Blog 2

 What caused the shift from Renaissance to Baroque?

In the book the author states two theories or ideas behind this question which are basically that the renaissance period had reached the climax of it's popularity and that Boaroque was the new substitute  that fulfilled the desire for something new. the other theory suggests that as society changes the taste and preferences of that society also evolved.

"One possible answer is the theory of blunted sensibility , commonly offered in the past. It suggests that the forms of the renaissance had ceased to exert their charm, so that the too-often-seen was no longer effective and that jaded sensibilities demanded a more powerful impact. Architecture  changed in order to supply this demand and thus became Baroque.

This theory is opposed by another, which sees the history of style as a reflection of changes in the pattern of the human life. According to this hypothesis, style is an expression of it's age, and changes with the changes in human sensibility. The renaissance had to die because it no longer expressed the idea that governed the age or appeared most vital to it."

Wolfflin, H. (1961). Renaissance and baroque. London, England: Cox & Wyman Ltd

pages 73-74

Who was Gian Lorenzo Bernini?

Gian Lorenzo was a sculptor and artist, who was very comparable to Michaelangelo, around the 17th Century. In this article, the author claims that Bernini shaped the city of Rome at this time, as his arts and sculptures where established and displayed in many places in Rome including Basilica's such as St Peters in the Vatican city. 

"How can any museum do justice to the artistic achievements of Gian Lorenzo Bernini, who transformed the city of Rome into a permanent exhibition of his multifarious gifts as sculptor, architect, designer, administrator and politician? Organically integrated into chapels, tombs, fountains, staircases, memorials and, above all, into the new St Peters, Bernini's art can only be appreciated and understood by those able to study it in situ. The few portrait busts, rare paintings, clay bozzetti and drawings that have found their way out of Rome to museums and private collections in Great Britain, the resources drawn on for the exhibition at the National gallery of Scotland, Edinburgh all help to round out our understanding of his genius"

Harris, A.S. (1998). Effigies and ecstasies, Roman Baroque sculpture and design in the age of Bernini. Burlington Magazine, volume 140, page 638. Retrieved from http://www.jstor.org.helicon.vuw.ac.nz/openurl?issn=0007-6287&title=&volume=140&date=1998&issue=1146&spage=638

what are the conventions/features of the Baroque style?

The main idea of Baroque is that the details are intricate and the the renaissance style is brought to more extreme levels. Examples of this are curvy lines, domes, more patterns and an abundance of sculptures e.g. Fontana Di Trevi, Piazza Novona , St Peter's Basiclica.

"Baroque architecture was designed to create spectacle and illusion. Thus the straight lines of the Renaissance were replaced with flowing curves, while domes/roofs were enlarged, and interiors carefully constructed to produce spectacular effects of light and shade. It was an emotional style, which, wherever possible, exploited the theatrical potential of the urban landscape - as illustrated by St Peter's Square (1656-67) in Rome, leading up to St Peter's Basilica. Its architect, Bernini, ringed the square with colonnades, to convey the impression to visitors that they are being embraced by the arms of the Catholic Church."

Collins, N. (n.d). Baroque art:Definition, History: Architecture, sculpture, Painting. Retrieved from http://www.visual-arts-cork.com/history-of-art/baroque.htm

what were the intentions of Baroque?

"the aim was to create an environment having a stronger emotional and persuasive impact, and to make every single building appear as an expression of a universal system of values. We have seen, thus, how churches and palaces started to interact with their urban environment, mainly because of the introduction of a longitudinal axis  that 'opened' the traditional self sufficient architectural form."

Pirovano, C. (Ed.).(1971). Baroque Architecture. New York, USA:Harry N Abrahams, Incorporated.

page 305

Image of typical Italian Baroque Buildings

Rome the capital of Baroque. (2009). Retrieved from http://members.virtualtourist.com/m/p/m/1de6b0/

TECHNICAL DRAWING AND PRECEDENTS

My technical drawing.

