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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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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.
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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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Hyun, Myung Seok, and Sonit Bafna. "The photographic expression of architectural character: lessons from Ezra Stoller’s architectural photography." Journal of Architecture 24, no. 6 (August 18, 2019): 778–802. http://dx.doi.org/10.1080/13602365.2019.1684970.
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Rosa, Joseph. "Architectural photography and the construction of modern architecture." History of Photography 22, no. 2 (June 1998): 99–104. http://dx.doi.org/10.1080/03087298.1998.10443865.
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Carnevali, L., F. Lanfranchi, L. Martelli, and M. Martelli. "COLOURIMETRIC CALIBRATION FOR PHOTOGRAPHY, PHOTOGRAMMETRY, AND PHOTOMODELLING WITHIN ARCHITECTURAL SURVEY." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-4/W5-2021 (December 23, 2021): 151–58. http://dx.doi.org/10.5194/isprs-archives-xlvi-4-w5-2021-151-2021.
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Abstract. In accordance with the “Declaration of Rome on architectural survey”, we can affirm that recording and interpretation of colour information in photographic surveying, in photogrammetric surveying and in photomodelling requires careful planning of Colour Imaging processes. Information acquired by an optical sensor is influenced not just by the actual photographed scene, but also by the spectral sensitivity of the sensor. We have adopted, from the field of Cultural Heritage, a method of colourimetric calibration for digital photographs and have proposed some adjustments to finalise this process for the purposes of Architectural Survey. With the use of a colourimetric target and a non-linear transformation algorithm, our Colour Imaging method statistically reconstructs colours conventionally unrecordable by a commercial camera. In addition, this method reconstructs colours as if the photographed object were exposed to a standard illuminant, assessing a colour error parameter value for each photo. By including the colourimetric target in every shot and by applying the calibration algorithm to all photographs taken, the process correlates all data sets to a single standard illuminant: regarding photomodelling, this leads to a more uniform and detailed representation of the surfaces of virtual models. We present two successful examples of application: one focused on a design object with physioplastic decoration and another regarding a circular fountain in a historic villa.
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Cartwright, Derrick R. "Constructing Visibility: Esther Born’s Photography beyond the Archives." Život umjetnosti, no. 111 (July 2023): 96–105. http://dx.doi.org/10.31664/zu.2022.111.08.
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Esther Baum Born was an American photographer who worked in both the United States and Mexico. Beginning in the 1920s, she exhibited her work regularly in New York galleries and saw her photographs published in a broad spectrum of architectural journals. Born’s book, The New Architecture in Mexico (1937), stands as an undisputed monument to her creative insights and a respected source for cutting-edge ideas about modern building. Less well known to the scholarly community are the sensitive portraits that Born took of her own artistic milieu: Frida Kahlo, Diego Rivera, and Frank Lloyd Wright, to name only a few, appeared before her camera. The author argues that these images represent an area for future research. In any event, Born’s creative flourishing was largely eclipsed once she joined the highly successful architectural practice of her husband, Ernest Born. She gave up photography entirely in the 1940s to support his work. The legacy of both Borns remains fairly well-known to students of Bay Area architecture, who have admired their contributions to public transportation (designing train stations), urban renewal (developing master planning documents), and book design (such as the Plan of St. Gall, co-authored with art historian, Walter Horn). Much of the couple’s joint career is documented in established archives throughout the United States and Canada, although it needs to be said that Ernest Born is typically given top billing for the work. Esther Born’s early efforts as a photographer sit in these archives, too. A full assessment of her legacy as a photographer waits to be written. This paper attempts to give greater visibility to her ambitions as well as to the lasting consequence of her work’s placement within the many archival situations where it can be found today.
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Wedaswara, Aldhila Putra. "BANGUNAN KOLONIAL RUMAH TINGGAL DI KOTA BOGOR DALAM FOTOGRAFI ARSITEKTUR DAN INTERIOR." Jurnal Dimensi Seni Rupa dan Desain 18, no. 1 (October 1, 2021): 25–40. http://dx.doi.org/10.25105/dim.v18i1.10600.
