1. Architecturally inspired artworks

2. Frank Gehry
Guggenheim Museum Bilboa
1997
Glass, limestone, titanium

3. Grace Cossington-Smith
Bridge in curve 1930
Tempera on cardboard
83.6 x cms

4. Howard Arkley
Cityscape, 1990
Arkley’s own photographs, have been collaged together and drawn over, and collaged again repeatedly to become final paintings composed of various elements of inner city smoke stacks, industrial sites and machinery.
HOWARD ARKLEY
A Splendid Superior Home, 1989
synthetic polymer paint on canvas
174.5 x cm

5. Utzon
Sydney Opera House

6. Inspired by the lavish sculptural architecture of the Spanish architect Antonio Gaudi, whose cathedral El Temple Expiatori de la Sagrada Família he had seen in Barcelona, Olsen's landscapes heave and swell through a textured web of line and shapes.
John Olsen
1963
Entrance to the seaport of desire,
synthetic polymer paint on canvas
167.6 x 213.4cm 

7. Brett Whiteley
1982
Opera House,
Oil on canvas plus
mixed media
203cm x 244cm

8. Stephen Wiltshire 
2010
Sydney,
Triptych
Pen and ink on paper
1253 × 490mm 

9. 1848
Hyde Park Barracks
Copper-plate engravings from drawing by
Joseph Fowles
Printed by D. Wall
for the publication
Principal streets, public buildings,
churches, chapels, etc.
1848
St Mary’s Cathedral
Copper-plate engravings from drawing by
Joseph Fowles
Printed by D. Wall
for the publication
Principal streets, public buildings,
churches, chapels, etc.

10. MC Escher
Print Gallery
1956
Lithograph
31.9 x 31.7cm
MC Escher
Relativity
1953
Lithograph
27.7 cm × 29.2 cm

11. Isidro Blasco 
Sydney MLC 2
2011
C-Print, wood, museum board
22 x 13 x 13 cm
Isidro Blasco 
Strand Arcade,
2011,
C-Print, wood, museum board,
52 x 48 x 20 cm

12. Max Dupain
Concrete support Beams (Sydney Opera House)
1962
Gelatin silver photograph
56.9 x 44.6cm 
In the late 1940s Dupain increasingly specialised in
architectural photography and photo-documentary.
He chose to work outdoors rather than in the studio
in order to capitalise on the bright Australian light,
wishing to show ‘a thing clearly and simply’.
Dupain developed a longstanding working
relationship with modernist architect Harry Seidler
after Seidler’s arrival in Sydney in 1948, and in the
1960s and 1970s he documented the building of
the Sydney Opera House.
‘Concrete support beams (Sydney Opera House)’
is a severely formal image emphasising the power
of material and the soaring structure of the building.
The lines of the concrete darken towards the viewer
and the light is caught head-on streaming in at a
distance. The only disturbances are the variable
marks on the concrete and the small form of a
worker in the distance silhouetted against the light.
The workman further emphasises the
monumentality of the structure and is an important
counterpoint – the opera house was made by
workers such as this man.

13. Neil Duncan
Sydney
2012
C type photograph

14. Richard Goodwin
Parasite Android 01
Richard Goodwin
Regent St Parasite 01

15. Jeffrey Smart
Holiday 1971 oil on canvas x 81.0 cm
Jeffrey Smart
Cahill Expressway 1962 oil on canvas 52.5cm x68.5cm

16. William Kentridge
Drawing for 'Other Faces', (Crowds in city streets), 2011
Charcoal and coloured pencil on paper
70 x cm

17. John Virtue
Venice No
Monotype print
54.5 x 70 cm
John Virtue Landscape No ink on 44 sheets of paper laid down on board
laid down on plywood 146 x cm

18. Georgio de Chirico
Melancholy and Mystery of a Street, 1914
oil on canvas
88 x 72 cm

19. Possible artworks:
design a building for the Barangaroo site
study of: individual buildings bridges
sections of buildings stairs
city scapes street scenes
using one or a variety of media
paint charcoal,
pencil, pastel,
pen, ink,
water colour, prints (lino or etching)
photographing architecture (consider: compositions, camera angles, reflections and lighting)
site specific sculpture
Remember your terms 3 and 4 artworks must use different media and be linked by a common theme/concept