Objective Approach To Urban Architecture

In subjective approach, the building is the main subject and its actual character and its elements are visually documented in depth and detail. It has close ups and views as they were incorporated in the building. It also includes documenting the context of the building and its relation to the context. (Harvey, 1984))

b) OBJECTIVE APPROACH

In objective approach, the building 's character is expressed the way it is desired to be expressed, it is being aimed to showcase or expressed whether it is exaggerating or undermining any visual feature of an element of the building. (Harvey, 1984))

Basically, objective approach is taken up when there is an aim or objective for photography rather than just documenting the building which is the case of

Fig. 5.1 DLF TOWER GURGAON Fig. 5.2 GUGGENHEIM MUSEUM, NEW YORK Source: (Edwards, 2006) Source: (Edwards, 2006)k

Above photograph of two different buildings, in DLF tower 's case the urban settings match with the building but in case of Guggenheim Museum, the urban setting around the building is different from the building but in both cases the urban landscape describe the characteristics Of the respective buildings.

5.4 PHOTOGRAPHING EXTERIOR DETAILS

The exterior details of any building sum up to define the elevations and mass of the Building. So, they play a vital role in defining the buildings aesthetical image.

The sun shade, door detail, window detail and exterior building material, entry detail carving etc. Capturing these details with blow ups in suitable angles with respect to. Each detail is also necessary to show the detail clearly. (Mordaunt, 1987)

Fig. 5.3 Façade of Hawa Mahal, Jaipur, Rajasthan k Source: Author

Day light plays important role in photographing the exterior details as details come out Well in sun light and also the shadow of the building in sunlight adds to the drama of The

The main subject is emphasized by means of contrast to its surroundings or the arrangement of other Elements which frame or direct the vision to it.

Example: well composed linear elements in a picture can help direct the eye towards the point of interest like photographing a building with the fore ground device such as a branch of tree or an arch would create a strong statement. Whereas diagonally receding lines add perspective and so an idea of depth in a carefully composed oblique viewpoint of a building asymmetrical compositions generally are more dynamic and visually interesting. (Harvey, 1984))

RULES OF COMPOSITION

The most powerful peace for the focal, binding, climax of interest is seldom near the middle and becomes more powerful the nearer it approaches the corners of the frame; where it then needs to be balanced with some weighty object on the other side. Unresolved duality should be avoided, say by cutting a picture in half with a straight line such as a horizon or trying to portray in one exposure a person and a building both of equal