Looking for Free Pics for your Content Here Are 6 Great Free Stock Image Sites

When you only have a few seconds to grab people’s attention, images and photos can help your content stand out in a big way. Our brains can process visual information much faster than text, and content with images receives much more engagement than content without. Copyright infringement and the resulting legal hassles pose a real risk to marketers searching for great visuals. To avoid these issues you usually need to buy images from relable stock photo companies. But if your budget is tight, here are a few sources of free, legally-available images for you to tap when needed. 1. Flickr Creative Commons Stock images are usually available under a Creative Commons license, which allows for the free distribution of copyrighted material.Flickr makes locating images with this type of license easy. Go to Flickr’s advanced search, enter a keyword and narrow your search by your chosen Creative Commons license type –most of the time, you’ll find exactly what you need.Just make sure you give your free pics the proper attribution when you use them. 2. Unsplash This site only adds 10 new images every 10 days, but these royalty-free photos are usually spectacular. The photos here have a realness and honesty that you don’t always find with stock images. You’ll probably find yourself browsing through the site long after you found the image you needed. 3. New Old Stock This site contains a curated selection of photos from the Flickr Commons – a repository of photos from institutions all over the world that have no known copyright restrictions.Not to be confused with Creative Commons, the Flickr Commons contains photos that are old enough to be part of the public domain or belong to an agency that have granted its permission for use. New Old Stock shows you the best of these images. If you’re looking for something a bit different, try this amazing collection by web designer and artist Ryan McGuire.His quirky photos are free and require no attribution – just don’t try to sell or submit his free pics to another photography site as your own. 5. Death to the Stock Photo Don’t worry – the creators of this innovative service don’t really want to kill off stock photography.Instead, they want to do away with the stereotype of mediocre, uninspiring stock images. Users who sign up for Death to the Stock Photo’s email list will get new stock photos delivered to their inbox each month. Their license system is similar to Creative Common, and they do a good job explaining it in plain English on their website. 6. Jay Mantri This California-based designer and photographer adds new images to his site every week. Mantri tends to favor black-and-white photos, and his images rarely feature people – you’re free to choose any image from the site and do what you please with it.In addition to sharing his own free pics, Mantri also suggests new photographers to follow on Instagram each week. Low Cost Premium Images These sources will help you track down the free pics and photos you need to make your content more eye-catching and engaging.But free stock images to fit your content aren’t always easy to find or they are more likely to be overused. If you’re looking for high-quality images that are the perfect fit with your content at a low cost, Constant Content offers a catlog of over 70 million premium images through a partnership with Shutterstock for less than buying through Shutterstock directly.

Whales Essays - Baleen Whales, Whale, Cetacea, Rorqual, Blue Whale

Whales Essays - Baleen Whales, Whale, Cetacea, Rorqual, Blue Whale Whales Blue Whales The Blue whale is the largest creature of the sea; in fact, its the largest creature known to man. Contrary to what most people think, even though Blue whales live in the sea, they are mammals. They breathe air, have their babies born alive, and can live anywhere from 30 to 70 years. The Blue whale is a baleen whale, and instead of having teeth, Blue whales have around 300-400 baleen plates in their mouths. Baleen are rows of coarse, bristle-like fibers used to strain plankton from the water. Baleen is made of keratin, the same material as our fingernails. The Blue whale is called a rorqual, a Norwegian word for furrow referring to the pleated grooves running from its chin to its naval. The pleated throat grooves allow the Blue whales throat to expand during the huge intake of water during filter feeding; they can hold 1,000 tons or more of food and water when fully expanded (Small 1971). They average about 50-70 throat grooves. Blue whales grow up to about 80 feet (25m) long on average, weighing about 120 tons. The females are generally larger than the males, this is the case for all baleen whales. The largest specimen found was a female 94 feet (29m) long weighing more than 174 tons (Satchell 1998). The head of the Blue whale forms up to a quarter of the total body length. Compared with other rorquals, the head is very broad. The blue whale heart is also large, the size of a small car and can pump almost 10 tons of blood throughout the body. They also have a very small, falcate (sickle-shaped) dorsal fin that is located near the fluke, or tail. Blue whales have long, thin flippers 8 feet (2.4m) long and flukes that are 25feet (7.6m) wide. The blue whales skin is usually blue-gray with white-gray spots. The underbelly has brown, yellow, or gray specks. During the winter, in cold waters, diatoms stick to the underbelly, giving it a yellow to silver- to sulfur-colored sheen; giving the blue whale its nick-name of sulfur bottoms. Other names include S ibbalds Rorqual and Great Northern Rorqual. Blue whales (like all baleen whales) are seasonal feeders and carnivores that filter feed tiny crustaceans (krill, copepods, etc), plankton, and small fish from the water. Krill, or shrimp-like euphasiids are no longer than 3 inches. It is amazing that the worlds largest animals feed on the smallest marine life. Blue whales are gulpers, filter feeders that alternatively swim, then gulp a mouthful of plankton or fish. An average-sized blue whale will eat 2,000-9,000 pounds (900- 4100kg) of plankton each day during the summer feeding season in cold, arctic waters (120 days) (Hasley 1984). The blue whale has twin blowholes with exceptionally large fleshy splashguards to the front and sides. It has about 320 pairs of black baleen plates with dark gray bristles in the blue whales jaws. These plates can be 35-39 inches (90cm-1m) long, 21 inches (53cm) wide, and weigh 200 pounds (90kg). The tongue weighs 4 tons. Blue whales live individually or i n very small pods (groups). They frequently swim in pairs. When the whale comes to the surface of the water, it takes a large breath of air. Then it dives back into the water, going to a depth of 350 feet (105m). Diving is also the way in which whales catch most of their food. Whales can stay under water for up to two hours without coming to the surface for more air. Blue whales breath air at the surface of the water through 2 blowholes located near the top of the head. They breathe about 1-4 times per minute at rest, and 5-12 times per minute after a deep dive (Hasley 1984) Their blow is a single stream that rises 40-50 feet (12-15m) above the surface of the water. They are also very fast swimmers; they normally swim 3-20 mph, but can go up to 24-30mph in bursts when in danger. Feeding speeds are slower, usually about 1-4mph. The whales emit very loud, highly structured, repetitive low-frequency sounds that can travel form many miles underwater. They are probably the loudest animal s alive, louder than a jet engine.

