Relevant bibliographies by topics / Architectural photography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Architectural photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Architectural photography"

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Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.

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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs produced by professionals but also a high number of photographs which were taken by users or visitors of a building started to disseminate. Accordingly, not only the audience but also consumption and production processes of architecture have changed. This study focuses on photography’s affiliation as a tool of architectural (re)presentation and (re)production.Keywords: Architecture, photography, architectural photography, design.
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Pabst, Daniel, and Rae Di Cicco. "Untitled (Architectural Photography)." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 78–82. http://dx.doi.org/10.5195/contemp.2017.223.

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Daniel Pabst’s architectural photography often highlights the tension between site-specificity and the legacy of early twentieth-century international style. In photographs of diverse sites across the globe, such as Dallas, Texas, St. Petersburg, Russia, and Vienna, Austria, Pabst draws attention to the formal qualities of such architecture hailed for its ability to communicate internationally but inherently tied to particular locations—as reflected in Pabst’s titular conventions. As such, his photographs of buildings, whose functions range from public offices to private residences, and everything between, reveal moments where placeless meets place.
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Seggerman, Alex Dika. "Scholarly Rigour in Gelatin Silver: K. A. C. Creswell’s Photographs of Islamic Architecture." International Journal of Islamic Architecture 13, no. 1 (January 1, 2024): 41–73. http://dx.doi.org/10.1386/ijia_00129_1.

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This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.
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Hamber, Anthony. "Architectural Photography." History of Photography 28, no. 4 (December 2004): 388–89. http://dx.doi.org/10.1080/03087298.2004.10441347.

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Kmetyk-Podubinska, Khrystyna. "PHOTOGRAPHIC WORK AS AN OBJECT OF LEGAL PROTECTION." Visnyk of the Lviv University. Series Law 74, no. 74 (June 30, 2022): 50–57. http://dx.doi.org/10.30970/vla.2022.74.050.

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The article analyzes a photographic work as an object of legal protection. The author researches the peculiarities of legal protection of photographs, characterizes their legal nature, analyzes the peculiarities of the exercise of copyright in photographs. It is established that a photographic work can exist in various forms, but as of today photography is created and exists mainly in digital form, which determines the peculiarities of the exercise and protection of rights to it. It is highlighted that the national copyright law does not contain a definition of a photographic work, a photograph as well as a work made by means similar to a photograph, which is a shortcoming of legal regulation. It is proved that the object of legal protection is a photographic work, not a photograph, which may have all the features of the object of copyright. In addition, it is substantiated that the legal regime of a photographic work is also not defined in the legislation of Ukraine, which is a shortcoming of legal regulation. It is established that the Law of Ukraine «On Copyright and Related Rights» practically does not pay attention to the characteristics of a photographic work, only mentioning it among the objects of copyright. Moreover, it is proved that the features of a photographic work as an object of copyright are its creative character (as a result of creative activity), original character (expressed in a creative way of expressing the author’s idea – framing, lighting, focus, camera settings, etc.) and objective form of expression as a result of transferring the work from the author’s consciousness in the form of a creative idea to an independent material object, mainly in digital form). It is established that the creative and original nature of photography are often identified as features of the object of copyright. In turn, it is justified that a photograph and other works of art depicting an individual may be publicly shown, reproduced, distributed only with the consent of this person, and in case of his death – with the consent of persons specified by the law. It is proved that such an institution as the freedom of panorama, which characterizes the ability to photograph architectural objects that are in public places, is practically not regulated at the level of law. Consequently, it is established that the right to photograph the relevant architectural object as an object of copyright belongs to the personal non-property rights of the architect, but this approach of the legislator seems questionable, as the photography is a way to capture and reproduce the object of architectural activity as an object of copyright, which is a way to use property rights as a copyright. The imperfection of the application of the so-called «take down notice» procedure, provided for in Art. 52-1 of the Law of Ukraine «On Copyright and Related Rights», is stated, as this out-of-court procedure for protection of copyright in the digital environment does not apply to photographic works, which is a shortcoming of legal regulation.
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Alarcón, David, and Patricia Méndez. "Persistent Conventions in 20th Century Architecture Photography." Materia Arquitectura, no. 19 (April 30, 2021): 108. http://dx.doi.org/10.56255/ma.v0i19.430.

