ASSESSMENT 3_Artist - Jürgen Schadeberg


Jurgen Schadeberg was born in Berlin in 1931 and, while still in his teens, worked as an apprentice photographer for a German Press Agency in Hamburg. In 1950 he emigrated to South Africa and became Chief Photographer, Picture Editor and Art Director on Drum Magazine.

It was during this time that Jurgen photographed pivotal moments in the lives of South Africans in the fifties. These photographs represent the life and struggle of South Africans during Apartheid and include important figures in South Africa’s history such as Nelson Mandela, Moroka, Walter Sisulu, Yusuf Dadoo, Huddleston and many others who have been documented at key moments such as during The Defiance Campaign of 1952, The Treason Trial of 1958, The Sophiatown Removals and the Sharpeville Funeral in 1960.

His images also capture key personalities and events in the jazz and literary world such as the Sophiatown jazz scene with Dolly Rathebe, Miriam Makeba, Hugh Masekela and Kippie Moeketsi.

In 1964 Jurgen left South Africa for London and during the sixeties and seventies freelanced as a photojournalist in Europe and America for various prestigious magazines. He also taught at the New School in New York, the Central School of Art & Design in London and the Hoch Kunst School in Hamburg. During this period he curated several major exhibitions including “The Quality of Life” which opened the New National Theatre in 1976. Before returning to South Africa in 1985 Jurgen lived in London, Spain, New York and France. The photographs from this period represent a rich mix of social documentary work as well as some modernist, abstract images.

Jurgen has had a series of major shows including a Retrospective at the South African National Gallery in Cape Town in 1996, a Retrospective in Dublin,2000, New York solo show 2001 a group show at La Maison Europeene de la Photographie, Paris, 2002, Solo show Berlin in 2003, Budapest 2004, a Retrospective in Nicephore Niepce in Chalon Sur Saone in 2004, Neumunster- 55 Years Retrospective - Luxembourg 2005, Bochum Museum Retrospective 2005 and 2006 a touring exhibition of new work “Voices from the Land” in South Africa. Numerous shows followed in 2006 and 2007 including London, Esslingen, Bayreuth, Koln, Belgium, Oslo, Tuscany, Kunsthalle Wien, Johannesburg. In 2007 Jurgen was awarded the Officer’s Verdienst Kreuz First Class by the German President.

Jurgen has edited and published several photographic books including “The Finest Photos from the Old Drum”, “The Fifties People of South Africa”, “Mandela & The Rise of the ANC”, “Voices from Robben Island”, “Sof’town Blues”, and three new books in 2002 “The Black & White Fifties”, “The San of the Kalahari” & “Soweto Today”. “Witness - 52 years of pointing lenses at Life” was published in 2004 and in 2006 “Voices from the Land” . In 2007 he published “Jazz, Swing & Blues – 56 years of SA Jazz” and “Tales from Jozi – new colour work of Johannesburg today.

Together with his producer wife Claudia Jurgen established The Schadeberg Movie Company to produce a series of some 15 documentaries about South African social, cultural and political history.

Jurgen Schadeberg, sometimes known as “The Father of South African Photography”, is a principle figure in South African and World Photography. His major body of work, which spans 60 years and incorporates a collection of some 100,000 negatives, captures a wealth of timeless and iconic images.


ASSESSMENT 3_Group Site Analysis









ASSESSMENT 3_Site Visit Photos


View West from Site 3


View East from Site 3


Rear lane way


Site 3 from Wilson St and King St intersection



Site 3 Panorama


newtown at night


ASSESSMENT 3_Site Map



Room and Narrative - Final Drawings







Room and Narrative - Model Construction







Room and Narrative - A few precedents (images for inspiration)

Cube building Amsterdam

Kenzo Tange


Lego Building

Room and Narrative - Exploration


Exploration of cubic forms that have been pulled and pushed, as well as the wrapping of forms around another dormant form and the movement towards the top of this new form.

An exploration in light and altitude as well as the mystery of moving around the 'corner' of the external form.