Learning Organization and Human Motivation Essay

Learning Organization and Human Motivation - Essay Example As companies and corporations become larger and more complex, so do the responsibilities of management and the call for structured strategies. In our world of exploding technological changes, the burden of change upon individuals becomes greater and there is also the continual threat of downsizing or being replaced by automation. There are innumerable theories regarding human motivation and especially over the past twenty-five years, these theories have provided a maze through which management has walked, trying this and that; some theories worked, others did not. Let us examine just a few theories that have withstood the test of time and are the core of the newer theories. We shall begin with the advent of Maslow's theory of a hierarchy of needs since it was Maslow who countered Sigmund Freud's statements of declaring people as inherently lazy creatures who are motivated at work only through reward, coercion, intimidation, and punishment (accel Team, 2005). A. H. Maslow brought management and workers out of the dark ages and delivered them into a refreshing affirmation of themselves as human beings rather than animals. According to Mazlow, the highest needs of a human are self-esteem and self-actualisation (Maslow, 1943, pp 381 - 383). In the workplace (according to Maslow), the ability to exercise c... In the workplace (according to Maslow), the ability to exercise creativity and decision-making whilst practicing new skills is central to the self-esteem of the worker. In terms of management, the harbingers of change began to emerge as the workplace became less oppressive and more balanced between doing and learning. Still, there was work to be done in terms of addressing psychological needs of workers in terms of balancing rewards for incentives and motivational learning within organisations. Whilst an individual is hired on the basis of knowledge and skill for the task at hand, once in the workplace, the individual needs the opportunity to climb higher, do better, if they so choose. This is where the balance of power can get sticky, for those in management also need to engage in learning and adapting to changing trends. If those on the higher end of the work spectrum fail to adapt and learn, those from below have the opportunity to move up and replace them; here is where fear becomes the motivating force, and its presence is counterproductive for all concerned. The most famous motivation theories, upon which nearly all current theories are based, originate from four theorists: Sigmund Freud (Theory X), A. H. Maslow Theory Y), Douglas McGregor (Theory XY) and William Ouichi (Theory Z). It must be noted that there are arguments regarding the authorship of Theories Y and Z; we are referencing them here with the corresponding theorists for the sake of convenience.

Course Reflection Essay Example | Topics and Well Written Essays - 1000 words

Course Reflection - Essay Example To begin with, my first inquiry assignment talked about the causes of failure of El Hadji, the ruler of the Senegalese after the French rulers left. In this assignment, I put the superfluous reading into practice to enable me to come up with the storyline of the book-Xala. I also learnt that, through forming a proper question of inquiry, one is able to diagnose the whole story by answering the question of inquiry. For instance, by letting my question of inquiry to be, ‘’what led to the failure of El Hadji?’’, I was able to make a critical reading through the novel as I quench to find the answers to my question. In a way, I was able to develop greater meanings of the story rather than just reading the novel to know what it is talking about. From the story of this ruler, my question of inquiry enabled me to know that greed, corruption and inability to perform can make us as leaders to fail in discharging our duties to the people we lead. These are themes from the story that one can only make a good argument about when they form a question of inquiry and answer the question by making a thorough scrutiny of the text to develop some meaning from it that can be a lesson to the whole society. In my endeavors to create much meaning in my learning this semester, I realized that one would just have a superfluous reading at first to enable them to form an inquiry question. The inquiry question I formed had to be holistic in such a way that it had to allow me to be able to diagnose the whole novel as I got to the next assignment which required close reading to give a critical analysis. My first inquiry assignment therefore was only to give me an outline of what I need to do in order to answer my inquiry question. This then led to my second inquiry assignment where I was required to make a closer reading of the novel that would enable me to answer my inquiry question thoroughly. This brings a connection of the two assignments in a very interesting manner. It made me learn that one needs to make the first reading of a text or a novel to find its storyline. I then used the first reading to know what the novel talks about in a nutshell. From there, I was able to form a proper question that could help me scrutinize the whole novel. I was able to answer the formulated question by making a closer and critical reading of the novel as required by the second inquiry assignment. In the second assignment, I only went through certain sections of the novel, reading to find specific points that would give answers to my question. This helped me particularly to know what the author was trying to pass across to his readers. My major aim was to find the authors hidden meaning of the texts through his story and make them become lessons that everyone can use or learn from. Hence, the second part of this assignment really was to identify the author’s messages from the story to his readers and to the whole African society who find themselv es in similar contexts of leadership. I then wrote my writer’s letter which was included the steps that I followed to be able to make a close and critical reading of the novel. It also reflected on the deeper meanings from the author’s point of view, that anyone reading my notes would get from them. When one reads

