When first learning photography, both textbooks and tutorials will introduce symmetry as a basic composition technique. A common explanation for symmetrical composition is: using symmetry techniques to design images gives them a sense of solemnity and order.

In my personal opinion, designing a photo based on symmetry is undoubtedly a simple and not easily mistaken method. I often use the symmetry technique to shoot static subjects such as architecture and landscapes. However, an unchanging image can easily become monotonous and boring. In my recent shoots, I have tried to introduce dynamic or contrasting elements into symmetrical static scenes to make the images rich and interesting.

The Chinese University of Hong Kong owns more than 20 brutalist buildings. These buildings mostly exist among the first batch of campus constructions from the 1960s to 1970s. Bob Pang, the author of Unknown Brutalist Architecture in Hong Kong, and his team have recently launched a special research project, collecting and organizing local brutalist architecture into the aforementioned book, in which the Chinese University plays a significant role. The "CUHK in Focus" column has done a detailed report on Pang's work. By the time the photos were taken in 2025, I had already lived on the CUHK campus for over 4 years. The publication of the above-mentioned book sparked my interest in the distinctive buildings around me, leading to the following few photographs.

Adam Schall Residence, United College, CUHK
Nikon F80s + Nikkor-N Auto 28mm F2.0; Fujifilm ACROS 100 II; Developed by Megatoni Production.

Wu Chung Library, United College, CUHK
Nikon F80s + Nikkor-N Auto 28mm F2.0; Fujifilm ACROS 100 II; Developed by Megatoni Production.

United College has a large number of brutalist buildings. These two photos were taken at the Adam Schall Residence and the Wu Chung Library, respectively. At first glance, both buildings feature two columnar sections in the middle. The columns in the library are two staircases, while for the dormitory, I could only guess they are also staircases as I was unable to enter.

When taking the photos, I placed the two columnar stairwells in the center of the frame as dividing lines, using their symmetry to create an impression of stability for the building. However, the sunlight entering from the side created asymmetrical shadows on the building's surface, creating contrast in the picture and conveying the time of day the photo was taken. In addition, there is a certain degree of contrast in the scenery of both photos: such as the two trees, one high and one low, in front of the Adam Schall Residence; and the staircase roof on the left side of the Wu Chung Library that is under repair. The contrast within the symmetry creates a good visual effect.

The Universities Service Centre for China Studies, University Library, CUHK
Nikon F80s + Nikkor-N Auto 28mm F2.0; Fujifilm ACROS 100 II; Developed by Megatoni Production.

Returning to the Central Campus, the University Library is also a brutalist building of the same era. The photo above was taken at the 8-9th floor of the Tin Ka Ping Building in The Universities Service Centre for China Studies. Due to the excessive light contrast causing metering failure, this photo did not fully reflect my creative intention at the time: in the shadow area below the picture, you can see that there are partitions in the middle of the desks, but the partitions of the two desks are not perfectly aligned, and these partitions are also not aligned with the windows at the end. Similarly, the window at the end does not fall exactly in the center of the space formed by the bookshelves on both sides. Each object in the picture seems to be symmetrical on its own, but they are not symmetrical within this space.

University Library, CUHK
Panasonic Lumix GX9 + Olympus 12-40mm F2.8 PRO; Cinelike-V Profile.

I believe the slope of these few steps must be deliberately parallel to the protrusion of the University Library. Under the right sunlight, the angle of the shadow also happens to align with the building. The two parallel diagonal lines at the top and bottom of this scene form a perfect visual focal area. At this moment, a passerby walks to the center of the aforementioned visual focal area, completing the last piece of the puzzle for the perfect picture.