exhibitionConstructing Worlds: Photography and Architecture in the Modern Age, Barbican Gallery London,25 September 2014 11 January 2015; ArkDes Stockholm, 20 February 17 May 2015; MuseoICO Madrid, 3 June 6 September. Through photography one might be able to get hold of architecture. By this the cultural critic Walter Benjamin meant, that while a physical building is owned and used, a photograph of it is able to isolate, define, interpret, exaggerate or even invent a cultural value for it. Benjamin went on to suggest that the kind of art that will triumph will be the kind of art that looks good in photographic reproduction and that architecture will not escape the same View from the Window at Le Grasby Joseph fate. Nicphore Nipce, 1826-27 remember photographys attraction toarchitecture goes back to the very earliest camera pictures. Nicphore NipcesView fromtheWindow at Le Gras(1826) was a lucid demonstration of the new mediums consummate translation of three dimensions into two, although it lacked the detail .
The perfection and fidelity of the pictures are such that, on
examining them by microscopic power, details are discovered which are not perceivable to the naked eye in the original objects. Say, a crack in plaster or or an accumulation of dust in a hollow moulding of a distant building. Since then, photography has been put to use recording the worlds older buildings and ruins. It has also been used to document and promote new constructions that very much do belong to the time and technology of photography: Victorian bridges and glasshouses, monuments and towers in steel, high-rises and high-tech Beneath a cluster of towers of varying merit buildings. nestles a two-storey show home built with the latest techniques and equipped with state-of-the-art gadgets. The house was temporary but Abbotts photograph preserves the event and offers a pause for reflection. While Americas offices went skyward, its homes would sprawl laterally to become an endless suburbia.
Walker Evans, took up photography in the late 1920s. At first the
giant architecture of Manhattan attracted him. He made celebratory images of soaring verticals, dynamic angles and grid-like facades.
Modish gave way to a more neutral, less forced way of thinking
and photographing. He focused on provincial towns away from the extravagance of the big cities. A commission to record Victorian houses around Boston allowed him to develop his approach. In 1933 the results were exhibited, essentially as documents, in the Architecture Galleries of the Museum of Modern Art. Five years later, Evans was the first photographer to be given a solo exhibition in his own name at MoMA, and more than half of his one hundred prints were architectural. In 2009 the artist Victor Burgin was invited to make a piece of work in response to the city of Istanbul.[xxiii] After several visits he became interested in the Talik coffee house and garden, constructed in 1947-48. Designed by Sedad Hakki Eldem, on a site overlooking the Bosphorus, it blends elements of seventeenthcentury Ottoman architecture with twentieth-century Modernism. It was open to everyone. Then in 1988 it was dismantled to make way for a luxury Swisstel. Part of the coffee house was re-built but in a different position, and now serves merely as an orientalist tourist restaurant. Working from drawings and photographs, Burgin resurrected the building virtually. A 3D model conjures it up in all
The rapid development of photography has resulted in an ease
of communication and has been of great advantage to critics, publicists and readers. Photos can now be sent to almost any corner of the world without any limitation in time or space. The possibility of publishing these photos on the internet has opened up new horizons for all. It has removed the differences between large and small countries. At present, architectural images on the internet are often in the form of photography, but this is evolving as an increasing number of images are being animated. This allows a much better depiction of an architects work and the interiors of a space.