Grand Hotel Scarborough Essay Example | Topics and Well Written Essays - 1000 words

Grand Hotel Scarborough - Essay Example This paper discusses the effects of free-thinking and development during this period by citing the multi-dimensional background of this historical landmark. The Grand Hotel is considered to be an important part of Victorian legacy since it was the first custom-built hotel in the whole of Europe. According to Wolff (2009), Europeans were growing wealthier due to the era of colonialism and the benefits realized through the Renaissance. The Grand Hotel was constructed to attract the richest vacationers with some of the latest luxuries of the day. The hotel was first constructed in 1863 at a time when the notion of sub-bathing was gaining widespread popularity. By 1867, the hotel had evolved into one of the world’s biggest luxury hotels and consisted of more than 370 guest rooms. Watkin (2007) says that the architecture of the hotel is truly Victorian in nature and was instrumental in popularizing it as an early holiday resort. Scarborough was a small-town sea resort for almost 25 0 years prior to the construction of the Grand Hotel. The first Spa in the town came up around 1626, when a stream of water containing acidic properties was discovered flowing down from the nearby cliffs. A hundred years later, visitors had the opportunity to have a dip in the sea and could sun-bathe on the shore. But it was not until the arrival of the modern railway during the 1840s that the number of visitors into the town multiplied manifold (Burton, 2008). More than seven million yellow bricks were used for the construction of this hotel and were prepared specially for this purpose in the nearby town of Hunmanby (Burton, 2008). The rise in tourist numbers presented a new business opportunity and prompted an architect named John Gibson to design a magnificent hotel that would be constructed on Scarborough’s South Cliff. The plan to build the world’s largest hotel was unveiled in 1845 and it was not until 18 years later that the hotel was deemed complete. According to Linstrum (2009), the hotel consisted of four large towers at each of its corners and represented the four seasons in a year. There were 12 floors denoting the 12 months in a year. By 1867, the hotel boasted of over 365 rooms signifying the number of days in a year. In fact, the hotel has a total of fifty-two chimneys, one for each week in a year. Hitchcock (2008) says that the time and care taken to construct this hotel projects the prevailing sentiment during the era that inspired achievement and perfection. Guests at the Grand Hotel were provided up to four taps to choose between fresh and sea water (both hot and cold). Kemp (2004) adds that the entire hotel was itself constructed in a ‘V’ shape to commemorate Queen Victoria. The Grand Hotel, together with other popular landmarks in Scarborough, was bombed severely during the First World War. However, it was restored back to its original glory in quick time. The Hotel suffered serious damage when the German Navy bo mbarded the entire coastline in Northern Yorkshire in 1914. Luckily, the attack happened during the off-peak season when there were very few guests in the hotel. Shells from German U-boats damaged the Grand Restaurant while several guestrooms suffered massive damage due to direct bombardment. The cost of refurbishing the hotel during those days was estimated at nearly ?10,000 (Gray, 2006). While the

Observations Of A Landscape Photographer And Architecture

Observations Of A Landscape Photographer And Architecture The objective of this thesis is to see how the ob ­servations of the landscape photographer can fur ­ther inform the relationship of architecture and the landscape. Observing how landscape photogra ­phers perceive their subject and define the issues that influence their personal perspectives becomes the tool for better understanding issues shared by architecture. For example, framing, the role of the horizon, natural and artificial light, texture, mood, scale, geography and the juxtaposition of man-made and natural elements are issues shared by both disciplines. In addition how landscape pho ­tographers observe and interpret the landscape in its many moods challenges architects to under ­stand realizing how similar transformations occur in works of architecture over time. To demonstrate such findings, relevant examples of photography and architecture will be juxtaposed, discussed and supported by explanatory diagrams. In this man ­ner, an analysis of landscape photography will hopefully clarify and inspire alternative ways of defining the interface between the building and the landscape. TYPES OF LANDSCAPE PHOTOGRAPHY Figure 3: Man in water Abstraction Barcelona, Spain Abstract photo by Rouzbeh Mokhtari Types of Landscape photography: à ¢Ã¢â€š ¬Ã‚ ¢ Representational à ¢Ã¢â€š ¬Ã‚ ¢ Impressionistic à ¢Ã¢â€š ¬Ã‚ ¢ Abstract 3 TYPES OF LANDSCAPE PHOTOGRAPHY Photographers usually use three different styles in landscape photography, which are representa ­tional, impressionistic and abstract(1). Represen ­tational style results in pictures that show us the most realistic and natural look of the scene without any artifices. It is straight forward, that is what you see is what you get. Although the photographer does not add any props or foreign components to the scene, the best result is not a simple snapshot, rather far from it. The best attention is paid to com ­position, and details of texture, light, foliage, tim ­ing and weather