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Photography and architecture maintain a unique and constant relationship with each other. The invention and technology of one proved to be the optimal mechanisms for the dissemination of the latter, transforming it into an ideal model in front of a camera. However, these evidences, embodied in paper, also reveal the installation of a disciplinary field that tied the visual and aesthetic canons of both disciplines. This text proposes therefore to investigate this binomial based on the invariants that circumscribed the architecture photography of the 20th Century. The methodology applied resorted to texts that delve into visual culture, together with theoretical literature about photography and classic examples of architecture. In the attempt to analyze, partially, the visual communication of the architecture – from a contemporary perspective, overvalued by image consumerism – it is concluded that it is evident that the photographer officiates as the translator of architectural conventions, while the architect does it as an organizer of his images. Both establish visual codes that last over time and, in each photographic act, confirm and deepen their disciplinary artistic discourses.
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Yandri, Yandri, Maulid Hariri Gani, Putri Khairina Masta, Eldiapma Syahdiza, and Fadlul Rahman. "THE INFLUENCE OF DRONES ON THE DEVELOPMENT OF ARCHITECHTURAL PHOTOGRAPHY CULTURAL WORKS." Jurnal Kata 4, no. 1 (May 22, 2020): 1. http://dx.doi.org/10.22216/kata.v4i1.4596.

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<em>Culture of architectural photography is a branch of photography that exposes the aesthetic value of an architectural object of a building<strong>.</strong> The presence of drone technology in the culture of photography recently brings changes to the results of the photography itself and one of them is in the area of architectural photography. This study aims at verifying the influence of Unmanned Aerial Vehicle technology (Drone) on the artwork of architectural photography. The method used in this research was qualitative method with descriptive technique. Data were collected through library research and field research with observation and interview techniques. The culture using drones offer significant results in architectural photography artworks. The high flexibility of the drone gives results on a very detail architectural artwork. Using a drone also provides a very dazzling point of view that cannot be obtained by using only a DSLR camera. Furthermore by using drone, the artworks of photography are no longer limited by areas that cannot be reached. Therefore by using a drone, the photographer can make architectural photography works with unlimited perspective dimensions. There are some weaknesses of using this drone that the camera and lens are not adjustable and they also cannot be changed.</em>
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Behdad, Ali. "On Photographic Monumentalism: Nineteenth-century Representations of Architectural and Historical Sites." Journal of Material Cultures in the Muslim World 4, no. 2 (February 22, 2024): 153–69. http://dx.doi.org/10.1163/26666286-12340044.

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Abstract This article addresses the intertwined history of photography and architectural historiography in the nineteenth century. Focusing on European photography of Egyptian antiquity and Palestine’s biblical sites, it elaborates how a commemorative form of historiography deploys photographic images of what came to be known as the “historic monument” to construct notions of patrimony, historical heritage, national identity, and imperial mission. The second part of the essay discusses photographic monumentalism in Qajar, Iran, and Ottoman Turkey as different responses to Orientalist representations of Middle Eastern architecture by Europeans.
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Romakina, Maria. "Architectural hybrids in kaleidoscopic photography." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 241–53. http://dx.doi.org/10.5937/saj1502241r.

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This paper focuses on the topic that is somehow a crossroad between two fields: photography and architectural morphogenesis. The particular interest of the article is contemporary photographic tendency to explore the kaleidoscopic technique and aesthetics in relation to the architectural objects and urban environment. Paradoxically these are the photographers who investigate this special type of morphogenesis of architectural form. However some of them are architects originally. Giving attention to the historical and evolutional aspects of the kaleidoscopic image in 19th century and kaleidoscopic photographic practices of American artist Alvin Langdon Coburn and his followers in 20th and 21th centuries the paper aims to analyze the potential of photography in developing the architectural form by examples of projects of Mattia Mognetti, Borbála Sütő-Nagy, Cory Stevens, Stéphane Laniray, Panos Papanagiotou, Andrey Chegin, Mohammad Domiri and those photographers who were inspired by camera work from the movie "Inception"-Ben Thomas, Kazuhiko Kawahara, Simon Gardiner, Nickolas Kennedy Sitton.
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Levine, Neil. "The Template of Photography in Nineteenth-century Architectural Representation." Journal of the Society of Architectural Historians 71, no. 3 (September 1, 2012): 306–31. http://dx.doi.org/10.1525/jsah.2012.71.3.306.