 Like Zaha Hadid's drawings i tried to use a contrast of thick and thin solid lines (eg thin lines for shadows, thick lines on scissor blades etc) she uses this in her drawings to emphasize 3D form.I used an isometric style of drawing for the centre image because I think that It shows the shapes and dimensions clearly. I had looked at digital art illustrations by Atelier Oschinsky, and I liked how one of his drawings use the illusion of glass to refract images/shapes, so I tried to use glass-like panels to imitate the distorted look. His other illustration inspired my drawing because I liked the chaotic/ confusing look, so I tried to take this idea by drawing different features you would see on the object and arranged them in a messy composition to achieve the same style. I used pastels to further emphasize the messy look and have it look almost streaky so that the viewer identifies the rough style.

Images for precedents...

Zaha Hadid

Atelier Oschinsky

Isometric drawings

TOUCH AND DRAW

SECTION

DRAW

HATCH

IDENTITY

Contact sheet

http://issuu.com/maysali/docs/contact_sheets
I have uploaded my contact sheets onto http://www.issuu.com/, and the link above will direct you to my contact sheets for project 1

final images

these are the final images that I have decided to use for this project...

shoots

This is a wide angle shot which is slightly raised to a higher point in order for the viewer to focus on the actual space which should be the dominant image, as opposed to the grafitti on the walls. this area works with the idea behind my vision for this project because it shows how this space is may seem isolated but it's open atmosphere allows the audience to see the big and small details, such as the curly pattern created by the barb wire, the spiral-shaped ramp inside the car park and the merge of colour and grey.

i will look into improving this picture because I like how the narrow space is clearly visible and filled with all kinds of 'junk' which brings a lot of character into this photo as it shows this area in a less pristine and less boring space. Everywhere you look there's something interesting.

A closer look behind the bars where the space seems more narrow yet the space and surroundings create a more eerie feeling as the space seems more closed in and even darker.The focus turns from space and atmosphere to the shapes and linear features in this space.

This side angle helps the photograph concentrate on the rubbish and skip bins, and how the perfect line-up and arrangement of these objects allows the viewer to see order in a seemingly un-ordered place, where the irony of perfectly lined up rubbish bins is clashed with the fact that the rubbish that surrounds this place is everywhere except inside the rubbish

An extreme high angle allows the audience to see a different angle and works well when an area is crammed with many objects because the viewer will get to see the spaces between the objects, where a normal angled shot wouldn't be able to show that kind of detail. At this angle, the viewers would also recognize the shape created by the empty space.

This serves as a contradiction to the outside of the car park, where the atmosphere is open, messy and extremely detailed, whereas this small room is plain, closed-in, bright but neat and almost sanitary-looking in comparison to the rubbish-covered areas outside. this image, to me, adds character and variation to the entire building because it creates a completely different mood (even though it's dull) and this dullness allows the viewer to appreciate the simplicity of this space.

this photograph is dark, so it could be enhanced to show the actual main part of the car park clearly. this is a more typical photograph of a car park, however I think that the wide angle shot that is framed by the rows of parked cars could also contribute to the style and mood mixed with the dark lighting which gives off a serious mood, unlike the playful moods outside, the car park shows more dull and uniformed images inside.

Spaces between the levels create pattern and repetition which helps build movement that directs towards the ceiling, allowing the viewer to notice the triangular form above. a low angle helps achieve this view of the ceiling and tall buildings.

I this picture i wanted to have the focus begin from the start of the ramp and extend just past the entrance of the car park. i put myself in the eyes of the driver and wanted to capture the feel of the driver as they drive along the ramp, into the dark parking lot expecting to find a place to stop and park their car. this shot works with idea because the darkness evokes the uncertainty of finally finding a place to park.

