#odesa

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Bonshō
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Bianzhong
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: A bellcote, bell-cote or bell-cot is a small framework and shelter for one or more bells. Bellcotes are most common in church architecture but are also seen on institutions such as schools. The bellcote may be carried on brackets projecting from a wall or built on the roof of chapels or churches that have no towers. The bellcote often holds the Sanctus bell that is rung at the consecration of the Eucharist.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Voodoo
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Zoroastrianism
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Shinto
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Parts of a typical tower bell hung for swinging: 1. Bell yoke or headstock 2. canons, 3. crown, 4. shoulder, 5. waist, 6. sound bow, 7. lip, 8. mouth, 9. clapper, 10. bead line
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: A bell is a directly struck idiophone percussion instrument. Most bells have the shape of a hollow cup that when struck vibrates in a single strong strike tone, with its sides forming an efficient resonator. The strike may be made by an internal "clapper" or "uvula", an external hammer, or—in small bells—by a small loose sphere enclosed within the body of the bell (jingle bell). Bells are usually cast from bell metal (a type of bronze) for its resonant properties, but can also be made from other hard materials. This depends on the function. Some small bells such as ornamental bells or cowbells can be made from cast or pressed metal, glass or ceramic, but large bells such as a church, clock and tower bells are normally cast from bell metal. Bells intended to be heard over a wide area can range from a single bell hung in a turret or bell-gable, to a musical ensemble such as an English ring of bells, a carillon or a Russian zvon which are tuned to a common scale and installed in a bell tower. Many public or institutional buildings house bells, most commonly as clock bells to sound the hours and quarters.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Town Hall has three main stories, lined with pointed Gothic windows on the three sides visible from the Grote Markt. Above is a gallery parapet, behind which rises a steep roof studded with four tiers of dormers. At the angles of the roof are octagonal turrets pierced with slits allowing for the passage of light. Statues in canopied niches are distributed all over the building. The corbels supporting the statues are carved with Biblical scenes in high relief. While the niches and corbels are original with the building, the 236 statues themselves are relatively recent, dating from after 1850. Those of the first floor represent personages of importance in the city's local history; those of the second, patron saints and symbolic figures; those of the third, the Counts of Leuven and Dukes of Brabant from various ages. The main façade has an entrance staircase, and two portals in the centre, above which are figures of Saint Peter (left) and the Madonna and Child (right), the former in compliment to the patron of the church opposite.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The building utilizes wrapped glass on the east, north, and west both for aesthetics and to reduce the amount of reflective surface area on the south facade, which also features brushed Jura limestone. Flared walls reaching from the southwest and southeast corners of the core span the entire height of the tower, and there is a column-free 24-meter-tall lobby.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The building's original marble cladding was replaced after several panels fell from the building in 1985 and 1986. The problem was traced to the thinness of the panels (1.25 inches (3.2 cm) and the method of anchorage to the frame. As a result of extensive investigation, the panels were replaced with neoparium, a glass product that appeared indistinguishable from marble at more than 100 feet (30 m). This failure mode was not uncommon in buildings of this era that employed thin marble cladding. Several buildings, most notably the Aon Center in Chicago were re-clad with materials other than marble.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Le Corbusier's design called for the use of raw concrete, whose surface was not smoothed or polished and which showed the marks of the forms in which it dried. Pierre Jeanneret wrote to his cousin that he was in a continual battle with the construction workers, who could not resist the urge to smooth and finish the raw concrete, particularly when important visitors were coming to the site. At one point one thousand workers were employed on the site of the High Court of Justice. Le Corbusier wrote to his mother, "It is an architectural symphony which surpasses all my hopes, which flashes and develops under the light in a way which is unimaginable and unforgettable. From far, from up close, it provokes astonishment; all made with raw concrete and a cement cannon. Adorable, and grandiose. In all the centuries no one has seen that." The High Court of Justice, begun in 1951, was finished in 1956. The building was radical in its design; a parallelogram topped with an inverted parasol. Along the walls were high concrete grills 1.5 metres (4 feet 11 inches) thick which served as sunshades. The entry featured a monumental ramp and columns that allowed the air to circulate.