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For the only perspectival view of the Bibliothèque Sainte-Geneviève he drew for publication in a professional magazine, Henri Labrouste traced a photograph commissioned for that purpose. Taken in 1852 by the Bisson Frères, the image is very likely the first commissioned photograph of a contemporary building as well as the firm’s first architectural photograph. This use of photography as a template in the architectural representation of a contemporary building predates by almost twenty years what later became common practice. Labrouste’s deployment of a mechanical interface in drawing mirrors his use of exposed iron in the building itself and carries with it many of the same implications regarding the search for a modern, realistic, and industrialized form of expression. In The Template of Photography in Nineteenth-century Architectural Representation, Neil Levine marshals histories of the book and of photography to help explain the context in which Labrouste developed this idea.
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Dissertations / Theses on the topic "Architectural photography"

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Pickersgill, Robert Sean, and sean pickersgill@unisa edu au. "Architecture and Horror: Analogical Explorations in Architectural Design." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090525.162052.

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This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media.
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Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.

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My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
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Gordon, Sophie. "Monumental visions : architectural photography in India, 1840-1901." Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/12776/.

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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography
the second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
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Stead, Sarah. "PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.

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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Brüllman, Claire Bonney. "Thérèse Bonney : the architectural photographs /." Online version, 1995. http://bibpurl.oclc.org/web/33468.

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Bakht, Nazli. "Analysis Of The Limits Of Representation Of Architectural Photographic Images In Periodicals." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608921/index.pdf.

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This study aims to analyze the limits of representation of architectural photographic images in periodicals within architectural media that shape today&
#8217
s architectural production. This aim is accomplished in three sections
examining the power of image in architecture
examining architectural media and examining the periodicals&
#8217
attitudes towards using architectural photography. A case study is done to uncover the relationship between the photograph and the medium that it takes place on and determine the continuities and discontinuities between the architecture and visual language that is used to &
#8216
represent&
#8217
it. Zaha Hadid is selected as she is one of the leading figures in contemporary architectural culture and her projects are widely published in media. The exemplary periodicals from different cultural domains are selected according to their positions in architectural media. Selected examples are thought to be the representative for each domain. The contextual properties of each domain are outlined and compared through a set of variables. These variables appear to form the ground for the identification of the limits of architectural media within contemporary architectural production. Finally, the case study aims to understand the periodicals&
#8217
attitudes towards using photographic imagery and finally compare architect&
#8217
s intentions and design considerations about his projects and the way it is represented in selected periodicals.
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Coskun, Esatcan. "Documentation Of Architecture: Photography As An Objective Tool?" Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611407/index.pdf.

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Since its invention, photography has been accepted as a reliable tool for achitecture in terms of its power for creating objective documents of the built-form. The aim of this study, is to question the so-called objectivity and reliability of the photographic representations of the buildings by showing how architectural photography emerges also with an artistic and purely aesthetic character rather than being a mere tool of objective documentation. Taking this formal emphasis on architectural subject as a basis, a broader focus will be given to the photogenic character of the images used in architectural publications. Instead of reflecting real spatial experience, these idealized photographs are used in a given context to constitute a fiction that alters the viewer'
s understanding of the architectural subject. Therefore, the main question is not whether architectural photography is an objective tool of documentation which is capable to represent architecture as it really is or it is a category of purely artistic activity
it is about how photography alters our vision about architecture and constructs new ideas for architectural discourse. By taking Tabanlioglu Architects'
Dogan Media Center building in Ankara as a key study, this thesis aims to focus this alteration and question the potentials of architectural photography.
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Boddy, Adrian. "Max Dupain and the photography of Australian architecture." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36005/25/__qut.edu.au_Documents_StaffHome_StaffGroupR%24_rogersjm_Desktop_36005_Vol1_Digitised%20Thesis%20Vol%201%20Compressed%20%20Boddy.pdf.