Mini World

panorama

This is a panorama shoot of the Wellington harbor

New proposal

Proposal
I have discovered a new area in a car park in Wellington which i thought was visually interesting and had many features or aspects that i thought i could explore creatively in order to show space and how this space can shape the way the viewer see's or feels about an ordinary environment. I have tried to capture ,through my photos, how the many unique spaces that are often ignored or unnoticed in a regular parking building can be more than what they seem. As I searched the area for ideas and inspiration, I couldn't help but notice that this place wasn't deserted or abandoned, like the photos by J Bennett Fitts or Phillip Toledano, but the rubbish on the ground, the graffiti on the concrete exterior, the holes on the walls and the many cars parked in the lot made the space feel lived in- perhaps not as welcoming but there were so many small details that could be easily missed or forgotten and yet they help make the space what it is. rather than focusing on the empty space only, i wanted to show the strange little spaces that i found in this area that may seem random and irrelevant for a normal car park to have, but in my opinion gives character and excitement to the entire car park, as it seemed like an adventure discovering these cooky spaces and photographing them.

more artist inspirations

                                                                       Wendy Burton

this photograph is part of Burton's 'Rust Belt II' collection taken from:

http://flavorpill.com/losangeles/events/2008/9/3/dennis-hopper-colors-and-wendy-burton-trace-elements-iii

"Wendy Burton's long-standing passion for architectural photographs that document modern American "ruins" is seen in two new bodies of work, one examining the aftermath of Hurricane Katrina. Dennis Hopper picks up his creative thread as photographer and painter with rich visual dialogs between the smooth colors fields of mid-century abstraction (expressed as blocky anti-graffiti wall patches) and not-so-smooth images of inner-city social turmoil. Both series, while following diverse strategies, get straight to the point: there's beauty everywhere — you just need the patience to look."

This quote is taken from: http://flavorpill.com/losangeles/events/2008/9/3/dennis-hopper-colors-and-wendy-burton-trace-elements-iii

This image is interesting because the space is framed by the hole in the wall and the warm red colours contrast with the cool grey colours inside. There is shape created by the hole on the wall, but at the same time the viewer isn't too distracted from the centre of the photograph, where the empty space is the main focus in the image. The wall in front of the empty room give the illusion on a more dimensional image since it looks layered and complex.

This image is taken from 'rust belt II' collection from: http://www.wendyburton.net/series/rust_F15.html

"In, Wendy Burton’s fourth solo exhibition at Craig Krull Gallery, entitled Trace Elements III, the artist continues to explore abandoned and decaying structures as subjects for her photographic archaeology of the not so distant past in American civilization. These vacant buildings are often the product of what Burton refers to as the “rust belt,” areas where industry has moved on, resulting in the disintegration of entire communities. In Tema Celeste, Shana Nys Dambrot wrote, “…these are undeniable compelling subjects, saturated in a sort of rural collapse…yet the morbid lyricism of Burton’s tone is suggestive rather than judgmental…[their] meaning built on cobwebs and ghost stories.” This exhibition also includes a portfolio of images entitled, “What Remains,” made in post-Katrina New Orleans"

This quote is taken from : http://www.craigkrullgallery.com/exhibition/PRhopper.html

This image includes many photographic elements such as colour, line and composition, but I think what really stands out for me is how the wide shot makes this area look stretched, longer and almost endless, so this gives the image more depth and the space portrayed seems exaggerated and emphasised. This will encourage the viewer to pay attention to the narrow space between the walls and columns.

This image is taken from Burton's collection 'empty houses; interiors' from: http://www.wendyburton.net/series/interiors_F04.html

"Wendy Burton's evocative photographs document a part of the American landscape that is not usually associated with that country's shiny new facade. Her work features abandoned homes and buildings set like gemstones in areas where desolate wilderness merges with unkempt lawns. These are undeniably compelling subjects, saturated in the sort of rural collapse that city dwellers find quaint and picturesque. Yet the morbid lyricism of Burton's tone is suggestive rather than judgmental, privileging the florid decrepitude of the structures' current state over their previous occupancy. They hold an almost archaeological fascination for the viewer, inevitably an outsider, promising the discovery of an important story that one must finish for oneself."

This quote is taken from: http://www.wendyburton.net/press/main.html

This photo shows a barely furnished room, which shows the viewers the nature of the photographers concept for this image. The idea of abandonment and emptiness is clear in this photo and space is communicated by having minimal surroundings ie, no pictures on the walls, no curtains, no lampshades, no furniture except for a couch (and a mop leaning on the wall). This creates a lot of visual space because the viewers eyes drifts around the empty space all around the room, ignoring the couch and  wonders what the story behind this picture is.

