Photographic Architecture In The Twentieth Century

One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.

"This book is published on the occasion of the exhibition In focus: architecture, on view at the J. Paul Getty Museum at the Getty Center, Los Angeles, from October 15, 2013, to March 2, 2014"--ECIP data view.

After several pages of prologue summing up 18th century highlights--especially the rise in importance of geometry--some forty pages cover 1784-1916, focusing on the heavily fenestrated high-rises of the Chicago School and the iron and glass pavilions of Europe. The chapter spanning 1892-1925 concentrates on the many disputes over the trajectory of modernism: Nieuwe Kunst, Stile Liberty, Jugendstil, and Art Nouveau, all arguing the direction that the boom of prisons, hospitals, schools, town halls, and other institutional buildings would take. Three more time divisions follow and a concise compendium of architect biographies ends the volume. Along with an array of great pictures (par for Taschen), Gossel and Leuthauser--both active in the private sector--add a strong prose style attentive to debates among architects and the socioeconomic stage on which architects act. Annotation copyrighted by Book News, Inc., Portland, OR

Fully documented, richly illustrated guide to the great architectural achievements of the last one hundred years.

With the advent of digital imaging, the era of traditional color photography is coming to an end. Yet more than 150 years after the invention of color photography, museums, archives, and personal collections are full of images to be cherished, studied, and preserved. These photographs, often made with processes and materials no longer used or easily identified, constitute an important part of the cultural and artistic heritage of the twentieth century. Today it is more important than ever to capture the technical understanding of the processes that created these irreplaceable images. In providing an accessible overview of the history and technology of the major traditional color photographic processes, this abundantly illustrated volume promises to become the standard reference in its field. Following an introductory chapter on color photography in the nineteenth century, seven uniformly structured chapters discuss the most commercially or historically significant processes of the twentieth century--additive color screen, pigment, dye imbibition, dye coupling, dye destruction, dye diffusion, and dye mordanting and silver toning--offering readers a user-friendly guide to materials, methods of identification, and common kinds of deterioration. A final chapter presents specific guidelines for collection management, storage, and preservation. There is also a glossary of technical terms, along with appendixes presenting detailed chronologies for Kodachrome and Ektachrome transparencies, Cibachrome/Ilfochrome printing materials, and Instant films. This book will interest instructors and students in classroom settings; conservators, registrars, curators, archivists, and collection caretakers; and anyone else concerned with the long-term preservation of color photographs.

American photographer Julius Shulman's images of Californian architecture have burned themselves into the retina of the 20th century. A book on modern architecture without Shulman is inconceivable. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close Friend, Richard Neutra, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Schulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs. Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, but the thirst for his pioneering images is stronger than ever before. This is a vivid journey across six decades of great architecture and classic photography through the famously incomparable eyes of Julius Shulman.

Architectural practice in post-World War II Canada brought substantial change to the face of the Canadian built environment, led by the contribution of John C. Parkin. This richly illustrated book includes an interview with John C. Parkin and essays that examine the incorporation of art in built architecture, the influence of architectural photography in defining Modern architecture to a Canadian public, the importance of architectural archives, and the corporate structure of a large, highly successful Canadian architectural firm.