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This thesis considers Max Dupain (1911-1992) and his contribution to the development of architectural photography in Australia. Through his continuous and prolific output over six decades of professional photography Dupain greatly stimulated awareness of and interest in Australian architecture. Before Dupain began specialising in the field, little consistent professional architectural photography had been practised in Australia. He and some of his close associates subsequently developed architectural photography as both a specialised branch of photography and - perhaps more significantly - as a necessary adjunct to architectural practice. In achieving these dual accomplishments, Dupain and like-minded practitioners succeeded in elevating architectural photography to the status of a discipline in its own right. They also gave Australians generally a deeper understanding of the heritage represented by the nation's built environment. At the same time, some of the photographic images he created became firmly fixed in the public imagination as historical icons within the development of a distinctive Australian tradition in the visual arts. Within his chosen field Dupain was the dominant Australian figure of his time. He was instrumental in breaking the link with Pictorialism by bringing Modernist and Documentary perspectives to Australian architectural photography. He was an innovator in the earlier decades of his professional career, however, his photographic techniques and practice did not develop beyond that. By the end of the 1980s he had largely lost touch with the technology and techniques of contemporary practice. Dupain's reputation, which has continued growing since his death in 1992, therefore arises from reasons other than his photographic images alone. It reflects his accomplishment in raising his fellow citizens' awareness of a worthwhile home-grown artistic tradition.
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Korah, Thommen. "Robust spatiotemporal analysis of architectural imagery." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 190 p, 2008. http://proquest.umi.com/pqdweb?did=1459917971&sid=8&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Books on the topic "Architectural photography"

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G, Harris Michael. Architectural photography. Oxford: Focal Press, 1995.

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editor, Ertaş Hülya, ed. Architectural photography. İstanbul: Vitra, 2015.

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G, Harris Michael, ed. Professional architectural photography. 2nd ed. Oxford: Focal Press, 1998.

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Publishers, Rockport, and Resource World Publications Inc, eds. The American architectural photographer: Profiles of the top talent in architectural photography. Rockport, Mass: Rockport Publishers, 1994.

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Gräwe, Christina. Joyful architecture: Architekturbild, European Architectural Photography Prize 2019. Edited by Deutsches Architekturmuseum. München: Architekturbild, 2019.

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Zugmann, Gerald. Architecture in the box: Architectural photography, 1980-1995. Wien: Springer-Verlag, 1995.

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Doumato, Lamia. Architecture and photography. Monticello, Ill., USA: Vance Bibliographies, 1987.

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Tillmanns, Urs. Architectural photography: Creative large format. Feuerthalen: Sinar AG, 1993.

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Guzmán, Miguel de. Fotografía de arquitectura: Architectural photography. Madrid: Trama, 2013.

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E, Abraben. Point of view: The art of architectural photography. New York: Van Nostrand Reinhold, 1994.

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Book chapters on the topic "Architectural photography"

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Burris, Jennifer. "Architectural Photography." In Aesthetics, 86–93. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-20.

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Carullo, Valeria. "Architectural photography." In Time Frames, 432–40. New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315269863-17.

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Bernal López-Sanvicente, Amparo. "The Aesthetic Influence of Photography in the Representation of Architecture." In Architectural Draughtsmanship, 479–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58856-8_37.

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Côté, Jean-François, Richard A. Fournier, and Michel M. Verstraete. "Canopy Architectural Models in Support of Methods Using Hemispherical Photography." In Managing Forest Ecosystems, 253–86. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-1098-3_9.

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau, and James Bart McLeod. "At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage." In Proceedings e report, 34–40. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.
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Boyer, M. Christine. "La Mission Héliographique: Architectural Photography, Collective Memory and the Patrimony of France, 1851." In Picturing Place, 21–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003268260-3.

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Sanyal, Saptarshi. "Framing Fragments The Image, Modernity, and Architecture." In Architekturen, 177–86. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467169-009.