are critical. For the architect who chooses to incorporate this style of photography in his or her work, paying attention to all the details mentioned above is mandatory. Then a personal interpretation of the work can manifest itself in the related architectural subject(Figure 4,5). The second style of photography is impression ­istic. Photographic techniques result in images with elusive or vague quality. These pictures are less touchable and more unreal, while they still retain their values that make them landscape pic ­tures. Studying the works of this second group has helped me to have a better understanding of texture in design(Figure 6,7). One example is when I used the unclear glass in the building, and the onlooker could not tell what or how the inside looked. He or she could have their own imagination about the subject. The last style of photography is called abstract, which deals with shape, form, contrast and color in a particular scene, of which often nothing may be recognizable. One part of the landscape may be combined with another in order to bring out the beauty or danger, water or desert, or red and blue of the scene. Abstract landscape photography isnt really intended to depict a particular scene at all, rather to create a piece of art that is only loosely based on a real scene in the real world( Figure 3,8). One good architectural example is the work of ar ­chitect Luis Barragan. His works deal with texture, light, shadow and repetition, which he applies to his creation. His works for me represent the transi ­tion of abstract landscape photography to architec ­ture. Figure 4: San Sebastion, Spain Representational photo by Rouzbeh Mokhtari Figure 5: Sidi bou said, Tunisia, Representational, photo by Rouzbeh Mokhtari Figure 6: Musse Historie Naturelle, Paris, France Impressionistic photo by Rouzbeh Mokhtari Figure 7: Chateau de Chenon ­ceau, Tour, France Impressionistic photo by Rouzbeh Mokhtari Figure 8: Anger Abstract Maryland, USA Abstract photo by Rouzbeh Mokhtari 1-Landcape photogrophy. http://www.photographyicon.com/landscape/index.html. -Sontag, Susan. On photogrophy. New York: farrar straus and girouxn.d. 4 ISSUES FOUND IN LANDSCAPE PHOTOGRAPHY Geography: Landscape photography consists of three important sub-sections. First, it is about geography of the site and the contrast of sky vs. earth, cliff vs. plateau, sea vs. land and the rule of horizon. Architects deal with the same issues in their work, for instance the Cliffside house by Michael Rotondi ,which explores the concept of sky vs. earth; Salk institute by Louis Kahn for the concept of rule of horizon; Casa Malaparte by Adalberto Libera in the concept of cliff vs. plateau; and Gilardi house by Louis Barragan in the concept of sea vs. land. I do assume that each of the aforementioned examples were somehow influenced by landscape photogra ­phy. An architect should have a good grasp of the effect of the terrain and climate on his design and in achieving that the work of the landscape photographer can be beneficial. Landscape photography Architecture Sky vs. Earth Figure 9(Left): Marmata, Tunisia photo by Rouzbeh Mokhtari Figure 10(Right): Cliffside house by Michael Rotondi Rule of Horizon Figure 11(left): Ocean City, Maryland photo by Rouzbeh Mokhtari Figure 12(Right): Salk institute by Louis Kahn Cliff vs. Plateau Figure 13(Left): Gozo, Malta photo by Rouzbeh Mokhtari Figure 14(Right): Casa Malaparte Sea vs. Land Figure 15(left): Gozzo, Malta Figure 16(Right): Gilardi House by Luis Barragan photo by Rouzbeh Mokhtari 5 ISSUES FOUND IN LANDSCAPE PHOTOGRAPHY Scale: These second section deals with the question of scale, whether grand, pieces and part, close up, or micro. From the beginning of architecture, architects, such as Andrea Palladio, used the ratio founded in nature to create the harmony with the building. In addition there are some buildings that are designed based on humans body. It means that there is a proportional correlation between humans body and buildings elements such as doors and windows size. Sometimes, building are scaled more to their environment or purpose that its the building elements landed their self to present the grand, over powering or even transcended appear ­ance. Regardless of these approaches, the way architect chooses to manipulate scale affect the users by making the building feels, comfortable, divine or even unreal. In short, the scale of architecture is not only the system of size in various levels (physical, visual, technological, economical, etc.), but also the all relations between the proportions, wh ich exist in similar forms of different size each other. Landscape photography can help him acquire a better sense of detail in his design, one thing which can be of utmost importance. Landscape photography Architecture Grand Figure 17(Left): Naples, Italy photo by Rouzbeh Mokhtari Figure 18(Right): Casa Malaparte, Capri, Italy Pieces and parts Figure 19(left): Paris, France photo by Rouzbeh Mokhtari Figure 20(Right): Beyeler Foundation by Renzo Piano Close up Figure 21(Left): Paris, France photo by Rouzbeh Mokhtari Figure 22(Right): Beyeler Foundation by Renzo Piano Micro Figure 23(left): Paris, France photo by Rouzbeh Mokhtari Figure 24(Right): San Carlo alle Quattro Fontance Chapel, Rome, Italy Jenkins, Eric. To Scale. New York: Simultaneously, 2008. 