Josef Schulz

Image from 'Formen' collection from: http://www.josefschulz.de/html/form_90.html

"By removing any indication of function or use, the structures are reduced to relationships between color, shape and form. The artist produces a two-dimensional “sculpture” of the original structure through the photographic and digital editing processes. The final photographs are not presented as objective views of reality; instead, the images are revealed as carefully composed constructions"

This quote was taken from: http://www.yossimilo.com/exhibitions/2008_12-jose_schu/

This photo seems to be taken at a slightly lower angle rather than a straight on view, and this makes the distance between the bridge and the ground seem even bigger and expands the viewers perception of space in the image. This location looks deserted and unrealistic which draws in the viewers attention and allows them to focus on visual aspects such as the shape created by the bridge, the contrast between shadow and light etc...

This image is from the 'Ubergang' collection from: http://www.josefschulz.de/html/transitIndex.html

"my interest in these past places of border-line experience can be traced back to the story of my own life. I grew up in Poland, a country whose territory was repeatedly redefined in the course of history. The border police have now disappeared from our frontiers, too, and the border stations seem quite harmless today – but they will continue to conjure up unsettling images in our minds for many years to come."

This quote is taken from: http://www.josefschulz.de/html/uebergang_js_eng.html

This photo is simple yet effective because although it is a generic picture of the bridge, the distance from the bridge and where the picture was taken gives an appropriate view of the space around and inside the bridge and the light saturation woks with the idea behind the photo, because it slightly faded and nostalgic-looking so that  Schulz shows the viewers his memory of his "border-line experience". the shadows are light wich makes the picture look more harmonious in my opinion which makes this setting look more appealing and attractive for the viewers eye

Edward Burtynsky

Image taken from 'Manufacture Landscapes'. Image from: http://www.google.co.uk/imgres?q=edward+burtynsky&um=1&hl=en&sa=N&biw=1440&bih=717&tbm=isch&tbnid=5zhKhzyf-xJrMM:&imgrefurl=http://everybodysucksbutus.com/2010/01/21/chinese-workers-photographed-by-edward-burtynsky/&docid=Jx2Ugg-vrvUTxM&imgurl=http://www.everybodysucksbutus.com/wp-content/uploads/2010/01/chinese-workers-1.jpg&w=600&h=400&ei=nSZqT9a9BsuXiQeim-WaCg&zoom=1&iact=rc&dur=482&sig=106546182176117871563&page=2&tbnh=157&tbnw=199&start=18&ndsp=24&ved=1t:429,r:0,s:18&tx=72&ty=112

"Sometimes we need to look at industrialisation in it's rawest form. Landscape photography is not just about capturing the essence of natural beauty in the world, it can also be a valid way of throwing up a mirror and exposing ourselves to who we really are and how we treat our environment"

Quote taken from:  http://www.brucepercy.co.uk/blog/2011/10/02/edward-burtynsky-manufactured-landscapes/

this image, unlike the other photos i have explored, doesn't focus on isolation or abandonment, but still manages to capture the idea of space by filling up the space to show how big the room is rather than showing negative or empty space. It makes the image look less harmonious, and instead looks stressed and repetitive, which is not as relaxing for the viewer but works with the idea and message behind the photo.

image from 'manufactured landscapes' collection taken from: http://www.google.co.uk/imgres?q=edward+burtynsky+manufactured+landscapes&um=1&hl=en&sa=N&biw=1440&bih=717&tbm=isch&tbnid=joQUDnp55iUH1M:&imgrefurl=http://www.gradientmagazine.com/tag/edward-burtynsky/&docid=IsTEMeeS7cPtpM&imgurl=http://www.gradientmagazine.com/wp-content/uploads/2009/12/edward-burtynsky-manufactured-landscape-photography-01.jpg&w=504&h=400&ei=XE1qT4bkFK-PiAfg3YWPCg&zoom=1&iact=hc&vpx=371&vpy=238&dur=2192&hovh=200&hovw=252&tx=165&ty=151&sig=106546182176117871563&page=2&tbnh=153&tbnw=147&start=18&ndsp=24&ved=1t:429,r:7,s:18

"Burtynsky’s scenes, however, don’t exactly fill me with concern. Instead I’m dazzled by the ravishing kaleidoscopic patterns, the romantic lighting, the vast scale, and the profusion of detail captured on his large-format film. The 51-year-old often shoots from far away and high above, like a god watching impassively from the heavens. The world may be going to shit, but isn’t it pretty?"

