建筑摄影的三个重要发展时期
Three Defining Movements in Architectural Photography

由专筑网邢子，王帅编译

自1793年，法国人Joseph Niépce进行了第一次摄影探索，并且在1826年成功后，摄影就成为了人们探索和记录这个世界生活和地点的方法。在整个历史广泛的摄影作品中，无论是从摄影作为艺术，文件，还是通常情况下的文化建设工具来看，建筑都经常在其中发挥着主导作用。

建筑摄影作为一种实践，在这个主题中具有很大的自主性，它能够重新描绘所述作品的一系列表现特征，在与周围环境的关系中创造张力，并表现出建筑物的具体或一般性特征，以及其他的可能性。

8月19日是世界摄影日，因此，我们收集了摄影领域的重要作品，这些作品都涉及了建筑主题，可以从三个时刻或着方面来说明：城市摄影，从19世纪末到20世纪上半叶；现代摄影，突出了有影响力的建筑师以及记录他们的现代作品的摄影师之间的关系；艺术摄影，是建筑和艺术领域的插图作品，而其主题则体现在建筑和建筑环境中。

From the first experiments carried out by the French Joseph Niépce in 1793, and his most successful test in 1826, photography became an object of exploring and a resource for registering lived moments and places of the world. Within the broad spectrum of photographic production throughout history, architecture has frequently played a leading role on the records, be it from the perspective of photography as an art, document or, as it was often the case, an instrument for cultural construction.
Having great autonomy as a practice and of particular debate inside this theme, architectural photography has the ability to reaffirm a series of expressive features of the portrayed works, create tension in their relation to the surroundings, and propose specific or generic readings of buildings, among other investigative possibilities.
World Photography Day is celebrated on August 19th, therefore, we have gathered examples of significant productions within the field of photography that deal with the theme of architecture, separated, as it were, in three moments or approaches: urban photography, from the end of the 19th century to the first half of the 20th century; modern photography, highlighting the relationship between influential architects and the photographers who recorded their modern works; and architecture within fine art photography, with examples of well inserted productions in the artistic field, but whose themes are found in architecture and the built environment.



城市摄影

城市摄影是一种以间接方式探索建筑与直观记录之间的关系的一种方式，而Eugène Atget的摄影就是一个很好的例证，特别体现了文化的精神并捕捉了巴黎世纪末的日常场景。尽管如此，不可否认的是这种类型的城市场景总能揭示其历史背景的特征，这对于理解当时的建筑作品有很大帮助。

Urban photography
Urban photography is a strand that explores the relationship between architecture and visual record in an indirect manner, and it is very well exemplified by the photography of Eugène Atget, a character that embodies the spirit of the flaneur and captured everyday scenes of Paris fin de siècle. Despite this, it is undeniable that this type of urban scene always reveals the characteristics of its historical context, which are of great service to the understanding about what was the built product of the time.



这一系列的工作涉及到一个出色的对象，即建筑师的工作材料：城市。Berenice Abbott大量拍摄了20世纪世界最着名的城市，纽约，他在20世纪30年代受到Atget的启发而创作，其照片叙述了动态，建筑，设计以及美国城市的流动。

This line of work deals with an object that is, par excellence, the work material of architects: the city. New York—which was the most prominent city in the world scene of the twentieth century —was extensively shot by Berenice Abbott, who produced in the 1930s, inspired by Atget, photos that speak of the dynamics, buildings, designs and flows of the greatest American city.



现代摄影

在建筑领域，二十世纪主要以现代建筑师们提出的设计和辩论为标志。他们总是试图建立一种与语言结构相一致的作品，同时会将自己与摄影师联系起来以记录他们的作品。此外，本世纪初是建筑杂志发展的紧张时期之一，它更加推动了记录时代作品运动的产生。

Modern photography
In the architectural field, the twentieth century was predominantly marked by the designs and debates proposed by modern architects. Always trying to establish a practice aligned with the construction of a discourse, it was common for them to associate themselves with photographers to have their works recorded. Besides, the beginning of the century was one of intense development of architectural magazines, which promoted even more the movement for recording the period’s works.