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AbstractThe colonial building is a legacy of the Dutch government in Indonesia before independence period. The city of Bogor has a Dutch colonial heritage building that still stands tall. Not only displays beauty in terms of architecture, but in architectural photography also pays attention to the principles of photography itself. The purpose of the author's photographic creation is to contribute to people who want to know about the Dutch colonial heritage buildings, especially on Jl. Cikuray no. 19 and Jl. Siliwangi no. 39 cities of Bogor in architectural and interior photography. The colonial residence in Kota Bogor is more concerned with function than aesthetics. The method used is a literature review before determining the location of the shoot and conducting a field review. The shooting technique used is a combination of architectural and interior photography techniques with mixed lighting theory. The work process will produce photos that show architectural and interior photography of colonial buildings, especially in the city of BogorKeywords : Architechture and Interior Photography, Bogor City, Mix Lighting, Dutch Colonial BuildingsAbstrakBangunan kolonial merupakan bangunan peninggalan pemerintahan Belanda yang ada di Indonesia sebelum masa kemerdekaan tiba. Kota Bogor memiliki bangunan peninggalan kolonial Belanda yang masih berdiri tegak. Tidak hanya menampilkan keindahan dari segi arsitektur saja, tetapi dalam fotografi arsitektur juga memperhatikan kaidah-kaidah fotografi itu sendiri. Tujuan penciptaan karya fotografi penulis berkontribusi untuk masyarakat yang ingin mengetahui tentang bangunan peninggalan kolonial Belanda khususnya di Jl. Cikuray no. 19 dan Jl. Siliwangi no. 39 kota Bogor dalam fotografi arsitektur dan interior. Rumah tinggal kolonial di kotabogor lebih mementingkan fungsinya daripada estetika Metode yang digunakan adalah bedah literatur sebelum menentukan lokasi pemotretan dan melakukan tinjauan lapangan. Teknik pemotretan yang digunakan merupakan gabungan dari teknik fotografi arsitektur dan interior dengan teori pencahayaan mix lighting. Proses berkarya akan menghasilkan foto yang menunjukan tentang fotografi arsitektur dan interior dari bangunan kolonial khususnya di kota Bogorkata kunci : Fotografi Arsitektur dan Interior, Kota Bogor, Mix Lighting, Bangunan Kolonial Belanda.
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Ślachciak, Krzysztof. "Strategies for creating photographic objects – an attempt at classification." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 18, no. 1 (December 14, 2022): 18–27. http://dx.doi.org/10.35784/teka.3053.
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The article analyzes photographic objects, trying to propose a classification method in terms of their creation strategy, taking into account, first of all, the relationship between photography and an object. The author of the article distinguishes and defines four main strategies based on the analysis of selected photographic objects, as well as his own implementations. The main thesis is the existence of various creative strategies in which artists implement execute their concepts by using complementary features of objects and images. According to the author of the article, the analysis and appropriate classification of photographic objects may lead to the development of photographs' usage and knowledge about the perception of a photographic image in the context of architectural space.
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Rodrigues, Anabela Veloso. "Alves, L. F. (Ed.) (2016). Fotografias em obras de Eduardo Souto de Moura. Matosinhos: Scopio Editions." Comunicação e Sociedade 31 (June 29, 2017): 411–15. http://dx.doi.org/10.17231/comsoc.31(2017).2627.
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Published in June 2016 by Scopio Editions, the book of Luis Ferreira Alves, Fotografias em obras de Eduardo Souto de Moura [Photography of the architecture of Eduardo Souto de Moura] fits in the category of Architectural Photography...
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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.
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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.
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Nash, Richard Eoin. "Follies and Falsities: Architectural Photography." PAJ: A Journal of Performance and Art 23, no. 2 (May 2001): 71. http://dx.doi.org/10.2307/3246512.
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Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.
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В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
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Harris, Dianne. "Case Study Utopia and Architectural Photography." American Art 25, no. 2 (July 2011): 18–21. http://dx.doi.org/10.1086/661964.
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Loizos, Yorgos. "Scaffoldings in domestic architecture." Design Ecologies 12, no. 1 (June 1, 2023): 107–44. http://dx.doi.org/10.1386/des_00020_1.
