Assessment 1: Ezra Stoller & Australia Square

‘A contemporary building with an expressive massing thanks to the use of shadows and light’

TWA Terminal & Australia Square Foyer

Point of view perspective shots distil the essence of the structure through unique framing. Attempting to emulate Stoller’s photograph, I use the supporting and centre structures within the Tower to frame the arc of the building and give the viewer a sense of perspective within the building.

Manufacturers Trust & Australia Square Courtyard

Stoller’s photography is iconic due to his use of light and contrast. They coalesce, accentuating the architectural beauty of the structures. I use the ambient light of the foyer and courtyard to highlight Seidler’s ideological centre of Australia Square.

John Hancock Centre & Australia Square Tower

Similar to Stoller’s John Hancock centre, the tapered external columns of the Australia Square tower stretch into the sky. By photographing the tower at dawn in an extreme up shot, the light accents upon the vertical axis, highlighting the columns stretching 268m high.

A contemporary building with an expressive massing thanks to the use of shadows and light’

Our city has a concentration of its largest and most visually stunning architecture in the CBD. A lot of the architecture located in the CBD represents an ideal that is common to western culture, namely the desire and aspiration for something better, something higher. When observing the photography of Ezra Stoller your eye is immediately drawn to the accents where the contrast of shadow and light verge. Stoller’s ability to manipulate light enables him to distil the essence of the structure for the viewer, allowing for an appreciation of the ideals the structure represents. Stoller’s framing from a ground level perspective accentuates the structure’s ‘expressive massing thanks to the use of shadow and light’.
How we view and interpret architecture is also completely dependent upon framing. As we look up at the architecture, our eyes are drawn to the salient elements of the structure. Looking upwards generates feelings of inspiration and progress. This does not mean that Stoller’s photography idealises Western cultures’ aspirations for power, but means that we see great architecture as powerful and aspirational. Stoller’s stylised photography often coincides with the western cultural ideals of aspiration and as people reading architecture and the city, we often find ourselves looking up.

Bibliography
Anon, 2017. Portfolio — Ezra Stoller. [online] Ezrastoller.com. Available at: <http://ezrastoller.com/portfolio> [Accessed 23 Mar. 2017].

Associates, H., 2017. Harry Seidler & Associates: Australia Square. [online] Seidler.net.au. Available at: <http://seidler.net.au/?id=18> [Accessed 30 Mar. 2017].

O’Neill, H., 2014. A Singular Vision: Harry Seidler. 1st ed. Harper Collins.

Charles & Ray Eames Powers of 10

‘A series where there are jumps in scale’

Cities are made by the relationships between things and the experiences derived from them. Charles and Ray Eames’ film ‘Power of 10’ is a model of scale. They used many media to model experiences and ideas. Using media such as film, allowed them to ‘walk through’ an experience and offered a way to visualise layers of meaning. ‘Powers of 10’, sought to visualise relative size and relationships of elements through space and time to expose what happens when scale is introduced. Powers of 10 represents a way of thinking, a way of seeing the interrelatedness of things. The Eameses combination of imagery and control frames explores the simultaneous presentation of information. Through jumps in scale, their film explores the relationship between people and the space around them, looking at their experience within a city and all the way to their connection with outer space.
Like ‘Powers of 10’, my film, Human Interaction ^10 explores the contemporary nature of interaction through scale. Where ‘Powers of 10' jumps in scale through a vertical axis, my film explores the effects of scale in the horizontal axis, dealing with relationships on a personal level rather than the interrelatedness of people within space. By viewing the subject; people and technology, at different distances, I use film and the framing within the film to explore the idea that society is more ‘technologically connected’ whilst simultaneously becoming more disconnected from our city. People are no longer looking into the sky at architecture but more readily at devices and architecture framed within these devices. In the first section of my film, as the subject stands under a grand archway erected out of sandstone, he stands staring at his phone. I believe this typifies this disconnect between society and our city. It symbolises the contemporary way we view architecture, with a barrier between things, and thus the experiences derived from them are less personal.

https://vimeo.com/211602685

Bibliography
Slate Magazine. 2017. Powers of Ten: How Charles and Ray Eames’ experimental film changed the way we look at Chicago — and the universe.. [ONLINE] Available at: <http://www.slate.com/articles/arts/culturebox/2012/12/powers_of_ten_how_charles_and_ray_eames_experimental_film_changed_the_way.html.>[Accessed 05 April 2017].