“The mother art is architecture. Without an architecture of our own

1. “The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.” Frank Lloyd Wright

2. Harappa & Mohenjo-DaroIndus Valley Civilizationc. 2500-1500 BC 5000 years old Mother Goddess” Mehrgarh

3. The great bath Earliest water tank in the world

4. Planned city, Standardized bricks, Water tight floor, • Toilets, Wells. No hierarchal structures • Potters, Utensils, Seals • Work with steatite, ivory & other exotic materials. • Used copper, gold and semi precious stones • Had big ships for trade • Religion was pagan, animistic • Tree and animal worship as well as sexual symbols.

5. Dancing girl. Bronze. Mould & Cast. Camel bone Bengals, Dance posture

6. King Priest

7. Use of cotton Cloth & Printing

8. Weights. Based on16th 1 Saer, 4Pao, 16 Chattank, 5 Tola, 12 Masha, 8 Ratti

9. Female Figurines: Goddesses: Depalli, Lakshmi, Kali

10. Chess board & pieces

11. Male figure: Sand stone Three headed deity

12. Swastika Three headed deity Tirshul, Lion, Bull Braham – Shiv & Vishnu

13. Unicorn seal. The unicorn is the most common motif on Indus seals and appears to represent a mythical animal that Greek and Roman sources trace back to the Indian subcontinent. 

14. Colonial Buildings, Lahore

15. Colonial Buildings, Lahore

16. Greek Order • Doric • Ionic • Corinthian

17. Doric Parthenon, Athens

18. Doric

19. Ionic

20. Corinthian

22. Iconoclastic character of Islamic belief was chiefly responsible for the absence of human and animal form ( except occasional presence of birds etc.) from the visual design of Islamic architecture and artifacts associated with religious function eg. Mosques, mazaars, prayer mats etc.( Images representing religious personalities or images narrating actual and mythical scenes are found in almost all regional Islamic cultures). Geometric and vegetal designs are used to create an integrated totality in the an architectural edifice or an object or surface The ideal order remains the true essence of reality and all material is de-materialized by creating this beautiful shroud of decoration that derives its form and life from complex geometric order

23. The patterns of Islamic architectural surface were rooted in mathematical knowledge and influenced by Platonic philosophy of ideal forms

25. translationrigid motion with repetitionalong a line reflectionrigid motion with repetitionacross a line (axis) glide reflectionrigid motion with reflectedrepetition along a line rotationrigid motion with repetitionaround a point

26. Aspects of Decoration Calligraphy: Because of its role in recording the word of God, calligraphy is considered one of the most important of the Islamic arts. Nearly all Islamic buildings have some type of surface inscription in the stone, stucco, marble, mosaic and/or painting. The inscription might be a verse from the Qur'an, lines of poetry, or names and dates. Like other Islamic decoration, calligraphy is closely linked to geometry. The proportions of the letters are all governed by mathematics. Inscriptions are most often used as a frame along and around main elements of a building like portals and cornices. Geometry: Islamic artists developed geometric patterns to a degree of complexity and sophistication previously unknown. These patterns exemplify the Islamic interest in repetition, symmetry and continuous generation of pattern. "The superb assurance of the Islamic designers is demonstrated by their masterful integration of geometry with such optical effects as the balancing of positive and negative areas, interlacing with fluid overlapping and under passing strap work, and a skillful use of color and tone values.

27. Floral Patterns: Islamic artists reproduced nature with a great deal of accuracy. Flowers and trees might be used as the motifs for the decoration of textiles, objects and buildings. In the Mughal architectural decoration of India, artists were inspired by European botanical drawings, as well as by Persian traditional flora.

28. The panel on the right declares that “This structure, like the heavens, is a manifestation of bounty, and contains, like the temple of Ka’ba, great benefit for all mankind. “To all who turn towards the Qibla in prayer, may this door remain wide open with prosperity till the day of resurrection.”