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Scaffoldings often make the buildings look intriguing, overlapping and obscuring areas that are about to change and evolve. The article explores ways architecture can engage the inhabitant as an active participant in the design process. It discusses the scaffolding as a design continuum that provides opportunities for the architecture to continually adjust and reconfigure. It explores intersections of architecture with visual arts, such as surrealist photography, painting and filmmaking, emphasizing on the motion of the human body and how studying relevant examples might offer propositional opportunities to architectural design. A design outcome of my research practice, discussed in the article, is the design of an experimental dwelling titled Analogical House. To unpack in more depth, it focuses on one of the domestic fragments of the dwelling – the Staircase – and the iterative design experiments that inform its design process. A new type of architectural machine – The Darkroom Probe – is developed to explore the dwelling by creating a series of architectural drawings through a series of prototypes and photographic set pieces. Their findings, often analogue and digital hybrids, gradually form the Analogical House.
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NADOLNY, Adam, and Katarzyna SŁUCHOCKA. "Post-WWII Ruins on Photography: An Introduction to the Reconstruction of the City of Poznań. Case Study Old Town." International Journal of Conservation Science 15, SI (February 28, 2024): 277–90. http://dx.doi.org/10.36868/ijcs.2024.si.21.
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The aftermath of World War II (WWII) left numerous European cities devastated, necessitating extensive reconstruction efforts to restore their urban fabric. The city of Poznań, located in western Poland, was no exception, as it bore witness to widespread destruction during the war. In this abstract, we delve into the role of photography in documenting the ruins of Poznań after WWII and how these visual records have contributed to the city's subsequent reconstruction. This research explores the visual representations of post-war ruins in Poznań through the lens of documentary photography. By examining archival photographs, contemporary accounts, and historical narratives, we aim to analyse the significance of these images in understanding the extent of the destruction and the subsequent efforts to rebuild the city. The abstract highlights the inherent power of photography to capture the raw reality of urban devastation, conveying the magnitude of the challenges faced by the city's inhabitants in the aftermath of war. Furthermore, it sheds light on the ways in which photographic documentation played a crucial role in informing reconstruction initiatives, acting as a visual guide for architects, urban planners and policymakers. Drawing from the rich visual archive of post-war Poznań, this study showcases how photographs served as a valuable resource for documenting architectural losses, mapping destroyed areas and preserving cultural heritage. By juxtaposing historical photographs with contemporary images, we examine how the city's landscape has evolved over time, tracing the progression from ruins to reconstruction.
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Gerasimov, A. Р., and D. Z. Izmailova. "Urban planning in Tomsk districts late in the 19th century (Tomsk Local History Museum documentation)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 6 (December 20, 2022): 9–21. http://dx.doi.org/10.31675/1607-1859-2022-24-6-9-21.
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The history of town planning and architectural objects has been studied long ago through visual art. This is primarily associated with problems of their reconstruction and restoration. Architectural monuments often disappear without, and it is difficult to recreate them. Archival materials and visual aids help us to create an original architecture. At present, restorers actively use photographs of past years. But photography was invented late in the 19th century. Fine arts have been existed since the advent of man and solve the problems that predate that period. Therefore, the study of painting and graphics is important for both historians and architects-restorers.The paper focuses on the graphic works of J.F. Fleck, a painter and graphic artist, who lived in Tomsk in the 1870s. A series of his drawings published in Warsaw, offers an insight into the historical city development and the history of urbanism, that enables us to compare the past and the present. The paper analyzes architectural monuments survived to our days and shows the importance of the graphic artist in the study of contemporary architecture.
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Tenconi, Lucia. "Fotografia e arti visive nella progettualitŕ di Ico Parisi." TERRITORIO, no. 61 (June 2012): 137–44. http://dx.doi.org/10.3280/tr2012-061022.
