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My Favorite Five! Or Six…

15 Dec

1) I really enjoyed all the food we enjoyed in this class. Specifically, I really loved Roxanna’s risotto and Irene’s spring rolls. They were something unique from them and now we can make them too!

2) I LOVED making our video using our motion photographs. It was really fun and made us into a community that worked together for a common goal.

3) I loved using a class to go to Intuit and hang out with our peers, it was a great opportunity to do something we should continue doing as we behin our careers as teachers.

4) The printmaking workshop Jen and Kent did where we made t-shirts was a ton of fun too. I have always wanted to make a bunch of t-shirts using random ideas I get and now I can. I also got to keep a shirt which will remind me of how much fun we had in this class.

5) The people. I think it’s obvious that the reason we had so much fun in this class is because of Drea and all the students who make up this community. We all had so many informative studios, we had a sense of humor, and we genuinely have bonded as a class. I’m going to miss seeing everyone and getting to be a community when we start student teaching.

6) The video Ali showed that had the slow motion photography with the Cinematic Orchestra song in the background. I love that song, it’s so heartfelt and emotional.

Here is the YouTube link for our animated photography!

14 Nov

Photography Basics!

10 Nov

SHUTTER SPEED
In photography, the term shutter speed represents the amount of time that the shutter remains open when taking a photograph. Along with the aperture of the lens (also called f-stop), the shutter determines the amount of time light exposes the film or sensor. The shutter is similar to a “curtain” located inside the camera that remains closed until you press the button to take a photograph. The bigger the denominator the faster the speed (ie 1/1000 is much faster than 1/30).The pinwheel below is photographed at different shutter speeds, with a faster shutter speed on the left and a slower at the right. Shutter speed is measured in seconds – or in most cases fractions of seconds.

LENS APERTURE
In optics, an aperture is a hole or an opening through which light travels.
In photography, the aperture stop of a photographic lens can be adjusted to control the amount of light reaching the film or image sensor. In combination with variation of shutter speed, the aperture size will regulate the film’s or image sensor’s degree of exposure to light.
A simpler way of thinking about the function of the aperture is think about the human eye. Our pupils act just like apertures by letting in just the right amount of light to see.

DEPTH OF FIELD
In optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears acceptably sharp in the image. The depth of field is directly related to the aperture setting.
The smaller the number of the aperture gives a shorter depth of field, and the larger the number of the aperture gives a larger depth of field.

Le Corbusier

27 Oct

Charles-Édouard Jeanneret-Gris, who chose to be known as Le Corbusier (French pronunciation: [lə kɔʁbyzje]; October 6, 1887 – August 27, 1965), was a Swiss architect, designer, urbanist, writer and painter, famous for being one of the pioneers of what now is called Modern architecture or the International style. He was born in Switzerland and became a French citizen in his thirties.

He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities. Later commentators have criticized Le Corbusier’s monoliths as soulless and expressive of his arrogance in pioneering his form of architecture.

His career spanned five decades, with his buildings constructed throughout central Europe, India, Russia, and one each in North and South America. He was also an urban planner, painter, sculptor, writer, and modern furniture designer.

Le Corbusier adopted his pseudonym in the 1920s, allegedly deriving it in part from the name of a distant ancestor, “Lecorbésier.” However, it appears to have been an earlier (and somewhat unkind) nickname, which he simply decided to keep. It stems from the French for “the crow-like one”. In the absence of a first name, some have also suggested it suggests “a physical force as much as a human being,” and brings to mind the French verb courber, to bend.

For a number of years French officials had been unsuccessful in dealing with the squalor of the growing Parisian slums, and Le Corbusier sought efficient ways to house large numbers of people in response to the urban housing crisis. He believed that his new, modern architectural forms would provide a new organizational solution that would raise the quality of life for the lower classes. His Immeubles Villas (1922) was such a project that called for large blocks of cell-like individual apartments stacked one on top of the other, with plans that included a living room, bedrooms and kitchen, as well as a garden terrace.

