Viviendas San Ignacio / IX2 Arquitectura. Jalisco, México. Image © Lorena Darquea

建筑摄影中表达的美与局限：五位摄影师分享他们的观点
The Virtues and Limits of Photography in the Representation of Architecture: Five Photographers Share their Perspectives

由专筑网王雪纯，吴静雅编译

作为一种表现建筑的方式，摄影具有一种无可争议的品质。有了它，就有可能从世界的一个遥远的角落向世界各地的人们展示建筑，展示从一般视图到内部空间和建设性细节的所有内容——在某种程度上扩展访问建筑的范围。

但与任何其他的表现形式一样，它并非绝对可靠。即使技术进步允许更加明确的图像和编辑软件来润色甚至改变建筑空间的各个方面，但摄影本身缺乏传达建筑的感官和触觉方面的手段。通过静态图像体验空间的纹理、声音、感觉和气味是不可能的——至少效果不会令人满意。

作为Archdaily二月主题的一部分—— 建筑表达——我们与国际建筑摄影师Lorena Darquea，Montze Zamorano，ManuelSá，Laurian Ghinitoiu和FangFang Tian进行了交流，以了解他们对摄影空间表现中的优点和局限的看法，以及他们的视角。

As a way of representing architecture, photography has certain undisputed qualities. With it, it is possible to present to a project from a distant corner of the globe to people anywhere in the world, showing everything from general views to internal spaces and constructive details - extending the reach and, in a way, the access to the architecture.
But like any other form of representation, it is not infallible. Even as technological advances allow for ever more well-defined images and editing software offer tools to retouch and even alter aspects of the built space, photography by its very nature lacks the means to convey sensory and tactile aspects of architecture. It is not possible - at least not satisfactorily - to experience the textures, sounds, feelings, and scents of spaces through static images.
As part of our February monthly theme - representation in architecture - we talked to Lorena Darquea, Montze Zamorano, Manuel Sá, Laurian Ghinitoiu and FangFang Tian, all international architectural photographers, to learn their thoughts on the virtues and limits of photography in the representation of spaces. Their perspectives, after the break.


Montse Zamorano


CEPSA Service Station / Saffron Brand Consultants + Malka+Portús arquitectos. ávila, Espanha. Image © Montse Zamorano

“建筑摄影有几个层次的优点。例如，摄影使得那些从未能够亲自参观建筑物的人们与建筑贴近。它还使公众能够根据不同摄影师的表达和意图来理解同一栋建筑不同的叙述和视角。

"There are several levels of virtue in architectural photography. For example, photography played a major role in bringing architecture closer to people who would never have been able to visit the buildings in person. It also allows the public to understand different narratives and perspectives of the same building, based on the looks and intentions of different photographers.


Venecia Park / Héctor Fernández Elorza + Manuel Fernández Ramírez. Zaragoza, Espanha. Image © Montse Zamorano

但是，我们不应忘记摄影只是一种媒体，因此它永远无法取代参观建筑的体验。当声音在空间内移动时，物质和纹理的感觉，玻璃上的光线和反射等是物理上的相互作用，这些是无法在照片中真正感知到的。摄影是解释建筑的一种非常重要的方式，但我们绝不应该仅凭一张照片来判断建筑。”

However, we should not forget that photography is just a type of media, so it could never replace the experience of visiting a building. As sound moves within a space, the feeling of materiality and texture, the light on glass and reflections, etc., are physical interactions that can not be truly perceived in a photo. Photography is a very important way to explain architecture, but we should never judge architecture based on just one photograph. "


Manuel Sá


Museu Paula Rego / Eduardo Souto de Moura. Cascais, Portugal. Image © Manuel Sá

“从19世纪末到现在，建筑摄影仍然是向世界展示新奇事物的重要手段。那些从前可能并不为人之所知的建筑能够踏上全世界范围内建筑的成功之路。Peter Eisenman曾经开玩笑说如果柯布西耶没有在20世纪初发表他的书，我们可能永远不会知道这些位于法国宁静的内部标志性作品是否存在。作为一种表现手法，建筑摄影的局限性始终处于张力之中。

"Architecture photography, from the late 19th century to now, has remained essential in presenting novelties to the world. Projects that would probably never be known are able to enter a circuit of worldwide architectural success. Peter Eisenman once joked that if Corbusier had not published his books at the beginning of the 20th century, we would probably never know of the existence of these iconic works scattered in the quiet interior of France. As a technique of representation, the limits of architecture photography live in constant tension.