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A day of studies held at the Politecnico in Milan dedicated to Ico Parisi has re-launched the project for publication of a monographic volume dedicated to the multi-faceted work of the this architect from Como. This project offers the opportunity to reconsider the role of photography in Parisi's designs, where a snapshot was never a detailed, truthful, immutable reproduction of reality, but a symbolic and critical representation of the subject mediated by the author, a source of creative inspiration, more images and the concretisation of utopian places. Following the evolution of Parisi's poetics through his experiences in the photographic field, this essay shows the development of the relationship between graphic representation and architectural design, which became progressively closer until the two expressive realms almost completely overlapped, and photography itself became architecture.
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Gross, Eduard-Claudiu. "Souvenir Photography: Documenting a Foreign Culture for the Western Audience." Linguaculture 13, no. 2 (December 31, 2022): 97–103. http://dx.doi.org/10.47743/lincu-2022-2-0318.
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Photographer Felice Beato (1832-1909) was a pioneer of souvenir photography, a genre of photography that depicted foreign cultures for an unfamiliar audience. A type of photography that was popular in the 19th century, particularly in Japan, souvenir photography was created to export images of foreign cultures to people in the West. This article explores the historical implications of souvenir photography, the influence of Felice Beato on the genre, and how he represented Asian culture to people in the West. Beato’s work in Japan, China, and India allowed him to experiment with different types of photography, such as architectural, panoramic, and war photography. His photography was characterized by the use of panoramic and colorization techniques, which allowed him to capture the essence of the places he visited. His work contributed significantly to the emergence of souvenir photography as a genre, and his ability to convey the beauty of his subjects was widely recognized. Beato’s photography brought a part of Asian culture to the western population, and his images often portrayed what the westerns perceived as the exoticism of these cultures.
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Beronja, Vladislav. "Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)." ARTMargins 12, no. 1 (February 1, 2023): 51–72. http://dx.doi.org/10.1162/artm_a_00337.
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Abstract This article examines the contemporary photographic representations of Yugoslav modernist architecture and its ruins that serve as a counterpoint to the 2019 MoMA exhibition, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, a project that brought socialist architectural modernism to international visibility. In particular, I focus on Boris Kralj's photo-diary My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's photo-essay There's Nothing Here! (2020) to explore the ruins of Yugoslav socialist modernity not only as an object of aesthetic fascination, but also as an emotionally and politically charged site of collective nostalgia and politicized mourning in the postsocialist now. While Kralj documents the vanishing remains of socialism in millennial Belgrade to recollect a diasporic, increasingly non-normative and “queer” Yugoslav identity, Ugrešić and Konjikušić foreground the ruins of Yugoslav anti-fascist monuments as a traumatic void—a discursive silence about the effects of racialized, ethno-nationalist violence in EU's new borderlands. I argue that both projects stage architectural photography as a situated and contextual practice by inscribing affective attachments and politically oppositional meanings into the postsocialist architectural palimpsest.
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von Fischer, Sabine. "A Visual Imprint of Moving Air:." Journal of the Society of Architectural Historians 76, no. 3 (September 1, 2017): 326–48. http://dx.doi.org/10.1525/jsah.2017.76.3.326.
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Prompted by an archival finding from the laboratory of Franz Max Osswald, Switzerland's first academic expert in applied acoustics, Sabine von Fischer explores the schlieren technique for photographing sound in sectional models. A Visual Imprint of Moving Air: Methods, Models, and Media in Architectural Sound Photography, ca. 1930 examines how images were used to communicate findings in the emerging discipline of architectural acoustics. In Osswald's persistent experiments in visualizing the invisible phenomena of sound, the social, the technical, and the aesthetic were inseparable. Using photography, Osswald adhered to the paradigm of mechanical objectivity, yet his visual experimenting with phenomena of spatial sound possibly demonstrates an awareness that the senses cannot be excluded from scientific methods. The shadows of moving air in the sound photographs make claims toward their scientific authority, their aesthetic appeal, and their social function as expert tools.
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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (April 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.
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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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Schuhr, W., and J. D. Lee. "Filling gaps in cultural heritage documentation by 3D photography." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 365–69. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-365-2015.