Room and Narrative - Exploration

Exploration of certain ideas, the cubic form, the movement and stacking of them as well as the concept of push and pull.
The idea of stacking cubic volumes leads to the progression of time and an increase in altitude as well as an increase in lighting quality.

Room and Narrative - Narrative

"a curiosity of what could be , inspired this individual to seek the light from the dark, to investigate the future from the present..."

My narrative looks at the concept of time, the present time and the future. I have used Hoppers painting and in particular the character with his back towards as a study of time. The bar top represents the movement of time and the figure represents a dormant character moving with time.
The idea of light and dark is to be used as a catalyst for the progression of time, movement from a dark era to a light one.

Room and Narrative - Nighthawks


The painting that I have chosen to study and read for this assignment is Edward Hoppers Nighthawks. Nighthawks was painted in 1942 and depicts a scene of 4 characters in a generic diner. (most likely real at one stage)

There are many intriguing factors in this painting that are important to its composition. Below are the ones that I have chosen to focus on within my design.

1.) Hopper use of lighting, the diner is bathed in artificial lighting while the streets around it
are dimly lit and dull.
2.) Entrapment, the diner shows no sense of entry or exit, a suggestive idea that the subjects within the diner are trapped and can not escape.

3.)The 3 figures themselves, their behaviour, body language, stature and overall appearance.

4.) The concept of the bar top as a progression of time.

Room and Narrative - Edward Hopper

He trained under Robert Henri, 1900-06, and between 1906 and 1910 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene painting, expressing the loneliness, vacuity, and stagnation of town life. Yet Hopper remained always an individualist: `I don't think I ever tried to paint the American scene; I'm trying to paint myself.'

  • Image Nighthawks
    1942 (120 Kb); Oil on canvas, 30 x 60 in; The Art Institute of Chicago

Paintings such as Nighthawks (Art Institute of Chicago, 1942) convey a mood of loneliness and desolation by their emptiness or by the presence of anonymous, non-communicating figures. But of this picture Hopper said: `I didn't see it as particularly lonely... Unconsciously, probably, I was painting the loneliness of a large city.' Deliberately so or not, in his still, reserved, and blandly handled paintings Hopper often exerts a powerful psychological impact -- distantly akin to that made by the Metaphysical painter de Chirico; but while de Chirico's effect was obtained by making the unreal seem real, Hopper's was rooted in the presentation of the familiar and concrete.

  • Image Self-Portrait
    1925-30 (110 Kb); Oil on canvas, 25 1/16 x 20 3/8 in; Whitney Museum of American Art, New York

American scene painting

Edward Hopper painted American landscapes and cityscapes with a disturbing truth, expressing the world around him as a chilling, alienating, and often vacuous place. Everybody in a Hopper picture appears terribly alone. Hopper soon gained a widespread reputation as the artist who gave visual form to the loneliness and boredom of life in the big city. This was something new in art, perhaps an expression of the sense of human hopelessness that characterized the Great Depression of the 1930s.

Edward Hopper has something of the lonely gravity peculiar to Thomas Eakins, a courageous fidelity to life as he feels it to be. He also shares Winslow Homer's power to recall the feel of things. For Hopper, this feel is insistently low-key and ruminative. He shows the modern world unflinchingly; even its gaieties are gently mournful, echoing the disillusionment that swept across the country after the start of the Great Depression in 1929. Cape Cod Evening (1939; 77 x 102 cm (30 1/4 x 40 in)) should be idyllic, and in a way it is. The couple enjoy the evening sunshine outside their home, yet they are a couple only technically and the enjoyment is wholly passive as both are isolated and introspective in their reveries. Their house is closed to intimacy, the door firmly shut and the windows covered. The dog is the only alert creature, but even it turns away from the house. The thick, sinister trees tap on the window panes, but there will be no answer.

Room and Narrative - Various Dutch Paintings

Below are a few examples of Dutch paintings, the majority by Edward Hopper.
The selected paintings are some that I have chosen to look at as prospects for this
room and narrative design

-"summer evening"
Edward Hopper
-"nighthawks"
Edward Hopper
-"morning in a city" (1927)
Edward Hopper


- "a woman nursing an infant with a child and a dog"
Pieter De Hooch