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Walt Disney Concert Hall designed by Frank Gehry

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Walt Disney Concert Hall designed by Frank Gehry

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This design uses scale to create a sense of wonder! The exterior is constructed of massive reflective curved planes that are positioned to create a rhythmic movement like sails shifting in the wind on the water. The ever-changing element of light enhances the value range and creates depth and dimensionality from all directions. The interior also prioritizes value shifts over colour. The rhythm of the interior is a highly unified symmetrical repetition of forms and textural contrasts. The stage is emphasised by central placement and contrast of shape. Adding to this focal point are vertically aligned columns which direct the eye to the stage below. The orientation of these lines contrast with the horizontals of the seating areas. The unity and variety seen here is deeply tied to form and function. The curvilinear undulations both inside and out suggest movement and music.

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This design uses shift in scale to create a sense of rhythm and movement pulling us in to experience a sense of imagination and exploration. The repetition of the wood pieces, the pots, the dirt/ rocks and plants create a sense of movement, as well as the texture creates a sense of a slow moving motion that is guiding the eye in an upwards motion slowly towards the top where the focal point is. The shift in scale and repetition of the wood pieces moving upwards creates an emphasis on the focal point. The focal point also stands out where it is the tallest part and the plant has no interruptions in its movement. As well as it is fulling upright. The curvilinear panes from the pot creates a sense of unity while the shift in scale is in motion. The plants being strategically placed throughout are a part of this asymmetrical design, they create a sense of balance and unity through the whole design. It shows the designer has strong spatial awareness. The shift in textures create a high contrast through the design. The dirt creates a sense of negative space, while there is a movement of linear lines the dark soil creates a relief of negative space.

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Radio City Music Hall New York, Edward Durell Stone and Donald Deskey, 1932

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Radio City Music Hall New York, Edward Durell Stone and Donald Deskey, 1932

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The Radio City Music Hall in New York is such a powerful design with a strong use of repetition and emphasis. The shift of scale combined with layering curved planes create a strong sense of repetition and rhythmic movement like the patterns on shellfish from the side angle. The lightning between layers of planes helps guide our eyes towards the stage, the main focal point of this design. If viewed from the front (attached in the comment), there is a strong unified symmetrical repetition of the planes and lightning that emphasizes the focal point, which suggests a significant sensation of music and the movement of the sound from the stage. Moreover, a highly symmetrical balance between the stage and the audience seating area can be achieved from all the angles that the hall is viewed from. The curvilinear sensation from the  negative spaces between the seat rows and the layering planes is symmetrical, and it is so powerful that it can represent the flow of music throughout the hall.

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When the Rubber Meets the Road by Gerald Beaulieu

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When the Rubber Meets the Road by Gerald Beaulieu

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When the Rubber Meets the Road is a giant 16 foot sculpture of a crow made out of tires. This piece plays with scale and it’s environment. It’s large size draws the eye and makes it difficult for the viewer to ignore the dead crow and it’s messaging about the impact of cars on wildlife. It is installed outdoors and it’s texture immediately draws the eye and contrasts with the concrete. The piece’s texture has variation and the lines they create draw the eye down the entire body and across the wing. The repetitive feathers create a rhythm. From a different angel you can see the eye (photo in comments) which is smooth and glossy in contrast to the matt rubber that surrounds it creating a focal point. The crow is a dark black colour and does not have any special lighting during the day, but in the winter the addition of snow emphasizes it’s dark colour and texture.

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Crowd is a sculpture that primarily relies on scale and proportion to make its emphasis, there is no at least I believe purposeful use of any color or value with the piece, despite the assistance of the shadows of the figures to emphasize the center piece. Around the focal point (which also appears to be the center of the piece) there are unknown figure type smaller sculptures which surround the larger sculpture. The larger sculpture itself resembles a more floral shape sprouting from the center providing a more natural shape, the several smaller sculptures provide a sense of rhythm with the repetition of how many exist in the space. There is also no real sign of symmetry with every sculpture being unique in its shape even the focal piece having each petal be a unique shape adding to the organic look of the piece. The focal point’s sprouting from the center which also provides a sense of movement with the curvature of the sculpture.

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24in diameter, 20in height installed at the Kai Mayfair Chinese restaurant 

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The design uses repetition of the same form to create movement, as well as using shifts of value to show slight depth variation. The ceramic fish light designs by Scabetti- a UK based studio- create intricate, flowing chandeliers with hundreds of fish arranged suspended in the air. There are other mediums used to craft these lights such as glass and steel, each giving the sculptures different energies. The ceramic is very modern and simple, the light at the center of the chandeliers serving as the focal point. The repetition of the fish figures allows the eyes to constantly travel around the piece, the more lengthy ones serving as a great example of horizontal movement. The individual fish are suspended from one contact point, which allows them to move freely- resulting in some of them to turn out and act as interruptions that emphasize the shape. The monochromatic color scheme creates unity despite the light bulb causing color gradation.

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The barn from the series Yellowstone is built with a traditional yet timeless aesthetic. Although many of the characteristics of construction serve a practical purpose, they are still executed in a manner that adds visual intrigue. The horizontal lines along the gable end of barn offer a sense of rhythm and repetition. The black accents on the doors and trim create a weight at the bottom of the building. Between the weight in the lower portion of the barn, the black lines of the roofing, and the rhythm created by the siding, a significant negative space is left. This negative space creates the framework required to emphasise the Yellowstone “Y” logo which has become a modern symbol within the cinematic genre. As with most practical constructions, the barn features a variety of orientations of lines. This barn is an example of how more common structures can also become icons in modern culture.