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This contribution promotes 3D photography as an important tool to obtain objective object information. Keeping mainly in mind World Heritage documentation as well as Heritage protection, it is another intention of this paper, to stimulate the interest in applications of 3D photography for professionals as well as for amateurs. In addition this is also an activity report of the international CIPA task group 3. The main part of this paper starts with “Digging the treasure of existing international 3D photography”. This does not only belong to tangible but also to intangible Cultural Heritage. 3D photography clearly supports the recording, the visualization, the preservation and the restoration of architectural and archaeological objects. Therefore the use of 3D photography in C.H. should increase on an international level. The presented samples in 3D represent a voluminous, almost partly “forgotten treasure” of international archives for 3D photography. <br><br> The next chapter is on “Promoting new 3D photography in Cultural Heritage”. Though 3D photographs are a well-established basic photographic and photogrammetric tool, even suited to provide “near real” documentation, they are still a matter of research and improvement. Beside the use of 3D cameras even single lenses cameras are very much suited for photographic 3D documentation purposes in Cultural Heritage. <br><br> Currently at the Faculty of Civil Engineering of the University of Applied Sciences Magdeburg-Stendal, low altitude aerial photography is exposed from a maximum height of 13m, using a hand hold carbon telescope rod. The use of this “huge selfie stick” is also an (international) recommendation, to expose high resolution 3D photography of monuments under expedition conditions. In addition to the carbon rod recently a captive balloon and a hexacopter UAV- platform is in use, mainly to take better synoptically (extremely low altitude, ground truth) aerial photography. Additional experiments with respect to “easy geometry” and to multistage concepts of 3D photographs in Cultural Heritage just started. Furthermore a revised list of the 3D visualization principles, claiming completeness, has been carried out. Beside others in an outlook <br><br> *It is highly recommended, to list every historical and current stereo view with relevance to Cultural Heritage in a global Monument Information System (MIS), like in google earth. <br><br> *3D photographs seem to be very suited, to complete and/or at least partly to replace manual archaeological sketches. In this concern the still underestimated 3D effect will be demonstrated, which even allows, e.g., the spatial perception of extremely small scratches etc... <br><br> *A consequent dealing with 3D Technology even seems to indicate, currently we experience the beginning of a new age of “real 3DPC- screens“, which at least could add or even partly replace the conventional 2D screens. Here the spatial visualization is verified without glasses in an all-around vitreous body. In this respect nowadays widespread lasered crystals showing monuments are identified as “Early Bird“ 3D products, which, due to low resolution and contrast and due to lack of color, currently might even remember to the status of the invention of photography by Niepce (1827), but seem to promise a great future also in 3D Cultural Heritage documentation. <br><br> *Last not least 3D printers more and more seem to conquer the IT-market, obviously showing an international competition.
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Hake, Sabine. "Visualising the urban masses: modern architecture and architectural photography in Weimar Berlin." Journal of Architecture 11, no. 5 (November 2006): 523–30. http://dx.doi.org/10.1080/13602360601104543.
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Borden, Iain. "Imaging architecture: the uses of photography in the practice of architectural history." Journal of Architecture 12, no. 1 (February 2007): 57–77. http://dx.doi.org/10.1080/13602360701217989.
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Loddo, Marzia. "Integration of 360-Degree Photography and Virtual Reality into Museum Storage Facility Design and Education." International Journal of Education (IJE) 9, no. 4 (December 31, 2021): 45–57. http://dx.doi.org/10.5121/ije.2021.9404.
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The use of digital tools in architecture and design education has been experimented with since the 1990s. The representation and communication of architectural narratives have been facing an unprecedented challenge in education, research, and practice during the past couple of years. This study investigates if using 360-degree photography/video and virtual reality (VR) technologies can be beneficial in architectural education. It focuses on museums and their storage facility areas and buildings, and looks at how digital technologies can raise awareness of these spaces and improve future museum designs. Starting from the fact that museums usually lack a proper storage area due to wrong designs, this project has investigated how the subject of museums is treated in design courses and, how VR representation could help students visualise and immersively navigate an area usually not known to many: the storage facility. The digital representation of real objects and the environment using 360-degree photography/video and VR technologies were tested on international architecture students in The Netherlands and Germany. The research methods combined qualitative and quantitative approaches (e.g., interaction, surveys, interviews, and visual/narrative devices) related to museums and cyber-ethnography. The results demonstrate how the digital tools positively affected students’ consciousness of museums and architectural qualities and how they inspired students to explore the area further. Students became more engaged and motivated throughout the workshops; they were able to learn from and compare different resources, providing valuable quanti-qualitative results. This paper will describe how 360-degree photography and VR visualisation were integrated into the existing teaching approaches.