29. Zone of transition the Char-Taq entrance space……..fruit platters and wine jugs, promise to the faithful.

30. The coming of the camera 1839 Within 30 years of its invention photography was being used for police filing, war reporting, military reconnaissance, pornography, encyclopedic records, sentimental moralizing, inquisitive probing, news reporting and formal portraiture….paraphrased from John Berger’s essay on photography. Camera as the most honest witness, as used by the Depression era photographers in America Nazi use of the medium for propaganda Use in advertising…the seduction of the real….pictures as life

31. Power of the photographic image In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. To photograph is to appropriate the thing photographed Photographs furnish evidence. Painting never had so imperial a scope A way of certifying experience, taking photographs is also a way of refusing it……. Susan Sontag

32. Radical aspects of the digital image Digital capturing of Images Manipulation of images Sharing of Images

33. The propensity of the human brain to interpret visual information in certain preferred order allows for a range of visual illusions to be created by graphic designers, artists, architects etc. The search for evidence and certainty in a world of illusions In April of 1839 The New Yorker asked, "What would you say to looking in the mirror and having the image fastened!! As one looks sometimes, it is really quite frightful to think of it; but such a thing is possible - nay, it is probable - no, it is certain. What will become of the poor thieves, when they shall see handed in as evidence against them their own portraits, taken by the room in which they stole, and in the very act of stealing! What wonderful discoveries is this wonderful discovery destined to discover!"

34. The Window and the Mirror Photographing the world Title of a very famous exhibition of photographs described the two poles of the nature of photographic image making. Szarkowski the curator divides the images in this show into "mirrors"—pictures that mean to describe the photographer's own sensibility—and "windows"—realist photos including the facts of photography as a process and system. Given that the most pervasive and functional use of the medium is to document and record images this polarity defines the spectrum of aesthetic expression of photography as an image making medium.

35. Test for authenticity….how to ensure a modicum of truth • This really happened; • 2. This happened independent of the photographer; • 3. This scene is representative.

36. Use in advertising…the seduction of the real…. The Major Purpose of Advertising is to arouse the consumers desire to own any given product. Advertising photography is used to stimulate these desires to an act and purchase. The advertising photographer must illustrate, explain, excite, and help create this desire for any given advertised product.

37. Use in propaganda “the systematic dissemination of information, esp. in a biased or misleading way, in order to promote a political cause or point of view” or “information disseminated in this way”

38. Seeing, Abstracting, Focus Learning to See in Two Dimensions Recreating Depth Overlapping Haze Converging lines Foreground Background Relationships (Large and Small Objects). Learning to frame, discovering the edge, seeing the gaps, discovering pattern

39. Taking Pictures: Centralized Composition

40. Rule of thirds

41. Framing, Space, depth creation, emphasis

42. Finding fresh angles

43. Using lines, using color, Getting horizontal object along a horizontal line

44. Discovering patterns, using geometry

45. Knowing your subject

46. Keeping straight lines straight, or breaking the rule consciously

47. I cannot overemphasize the importance of continous practice in visualization, both in terms of image values ……and image management……we must learn to see intuitively as lens/camera sees….Ansel Adams Ansel Adam’s advice is still of crucial importance because the digital camera can be programmed to record, edit and compose and the post processing can endlessly manipulate the original image but it is the ability to ’see’ that overrides everything .

48. Real Life "The camera is an instrument that teaches people how to see without a camera." ~ Dorothea Lange ~~~~~~~~~~~~~~~~~~~~~ "Photography is nothing - it's life that interests me." ~ Henri Cartier-Bresson ~~~~~~~~~~~~~~~~~~~~~ "Photos always seem to exist as sort of stuffy, unnecessary antiques that we put in a drawer — unless we take them out, put them in current dialogue, and give them relevance." ~ Mark Klett ~~~~~~~~~~~~~~~~~~~~~ "The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. This is not to say that he is unconcerned with the truth." ~ Robert Adams ~~~~~~~~~~~~~~~~~~~~~ "Light, then, .... is indeed a wonderful instrument ..." ~ Mark Rothko

49. What is ethics? Ethics is a system of morals (codes or guides of conduct (implicit or explicit) that are based on personal long-lasting beliefs and values or those of surrounding society. A personal act can be considered moral, immoral or amoral as it is inline with, against or indifferent to any moral code. Ethics in visual communication are concerned with the whole range of activities, processes and content that is disseminated through the visual medium. However, what is central to debates and of abiding socio-cultural interest is the image itself and the message it communicates. Ethics is about the 'other'

50. NPPA Code of Ethics is an example of the range of the aspects of image making that can have significant social repercussions. • Be accurate and comprehensive in the representation of subjects. • Resist being manipulated by staged photo opportunities. • Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work. • Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see. • While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events. • Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects. • Do not pay sources or subjects or reward them materially for information or participation. • Do not accept gifts, favors, or compensation from those who might seek to influence coverage. • Do not intentionally sabotage the efforts of other journalists.