MAC USP / Oscar Niemeyer. São Paulo, Brasil. Image © Manuel Sá

特别是，从化学摄影到数码摄影的过渡仍然为一种可能性，使照片更接近绘画，因为不太关注记录时刻，它往往最终与建筑师的原始视角保持一致，既通过对图像的处理，也通过曝光特性、颜色、灯光、阴影和照片层。归根结底，建筑摄影仍然只是摄影，由镜头和相机所提供的来决定，但毫无疑问，数字处理能创造一种前沿感知和一种新的解读视角，同时也可能会偏离决定性的时刻和陷入繁复的分层信息。”

In particular, the transition from chemical to digital photography, which is still being digested as a possibility, brings the photograph closer to painting, because, less concerned with recording the moment, it often ends up aligning with the original vision of the architect, both through manipulation of the image as well as through exposure features, colors, lights, shadows, and photo layers. At the end of the day, architectural photography is still simply photography, governed by what lenses and cameras provide, but there is no doubt the digital manipulation allows new frontiers in the perception and understanding of the project while sometimes moving away from the decisive moment and plunging into a sea of layered information. "


Lorena Darquea


RSF Ranch / AE Arquitectos. . Image © Lorena Darquea

“建筑摄影的优点之一是它可以作为连接不同建筑空间和体验的管道，让您了解用户与建筑的互动，了解其背景。它是一种连接世界某个地方的建筑的媒介，允许人去居住它，研究它并完全理解它。这种表现媒介与光线之间的紧密关系是如此微妙和复杂，以至于如果正确地表现，会产生宏伟的效果。

"One of the virtues of architectural photography is that it acts as a conduit for different architectural spaces and experiences, which allows you to know the user's behavior with the project and its context. It is a medium that connects projects from one place of the world to another, allows one to live it, to study it and to understand it completely. The close relationship that this medium of representation has with light is so delicate and complex that the results are magnificent when done correctly.


Taleny School / Aro Estudio. Guadalajara, México. Image © Lorena Darquea

具有讽刺意味的是，摄影其中一个限制是技术本身。拍摄照片很简单快捷，因为这个原因，很多照片很容易放弃拍摄的空间——这是从前照片很少的时候没有出现过的情况。”

Ironically, one of the limits is technology itself. It's easy and quick to take photos, lots of photos, for that very reason, it's very easy to give up and live the space to shoot - something that was not possible before because you had few photos."


Laurian Ghinitoiu


MahaNakhon Tower / Büro Ole Scheeren. Bangkok, Tailandia. Image © Laurian Ghinitoiu

“摄影有能力捕捉到具体的建筑状态。除了专注于建筑本身，它的氛围，光线，规模和物质性，我正在尝试通过我的照片将建筑设置在时间和背景中。建筑师将空间设计成一个编排好的舞蹈，其中光线运动主要是预测的，人们的行为是设计的一部分，或者以特定的方式改变和指导 ——你可以从可视化/渲染中轻松看到。我意外地被吸引，我一直在寻找独特和随机的情境，寻找“决定性时刻”的自发同步和在建筑环境中围绕建筑的日常生活。在我看来，非正式性捕捉到的环境与建筑本身一样有价值，摄影是实现这一目标的工具之一。

"Photography has the power to capture a very specific state of architecture. Besides focusing on the architecture itself, it’s atmosphere, light, scale, and materiality, I’m trying trough my documentation to put architecture in time and context. Architects design spaces as a choreography, where the light movement is mostly predicted and people’s behavior it’s either part of the design or changed and directed in a specific way - and you can easily see from the pre-visualisation/renders. I’m very attracted by the unexpected, I always search for unique and random situations, a spontaneous synchronization of “decisive moments”, the daily life around designed architecture within the built environment. In my opinion, capturing the context with its informality is as valuable as the architecture itself, and photography is one of the tools to achieve that.