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W. Schindler, Alexander. "Reflections on Photogrammetry." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 34–41. http://dx.doi.org/10.47659/m4.034.art.
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This article presents an overview of the history, principles, and current developments in the media technological field of photogrammetry. By chronicling the isomorphic shift taking place in image capturing, we seek to show that photogrammetry has led the way forward in seeing technical images not only as two dimensional projections, but as three-dimensional model-based images. In the mid-nineteenth century, photogrammetry was first used for the documentation of architectural objects and it later became a standard technique in aerial photography. Although its fields of application have become more extensive, photogrammetry’s basic principle hasn’t fundamentally changed: it is still defined as the three- dimensional geometric reconstruction of two-dimensional photographs through the measuring of reference points. With digital technological standards and advances in camera technology, photogrammetric imaging nowadays is intensively used for object recognition in machine vision and robotics. Beside this, photogrammetry is also opening new possibilities for documentation in the fields of investigative arts, this being explored with a discussion on the “Ground Truth” project from Forensic Architecture. Keywords: investigative art, machine vision, object recognition, photogrammetry, photography
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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García, Inés. "La fotografía como herramienta de reflexión e investigación en prototipos domésticos | Photography as thinking and research tool in domestic prototypes." ZARCH, no. 6 (September 16, 2016): 220. http://dx.doi.org/10.26754/ojs_zarch/zarch.201661464.
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La fotografía tiene el poder de remover las emociones y el pensamiento contribuyendo a la construcción de conocimiento. Desde la aparición de la herramienta fotográfica las imágenes han servido de mecanismo activador en la producción arquitectónica, sus códigos ubican épocas, modos y modas, y (des)contextualizadas ayudan a entender y potencian la reflexión y la generación de un nuevo saber. Las fotografías de arquitecturas no construidas o concebidas con una corta vida, ayudan al constructo del pensamiento arquitectónico, al igual que lo hacen las imágenes generadas desde diferentes modos de estar y producir entendimiento en el espacio cultural, estableciendo etapas de evolución y nuevos paradigmas. El espacio doméstico es un buen ejemplo de desarrollo en el constructivo social, afectado inevitablemente por momentos históricos y cambios culturales. Las fotografías conservadas sobre prototipos, artefactos y dispositivos domésticos no construidos, al igual que la narrativa de imágenes que documentan movimientos sociales, posicionamientos culturales y políticas espaciales, son hoy día la base de nuestras investigaciones y erudición arquitectónica. Photography has the power to stir emotions and thinking contributing both to the construction of knowledge. Since photography was discovered images have been used as an activator of different mechanisms for architectural production. Its codes situate epochs, ways of living and trends, and decontextualized this images help to understand and enhance thinking and the production of new knowledge. Photographs of unbuilt architecture help to create architectural thinking, as well as images generated from different ways of being and which produce comprehension in the cultural space do, setting stages of evolution and new paradigms. Domestic space is good example of development in social construction, affected by historical periods and cultural changes. The existing photographs about prototypes, domestic gadgets and devices which were not built, as well as the narrative of the images which document social and political movements, cultural positions and spatial politics, are the basis of our architectural research and learning nowadays.
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Kennedy, Madeleine. "Madeleine Kennedy reviews the Barbican's architectural photography retrospective." Architectural Research Quarterly 19, no. 4 (December 2015): 410–14. http://dx.doi.org/10.1017/s1359135515000433.
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Metcalf, Andrew. "Graphic and Explicit; Photography, punctum and Architectural Appearance." ATHENS JOURNAL OF ARCHITECTURE 2, no. 4 (September 30, 2016): 283–94. http://dx.doi.org/10.30958/aja.2-4-2.
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Juarranz, Angela. "Mundane beauty in art and architecture." Ge-conservacion 11 (July 2, 2017): 196–201. http://dx.doi.org/10.37558/gec.v11i0.476.