6 ISSUES FOUND IN LANDSCAPE PHOTOGRAPHY Light: Both of paramount importance in the work of a landscape photographer and an architect is lighting, which encompasses bright vs. dull, clear vs. mist, sun vs. rain and day vs. night. The photographer and architect both have to consider the light and shadow and their different qualities in their work. The photographer consid ­ers which light applies best to his object and the architect does the same in his design process. Light is a necessity for the sight and a utility in architecture, but also a powerful, though ephemeral, vehicle of expression. Since light moves back and forth from its source, it changes character and has the power to convey many of the quality of nature to the inert mass of architecture. An architect may not be able to control the light, but can predict its behavior well enough to catch it mean ­ingfully in his work, he channels it through the openings into his space and then molds it into masses, and brings the site to life by contrasting it with the shadows. Architecture Landscape photography Bright vs. Dull Figure 25,26(Left): Ocean City, Maryland photo by Rouzbeh Mokhtari Figure 27,28(Right): Citroen Park, Paris, France Arab Ins., Paris, France Clear vs. Mist Figure 29,30(left): Viaduc Des Artes Park, Paris,FR Luxembourg Park, Paris, France Photo by Rouzbeh Mokhtari Figure 31,32(Right): Arab Ins., Paris, France Sun vs. Rain Figure 33,34(Left): Capri, Italy Paris, France photo by Rouzbeh Mokhtari Figure 35,36(Right): Dominus Winery, California Day vs. Night Figure 37,38(left): Capri, Italy Figure 39,40(Right): Effie Tower, Paris, France photo by Rouzbeh Mokhtari 7 ISSUES FOUND IN LANDSCAPE PHOTOGRAPHY Texture : The last section deals with texture and the comparisons smooth vs. rough, foliage vs. dying, spring vs. fall and fertile vs. barren. Texture lends a dimensional qual ­ity to photos and enable the photographer to break up large areas of tone to create special effects. It has long been used by architects too in order to breath life into buildings as well create a unique experience visually for the visitor. To express the true quality of materials, to shape an interior space or simply to articulate a pat ­tern, texture is a fundamental tool in all of the above. It can also be used to create a more complex language for architects to express themselves. The juxtaposition between both digital and natural materials will certainly emphasize texture via patterns and rhythms. In addition, texture between the two will call for varying degrees of occupant touch. Architecture Landscape photography Smooth vs. Rough Figure 41,42(Left): Capri, Italy photo by Rouzbeh Mokhtari Figure 43,44(Right): France Foliage vs. Dying Figure 45,46(left): Paris, France photo by Stanley Hallet Figure 47,48(Right): Quai Branly Museum Dominus Winery, California Fall vs. Spring Figure 49,50(Left): France photo by Rouzbeh Mokhtari Figure 51(Right): Egerstrom House by Luis Barragan Fertile Figure 50(left): Washington, DC photo by Rouzbeh Mokhtari Figure 51(Right): Paris, France 8 SPECIFIC LANDSCAPE PHOTOGRAPHERS Figure 52: Natural Frame Capri, Italy Photo by Rouzbeh Mokhtari à ¢Ã¢â€š ¬Ã‚ ¢ How are they explaining these issues? à ¢Ã¢â€š ¬Ã‚ ¢ What kind of the issues that photographers interested? à ¢Ã¢â€š ¬Ã‚ ¢ Shows different issues on each one: à ¢Ã¢â€š ¬Ã‚ ¢ Rule of reflection à ¢Ã¢â€š ¬Ã‚ ¢ Rule of Sky à ¢Ã¢â€š ¬Ã‚ ¢ Rule of extend à ¢Ã¢â€š ¬Ã‚ ¢ How does he set up the camera to do this? à ¢Ã¢â€š ¬Ã‚ ¢ Where the sun will be? Or moon? à ¢Ã¢â€š ¬Ã‚ ¢ Deconstruct photos o Analyzing each photograph: à ¢Ã¢â€š ¬Ã‚ ¢ Foreground à ¢Ã¢â€š ¬Ã‚ ¢ Background à ¢Ã¢â€š ¬Ã‚ ¢ Color shot à ¢Ã¢â€š ¬Ã‚ ¢ Black and white shot à ¢Ã¢â€š ¬Ã‚ ¢ What do I learn from each one à ¢Ã¢â€š ¬Ã‚ ¢ What kind of lenses are they using 9 ANSEL ADAMS One of the most famous landscape photographers is Ansel Adams, who has influenced many people in different field. He likes black and white because there is no distraction for him and is really inter ­ested in the grand panorama and in how much de ­tail can be shown in the large context. Most of Ad ­ams work is about the relationship between the sky and earth. He is aware of the suns position at any given point of the day and knows how to use it. He also pioneered the idea of visualization(2) (which he often called previsualization) of the finished print, based upon the measured light values in the scene being photographed. One of the best known and most sought after photographs in the field of fine-art photography is called Moonrise. Ad ­ams took this photo in Hernandez, New Mexico in 1941(Figure 53). He used a technique called rules of thirds, which many artists think of it as boring , that is looking at symmetrical images , divided in three parts. This type of photograph ha s three layers and each a different tone: the black sky, the white cloud and the gray landscape(figure 54). Ad ­ams made an interesting composition that became very popular. Adam said Moonrise combined serendipity and immediate technical recall(3). Serendipity means lucky chance. He felt at the time it was an exceptional image(3) and when he took it, he felt an almost prophetic sense of satis ­faction(3). Ironically, Adams happened upon this shot by chance while driving along a roadside head ­ing towards Santa Fe, New Mexico, after an unpro ­ductive day of photography. The conditions were perfect, but he was basically unprepared because he didnt have access to his light meter. Adams used his knowledge of the luminance of the moon and was able to get this precious shot. He said it is a romantic / emotional moment in time. Another example is called the Winter Sunrise(Figure 56). Adams never intentionally included a human or an animal in his creative landscape, but in this pic  ­ture, horses have added an earthy touch to the un earthly beauty of the scene. Control, as absolute as possible, was at the heart of Adams photography.For him, the critical variable was light and he used light, reflection, rule of thirds, layers and different tones in his work. Each of these techniques can be used in architecture as well. Studying this process can help me as a designer to improve my work and have a better understanding of the correlation at work. Figure 53: Moonrise Photo by Ansel Adams Figure 54: Deconstruct Moonrise Figure 55: Winter Sunrise Photo by Ansel Adams Figure 56: Deconstruct Winter Sunrise 2-Adams, Ansel. The camera. New York: little brown, 1972. 