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Museum of Glass was designed by Canadian architect Arthur Erickson and was his first major art museum in the United States. The museum totals 75,000 square feet (7,000 m²) in area, featuring 13,000 square feet (1,200 m²) in gallery space and a 7,000-square-foot (650 m²) hot shop. This hot shop, shaped as an angled cone, is the museum’s most striking architectural feature. The cone, inspired by the wood "beehive burners" of the sawmills that once dotted the waterway, is composed of 2,800 diamond-shaped stainless steel panels and is 100 feet (30 m) in diameter at its base. Also featured in the Museum of Glass’ architecture are a sweeping concrete stairway that spirals around the exterior of the building, and three rimless reflecting pools featured on the museum’s terraces. Connected to the museum is the Chihuly Bridge of Glass, designed by Arthur Erickson in collaboration with artist Dale Chihuly, to connect the Museum of Glass to downtown Tacoma.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Dahinden influenced the field of architecture with ideas which have resulted in numerous suggestions and impulses. The centre of Dahinden's philosophy of the holistic nature of architecture is that it is a service to the human being. It is equally important to man as a physical and as a mental reality. In architecture the rational fulfilling of needs has to be complemented by taking into consideration the emotional world of the human being, whose state of mind and behavior are fundamentally influenced by architectural design. To Dahinden architecture as a language is of equal importance to architecture as a function. From this he has developed a very individual theory about contextualism in architecture.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The distinctive white building resembles a flying saucer that has landed on its four legs. The initial design was created by James Langenheim, of Pereira & Luckman, subsequently taken to fruition by a team of architects and engineers headed by William Pereira and Charles Luckman, that also included Paul Williams and Welton Becket. The appearance of the building's signature crossed arches as homogeneous structures is a design illusion, created by topping four steel-reinforced concrete legs extending approximately 15 feet above the ground with hollow stucco-covered steel trusses. To counteract earthquake movements, the Theme Building was retrofitted in 2010 with a tuned mass damper without changing its outward appearance. Constructed near the beginning of the Space Age, the building is an example of how aeronautics and pop culture, design and architecture came together in Los Angeles.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Pavilions of Futuroscope in Poitiers by Denis Laming, 1984 The Tour de Montréal in Montreal by Roger Taillibert, 1987 The Tour de Montréal in Montreal by Roger Taillibert, 1987 L'Hemisfèric in the City of Arts and Sciences, Valencia by Santiago Calatrava, 1998 L'Hemisfèric in the City of Arts and Sciences, Valencia by Santiago Calatrava, 1998 The British Library of Political and Economic Science in London by Norman Foster, 2000 The British Library of Political and Economic Science in London by Norman Foster, 2000 L'Oceanogràfic in the City of Arts and Sciences, Valencia by Félix Candela, 2003 L'Oceanogràfic in the City of Arts and Sciences, Valencia by Félix Candela, 2003 Auditorio de Tenerife in Santa Cruz de Tenerife by Santiago Calatrava, 2003 Auditorio de Tenerife in Santa Cruz de Tenerife by Santiago Calatrava, 2003 El Palau de les Arts Reina Sofía in the City of Arts and Sciences, Valencia by Santiago Calatrava, 2005 El Palau de les Arts Reina Sofía in the City of Arts and Sciences, Valencia by Santiago Calatrava, 2005 The Turning Torso in Malmö by Santiago Calatrava, 2005 The Turning Torso in Malmö by Santiago Calatrava, 2005
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training made great use of agrafes, clasps that link one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which the appropriateness of symbolism was paid particularly close attention. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations included the social and urban context.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture. Slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first truly modern architectural offices.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: According to Khan-Magomedov, two forerunners of the style were Ivan Fomin and Ilya Golosov. They converged on the same form from opposite directions – neoclassicism and constructivism. Fomin's concept, easily formulated, erected in steel and granite in Moscow (Dynamo Building), was well understood even by the inexperienced youth. "The youth instinctively followed those who managed to declare their stance clearly. The youth believed that this period is a self-sufficient cultural stage, not a transition to something else". In 1933–34, Golosov publicly disposed of the avant-garde. He returned to Neoclassicism, trying to avoid direct citations from the past. For example, he used square columns instead of traditional, round ones. Square, lean columns without capitals became a trademark feature of the emerging style. Golosov's entries in public design contests exposed his style to numerous followers.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0

Ukraine, Kotsiubiiv, Kotsiubiiv O & B Theatre

• Model: Artistic

• Size: 1024 X 576 (0.59 MP)

• Used settings:

  • Prompt: The name De Stijl is supposedly derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–3), which Curl[3] suggests was mistakenly believed to advocate materialism and functionalism. The "plastic vision" of De Stijl artists, also called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality that was not so much a visible fact as an underlying spiritual vision.[6] In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: "a post, jamb or support"; this is best exemplified by the construction of crossing joints, most commonly seen in carpentry.
  • Using base image: Yes (Effect strength - 40%)
  • Base image resolution: Default
  • Upscale & Enhance: 0