Front view 1
Front view 2
Front view 3
Back-side of Building
Back-side of building
Park behind the building
There are some people taking rest. It reminds
me quite different feeling from King street.
It was very quite and peaceful.
Tuesday, May 18, 2010
Project 3 NewTown
Cultural City of NewTown
King street is a shopper's delight. There are 20 or so art and craft galleries, music, gift and homeware shops, new and recycled fashion stores for the young and funky, delicatessens and many bookstores. Also, there are over 120 food outlets along King street.
Thus, it is always busy with lots of visitors.
Monday, May 10, 2010
Final submission
Site of building
poche
poche
poche
poche
Plan view
Plan view 2
East side of Building
West side of building
Parti
1960s in America
By 1960, Broadway productions had become prohibitively expensive for adventurous offerings, and producers resorted to musicals and works proven elsewhere. It was a great decade for musicals, including Camelot, Hello Dolly, Oliver, Man of La Mancha, Hair, and Funny Girl. Even Off-Broadway was feeling the economic pinch. leading to the advent of off-off-Broadway, where innovative shows and new writers could get a start. Theater expanded outside New York City, and by 1966 for the first time, more actors were employed outside New York City than in it. The most prestigious playwright of the sixties is Edward Albee, who wrote Who's Afraid of Virginia Woolf.
Musicals that proved popular on Broadway were made into movies, including Sound of Music and My Fair Lady. After Marilyn Monroe died, Audrey Hepburn, star of My Fair Lady and Wait until Dark, was the idol of young girls. Disney offered family entertainment in 101 Dalmatians and Pinocchio. Movies became more political, commenting on the arms race as in Dr. Strangelove. Sex became more explicit, and occasionally nontraditional, as in Midnight Cowboy, Bob and Carol and Ted and Alice, and The Graduate. Six James Bond Movies, including Dr. No, From Russia With Love, and Goldfinger, combined sex and violence and were enormously popular. Previous taboos on sex, violence and language, were ignored, resulting in the need for a new film code by the MPAA.
Radio continued to be the primary means of listening to music. The major development was a change from primarily AM to FM . Radio was supplemented by American Bandstand, watched by teens from coast to coast. They not only learned the latest music, but how to dance to it. When Chubby Checker introduced the twist on the show in 1961, a new craze was born, and dancing became an individual activity. The Mashed Potato, the Swim, the Watusi, the Monkey and the Jerk followed the Twist, mimicking their namesakes. Each new dance often lasted for just a song or two before the next one came along. Eventually the names and stylized mimicry ceased and the dancers just moved however they wanted. For those who preferred watching the dancers, Go-go girls, on stages or in bird cages, danced above the crowd.
Television offered the second prime time cartoon show, the Flintstones , in 1960. (The first was Rocky and his Friends in 1959.) It appealed to both children and adults and set off a trend that included Alvin & the Chipmunks , the Jetsons , and Mr. Magoo. The Andy Griffith Show was the epitome of prime time family television, and ran for most of the decade. The Beverly Hillbillies heralded the rise of the sitcom. The supernatural and science fiction blended in many of the popular shows, including Bewitched, The Addams Family, My Favorite Martian , I Dream of Jeannie, Star Trek, the Outer Limits , and the Twilight Zone. In the late 60's, humor was revived in a show called Rowan and Martin's Laugh In, where many regular performers and guests became part of a show biz classic.
The New York Movie
-lonely, sadness, isolated, agony...
The story about actress who retired.
She was the top star in musical and play. However, in 1960s USA, there were lots of people in musical and play. There were both existed tops star and some can not be famous. In other words, there were black and white. Also, there was not only top star forever. She was top star in her play field. But after she retired, she lost all that she have. Also, she can not live in real life. In real life, she is not the top anymore... So she agonies about that. But the space gives her pain that she was top but not now. So she agnoies between real life and stage which is not real. She can not do anything in there. The space is not the shelter antmore and out side is not safe. Actually, she does not know about out-side so she has fear of out-side.
The narrative is that " The Fear of outside make her discourage."
The Final Narrative is....
"The fear of the foreign makes her unhomely and ever on guard."
Edward Hopper
-American Painter
Edward Hopper was born in Nyack, New York, a town located on the west side of the Hudson River, to a middle-class family that encouraged his artistic abilities. After graduating from high school, he studied briefly at the Correspondence School of Illustrating in New York City (1899–1900), and then he enrolled in classes at the New York School of Art (1900–1906). In his shift from illustration to the fine arts, he studied with William Merritt Chase, a leading American Impressionist painter, and with Robert Henri, who exhorted his students to paint the everyday conditions of their own world in a realistic manner. His classmates at the school included George Bellows, Guy Pène Du Bois, and Rockwell Kent. After working as an illustrator for a short time, Hopper made three trips abroad: first to Paris and various locations across Europe (1906–7), a second trip to Paris (1909), and a short visit to Paris and Spain the following year (1910). Although he had little interest in the vanguard developments of Fauvism or Cubism, he developed an enduring attachment to the work of Edgar Degas and Édouard Manet, whose compositional devices and depictions of modern urban life would influence him for years to come.