Quote taken from: http://aesthetic.gregcookland.com/2007/02/edward-burtynsky.html

Burtynsky makes space look really artistic in this collection, because the patterns and flow of the image is composed in a really attractive way that creates movement in the image. The space in the centre is small but creatively framed by the surrounding tyres which gives a heavy contrast between simple, empty space and busy, messy surroundings.the high angle helps make this space look smaller and insignificant, as if it is being swallowed by the surroundings.

                    

Photographers and Artists for inspiration

The three photographers/artists that I have chosen to take inspiration from are J Bennett Fitts, Phillip Toledano and Tokujin Yoshioka. I have found images that I think are relavant to this current project and have found some resources online that comment on the photographs/art that I have put up in my research. I have also tried to comment on the photos with my own ideas so that I can show what inspires me about their works.

J Bennett Fitts
From '8 Dead Palm Trees' image found on: http://www.fstopmagazine.com/blog/2012/02/j-bennett-fitts-kopeikin-gallery/

"John Bennett Fitts, 1977, USA, is a photographer with a focus on emptiness. In his series No Lifeguard On Duty he made large color photographs of empti, 1960's-era motel swimming pools. Most of the abandoned and cracked pools are shot at sundown. In his series Industrial Landscape[ing] Fitts focuses on strangely manicured and manifactured environments. The urban environments, although familiar, get an outer worldly quality. Fitts has exhibited around the world and received various awards. The following images come from the series No Lifeguard On Duty, Industrial Landscape[ing] and Images from the center of the contigious United States"

Quote found from: http://500photographers.blogspot.co.nz/2010/09/photographer-129-j-bennett-fitts.html

In this Image, The objective or the main focus of the picture is the dead palm tree in the centre, however the open background and minimal surroundings makes the viewer notice the space and emptiness in this picture. The viewer may feel the isolation that the picture emphasizes and feels that the empty space is important in this picture because although it may seem insignificant, it is one of the first things the viewer will notice.

image from 'no lifeguard on duty'. picture was found online on : http://www.google.com/imgres?hl=en&gbv=2&biw=1440&bih=720&tbm=isch&tbnid=BzOaDHDN7CEA0M:&imgrefurl=http://www.articlesandtexticles.co.uk/2006/08/16/j-bennett-fitts-no-lifeguard-on-duty/&docid=vdGn2P5ZS92ujM&imgurl=http://articlesandtexticles.co.uk/imgs/0608/bennett01x.jpg&w=750&h=599&ei=TX1eT9C8Ks-ViAej_LHDBw&zoom=1&iact=hc&vpx=1166&vpy=215&dur=474&hovh=201&hovw=251&tx=106&ty=136&sig=118108706221107151095&page=1&tbnh=165&tbnw=223&start=0&ndsp=15&ved=1t:429,r:14,s:0

"In photography my interest has always been held by landscapes; never the heroic imagery most people have come to associate with the term landscape, but rather the beautifully subtle and banal work of the photographers associated with the new topograhics movement. The sense of quiet and isolation that pervades Baltz’s series on Irvine warehouses is something that I always set out to achieve through my own imagery. The photographers showcased in the new topographics exhibition focused on a "social landscape" that explored the way in which man impacts the natural environment. They focused on new subject matter as well, creating imagery that avoided the common themes beauty and emotion. Yet at a certain point during my pursuit I feel that I break off from the strict doctrine of some of the photographers showcased in this movement."