Museo Internacional del Barroco / Toyo Ito & Associates. Puebla, México . Image © Laurian Ghinitoiu

虽然我们能够通过作品来捕捉运动或时间，但摄影有它的局限性。我经常觉得摄影过于僵化，无法表现空间，所以我尝试了拍摄视频。与Arata Mori（电影制作人和视觉艺术家）一起，我们创建了另一个扩展视野的方法，这种视野从未被人们所感知。

Although we’re able to capture movement or time through our work, photography has its limitation. I often feel that photography is too rigid to represent space which pushed me to experiment with video. Together with Arata Mori (filmmaker & visual artist), we founded anothertwo (another:) as an approach to expand the field of view, which had never been perceived."


FangFang Tian


Jishou Art Museum / Atelier FCJZ. Image © FangFang Tian

“我认为这次讨论的建筑摄影是一种相对狭窄的摄影，这种建筑摄影通常由建筑师提供。它基于建筑设计本身，它是一种客观表达，也是一种再创造。建筑摄影的优势是显而易见的，特别是在这个信息时代。这是一个重要的交流媒介。当一座建筑物建成后，设计师通过摄影来提炼想要表达的焦点，建筑师的设计理念可以转化为一种易于阅读的图像语言，然后通过出版物，网站和各种社交媒体广泛而迅速地发布。

"I think the architectural photography discussed this time is a relatively narrow architectural photography, which is the kind of architectural photography usually served by architects. It is based on the architectural design itself, it’s an objective expression also a re-creation. The advantages of architectural photography are obvious, especially in this era of information. Which is an important medium of communication. When a building is built, through photography, the focus that the designer wants to express can be refined, and the architect's design ideas can be transformed into an easy-to-read image language, which is then widely and rapidly published through publications, websites and various social media.


Taizhou Art Museum / Atelier Deshaus. Image © FangFang Tian

建筑摄影的局限在于摄影本身的欺骗。在拍摄的前期，不同的构图和镜头选择可以带来不同的空间感受。在摄影的后期，通过修饰软件可以掩盖许多瑕疵，因此照片是可以依赖的。但通过照片不能完全了解建筑物。其次，摄影的局限在于它不能完全取代空间的感觉、材料的触感、，光线的强度、声音的变化、空间的味道......

如此多的奖项评审团坚持要去项目现场。这个很重要。作为一名建筑摄影师，我们应积极探索建筑摄影的界限，扬长避短，并利用特殊的摄影媒介为行业服务，积极推动建筑文化的传播与交流。

The limit of architectural photography lies in the deception of photography itself. In the early stage of shooting, different composition and lens selection can bring different spatial feelings. In the later stage of photography, through the retouching software, you can cover up many flaws, so you can rely on photos. Knowing a building is especially questionable. Secondly, the limitation of photography is that it can not completely replace the feeling of the space, the touch of the material, the intensity of the light, the change of the sound, the taste of the space...
So many awards juries insist on going to the project site. This is important. As an architectural photographer, we should actively explore the boundaries of architectural photography, foster strengths and avoid weaknesses, and use the special medium of photography to serve the industry and actively promote the dissemination and exchange of architectural culture."


Tate Modern Switch House / Herzog & de Meuron. Londres, Reino Unido. Image © Laurian Ghinitoiu


The Sales Center in Wenzhou TOD New Town / NAN Architects. Wenzhou, China. Image © FangFang Tian


Sesc Pompeia / Lina Bo Bardi. São Paulo, Brasil.. Image © Manuel Sá


Faculdade de Biologia Celular e Genética / Héctor Fernández Elorza. Madri, Espanha. Image © Montse Zamorano