Andrea Zittel Whiteread

Standing in front of this sculpture, the viewer can feel the wind whipping around them and the sea spraying you in the face. The energy and motion add to the dramatic effect that immediately draws the viewer in. This dramatic effect is created by the lines of the figure. Nike’s elongated wings catch your eye and create a lengthy transverse line which adds to the drama. The drapery that clothes the figure has the same

When I went to Museum of Metropolitan of Art, I saw many interesting works of arts. I was so amazed by all of the art-work. It was a tough decision to choose one work to focus on for my art paper, but there was one sculpture that caught my eye; it was Nataraja of Shiva (11th century) from Ancient Southeastern Art located on the 2nd floor of the museum. The main message of this sculpture is focused on the idea of the boundaries of cosmos and the destruction and rebirth of the world. This paper will employ close visual analysis of this sculpture and describe how the visual elements of the work relate to its main theme. In my opinion, this sculpture is very beautiful and I was so surprised to find it in the museum. As I was growing up in

Two examples that I find especially thought provoking are the Danziger studio and the Goldwyn Library. Built to blend into the local surroundings, the luxury residence was given a humble, rough exterior. Davis' explains that the rough exterior of the architecture reflects the underlying social phenomenon of "repression, surveillance and exclusion"(Davis, 224) that collectively forms the "fragmented, paranoid spatiality"(Davis, 229 ) that LA embodies. Moreover, The house's "camouflage"(Davis, 229 ) exterior creates a stark contrast to its luxurious interior, which places further emphasis on the exclusion and barrier between the "opulent"(Davis, 256) interior and the "rough"(Davis, 224 ) environment. I find Davis' assessment of the Daziger studio particularly agreeable and accurate as I truly believe that an architecture, its purpose and characteristic, sheds light to not only its physical environment but also its social environment, something that might not necessarily be as apparent. On the other hand, I find Davis' assessment of the Goldwyn library rather exaggerated. Judging from photos taken, the fifteen foot security wall is not as grotesque and 'fear-imposing' as Davis puts it. Davis described the library as "baroquely fortified...menacing...bizarre"(Davis, 246) and "paranoid"(Davis, 251). Although security and 'vandal-proof'' maybe, as Davis suggested, the initial goal of the design, I do not believe that it is as exaggerated as Davis

We ring in the start of a new year with parties and new hopes, but in January of 1929, Ella Thiesson and Stanley Ciezmierowski started the new year with the birth of their youngest son, William Henry Moroski on the 2nd in Grand Rapids, Michigan.

Zinsser did a great job of physically describing the fountain. When I saw an image of the monument, it was close to how I had envisioned it. Zinsser’s successful description was a result of breaking

The piece is actually a home that was initially supposed to just have a view of a water fall. However he went above and beyond that and put house on top of the water fall . He created it this way so that the sound of the water became a very significant part of the Kaufmann family whom he created the beautiful home for. The location which the house was constructed is beautiful I would love to do work in such a beautiful place. The best part of the piece for me was that it can be lived in. It’s not just a painting that can be looked at but pieces that you can hear, see, touch, feel and live within. Both inside and outside is beautiful on the outer part of the house he used rocks that are in the surrounding of those to create unity between nature and the house. He had a very great sense for texture and materials that were native to the surroundings. He was very careful about building this house and didn’t harm the environment it is interesting because the house looks like he built around trees because you can see trees between walls. His caution and love of nature was shown through the piece that gives it a great meaning and. The inside the house his artistic genius his most defiantly shown. The House has a open plan and the rooms pour into each other. This shows his willingness to take risk because this was not a very used or popular technique used in the

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.