3-Adams, Ansel. The making of 40 photography. New York: little brown, 1980. -Adams, Ansel. Auto biagraphy. New York: little brown, 1987. 10 Eliot Porter is a photographer much influenced by Ansel Adams, yet more interested on the effect of color and its distribution throughout the land ­scape; detail and texture in nature was his focus, so he expanded his attention in order to celebrate the sheer beauty of nature(4). Porters photogra ­phy was more about balance, layering and object vs. the field. To him, photography was a creative art and was the first to successfully bridge the gap between photography as a fine art and its roots in science and technology. Eliot porter is known to be the first nature photographer to artistically craft color images, in both the taking and developing processes, to a degree achieved by Ansel Adams in black and white photography. So delicate was Por ­ters processing technique that a leading photog ­raphy critic at the time, Weston Naef, wrote that Porter was captivated by colors that had not yet been named. In architecture also, an architect tries to breathe life into buildings by br inging different textures along thus creating a visual experience for the eyes to see. Texture is a fundamental tool in expressing the true quality of materials, shaping an interior space or simply to articulate a pattern. It is as I mentioned before, used by architects to create a more complex language of expression. Vi ­sual textures are produced by the patterns given to the lighting of the surface, both through the way materials are worked (e.g., vertical or horizontal chiseling of stone) and through the way they are employed in the building (e.g., vertical or horizon ­tal boarding, projection and recession of courses of brick). Like all patterns, visual textures create as ­sociation of movement, giving rhythm to the sur ­face. A single texture is rarely used in buildings. The variety of materials and treatments typically produces a complex of textures that must be com ­posed and harmonized like the forms and spaces of architecture, into a consistent expressive whole. S o understanding the perception of a photographer in relation to texture can give the designer a better outlook in choosing the right pattern and texture for his work. ELIOT PORTER 4- Porter, Eliot. The place no one knew. Utah: gibbs smith, 1991. 11 JERRY UELSMANN There is another photographer with a completely different technique, Jerry Uelsmann. In his work, he combines several negatives to create surreal landscapes that interweave images of trees, rocks, water and human figures in new and unexpected ways. He uses several enlargers, each of which have a different negative placed under the lamp. The photographic paper is sequentially moved from one enlarger to the next, burning in and dodging out the light wherever it needs to be ma ­nipulated. The paper is then processed to create a one of a kind (irreproducible) print. As an architect always has a concept behind his work, so did Uels ­mann. He believed that a picture should show your own familiar world, thats why his photog ­raphy wasnt about thinking; it was about surprise and discovery. Both in photography and architec ­ture, there exists a concept, vision, idea or inspira ­tion, which most likely emanates from ones own experiences. When one has worked arduously on a project, an d for a long time, his or her inspiration or rather light of inspiration, shines through. In photography, the subject or the concept behind it can be upside down and still be effective. The pho ­tographer can play with your mind and make you see things you wont normally see. In architecture also, the architect can create a compositional con ­cept and take you on a journey not expected. 5-Uelsmann, Jerry. Process and Perception. New York: university press of Florida, 1986. -Uelsmann, Jerry N. Photo Synthesis. New York: University Press of Florida, 1992. Ward, John. The Criticism of Photography As Art: The Photographs of Jerry Uelsmann. New York: University Press of Florida, 1988. 12 SPECIFIC EXAMPLE IN ARCHITECTURE Figure 65: Representational Vals, Switzerland Photo by Rouzbeh Mokhtari à ¢Ã¢â€š ¬Ã‚ ¢ How do these issues effect architecture à ¢Ã¢â€š ¬Ã‚ ¢ Opening as a framing device: à ¢Ã¢â€š ¬Ã‚ ¢ The Doorway à ¢Ã¢â€š ¬Ã‚ ¢ The window à ¢Ã¢â€š ¬Ã‚ ¢ The Close porch à ¢Ã¢â€š ¬Ã‚ ¢ The detail in the landscape à ¢Ã¢â€š ¬Ã‚ ¢ Architecture holding the landscape(Court) à ¢Ã¢â€š ¬Ã‚ ¢ Architecture in the landscape(site) à ¢Ã¢â€š ¬Ã‚ ¢ Architecture viewing the landscape(widows) à ¢Ã¢â€š ¬Ã‚ ¢ The following are examples of how photography and architecture are correlated. The first example, talks about the effect of the frame and how it can make you focus on a certain point. Second one is the concept of nature and how it can be incorporated into a building. Third, talks about the pattern and how your eyes can lead to a certain impression. The last one, is about reflection and layering , which are both essential in architecture. 13 MARY MISS The artist Mary Miss has been redefining how art is integrated into the public realm since the early 1970s. For more than three decades, Mary Miss has reshaped the boundaries between sculpture, architecture, landscape design and installation art. She has articulated a vision of the public sphere where communal and private experiences co-ex ­ist.