Quote taken from: http://kopeikingallery.com/artists/view/j-bennett-fitts

I have highlighted in red what I thought was really important in this quote, and what I think he is saying is that although the art of topographics don't necessarily focus on conveying themes such as "beauty and emotions, he wants to be able to include these elements into his photos. I think that this photograph, and other photographs in the 'no lifeguard on duty' collection, shows emotions of nostalgia, serenity and peace. I like the idea of taking photos of forgotten locations because viewers may relate to this by going through old memories that suddenly reappear when they see something familiar or similar. Visually, I like that the photo is taken at a slightly high angle so that more space is utilized/shown in the picture, and the bright light mixed with pale faded colours creates a nice atmosphere that is open and almost makes the image look older and faded, which ties in with the nostalgic emotions.

"J. Bennett Fitts traveled some 20,000 miles to produce "No Lifeguard on Duty," an investigation of America's forgotten roadside motels. These vestiges of an earlier era-when families packed into their cars for summer vacations via two-lane highways-now exist in various stages of operation and disrepair. With their parking-lot-adjacent swimming pools prominently in the foreground, the motels reveal a decayed Americana and a near permanent sense of vacancy. However, beyond the cracked paint and the decrepit chain-links lies the nostalgia of life on the open road"

This quote was taken from: http://www.good.is/post/picture-show-no-lifeguard-on-duty/

Phillip Toledano

image from "bankrupt" collection, taken from: http://www.google.com/imgres?num=10&hl=en&gbv=2&biw=1440&bih=720&tbm=isch&tbnid=yKuUN56JrYtunM:&imgrefurl=http://shape-and-colour.com/2008/05/26/phillip-toledano-bankrupt/&docid=v1Ug5JCEp5mprM&imgurl=http://shapeandcolour.files.wordpress.com/2008/05/bankrupt1.jpg&w=500&h=354&ei=xY5eT4npFaSdiAertvH1Bw&zoom=1&iact=hc&vpx=448&vpy=166&dur=980&hovh=189&hovw=267&tx=193&ty=91&sig=118108706221107151095&sqi=2&page=1&tbnh=163&tbnw=219&start=0&ndsp=15&ved=1t:429,r:1,s:0

"This project was more than photography for me. It was economic archeology. There was something very strange about walking into a recently abandoned office. The heavy, Pompeii-like stillness, punctuated by the occasional sound of the air-conditioning, turning itself on. A coat-hanger waiting patiently for a coat. A limp happy-birthday balloon on the floor. A drawer stuffed with take-out menus. Everywhere, there were signs of life, interrupted."

This quote was taken from: http://www.mrtoledano.com/bankrupt 

This photo looks hectic and busy, but even so the viewer still doesn't focus on one thing in particular and instead observes the picture as a whole. This picture tells a story that many people can relate to because of the recent economic crisis and the continuing fluctuations in the economy and business world. This type of issue relates to everyone in the word and the photographer adresses this issue by showing abandoned office areas and allowing the images to portray different emotions. In this image I can relate the imagery to stress, sadness, worry and uncertainty for the future. Camera techniques such as the wide angle and even lighting helps the space look bigger and allows the viewer to concentrate on all areas of the room.

image from 'Bankrupt' collection from: http://www.google.com/imgres?start=15&num=10&hl=en&gbv=2&biw=1440&bih=720&tbm=isch&tbnid=gWFy_D_eMXf8NM:&imgrefurl=http://keef.tv/blog/archive/category/places/&docid=FvN0NEbJFPgx9M&imgurl=http://keef.tv/images/uploads/Toledano1.jpg&w=500&h=384&ei=LpJeT6_ZNoOdiAfu7bnPBw&zoom=1&iact=hc&vpx=991&vpy=120&dur=1&hovh=197&hovw=256&tx=123&ty=123&sig=118108706221107151095&sqi=2&page=2&tbnh=149&tbnw=187&ndsp=24&ved=1t:429,r:4,s:15

"The interesting this is that, as is part of the risk of the modern Western economy, businesses now can almost literally disappear – bankrupt and shut down and finished in a day. These aren’t places where everyone was notified and packed up and left everything spotless for their predecessors. These are buildings where people quite literally grabbed what they cared about and then just disappeared"

This quote is taken from: http://shape-and-colour.com/2008/05/26/phillip-toledano-bankrupt/

 I think that this space is similar to J Bennett Fitts' idea for "no lifeguard on duty" where the emotions are evoked through the idea that the spaces in the photos are forgotten, abandoned and almost empty. They are like palimpsests that tell stories from the past. I like this idea because people are always very afraid of uncertainty in the future. Owners of this office would not have planned for this space to be in ruins after a few years, and the viewers of this photo collection would feel uneasy about how this could have once been a striving business but is now completely deserted. There is consistency in the camera techniques used in many of these photos, like the photo above, the angle and light composition is very similar.