Architecture should be nurturing, responsive and alive, dynamically shifting spatial balances, organically expressive forms, subtly luminous colors and biologically healthy. To achieve such life-enhancing architecture, it has to address all the body senses simultaneously and fuse our image of self with experience of the world. By strengthening our sense of self and reality, architecture serves its all-important function of accommodation and

One of the biggest similarity between the two is that they were both built within sources of water. Fallingwater being built on small creek, suspended over a waterfall. This crude earthiness is counterpointed by the startling fine alabaster white stucco work of the famous interiors. Then this melts water from the 'Snowy Mountains' is drawn across an arched vault at the eastern tip of the Torre del Agua, a large water tower, and channeled through the citadel via a complex system of conduits and water tanks, which create the celebrated interplay of light, sound and surface. The concept of “Organic Architecture” stems from his Transcendentalist background. The belief that human life is part of nature. The architects in both also use nature and

The colors in the back of the sculpture are dark and vividly colored and are nearly completely concealed from a viewer at the front, giving the sculpture an almost business in the front and party in the back appearance. The design element of form is used excellently in Skyward’s freestanding sculpture. It’s relatively simple geometric shapes are lined up in a manner to draw your eyes upwards and it’s seemingly plain front hides complex artwork and shapes that lie behind its façade. Its pedestal hides three spherical objects, one orb and two half spheres, that set the structure’s rise towards the sky. It features a cube form that is delicately balanced at the bottom and sides slyly hide it’s interesting and colorful backside. The next object in this stack is a sphere within a circle and it is decorated with splash art and an influx of warm hues. Finally, a triangle stretching skywards is featured at the top of the sculpture itself. The design principle I chose to analyze was the symmetrical shape of

The eyes of the statue subjects' eyes are closed with a melancholy display. The work directly displays human impact however over time nature will reign over these statues and serve as a habitat which is a commentary on how eventually nature will always coexist even with human's dangerous “dominance”. His usage of materials includes pH-balanced, reinforced concrete and fiberglass. At first glance, these materials seem as if they could be harmful to the balance of wildlife. However, these are the near perfect artificial environments for Coral Reefs. The 400 sculptures represent various culture diversity and marine life diversity concurrently. The title “silent evolution” refers to the evolution and change of the relationship between marine environment and human behavior and dependency. The literal evolution of the figures is slowly but surely gaining life on its surface, starting from plain concrete pieces into a thriving ecological system. This evolution can be seen as “silent” to most of the world. Eventually, this extensive art piece will be completely covered by marine life-transforming the original sculptures into a different state which also questions the future fate of the human species to work together with

The White Elephant by Jimenez Lai is in essence the very redefinition of architecture left for interpretation. Though there is no necessity, as to what has been described as a micro-building/ macro-furniture there is a sense of the idea of the hard exterior clashing with the soft plush interior (a reflection of pleasure.) People are left to interpret the very foundation of ideals that a building is subcategorized into also, the salient characteristics of the installation itself, that it can move about freely on any of its sides (blurring its many sections) and that it is unaffected by gravity.

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Architecture is among the few careers that are usually considered male dominated sectors. This is because there are very few if any, ladies that have taken the trouble to dare venturing into this well rewarding but involving discipline. Zaha Hadid is the pioneer woman architect who rose to challenge the chauvinistic attitude regarding the gender affiliation to certain careers. The Iraqi-Briton lady, born in Baghdad in 1950 was until her death known for her sweeping curves and ravages that were exorbitant among other architectural works. Although her initial years were really tough as she had to work extra hard even to have her first design built, she relentlessly fought to put her unique designs on the map across the globe in the early 1990s. Zaha Hadid left a rich legacy, which will take eons to break as she was the pioneer female architect to be awarded the protuberant Pritzker Prize. This was after she had showcased her splendid artwork meant for the construction of the famous Opera House found in Guangzhou, China together with the Aquatics Center, which was used for the first time in the London Olympics in 2012. This research paper delves in her life history as an architect with curves as strong as steel, her accomplishments as well as her disappointments.

The coverings of the two houses are different, but both follow the basic modern architectural principles of free interior planning determined on the basis of function and facades independent of the interior. The discrepancy between planning and facade inevitably arises from the two demands imposed on houses today. First, from the outside they must symbolize the idea of «house.» Second, on the inside, they must be places for daily living. These two houses result from a process of evolving single spaces without annulling the basic contradiction inherent in the two demands.