(6) Her work is grounded in the context of a place, from which she constructs situations where the visitor becomes aware of the sites history, its ecology, or aspects of the environment that have gone unnoticed. The individual viewer moving through the site, experiencing it in all of its con ­figurations, becomes the primary focus. One of the best examples is Battery Park City Landfill project in 1973 New York City. Its five rough wood panels with deascending circular cutouts were aligned as you walked up to the opening. The built and nat ­ural materials are both laid out for examination, consideration and potential redefinition of their re ­lationships. The visitors were engaged in the mak ­ing of the piece and movement was necessary for it to become visible. Also it is intended to relate the visual with the physicality of the objects and landscape. She is not the photographer nor the ar ­chitect. She is an artist who is following the rules of both in her work. She used rule of horizon, sky vs. earth, fore ground vs. background, layering, composition and object vs. the field. All the issues discussed above are also influential in architecture. For instance, one issue that the photographer deals with is framing, the same goes for the architect also. When the architect deals with the landscape, he may create a space called court or window, which can be directly associated with the way the photographer creates a frame. 6-Abramson, Daniel M. Mary Miss. New York: Princeton Architectural Press, 2003. 14 CURZIO MALAPARTE Italian rationalist architect Albetto Libera, for Curzio Malaparte, conceived Casa Malaparte house around 1937. Malaparte actually reject ­ed Liberas design and built the house himself with the help of Adolfo Amitrano, a local stone mason. The conveyance of communication of values and beliefs through architecture, which best defines the intention of writer and political activist Curzio Malaparte in the design and con ­struction of his house on a bluff in Capri, Case Malaparte is a great example. All of the rules are going against established theories of architec ­ture, such as building should fit in with its natu ­ral surroundings. Malaparte was determined to construct a house that would be his house, con ­veying his values, beliefs and personality. The house is an object in the landscape and it stands alone. When you enter, each window is a snap ­shot and frameS the landscape, and this is due to the way the frame is made. Its according to the Le Corbusier theory, when exterior and interior of a building become one. When you are in the main hall, the walls are white and the floor is stone, you dont feel as if you are inside. When you are on the roof, the sail vs. horizontal line connects the nature to the building, or as Vittorio Savi and Adalberto Libera have said, one realizes then that there is an extreme contrast between looking from the inside or from the outside. They (windows) are empty like hollow eyes. From the inside these windows however are filled with the isolated worlds they frame; terrific worlds provoking a sublime anxiety through revealing the distance between subject and object, man and nature, and the impossibility of processing those worlds that they create(7). Photographers have their cam ­era and work with their lens to create a frame, where as architects construct the building and bring out their windows as their frames. 7-Talamona, Mardia. Casa Malaparte. New York: Princeton Architectural Press, 1992. 15 PETER ZUMTHOR A great example of framing the landscape is when you cannot say when the building starts and land ­scape stops; and it can be seen in the work of Peter Zumthor called Therme Vals. Zumthor uses images of quarries and water flowing spontaneously from the ground to describe the conception of the build ­ing, its geometric rigor reflects a huge rock embed ­ded in the hillside. When you are in the building and in front of the glass wall, the sun is moving from behind the mountain during the day and it is a great example of grasping the landscape through the building. When you are outside in the water, it is still framing the landscape. The building is made of local Valser quartzite and concrete. Water, light and to some extent steam and heat, add to the defi ­nition of areas within the ritual of the bath(8). The Therme Vals offers a seductive shift from the paradigm of the Bilbao effect, where architecture is a vehicle for economic health through spectacle and display. The space is used for the engagement of mind, body , soul and the whole community. This is a great example of how photography can play an important role in framing the landscape in architecture. 8-Zumthor, Peter. Therme Vals. New York: Annalisa Zumthor, 1991. 16 As I mentioned before, sometimes the architect holds part of the landscape and creates a court, such as Renzo Piano having the court yard in the middle of lobby of New York Times building. This cube of space, open to the sky, isnt acces ­sible , but its like finding a park in the middle of an office building. The sight of it alone has a calming effect. Retail tenants are required to keep their glass walls uncluttered in order to pre ­serve the view from either side of the court yard. On one side of the courtyard, there is a theater and has a view to the yard, which can be seen as a background or foreground in photography. This is a great example of how landscape pho ­tography, and framing it is useful to architecture prior to design. Another example of the importance of landscape in architecture can be Katsira detached palace in Japan. The palace includes a drawing room, teahouses, and a strolling garden. It provides an invaluable window into the villas of princes of the Edo period. The strolling garden takes wa ­ter from the Katsura River for the central pond, around which are the tea houses, hill, sand, bridge and lanterns. Its garden is a masterpiece of Japanese gardening. In this palace , the land ­scape is framed outside of the main building and the viewer catches it from outside, where as in the New York Times building, landscape was brought inside and one could experience it from a different angle. RENZO PIANO vs. KARSURA PALACE 17 Lius Barragam is a master at presenting nature in his work through large stucco or plain walls. Shadow is really important in his design and he uses texture, light, shadow and repetition to create architecture. In his work, one cannot tell when the building stops and the nature begins.Barragan