Tokujin Yoshioka

image from 'twilight' display from: http://www.google.com/imgres?hl=en&gbv=2&biw=1440&bih=720&tbm=isch&tbnid=5y44iqMcMeFMWM:&imgrefurl=http://www.dezeen.com/2011/04/17/twilight-by-tokujin-yoshioka-for-moroso/&docid=E5pq6cTdQYL9LM&imgurl=http://static.dezeen.com/uploads/2011/04/dzn_Twilight-by-Tokujin-Yoshioka-for-Moroso-141.jpg&w=468&h=468&ei=d5deT_iyDoOViAe9tNnqBw&zoom=1&iact=hc&vpx=789&vpy=365&dur=2703&hovh=225&hovw=225&tx=101&ty=153&sig=118108706221107151095&page=1&tbnh=144&tbnw=144&start=0&ndsp=19&ved=1t:429,r:16,s:0

"the space of light and aura has been created so that the light reflects onto the surface of the chairs, 

revealing the various textures in which they are made, existing in the different white materials, 
such as plastics and unique fabrics"

Quote taken from:  http://www.designboom.com/weblog/cat/8/view/14160/tokujin-yoshioka-twilight-moon-and-memory-chairs-for-moroso.html

I chose this artist/designer as my third inspiration because this design and atmosphere projects so many harmonious and relaxing emotions, and almost feels surreal to look at because it is out of the ordinary and the artist uses lighting, shadows and shapes to create a unique visual experience. I like how the objects are spaced out in a random order so that the space does not appear empty or formal. The light is ambient and helps make the shadows look less sharp so that there are no harsh contrasts in this image.

picture of rainbow church from his 'spectrum' display from: http://www.google.com/imgres?hl=en&gbv=2&biw=1440&bih=720&tbm=isch&tbnid=r4Fj1HM7JnqYFM:&imgrefurl=http://brocadedesignetc.blogspot.com/2011/04/rainbow-church-tokujin-yoshioka.html&docid=azAt9wgk57uoWM&imgurl=http://2.bp.blogspot.com/-KlyTbLq3gE8/TazbeulpDbI/AAAAAAAAESo/SlLbwbvQfPY/s1600/001_rainbow.jpg&w=424&h=590&ei=d5deT_iyDoOViAe9tNnqBw&zoom=1&iact=hc&vpx=1029&vpy=193&dur=1148&hovh=265&hovw=190&tx=85&ty=171&sig=118108706221107151095&page=3&tbnh=167&tbnw=76&start=43&ndsp=25&ved=1t:429,r:11,s:43

"the idea of this architecture project 'rainbow church' dates back to when I was in myearly 20s. when I was in france for a business trip, I went to vence, a commune locatednear nice. there, I visited the chapelle du rosaire, which henri matisse, a french painter,created in his last years. I was engrossed in the beauty of the light that the chapel created.
I experienced a space filled with the light of matisse: being bathed in the sunlight of the provence, the stained glass with matisse's vibrant colors suffused the room with fullof colors. since then, I had been dreaming of designing an architecture where people canfeel the light with all senses."

Quote taken from: http://www.designboom.com/weblog/cat/8/view/10020/tokujin-yoshioka-rainbow-church-at-spectrum.html

I like that there is a mix of vertical and horizontal space created through this art piece and the actual idea of the crystal wall because it allows light reflections to be colourful which adds interesting detail to the all-white surroundings. The narrow walls frame this image and emphasizes the height of the room which ultimately gives the room the illusion of more space. I like his simple designs and ideas because it looks elegant, timeless and straightforward.