are there any products that stand out, collaborative projects that stand out to you, that really could only happen in LA besides that one? cityscape for this organization, for their power wall.
a 3D cityscape and also compose music in real time. So it was a multi-user, immersive environment that allowed people to express themselves through music and kind of fly through this futuristic cityscape . You'll see there are some common themes in terms of this idea of the future city and I'll talk a little bit more specifically about City of the Future which is the-the work outside that I've got installed with my wife, Carrie Elston Tunick and another colleague, Josh Schiller.
From there I created a-a work with another artist named Miro Kirov, who was a classmate at ITP. This is a work called "Infinite City," where using gesture people can fly through a 3D cityscape and also compose music in real time. So it was a multi-user, immersive environment that allowed people to express themselves through music and kind of fly through this futuristic cityscape . You'll see there are some common themes in terms of this idea of the future city and I'll talk a little bit more specifically about City of the Future which is the-the work outside
And finally, we want to honor a Google Space in campus Seoul. These are the cityscapes of the places I have stayed and lived in Sydney and London.
And I-- if I were using all the technology, I will show you these design ideas for like giant seawalls that would go where the Verrazzano Bridge is now. investment in remaking our neighborhoods and remaking the cityscape .
So, it's a little, tiny book. They're literally photos of 26 gasoline stations, it's called Twentysix Gasoline Stations, and this is one of them. So you see the connections between what these two artists were thinking about -- thinking about the cityscape , thinking about being out on the highways. Ruscha also did several other books at the time, and I'm just giving you little images of them that I'm not sure what's going on with the quality there, but at the top is
Another logical implication of this is that there's another way we need to rethink the way that most people currently think about buildings as well as landscapes and cityscapes . Today in the media and in professional practice, the built environment is typically bifurcated in two.
But you can look right down Woodward, all the way to Campus Martius and see the cityscapes . Yeah, it's beautiful. You see cityscape . You see architecture. You see more than just people walking around.
You know, you've got to let me know ahead of time, so I reserve it for you. But you can look right down Woodward, all the way to Campus Martius and see the cityscapes . Yeah, it's beautiful. You see cityscape .
What I mean by that are precise locations in our world where something very powerful happens. And I'm not just talking about landscapes, but also cityscapes , and even indoor spaces. I mean, have you ever noticed that in certain places at certain times the scene before you goes beyond a mere sight and becomes something
messaging and really trying to encourage public discourse in neighborhoods and city parks. This is a more recent work. This is a stereoscopic 3D environment called "Parallel Cityscapes " that was at the USF Contemporary Art Museum. You would put on stereo glasses which you now see in-in a lot of movie theaters, similar type of 3D where it pops out of the screen.
And there is a bit of the branding of the Tour de Trump. I mean, there are certain roadways-- we're dealing with a problem right now where we have an already pretty much given cityscape .
This is a photograph of Ruscha from 1964 that Hopper took and has been reproduced really often and sort of captures the young Ruscha. As you can see, he really looks like a movie star. He was kind of movie star handsome and like James Dean or Marlon Brando -- he's striking that kind of a pose. And because Ruscha's work was so bound up in the Los Angeles cityscape , Hopper really wanted to show him on an LA street, so this was taken, I think, just further down on La Cienega Boulevard in front of an electronics supply store. So, you've got the
out the right color. Number eight, use your plus and minus controls on your camera. When I shoot a flash picture, I'm always shooting on the manual mode. When I'm shooting an action shot, if I'm shooting a landscape, I'm using one of the automatic modes, believe it or not. A lot of my friends do this. If it's a landscape, a cityscape , a seascape; I'm shooting on the aperture priority mode. I can fine tune the exposure with a plus and minus control and get to the same place you can get to on the manual mode, only faster.