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METAPHOR EXAMPLES (transfer of meaning - literal metaphor (comparison is…

- - - - water always reaches its destination no matter in what form it comes in and from where it passes. it will pass through cracks, crush powerfully down a waterfall, trickle down a stream and then finally freeze in a lake and it can keep on going with nothing stopping it.
        
        context
    - - a sword will always be a sword, no matter the quality it is still made up of the same essence and properties of any other sword. its weakness is in its essential nature. no matter the integrity of a person when found in the wrong company, they will have a negative effect on the person.
    - - Jesus compares himself to a vine and calls his followers branches of the vine, in that they are extensions of himself. Also, Jesus states his followers will “bear much fruit,” meaning good things will come as a result of their faith.
        
        context
    - - marriage is not a settlement. it neither a house, a place of stable shelter and security neither a temporary place which one could easily pack up and go.
    - - as time passes we change. we are not the same person at 40 that we were at 20. as time moves forward we are forced to change and adapt, experiencing alterations.
  - - - depicts the fake saintliness and good will as a nation and european state. the person depicted wearing a hazmat suit pulls away from the refugee child putting her hands out for a hug. the hazmat symbolizes a sense of fear and disgust.
        
        emotions
        
        symbols
        
        social/political context
      - the pretty picture of 'sun and sea' that malta is depicted to be is not really what it seems. the picture acts as a literal warning to the visitors who are keen on visiting the island of sun and sea.
        
        symbols
        
        social/political context
    - - 'when i am pregnant', 1992
        
        metaphor: art in itself is an act similar to pregnancy. the artist conceives an idea, grows it and incubates it until it is ready to be born.
        
        form
        
        3dimensionality
        
        body movement
        
        almost only visible from the sides. "white form on white wall"
        
        looking at it from the front it is just a wall. looking at it from the side it is now a sculpture, the material (wall) is transformed when looking at it from a different perspective. playing with reality and illusion.
        
        in comparison to an abdomen when pregnant. it is more than just a "bloated belly" but there exists something permanent and vibrant. something substantial. there is life. just like this art work is more than just an bulge in the museum wall but is imbued with meaning and substance by the viewers.
    - - 'One hundred spaces', 1991
        
        by creating , rachel whiteread is presenting the invisible space. the space we ignore and overlook in everyday life.
        
        metaphor: the unseen is very much a part of the object as the 'seen' is. making tangible objects from unseen spaces, this piece of work is metaphoric in showing that the unseen is just as significant in our daily life.
      - 'House,1993'
        
        metaphor: like a fossil thats been excavated. the building has been removed but it's 'spirit' is still there almost materialized by the concrete. the internal private details of the house - the most intimate areas - are exposed as they are cast in concrete. they still exist.
    - - rearranged desert, 1979
        
        metaphor: the body as a space, rather than an object. to concentrate on the idea of a performative event and find ways of isolating that event in space at large.
        
        the evidence of the living body on other bodies. **the human event as the engagement of body with material and place.**the action of the body on other bodies has made a displacement in space. even thought the artist is not presently there you can see there was a physical body once present which had an impact on its immediate surroundings. Therefore, the body is still present in space.
      - blind light, 2007
        
        metaphor: the body as representation. As one walks into the installation, they dissappear from themselves and other people but they still exist. when one comes close to another person, they are barely visible - further emphasizing that the body is merely a representation of that person.
        
        in that space, one loses their orientation of their body in space. they feel themselves present but cannot see their physical presence. one is now consciousness without an object. freed from the dimensionful and measured way in which life links us ot the obligatory. BUT the space is actually filled with people.you become an immersed figure in an endless ground. literally the subject of the work. the viewers now become viewed.
    - - 'An Accident', 1926
        
        metaphor: a morbid depiction of human naturethis painting reminds me of ants crawling around a dead ant. surrounding it and carrying it away. the amount of people gathered signifies the scale of 'the Accident'. even though one cannot actually see what happened the painting gives off this sinking feeling.
        
        if the accident was a suicide, the painting also depicts the loneliness and isolation in 20th century North West England. The painting may be metaphor for the indifference of the other city dwellers of what is happening around them and it only after ending one's life that the other city dwellers are gathered as a community as a common body.
    - - metaphor: peace is being threatened.the dove wearing a bullet proof vest puts things in a different perspective, rather than it being about war or peace, Banksy creates a deeper meaning by depicting peace to be under threat by hate. Suddenly peace isn’t only an ideal, it’s a delicate object that can easily be killed unless we protect it.
        
        symbols
      - metaphor: utilize kindness over weapons. The protester using a bouquet of flowers as a 'weapon' is unexpected and strange. the metaphor in this artwork is that one can fight with kindness rather than harmful weapons. The flowers symbolize something harmless which is normally given out of kindness. This piece is made to remind us that we might get more done by negotiating kindly rather than by attack.
  - - - metaphor: the faculty as a womb. the faculty similar to the womb of a pregnant woman as the student is nurtured and incubates the student until it is fully grown and ready for the responsibilities of the profession. the faculty will 'give birth' to new ideas and allows these ideas to grow in a secure and safe environment. therefore student is fed with information and guidance until he/she is ready to graduate.
        