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In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?
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Berce, Françoise. "Les Collections Iconographiques de la Direction du Patrimoine." Art Libraries Journal 15, no. 1 (1990): 22–25. http://dx.doi.org/10.1017/s0307472200006611.
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La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commissioned, and a library was assembled. From the 1860s the Commission employed photographers on its staff and efforts were made to record those buildings for which the state was responsible. The documentary resources which accumulated became known as the Bibliothèque des Monuments historiques. Recent decades have witnessed the devolution of the management of historical monuments, while the documentary collections are being cared for, exploited, and developed in a wider context, embracing secular, industrial, vernacular, and modern architecture, as well as art, photography itself, and artefacts from everyday life, to provide the broadest possible documentation of the French cultural heritage. A computer system is used, and many photographic images are being transferred to videodisc.
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Wood, Peter. "Study of the Photographer as a Study: Looking Inside Duncan Winder's Home (sometime between c1962 and 1965)." Architectural History Aotearoa 19 (December 13, 2022): 38–60. http://dx.doi.org/10.26686/aha.v19i.8048.
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In recent years there has been a small increase in research addressing the architectural photography of Duncan Winder. While this scholarship adds to critical appreciation of his skill and productivity as a recorder of New Zealand buildings, of his personal life we remain largely ignorant. To know an artist's life well does not guarantee a transparent view into their creative mind, but in the case of Winder we are so bereft of insight into his private life that the only way we have to explore him biographically is through his photographs. Overwhelmingly, Winder's archived oeuvre demonstrates a photographer determined to keep his own image firmly behind the lens. Foreground shadows and, on occasion, a blurred reflection, signal rare glimpses of the photographer at work. But otherwise, his common technique of bringing a hidden character to the camera suggests a determined effort by Winder to not only remain outside the view of the lens, but apart from the entirety of the scene being recorded. Against this pattern, this paper identifies seven images drawn from the Winder archive that present as being of a common domestic interior dated to the 1960s. Contrary to the proliferation of architect-designed rooms that dominate Winder's archive, these photographs show a modest home whose domestic character might be best categorised as "bach-like." Added to this, the composition of each photograph is unusually casual for Winder's work, and they read more as impulsive snap-shots than considered views. When content details are correlated against archival information it can be faithfully concluded that this interior is the home of Duncan Winder. The remainder of the paper interprets one of these images – "House interior, study" - as a knowing self-portrait by the photographer, and the visual scene is interrogated for evidence of Winder's inner world.
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LITVINOV, Denis V. "MODERN METHODS TO AERO PHOTOFILMING IN THE ARCHITECTURAL AND PLANNING ANALYSIS OF THE URBAN AREA." Urban construction and architecture 5, no. 1 (February 15, 2015): 35–41. http://dx.doi.org/10.17673/vestnik.2015.01.6.
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In article the modern aerial photography from unmanned aerial vehicles as one of methods of the analysis of city building and the territory in design and exploration work is considered. A number of advantages of aerial photography before land photographing is allocated. The retrospective analysis of aerial photography, allowing to track its development from amateur to the professional is carried out. Its application in town planning, reconstruction and new construction is defined. Two main types of aerial photography, used in construction planned and, - perspective are allocated.
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Elsaesser, Thomas. "The Architectural Postcard: Photography, Cinema, and Modernist Mass Media." Grey Room 70 (March 2018): 80–101. http://dx.doi.org/10.1162/grey_a_00232.
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Zimmerman, Claire, and Eve Zimmerman. "Ethnographic architectural photography: Futagawa Yukio and Nihon no minka." Journal of Architecture 20, no. 4 (July 4, 2015): 718–50. http://dx.doi.org/10.1080/13602365.2015.1073166.
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Kurakina, N. I., R. A. Myshko, P. T. Prokhozhaev, and K. D. Dmitrienko. "Analysis of Aerial Photography Data Using GIS." LETI Transactions on Electrical Engineering & Computer Science 17, no. 3 (2024): 36–43. http://dx.doi.org/10.32603/2071-8985-2024-17-3-36-43.