In the 1910s, Hopper struggled for recognition. He exhibited his work in a variety of group shows in New York, including the Exhibition of Independent Artists (1910) and the famous Armory Show of 1913, in which he was represented by a painting titled Sailing (1911; Carnegie Museum of Art, Pittsburgh ). Although he worked primarily in oil painting, he also mastered the medium of etching, which brought him more immediate success in sales (25.31.7). He began living in the Greenwich Village neighborhood, where he would continue to maintain a studio throughout his career, and he adopted a lifelong pattern of spending the summers in New England. In 1920, at the age of thirty-seven, he received his first one-person exhibition. The Whitney Studio Club, recently founded by the heiress and arts patron Gertrude Vanderbilt Whitney, showed sixteen of his paintings. Although nothing was sold from the exhibition, it was a symbolic milestone in Hopper's career.
Just a few years later, Hopper found himself in a far more prosperous and prominent position as an artist. His second one-person exhibition, at the Frank K. M. Rehn Gallery in New York, was such a commercial success that every painting was sold; the Rehn Gallery would represent him for the rest of his career. In 1930, his painting House by the Railroad (1925; Museum of Modern Art, New York ) was the first work to be acquired for the collections of the newly founded Museum of Modern Art. This image embodied the characteristics of Hopper's style: clearly outlined forms in strongly defined lighting, a cropped composition with an almost "cinematic" viewpoint, and a mood of eerie stillness. Meanwhile, Hopper's personal life had also advanced: in 1923, he married the artist Josephine Verstille Nivison, who had been a fellow student in Robert Henri's class. Jo, as Hopper called her, would become an indispensable element of his art. She posed for nearly all of his female figures and assisted him with arranging the props and settings of his studio sessions; she also encouraged him to work more extensively in the medium of watercolor painting, and kept meticulous records of his completed works, exhibitions, and sales.
In 1933, Hopper received further critical recognition as the subject of a retrospective exhibition held at the Museum of Modern Art. He was by then celebrated for his highly identifiable mature style, in which urban settings, New England landscapes, and interiors are all pervaded by a sense of silence and estrangement (25.31.2). His chosen locations are often vacant of human activity, and they frequently imply the transitory nature of contemporary life. At deserted gas stations, railroad tracks, and bridges, the idea of travel is fraught with loneliness and mystery (37.44). Other scenes are inhabited only by a single pensive figure or by a pair of figures who seem not to communicate with one another. These people are rarely represented in their own homes; instead, they pass time in the temporary shelter of movie theaters, hotel rooms, or restaurants (31.62). In Hopper's most iconic painting, Nighthawks (1942; Art Institute of Chicago ), four customers and a waiter inhabit the brightly lit interior of a city diner at night. They appear lost in their own weariness and private concerns, their disconnection perhaps echoing the wartime anxiety felt by the nation as a whole.
The Hoppers spent nearly every summer from 1930 through the 1950s in Cape Cod, Massachusetts, particularly in the town of Truro, where they built their own house. Hopper used several nearby locations as frequent, repeated subjects in his art (62.95; 1974.356.25). He also began to travel farther for new imagery, to locations ranging from Vermont to Charleston, an automobile trip through the Southwest to California, and four visits to Mexico (45.157.2). Wherever he traveled, however, Hopper sought and explored his chosen themes: the tensions between individuals (particularly men and women), the conflict between tradition and progress in both rural and urban settings, and the moods evoked by various times of day.
Hopper's work was showcased in several further retrospective exhibitions throughout his later career, particularly at the Whitney Museum of American Art in New York; in 1952, he was chosen to represent the United States at the Venice Biennale. Despite commercial success and the awards he received in the 1940s and 1950s, Hopper found himself losing critical favor as the school of Abstract Expressionism came to dominate the art world. Even during an era of national prosperity and cultural optimism, moreover, his art continued to suggest that the individual could still suffer a powerful sense of isolation in postwar America (53.183). He never lacked popular appeal, however, and by the time of his death in 1967, Hopper had been reclaimed as a major influence by a new generation of American realist artists.
Source: Edward Hopper (1882–1967) Thematic Essay Heilbrunn Timeline of Art History The Metropolitan Museum of Art
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