对于建筑师来说，宣言设计是他们作品的基本组成部分，因此，建筑照片应与他们的设计保持一致。这些关系的一些著名的例子有建筑师勒•柯布西耶（Le Corbusier）和Lucien Hervé，瓦尔特•格罗皮乌斯（Walter Gropius）和摄影师T. Lux Feininger（包豪斯），弗兰克•劳埃德•赖特（Frank Lloyd Wright）和摄影师Henry Fuermann、Pedro E. Guerrero，以及理查德•诺伊特拉（Richard Neutra）和Julius Shulman。后者也是建筑视觉文化最大出版项目之一的最伟大合作者之一，案例研究的住宅由美国杂志Arts & Architecture于1945年至1966年赞助。

除了这些例子，值得一提的还有Ezra Stoller，其摄影本身就代表了当时的建筑特色：优雅，简洁，干净和直接。在他的职业生涯中，他的作品得到了高度认可，以至于他的名字变成了一个动词，并且有一个Stollerized建筑物，即由他拍摄的建筑，他的作品具有很大的价值。他曾记录过弗兰克•劳埃德•赖特（Frank Lloyd Wright），路易斯•康（Louis Khan）以及菲利普•约翰逊（Philip Johnson）等伟大建筑师的作品。

For these architects, the design as a manifesto was a fundamental part of their work, therefore, the photos of their buildings should be aligned with their discourse. Some notable examples of these relationships are the architect Le Corbusier and Lucien Hervé, Walter Gropius and the photographer T. Lux Feininger (Bauhaus), Frank Lloyd Wright and the photographers Henry Fuermann and Pedro E. Guerrero, as well as Richard Neutra and Julius Shulman. The latter was also one of the greatest collaborators in one of the largest publishing initiatives for an architectural visual culture, the Case Study House, sponsored by the American magazine Arts & Architecture, from 1945 to 1966.
Besides these examples, it is worth to mention the role of Ezra Stoller, whose photography represented, in itself, a manifestation of the architectural characteristics done at the time: elegant, simple, clean and direct. During his professional life, his work was so recognized that his name became a verb, and having one’s building Stollerized, that is, shot by him, had great value. He worked recording the works of great architects such as Frank Lloyd Wright, Louis Khan and Philip Johnson.



艺术摄影

艺术界曾多次讨论关于空间概念的内容。很明显，在建筑方面这是该领域的核心主题之一，在建筑和摄影作为艺术的对抗中，空间一直是实验的场所。

Fine art photography
The debate over the concept of space has been food for discussions within the art universe on several occasions. In architecture, it is evident that is one of the central themes of the field and, at the border of the confrontation of architecture and photography as arts, space has been the place for experimentation.



作为两种活动共同的主题，将空间摄影作为建筑摄影的一部分来考虑，这意味着将该术语作为设计实践中突出的概念。在此范围内，可以了解几个处理空间的照片实验。德国摄影师迈克尔•韦塞利（Michael Wesely）利用超长曝光技术拍摄照片，对运动和动态进行建筑和景观的主观解读，这种照片可能需要数年才能完成。他最近的一个项目是Camera Aberta，是对圣保罗Instituto Moreira Salles建筑的记录，他使用六台摄像机历时三年时间来完成建筑场地的照片。

Being a theme common to both activities, to think about the photography of space as part of what can be read as architectural photography means to give the term a place of prominence and conceptual importance for the design practice. Within this, it is possible to recognize several photo experimentations that deal with space. It is the case of the German photographer Michael Wesely, who creates images from the technique of ultra-long exposure that bring movement and dynamism to a subjective reading of architecture and landscapes from images that can take years to be finished. One of his most recent projects, Camera Aberta, is the recording of the construction of the Instituto Moreira Salles in Sao Paulo, made using six cameras that spent three years capturing images of the construction site.



另一个代表类型的摄影作品，不仅仅是建筑摄影，而是包涵空间，例如Hilla和Bernd Becher夫妇的作品，后者以其建筑和工业类型的系列照片而广为人知。筒仓和水箱等结构几乎总是以对称网格组织。虽然是概念摄影，但他们经常在作品中表达一种质疑所描绘的物体及其环境的情绪。

摄影和建筑在历史上交叉的三个时刻并不仅限于这里展示的作品，而是涉及这两个领域的许多其他相关专业人士的作品；他们都没有在建筑摄影史上定义线性概述。这些作品代表了一个特定的简洁的片段，旨在这个重叠的领域中呈现出无数的可能，其结果是不断丰富了建筑和摄影这两门艺术。

Another initiative that represents a type of photography that deals with volumes, not necessarily architectural ones, but always inserted in space, is the work of the couple Hilla and Bernd Becher, which became widely known by its series of photos of industrial typologies, buildings and structures such as silos and water tanks, almost always organized in symmetric grids. Although they inhabit the conceptual photography field, the Bechers often evoke in their work an approach that questions the portrayed object and its environment.
These three moments in which photography and architecture cross paths in history aren’t limited by the works shown here, but reach the works of many other relevant professionals in both fields; neither they attempt to define a linear overview in the history of architectural photography. They represent a specific—and succinct—fragment that aims to present the myriad of possible approaches in this overlapping of fields, whose result can only be the enrichment of both architecture and photography.