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King Edward VII Bandstand in Kings Square

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King Edward VII Bandstand in Kings Square

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The King Edward VII Bandstand is a bandstand that sits in the centre of Kings Square, a park in uptown Saint John.

The two-story bandstand is in the shape of an octagon. Each of the eight sides and a swirling archway. This swirling shape is found all over the bandstand in each of the support beams, as well as on the interior of both the top and bottom floors. On the second floor the railing features a repeating pattern on all sides, which draws the viewer's attention around all sides of the bandstands, which eventually draws eyes to the swirls, which then pulls viewers attention to the bottom center fountain, or the top center where a band plays. The swirling motion found around the bandstand is also repeated by the center fountain when it’s turned on due to how the water mimics the swirling motion as it spouts from the center and ripples in the water.

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King Edward VII Bandstand at King’s Square in Saint John, Canada - Encircle Photos

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King’s Square is a small greenspace shaped like a Union Jack. The property was decreed for public use by royal charter in 1785. In 1908, the park’s centerpiece was constructed: the King Edward VII Memorial Bandstand. He reigned the United Kingdom from 1901 until 1910. Notice the cornet perched on top of the copper roof. […]

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This piece “ When We Feast and When We Die” by Ellen Jewett demonstrates the principles of rhythm and emphasis throughout its dynamic composition and organic forms. This sculpture creates a smooth interweaving of both plant and animal, the rhythmic scene of the flowing lines and curves accompanied by the delicate intricate details of smaller animals and flowers is what guides the viewer's eye and creates a sense of moment  towards the main emphasis of the bird. Like Jewett's other works, the focal point is enhanced by its variations in texture and color- going from light to dark. This piece also draws attention to the balance of life and decay and reinforces themes of delicate nature in this work.

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id like to do something that displays sacred geometry in a 3d space, that functions as a kinetic mobile that could be hung in the wind. using built in mechanical elements as well as rganic curvilinear shapes that can move freely and transform the piece. color could be used also to emphasize the movement and I would like to have a static focal point that would stand out while the rest of the structure moves around it

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Lee Bontecou, “Untitled” (1961). Welded steel, canvas, black fabric, rawhide, copper wire and soot

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Lee Bontecou’s Untitled (1961) defies easy categorization, resembling a canvas yet pushing against painting conventions with its projecting, faceted, machine-like void. The piece’s design, with raised rims and a hollow core, looks like jet engines-something Bontecou herself linked to her fascination with airplanes, particularly jets. Her works contrast pop art with its bright colors and shiny surfaces by being dark, muted, and mysterious. Instead of mimicking metal, she creates a softer, organic form by sewing canvas over a steel frame. Mystery, along with emotions like fear, hope, ugliness, and beauty, is central to her vision. The piece’s shape and central void draw the eye inward. The frame’s jagged edges create tension between openness and closure. Dark colors heighten the piece’s mechanical and organic contrast. The piece’s layered construction evokes a sense of both enclosure and infinity, while drawing the viewer’s gaze to the black hole in the middle.

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So the game of thrones chair is kinda a pop icon now. You can see this pile of melted swords from conquered armies. It sends a strong message of the kind of lands being ruled. you can see the repetition of the texture of swords giving shape to a chair. The emphasis in this piece though is not the swords themselves but whom sits on this throne, the conqueror. I like this feeling of this throne, and id like to capture it in my design. the feeling that something terrible has occurred here. That maybe the focal point has won, but at what cost.

I'm hoping to do a sprawling field with remnants of a long finished battle. Rusty weapons stand as the only thing to mark graves. Now for emphasis I'm unsure if i want to do like a obelisk style monument, or a lone warrior maybe kneeling in the middle.

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Ivan Black's Kinetic ellipse is a good example of repetition and movement; using interwoven circles at differing angles gives a sense of a more extensive form in 3D space. The way that the circles are spread also breaks up the shape whilst the spiral staircase of the ellipses gives the feeling of movement throughout the center of the sculpture, I like that the work is humg and balances on a central point and although this kinetic sculpture lacks a specific focal point while it stays static, when it is in movement it forms multiple layered planes that are emphasized by the contrasting shadows where the light hits the surfaces.

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Sculpted in marble, 80cm x 135cm x 240cm

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Music Behind the Window by Valerian Jikia

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Music Behind the Window by Valerian Jikia

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This design showcases a beautiful, smoothly carved marble structure of a woman posed to be sitting elegantly while playing the violin. The window behind her is abstracted in a way that it’s just a combination of flowy, organic shapes fusing with the geometric pillar and base from where the lady is sitting, overall creating this beautiful and graceful semi-abstract presentation that blends with the woman as it is a monochromatic white. The rhythm is seen immediately through the wavy outline of the abstracted window as it follows along the surface on which the lady is sitting. The entire sculpture being monochrome and light falling onto it to have shadows really ties the whole piece together, creating a wonderful rhythmic flow that our eyes can follow. Its focal point—which is the woman’s bust profile including the violin perfectly captured within the window’s frame—is emphasized through the negative shape and isolation the abstracted window frame creates.