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By focusing on how image making practices and architecture are inextricable from one another, in this essay, Saptarshi Sanyal explores some ways in which the photograph is a site of architectural production. Sanyal views the postcard as an artefact of popular cultures over time, draws attention to its representation of fragments of urban and architectural modernity, while also simultaneously underscoring the uneven nature of such modernity. Studying the photographic gaze then becomes an important agenda in uncovering new histories of modernity that, rather than clear, colonial taxonomies and categories linked to places, races or societies, are contested and plural.
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Neto, Pedro Leão. "About Education in Architecture: Towards an Integrative Pedagogy in the Teaching of Communication Strategies for Architectural Design and Photography." In Towards a New European Bauhaus—Challenges in Design Education, 102–10. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-40188-6_12.

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Jiménez-Montano, Mayra, and Laurie Ortiz-Rivera. "Development of Visual Skills: Digital Photography as a Tool for Research and Teaching in Architectural Education." In Communications in Computer and Information Science, 407–16. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-14136-7_43.

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Lin, Guiye, and Kun Sang. "Application of UAV-Based Oblique Photography in Architectural Design: The Case of Mengyuan Resort Hotel in Yunnan, China." In Lecture Notes in Civil Engineering, 433–42. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-6932-3_38.

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Conference papers on the topic "Architectural photography"

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Sardenberg, Victor, and Mirco Becker. "Aesthetic Measure of Architectural Photography utilizing Computer Vision: Parts-from-Wholes." In Design Computation Input/Output 2022. Design Computation, 2022. http://dx.doi.org/10.47330/dcio.2022.ggnl1577.

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The existing methods for solution space navigation require numerical values to score solutions. The authors introduce a method of quantitative aesthetic evaluation utilizing Computer Vision (CV) as a criterion to navigate solution spaces. Therefore, aesthetics can complement structural, environmental, and other quantitative criteria. The work stands in the extended history of quantifying the visual aesthetic experience. Some precedents are: Birkhoff [1933] and Max Bense [1965] built an approach with experiments to empirically support a measure, whereas Birkin [2010], Ostwald, and Vaughan [2016] devised the first computational methods working on vector drawings. Our research automates and accelerates aesthetic quantification by utilizing CV to extract computable datasets from images. We are especially keen on architectural images as a shorthand to assign an aesthetic value to design, aiming to navigate the solution space in architecture. This work devises a method for rearranging parts in architectural images focusing on formal aspects, in opposition to semantic segmentation where objects unrelated to architectural design (cars, persons, sky…) are quantified to score images [Verma and Jana and Ramamritham 2018]. It uses Maximally Stable Extremal Regions (MSER) [Matas 2004] to recognize architectural parts because it is superior to similar methods such as SimpleBlobDetector in this task. Our method disassembles the parts in a diagram of scaled parts (Fig. 2) to analyze them in isolation, and a diagram of connectivity graph (Fig. 3), to evaluate relationships. These diagrams are examined to compare photos of buildings, cars, and trees to assess the applicability of such a method to a range of objects. Parts and connections are thus quantified, and these values are inputted in a refined version of Birkhoff’s formula to calculate an aesthetic score for each image for navigating the solution space. Finally, it tests the method to draw comparisons between the discrete and continuous paradigms (Fig. 1) in the contemporary discourse of architecture, comparing Zaha Hadid Architects` Heydar Aliyev Centre and Gilles Retsin´s Diamonds House to argue that there is a difference between the aesthetic effects of continuous and discrete designs, besides their distinction in tectonic logic. The method proved to be an efficient procedure for comparatively quantifying the aesthetic judgment of architectural images, enabling designers to incorporate aesthetics as a complementary criterion for solution space navigation in computational design. The method of computational aesthetic measure for solution space navigation and its calibrations via crowdsourced evaluation of images is further detailed in a paper by the authors being published at the 2022 eCAADe conference.
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González-Jiménez, Beatriz S., Paula M. Núñez-Bravo, and Elena Escudero-López. "¿Mantiene usted sus ojos abiertos? La fotografía como herramienta transversal de aprendizaje." In Jornadas sobre Innovación Docente en Arquitectura. Grup per a la Innovació i la Logística Docent en l'Arquitectura (GILDA), 2023. http://dx.doi.org/10.5821/jida.2023.12252.