Not merely content with designs for a few housing blocks, soon Le Corbusier moved into studies for entire cities. In 1922, he presented his scheme for a “Contemporary City” for three million inhabitants (Ville Contemporaine). The centerpiece of this plan was the group of sixty-story, cruciform skyscrapers; steel-framed office buildings encased in huge curtain walls of glass. These skyscrapers were set within large, rectangular park-like green spaces. At the center was a huge transportation hub, that on different levels included depots for buses and trains, as well as highway intersections, and at the top, an airport. He had the fanciful notion that commercial airliners would land between the huge skyscrapers. Le Corbusier segregated pedestrian circulation paths from the roadways and glorified the use of the automobile as a means of transportation. As one moved out from the central skyscrapers, smaller low-story, zigzag apartment blocks (set far back from the street amid green space), housed the inhabitants. Le Corbusier hoped that politically-minded industrialists in France would lead the way with their efficient Taylorist and Fordist strategies adopted from American industrial models to reorganize society. As Norma Evenson has put it, “the proposed city appeared to some an audacious and compelling vision of a brave new world, and to others a frigid megalomaniacally scaled negation of the familiar urban ambient.”

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(http://en.wikipedia.org/wiki/Le_Corbusier)

Maison Citrohan

Les 5 Points d’ une architecture nouvelle, which Le Corbusier finally formulated in 1926 included (1) the pilotis elevating the mass off the ground, (2) the free plan, achieved through the separation of the load-bearing columns from the walls subdividing the space, (3) the free facade, the corollary of the free plan in the vertical plane, (4) the long horizontal sliding window and finally (5) the roof garden, restoring, supposedly, the area of ground covered by the house.

These points were illustrated best in Le Corbusier’s domestic architecture. Le Corbusier’s first attempt to deal with the problem of mass housing was Maisons Citrohan, designed in 1920-22. All parts of the house are united by a spatial continuum, while the open space created by the pilotis and the flat roof increase the otherwise small available area. The prototype of a single-family unit, which was later modified to a module within a collective building, for example the basic units of the Immeuble-villa (1922).
Le Corbusier established his concept of the dwelling as standardized, mass produced and serviceable like the modern car. Citrohan 2 implies the elements of the Dom-Ino constructural system, that is the use of a reinforced concrete frame. Citrohan 2 introduced ideas of Le Corbusier’s ’5 Points of New Architecture’: the building raised off the ground on pilotis, which ‘free’ the ground for vehicular circulation and for services. The roof-garden or terrace, which is clearly established in the Citrohan projects as a component of private, domestic space.

The work of Charles MacQueen…

6 Oct

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After graduating from Glasgow School of Art in 1965, Charles embarked on a highly successful career in art education. While he had painted and exhibited continually throughout these years it wasn’t until the 1990s that he retired to devote all his time to painting. He was elected a member of the Royal Glasgow Institute in 1983 and the Royal Scottish Society of Painters in Watercolour in 1984, serving the latter as Vice President for the East of Scotland. Charles has won many awards over a long and distinguished career including the Torrance Award and the Teacher’s Whiskey Travel Award, both at the Royal Glasgow Institute. He was recently commissioned by P & O to produce two large murals for their new flagship, the Arcadia. In these recent paintings his style continues to develop in a representational direction; the views of East Coast Scottish harbours and North African games tables are instantly recognisable as such while still infused with Charles’ evident fascination with abstracted pattern and design. By using textured levels of paint and gesso Charles depicts the sensation or experience of a place.Charles wrote recently….”The forms I use are forms remembered or dreamt about. The stark visual contrasts of moving between strong blinding sunlight and dark bazaars full of rich reds, golds and turquoise inhabit my paintings. This is like being put down to sleep in a darkened room with strong sumlight streaming through the shutters. This is not representation but an evocation

 

–>http://www.manorhousegallery.co.uk/macqueen.htm

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