said Beauty speaks like an oracle, and man has always heeded its message in an infi nite number of waysLife deprived of beau ­ty is not worthy of being called human. Ricardo Legorreta is a disciple of Luis Barragan and took his ideas to a wider realm. He used el ­ements of Barragans work , like bright colors, geometric shapes, light and shadow and created architecture with elements of nature. Legorreta said This world of Mexican spaces fi lled my life in such a natural way that light, walls, color, mystery, and water,with all their beauty, became part of me. I am not an exception, that is the way we Mexicans are. Legorreta achieves Mystery and Surprise, through the use of Mass, color, symbol , light and lighting , through holes, slots, squeezes and releases. His color is Red, deep blue, yellow, pink and Li ­lac. Pure color, as if it came out of a painters tube. His teacher in all this has been vernacu ­lar architecture which has been also teacher to many other good architects. RICARDO LEGORRETA LUIS BARRAGAN 9-Pauly, Daniele. Barragan space and shadow, wall and colour. New York: Birkhouser, 2004. Mutlow, John V. Ricardo Legorreta. New York: Rizzoli international publication, 1997. 18 POSSIBLE PROGRAM Figure 85: Beyond Being Photo by Unknown Meditation Center 1- Garden / Spread at multiple locations with connotations a. AID/ help in creating moods and set the scene. 2- Bathing / Purifying a. Cold water b. Hot water c. Jasmine water d. Waterfall in different locations 3- Healing: Travel with your mind by being exposed to inspiring images a. Color, light > Chromatography b. Smell > Aromatherapy c. Image/ Elements/ Shape > something inspiring d. Sound/ music 4- Tea house a. Garden 1- harmony -> Nature 2- purity -> drinking tea a. Created for aesthetic and intellectual fulfillment b. it is an interlude in which one leads oneself for the moment to the spirit of beauty, quietude, and politeness toward others. 5- Mediation a. Single/individual spaces b. Common spaces c. rest/ stretch 19 POSSIBLE PROGRAM The essence of nature, life, and the earth is wa ­ter. Water provides the means to exist and to live. There are several examples to imply this idea as water being a pure element. In my opinion, Nature eases the mind. Nature provides birth and death, such dervish dance of existence and non-existence creates a spatial environment to not only ease the mind but also to comfort the body. Another ex ­ample to indicate the importance of water is the human body, which is 60% water. This close rela ­tion between nature and water is the epic of ones calmness. According to Le Corbusiers theory a buildings interior and its exterior should be as one to create a comfortable place. Creating such a calm environ ­ment requires a neat correlation among each parti ­cle to its surrounding nature. Consequently build ­ing a Meditation Center, is a metaphorical bridge to transport a negligent mind to the realm of purity and to detach from the daily pressures of life in order to energize the spirit, and to reconnect with ones inner being. It is a space that is designed to create a feeling of being welcome, safe, and peace ­ful. I used three types of photography, representation ­al, impressionist, and abstract, to embody Le Cor ­busiers idea show itse

Buddism Essay -- Religion Philosophy

Buddism Buddhism is probably the most tolerant religion of the world, as the teaching can coexist with any other religion. Other religions however, aim to be restricted and cannot accommodate Buddhism at the same time. The Buddhist teaching on God - in the sense of an ultimate Reality - is neither skeptic (as is sometimes claimed), nor vague, but clear and logical. That we can neither define, describe, nor usefully discuss the nature of that which is beyond the perception of our infinite consciousness. It may be indicated by negatives and described indirectly by analogy and symbols, but otherwise it must ever remain in its truest sense unknown and unexpressed, as being to us in our present state unknowable. In the same way, Buddhism denies the existence in man of an immortal soul. The Enlightenment which dwells in life does not belong to one form of life. All that is man's changing and mortal; the Immortal is not any man's. The Buddha pointed out how no thing is the same at this moment as it was a moment ago. Even the everlasting hills are slowly being worn away, and every particle of the human body, even the hardest, is replaced every seven years. There is no finality or rest within this universe, only a ceaseless becoming and a never-ending change. Buddhism is a natural religion; it does not violate either mind or body. Its ethics closely approximate the Natural Law. The Buddha became aware of how men are born and die according to their good and evil actions, according to their self-created Karma (or the consequence of worthy and deserving deeds). Buddhism is a teaching of the Buddha who was born a prince of Kapilavathu, at the part of the Himalaya mountains near the border of Nepal in 623 B.C. He married and ... ...nverted to schools, and other public use. Monks and nuns have been required to undertake employment in addition to their religious functions. In Tibet, the Chinese, after their takeover and the escape of the Dalai Lama and other Buddhist officials into India in 1959, attempted to undercut Buddhist influence. Only in Japan since World War II have truly new Buddhist movements grown. Growing interest in Asian culture and spiritual values in the West has led to the development of a number of societies devoted to the study and practice of Buddhism. As its influence in the West slowly grows, Buddhism is once again beginning to undergo a process of adaptation to its new environment. Although its influence in the U.S. is still small, apart from immigrant Japanese and Chinese communities, it seems that new, distinctively American forms of Buddhism may eventually develop.