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In an increasingly diverse professional reality, contemporary education must embrace a versatile perspective of the architectural discipline, conceived through interconnection, diversity, and collaboration. The Educational Innovation Project presented here addresses the use of photography as a tool for learning that enables the observation, representation, communication, and conceptualization of architecture and the environment. To expand the possibilities of photography, a longitudinal exploration is proposed, spanning across all courses and cutting across various knowledge areas. Through Project-Based Learning, students connect different professional domains using the photographic experience as a common thread, resulting in highly diverse outcomes. The photographs displayed in the concluding exhibition of the project highlight the significance of nurturing a personal, perceptive, and creative approach to both existing and envisioned architecture. Frente a una realidad profesional cada vez más diversificada, la educación actual debe adoptar una perspectiva versátil de la disciplina arquitectónica, concebida desde la interconexión, la pluralidad y la colaboración. El Proyecto de Innovación Educativa presentado aborda el uso de la fotografía como herramienta de aprendizaje que permite la observación, representación, comunicación e ideación de la arquitectura y el entorno. Con el fin de amplificar las posibilidades de la fotografía, se plantea una exploración longitudinal a todos los cursos y transversal a las áreas de conocimiento. A través del Aprendizaje Basado en Proyectos, el estudiantado conecta los diferentes ámbitos profesionales con la experiencia fotográfica como hilo conductor del que han derivado resultados muy heterogéneos. Las fotografías mostradas en la exposición con la que culmina el proyecto ponen de manifiesto la importancia de desarrollar una mirada personal, sensible y creativa de la arquitectura existente e imaginada.
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Chen, Yingshu, Tuan-Anh Vu, Ka-Chun Shum, Sai-Kit Yeung, and Binh-Son Hua. "Time-of-Day Neural Style Transfer for Architectural Photographs." In 2022 IEEE International Conference on Computational Photography (ICCP). IEEE, 2022. http://dx.doi.org/10.1109/iccp54855.2022.9887763.

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Song, Ran, and John E. Szymanski. "Mosaics of images from architectural and heritage structures." In 27th International congress on High-Speed Photography and Photonics, edited by Xun Hou, Wei Zhao, and Baoli Yao. SPIE, 2007. http://dx.doi.org/10.1117/12.725106.

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Del Cueto, Beatriz. "From Natural to Artificial: Vernacular housing in the Spanish Caribbean." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14218.

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The Spanish American War of 1898 and the colonization of the Spanish Caribbean (Cuba, Puerto Rico, and the Dominican Republic) by the Government of the United States (U.S.), brought about changes to local vernacular housing. The Spanish colonizers substituted indigenous traditional means and methods of construction and replaced them with continental techniques and new materials. The U.S. occupation produced yet another transformation through the extensive use of portland cement which became the protagonist for their new domestic architecture. Even though cement had been introduced into the region two decades prior, to build industrial structures and through the importation of pre-manufactured new materials made with cement, it was slowly accepted for residential buildings, being promoted as fireproof, vermin-proof, and with the strength to resist hurricanes and earthquakes. Erection methods were faster, the dwellings were lighter, and built with the use of repetitive methods facilitated by reusable molds. Catalogs produced in each of these territories with the new prefabricated cement architectural elements would maintain the essence of the vernacular translated into cement and reinforced concrete. These architectural evolutions are traced with the use of historic archival materials: cartography, architectural layouts, photography, and extant contemporary representations.
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Moreira, Cintia. "THE ARCHITECTURAL PROJECT OF THE RIO DE JANEIRO SAINT BENEDICT�S SCHOOL (1967- 69): ARCHITECTURE DRAWINGS (CROQUIS), BLUEPRINT AND PHOTOGRAPHY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.074.

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Cipolletti, Sara. "A taxonomy of vernacular heritage in the mid-Adriatic. Landscape relations and architectural characteristics of the farmhouses in Tronto Valley (Italy)." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15673.

