Wolfgang Sievers to communicate his admiration of the industrial age and its advancements in technology. It is also to echo the skills and prestige of modernist designs and high construction standards’ architects that set a new hallmark in
Canal is heavy on the use of values. The piece of art work has heavy contrasts and deep shadows. This can be seen with the building on the right’s corridor. In the middle left he uses high light to show the sun light in the horizon. On the right bottom in the building’s outer corridor Canal uses cast shadow and core shadow. The shadows of the individuals walking are consistent in not only in direction, but in length. Canal used planes to divide the surroundings with the building and lines to divide the building to the sky. He also uses lines to create movement and direction as you can see the citizens heading toward the middle of the art work. The “View of the Molo” also gives the building a sense of texture on the surface. The building does not look flat. The windows protrude a bit. One can see depth on the window sills and the bottom corridors. Canal uses one-line perspective and the vanishing point is the building in the bottom middle. Canal’s use of color is minimal. The colors are not vibrant at the same time not dull. The art work uses colors minimally. The temperature of Canal’s art work is
...’s book accomplishes a lot in its timid three hundred pages, it lacks more examples of modern architecture and historical landmarks such as the ones discussed above. Also, the lack of chronological order is a new approach, but it might not appeal to all readers.
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
A. Line – An irregular soft line is used to establish the eye level/horizon in background between the sky and the field. The diagonal lines define the field and are in an opposite direction of the diagonal lines that define the trunk off the tree in the middle of the picture. The diagonal lines in the field, the horizon line, and the edge of the painting create a linear perspective.
The purpose of this Essay is to discuss an example of design from the late 1800s, I will relate it to the social, economic, technical and cultural context of that time. . I intend on delivering details of the artist and his life experiences as well as his style and possible interests. I will also evaluate the subject with my own opinion, likes and dislikes, with comparisons of work and artists from within that period up to the present date
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
the buildings. At this point it is hard to determine if the sunlight is actually
Mies' well known theory of “less is more” is apparent by the spaciousness and functional quality of the Seagram building; everything serves a purpose, either for aesthetic appeal or functionality. “Less is more” is a concept used throughout the architectural world today. “Mies van der Rohe stands as a great moral force of the International Style. The essence of architecture, to Mies, lies in the expression of structure. And his precise, sophisticated, and consistent style of architecture sets an exam...
As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century.
During the day the Barcelona Pavilion is completely naturally lit. It captures the light with its’ clear walls surrounding the façade. The overhang from the long roof blocks direct sunlight to soften its intensity. He “was replacing the visual dependence of architecture on effects of light and shadow by playing with reflections” (Kostof p.703). The reflective pools are also a way to play with light.
...mselves into the buildings to really experience the space, material, lighting and colors, and then cerebrate laboriously and practice repeatedly to find the answer.
‘the listed details of the city skyline, 'Ships, towers, domes, theatres, and temples' find a careful parallel in the features of the natural landscape, 'valley, roc...
The works of Le Corbusier, Oscar Niemeyer and Antoine Predock shows a high level of honour and truthfulness. These architects were concrete revolutionalists, they partially over-turned the concepts of ‘purism’, ‘less is more’ and functionalism with the plastic freedom made possible by reinforced concrete.
It takes a while to process everything that is going on, but once you see the whole picture, the smaller details come out and are noticeable, even within the visually assaulting Square. The tall buildings are the first things you recognize; just the sheer size of them makes you feel like a tiny, unremarkable speck of dust. Each has its own character and was created with a unique design. A uniting factor of the buildings is the windows. The glass surface reflects the afternoon sun’s light, making a giant mirror from the buildings’ sides. The mirrors create an enormous hall of other building’s distorted reflections. Hanging from the buildings are advertisements for everything under the sun. Many billboards are for the different musicals that are going to be shown at Broadway soon; the classics, like West Side Story, Phantom of the Opera, Annie, and Wicked, are always there. Others are announcing the release of a new HP laptop, or Samsung HDTV. Some unveil a high fashion store’s new fall line of sweaters and jeans. Of course, there is the obligatory Coke commercial, telling you to enjoy a refreshing bottle of ice cold Coke.
Standards rely heavily on the network effect, which is the idea that the effectiveness of a standard is based on the number of people who use it. As a result, standards that are complicated to implement, especially ones dealing with technology, are heavily dependent on incentives in order to get a sufficient amount of people to use it. Looking at PICS and PCI DSS, two Internet standards, where one succeeded and the other failed, we can see what makes standards effective online.