        program
      - the shape of the faculty is a semicircular shape resembling a womb embracing the fetus. as one enters the faculty from the back, you enter the the block of the design studios which is where the conception of ideas start and grow. the lecture halls are located in circular halls located separately from the main block and are almost feeding into the main building. this could symbolize the information and theory being fed to the students to help them grew. the first year classes start at the bottom most floor and as each year passes the student graduates to the next level with the classes at the uppermost floor generally dedicated to the masters students signifying they have reached a more mature stage.
    - - the transparency of the building is metaphoric as the public has a visual connection of the internal meetings in the parliamentary chamber. furthermore the transparency of the cupola allows public entering the reichstag to be part of the architecture as they are visible by the people outside, giving the cupola more value. its almost as if the public can be seen pumping through the skeleton of the building giving it life.
      - metaphor: the Reichstag as a modern, open and democratic symbol of the state - returning the Reichstag back to the people.
        The public and politicians enter the building from the same entrance but the politicians descend into the parliamentary chamber whilst the public ascend towards the roof in the cupola where ramps lead to an observational platform. this act of ascending up is visible from outside the building as the cupola i establised as a Berlin landmark and now symbolises the rebirth of a democratic government which allows the public to ascend above the heads of their representatives in chamber.
        
        materiality
        
        context
        
        movement of body
        
        program- its functional use becomes part of the metaphor
        
        social impact
    - - metaphor: from a ruin to a new reality. Through Renzo Piano's intervention on the Royal Opera House, the ruin was elevated from merely being a ruin and a symbol of the impact of the war on Malta into a usable space by the public. However rather than it being a theatre for the elite and higher social class of Malta as it was in the past, the new theater has been redesigned to be an open air pjazza open to the common public symbolising the change in the times.
        
        form
        
        program
        
        context
      - open air therefore the performance now belongs to the whole city.
      - The fact that the building has been retained as a place for performative events even though it is in a state of ruin is metaphoric. the spirit of the building is still there even though its materiality has been destroyed. the columns left over are an iconic symbol and a reminder of its past. it is and will always be a theater.
    - - metaphor: a healing journey.the path descends down a path and the earth opens up to reveal the names and then continues to ascend and widen towards the end of the memorial.
      - metaphor: the memorial as an interface between our present world and the quieter more peaceful world beyond. the dark granite slabs are given substance through the texture of the names engraved into them. the names become the object whilst the pure reflective surfaces allow the visitors to see themselves amongst the names, almost acting like a distorted mirror giving the visitor a reminder of this being a reality. A reality they could see but cannot enter.
      - metaphor: a cut in the earth - an initial act of violence that in time will heal.
        
        materiality
        
        form
        
        context
    - - metaphor: landscaped terraces of a vineyard. The building was conceived as an organic form which resembled terraced vineyards creating this intimate space where the audience is as much part of the performance as the orchestra as you are in constant view of the some section of the audience. the orchestra at the centre of the space allows the music to emanate from the centre of the whole building projecting the music in every direction.
        
        form
    - - Metaphor: fertility. the temples have a form similar to the silhouette of 'The Fat Lady' i.e , the goddess of fertility. the feminine characteristics of creation and nurturing were translated into the architecture which was made to worship the goddess through the use of semi circular curves to symbolize fertility and abundance.
        
        form
    - - metaphor: Ascension into the heavens the pyramids were like massive stair way in which the deceased would reach the heavens. The Egyptians believed the dark area of the night sky around which the stars appear to revolve was the physical gateway into the heavens. One of the narrow shafts that extend from the main burial chamber through the entire body of the Great Pyramid points directly towards the center of this part of the sky. This suggests the pyramid may have been designed to serve as a means to magically launch the deceased pharaoh's soul directly into the abode of the gods.
        
        form
      - metphor: the primordial moundThe shape of Egyptian pyramids is thought to represent the primordial mound from which the Egyptians believed the earth was created.
        
        form
      - metaphor: rays of sun the shape of a pyramid is thought to be representative of the descending rays of the sun, during sunset these rays reach the top of the pyramid and create passage for the soul to travel to afterlife.
        
        form
    - - metaphor: the seed as the future of cities the pavilion was made to illuminate and give importance to the seed - the starting point of any growth starts from a seed. therefore future growth depends on the seed. the metaphor is further emphasized and made more powerful as the pavilion resembles a dandelion which once exposed to a breeze spreads its seeds for further growth. in the same way after the expo the Seed Cathedral's optic hairs were distributed across China and the UK to a hundred of schools - each seed bearing the huge potential of life. the metaphor of the pavilion is also that of a cathedral which worships the seed and spreads its 'teachings' across the world and lets the seed grow and continue its growth somewhere else.
        
        form
        
        materiality
        
        textures
        
        social impact
    - - metaphor: the body as a constructor of public space rather than architecture being the construction of public space. the workshop focused on testing the limits of public space by focusing on the use of the body through an artful personal performance. the way we use our bodies in public space is limited by the 'rules' enforced upon us in public spaces. by carrying out 'strange' activities in public space this was further emphasized. people thought it was a performance when it actual fact we were using our bodies as we would in more private or intimate places. an interesting moment was when we crossed the road as a collective body moving similar to the movement of a jellyfish. people saw this as strange but in actual fact if we had to change the context to a club or a packed concert this would be deemed completely normal. why can't the public space act as a place for people to dance at their free will?
        
        body movement
        
        context
    - - Metaphor: the heavy weight of such horrid events is still with us. the 800 hanging markers of Corten steel, boxy pillars resembling coffins are hung above the passers by at even intervals. This gives unnatural setting gives a sense of a heavy weight and un-comfort as they are eerily similar to hanging bodies.
        
        walking through the medium
        
        3dimensionality