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The hilly area of Central Italy represents one of the most original characteristics of Italian agrarian system distinguished by a particular form and technique of land management, la Mezzadria (sharecropping), which was a contract stipulated between a landowner and the farmer, reflected in the construction of open space as well as artifacts. The structure of rural settlements typical of sharecropping is a mosaic of terrains with scattered farmhouses (case coloniche), connected by a dense road network. The architecture of these structures is always the same with only slight variations articulated by the form of the terrain and in relationship with their use and the road pathways, and is characterised by a rectangular plan with the rooms dispersed on two floors and an external staircase which is the prevalent distinguishing trait. Sharecropping rural heritage represents an important case study for the analysis and cataloguing of vernacular architecture since artifacts come from precise needs linked to the social and cultural life of the farming family. This paper investigates vernacular rural architecture in Central Italy, particularly in the mid-Adriatic in the southern Marche Region, by building up an investigative and categorization method: selecting precise geographical areas where the original farmhouses have first been identified by studying historical maps of the 19th century before moving on to in situ exploration. Photography has also been a useful instrument for constructing the taxonomy of rural ruins which today are in a state of total abandonment; showing the photographs next to each other allows us to more clearly identify and understand subtle differences and suggest a reuse of the buildings.
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Kelsch, Kristen, Joss Kiely, and Anca Matyiku. "The Vessel, the Tower, and the Ruin: Investigating Presentiments in Beginning Design." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.52.

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The Vessel, the Tower, and the Ruin was a sequence of exercises which combined rudimentary elements of an architectural education with tactics that oscillated between the impulsive provocation of hunches, to the ascetic discipline of rigorous measurement, to exploiting curiosities and flirting with collapse. We probed, at times in earnest and at times irreverently, what it might mean to vessel, to tower, and to ruin. We took this both literally, figuratively, metaphorically and everything in between, and we enlisted a motley crew of accomplices, some dignified by history, photography, and made famous by dynamite, and others of questionable constitution and architectural import. We operated under the premise that students of design, at the outset, need to engage their own curiosities, speculations, and urges within a framework that affords them a level of guidance while promoting individual freedom and initiative. Through and through the studio was laced with questions about creative agency and architecture’s participation within an expanded continuum of time, history, cultural aspirations and politics.
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Khalil, Ahmed, and Spyridon Stravoravdis. "HERITAGE BUILDINGS REPRESENTATION AND EXTENDED REALITIES." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12109.

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Architectural visualisation has been developing over the year to improve the representation buildings and their contexts to the public. It achieved a long journey from manual drawings to photography to digital 2D and 3D representation, until it reached the era of extended realities (XR), which allowed unprecedented immersive and interactive engagement. Extended reality applications represent a unique opportunity for the visualisation of heritage buildings on many stages; from the early design phase, through the construction and facility management phases, to the education and cultural tourism applications. This paper aims to explore the wide range of state of the art XR applications, investigate their aspects and variations, and study their potentials, challenges and limitations for the built heritage sector.
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Reports on the topic "Architectural photography"

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Young, Allison, Carey Baxter, Joseph Murphey, Karlee Feinen, Madison Story, and Adam Smith. US Air Force Academy Gallagher and Massey ranch houses : Historic American Buildings Surveys CO-237, CO-237-A, and CO-238. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47190.

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The US Congress codified the National Historic Preservation Act of 1966 (NHPA), the nation’s most effective cultural resources legislation to date, mostly through establishing the National Register of Historic Places (NRHP). The NHPA requires federal agencies to address their cultural resources, which are defined as any prehistoric or historic district, site, building, structure, or object. Section 110 of the NHPA requires federal agencies to inventory and evaluate their cultural resources, and Section 106 requires them to determine the effect of federal undertakings on those potentially eligible for the NRHP. The US Air Force Academy is located at the base of the Front Range within El Paso County. The US Air Force Academy has been used for training US Air Force officers since 1954. The Gallagher Ranch House and its associated garage, erected circa 1953, and the Massey Ranch House, erected 1941, are eligible for the National Register of Historic Places. This report documents the buildings to the standards of the Historic American Buildings Survey and includes a historic context, architectural descriptions, photographs, and measured drawings. This report satisfies Sections 106 and 110 of the National Historic Preservation Act of 1966 as amended and will be used by the US Air Force Academy for mitigation, allowing for the demolition of the three buildings.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
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