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Fifteen photos related to the threshold were selected as the subject

2020-03-08 来源: 51Due教员组 类别: Report范文

下面51due教员组为大家整理一篇优秀的代写范文,供大家参考学习。这篇文章讲述的是选择了15幅与“门槛”相关的照片作为主题,试图表达我对摄影与建筑之间的理解和诠释。展览结束后,我突然想到,拓展和探索建筑与摄影之间的关系,不仅是关于线条和门槛,还有其他空间价值,将是一件很有意思的事情。本文试图建立摄影文献与建筑美学内容之间的关系。

 

ABSTRACT

 

The natural bond between them as well as the aesthetics and philosophy they share inspired me to investigate about such relationship between architecture and photography in my architecture and photography work. In my first solo photography exhibition, I selected 15 photographs related to “threshold” as topic, trying to express my own understanding and interpretation between photography and architecture. After the exhibition, the idea occurred to me that it would be intriguing to expand and explore the relationship between architecture and photography not only just about line and threshold, but also other spatial values.

 

The thesis seeks to establish a relationship between photographic documentation and the aesthetic content of architecture.

 

The meaning of a photography could be found through its pictorial image, the spirit of both the photographer and the essence that it expresses – just like architecture communicates by expressive detailing of a structure, and the way it communicates with the viewer. It is the purpose of this research to determine, through a variety of analyses and surveys, that architecture does communicate in this way, and those photographs can capture the same aesthetic qualities that are communicated.

 

Aesthetics qualities in space and architecture could be expressed by photography. Architecture communicates through its form, shape, color,massing, context, symbolic and iconographic meaning. A nostalgic photography can awaken your deeply rooted homesickness or at least evokes some cultural knowledge that embedded in your mind. This is the same with architecture. Viewers will be aware of his/her response to the particular architectural details, either positive or negative. And there will always be a response, which may be intuitive, predicated on a cultural and experiential upbringing.

 

 

1. Light, Shadow, Framing

 

A photograph sometimes contains both interior and exterior aspects which are architectural as well as photographic. The latter includes lighting, shadows, framing, and other key compositions. The notion of "frame" is being questioned and redefined by overlapping interpretations of the meaning, shape and function of limits and the spaces that they contain. Under the same light, photos are viewed differently with various influences as medium.

This media space is shaped by our visual perception – sight defines the territories we occupy and gives us information of the spatial condition we inhabit and bringsthe impreciseness to the space.

 

 

2. Art as Medium

 

Architecture and photography may appear essentially dumb, inchoate, and restricted. Each becomes clarified and concentrated not by the brain working laboriously over them, nor by escaping into a world of mere sense perception, but through thecreation of new experiences as matter is ordered through form to produce the aestheticfeeling.Therefore, both photography and architecture could be considered as art as well as medium of transformation.

 

“Although photography generates works…, – it requires subjectivity, it can lie, it gives aesthetic pleasure – photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art are made.” So does architecture, which not only presents or reproduces what is already exists, but gives the society a symbolic form through the way it aggregates things collectively as a medium.

 

 

3. Perceiving/Inhabiting

 

Our experience shapes our seeing of the world we are in. The contextual perception of photography and architecture is viewed by those who are interested in the area. When a photographer takes a photo and expose it, both sense and form are involved in the process, therefore linking the contents and structure of the photo itself.

 

The form and sense within a photograph is unable to be separated. Through the form of the photograph, we can experience ‘what is there’ when the person hit the camera. However, the sense also takes up a large proportion of constructing the image. The sense helps us to really feel what the person perceive at the moment – whether it is the lighting, colors, hue, lines, or emotions. The dissection of the photograph needs to be simultaneous when it comes to form and sense, for it can expose us to the inner structure of the architecture and creates innate feelings.

 

Just like language that helps people understand the meaning of things, photography serves as the bridge between our world and the way we encounter it. The process of perceiving a photograph, or perceiving the graphs and colors of the images, is a due-related examination. According to some scholar, ‘Architecture’ is a term that contains both macro and micro aspects.  For macro level, the viewers can sense the aestheticism delivered through the photographs. For micro level, the symbolic message that is communicated through the structures and lines also result in the work presented.

 

Within the work of a photographer, a form of life is presented to the viewers. The form can be described as allowing the viewers to see behind the images presented – to actually know beyond the location, the surroundings of the person, and to touch the sense of belonging that is dwelling in the poetic presence.

 

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51due为留学生提供最好的作业代写服务,亲们可以进入主页了解和获取更多代写范文提供作业代写服务,详情可以咨询我们的客服QQ800020041

 

 51due为留学生提供最好的作业代写服务,亲们可以进入主页了解和获取更多代写范文提供作业代写服务,详情可以咨询我们的客服QQ800020041

 

 

 

 

 

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