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The article considers an approach to the construction of complex distributed, implemented on the platforms of fog and edge computing, cyber-physical systems with a high level of architectural dynamics. The article discusses the issues of processing and analyzing images obtained from unmanned aerial vehicles. Orthophotomap and digital terrain model constructing model has been developed and implemented using data received from «Geoscan» LLC. As a result, 7 raster TIFF format orthophoto maps were created with accuracy of up to 0.025 meters. A geodatabase was built in the geographic information system into which the resulting orthophotomaps were imported. Based on the orthophotomaps, a raster mosaic was created, background and the color balance were adjusted. The resulting terrain image was analyzed, a slopes map, surface aspect, hillshade and a realistic image of the terrain were created. Aerial photography data analyzing algorithm, can be applied for processing any images obtained from unmanned aerial vehicles. The results obtained can be used for survey work, land management, architectural and construction design, environmental monitoring, and agriculture.
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Charalambous, Jazmin. "Impressions of Wembley Park: Photographic Representations in a Landscape of Corporatism." Sophia Journal 6, no. 1 (January 12, 2022): 60–69. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_10.
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Corporatisation eradicates the human places that rely on local infrastructures and direct connections made between people. This visual essay looks at a moment of transition happening in Wembley Park, in the suburbs of northwest London. A series of photographs captured between 2017-2018 records how a new residential neighbourhood for London takes shape. The photographic series, used as the backbone to an architectural thesis, challenges the corporate development built up of identikit zones and influenced by profit margins, risk assessments and quality indicators. Photography is used as an instrument for a critical reading of the territory that observes the area from multiple perspectives. The photographs drive the design proposal: predictive future scenarios were developed through photomontage and digital reconstructions. The proposal explores the possibility of an ‘Urban Carpet’ that transforms the central public space built as a series of ad hoc acts of construction over 90 years. A series of collages juxtapose the strict, corporate landscape with the nature of incidental and spontaneous encounters. The collages are a provocation, arguing for the necessity of disorder and complexity as a way to build up a sense of community in a nondescript zone.
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Stewart, Danielle. "São Paulo Past and Present: Comparative Albums and Architectural Photography in Brazil." Bitácora Arquitectura, no. 41 (September 13, 2019): 22. http://dx.doi.org/10.22201/fa.14058901p.2019.41.70675.
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Macagno, Lorenzo. "Modern Intimacies and Modernist Landscapes: Chinese Photographs in Late-Colonial Mozambique." Lusotopie 19, no. 2 (June 4, 2021): 181–212. http://dx.doi.org/10.1163/17683084-12341763.
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Abstract This paper addresses a specific aspect of the social and cultural life of the Luso-Chinese in Mozambique, whose first contingents came from the Chinese province of Guangdong in the second half of the 19th century. Most settled in the city of Beira. By the 1950s, the Chinese community was already well integrated into modern life in colonial Beira. The city was going through an unprecedented urban and architectural boom. At that time, the Luso-Chinese, who were essentially merchants, also began to stand out in the field of photography. Based on a multi-sited ethnography among the Portuguese-Chinese diaspora – and their family photo albums – this paper reflects on two inseparable aspects of late-colonial modernity: architecture and photography.
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Smith, Olga. "The Spaces of Containment: Valérie Jouve's Urban Portraits." Nottingham French Studies 53, no. 2 (July 2014): 155–68. http://dx.doi.org/10.3366/nfs.2014.0083.
Full textAbstract:
This article analyses the complex dynamics between the human body and the urban environment in the work of French photographer Valérie Jouve. Focussing on a number of works drawn from the series Les Personnages and Les Façades, I propose the notion of containment to be crucial to the study of Jouve's urban portraits. I first approach it as a matter of containment of the human body by the civic and architectural structures of the city, arguing that Jouve renders visible the usually hidden mechanisms of such containment. This leads me to consider the question of boundaries and the relationship of the urban centre to its periphery, which, in the context of France, is bound up with narratives of social stratification. In the final part of the article I consider Jouve's photography as the space of representation, contained by the photographic frame, with theoretical discourse on the tableau providing the main analytical framework.