dissertation on architectural photography

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Marianna Charitonidou

This paper aims to shed light on the status of travel-photography and is based on the hypothesis that the automobile revolutionized the way architects perceive the city. It focuses on a close examination of the photographs taken by architects John Lautner, Alison and Peter Smithson and Aldo Rossi during their travels, with special emphasis on those taken from the automobile and while encountering places for the first time. The main hypothesis that it explores is that the view from the car changes the architecture of the city, as well as the relationship between architecture and the city. It explores this hypothesis through the investigation of the above-mentioned case studies, contributing to a broader understanding of what is happening in cases of photography taken from the car. Regarding the theoretical framework on which my interpretation is based, I could refer to Rosalind Krauss’s understanding of photography in “Photography's Discursive Spaces: Landscape/View”. Besides from the photos they thematised in their book entitled AS in DS: An Eye on the Road, depicting landscape views of the British countryside, Alison and Peter Smithson also took many photos during their summer vacations. The main interest of these photos lies in the fact that they employed them in their teaching process and reasoning. The way they treated these photos in order to illustrate their arguments in their teaching, their publications and their projects is an aspect that is scrutinized here. Rossi started taking polaroid photographs during his journeys in the late 1970s, nearly a decade after noting his first impressions in his 47 quaderni azzuri (1968-1986), which are strongly reminiscent of travels diaries, both in form and content. His polaroids, which documented journeys and his whereabouts, include images of boats crossing a river in Bangkok, a Shaker village in Massachussets, and the Leaning Tower of Pisa, and constitute a visual diary of the Italian architect and an important source for understanding his use of travel-photography in order to organise his “visual memory”. In John Lautner’s archives, tens of thousands of slides can be found, illustrating trips throughout the United States, Eastern and Western Europe, Scandinavia, Mexico, Brazil, Japan, Thailand, and Egypt. One of my objectives is to show how these photographs of landscapes can inform us on the specific vision that his buildings introduced and vice-versa. Lautner’s travel slides constitute a precious resource since they represent a visual record equivalent to the more usual sketchbook used by many architects to record their study notes. His buildings trigger an ocular-centric vision which cannot but be related to the pre-eminence of landscape views in his conceptual edifice, as emerges not only through his architecture but also through the views captured on his camera when confronted with various landscapes.

Oxford Art Journal

Ben Highmore

Claire A Zimmerman

Postwar British architects understood the power of photography for the presentation of new architecture—perhaps none better than James Stirling. An intriguing series of photographs include the architect in his own buildings, foreshadowing Leon Krier's well-known perspective renderings of the 1970s. Alison and Peter Smithson also used photography as a strategic tool for the presentation of architectural ideas, but in a different manner. Comparing Stirling and the Smithsons through the lens of architectural photography, this article reflects on the role of media after WWII. The problems created for the architectural profession by the split between architecture as media practice and architecture as sited practice were nowhere so clearly revealed as in the work of Stirling and the Smithsons. The article narrates a shift. The Smithsons used photography to design buildings that reflected immanence and demonstration. Stirling used images as evanescent traces of past engagements. The article traces an arc from the Smithsons’ commitment to legibility (from Wittkower) to Stirling’s demonstration of “memorability of image” or “imageability” in architecture (from Banham).

Liat Savin Ben Shoshan

Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond (Studies in British Art 21)

In this chapter I want to explore the specific temporal logic in operation in the work of the British post-war architects Alison and Peter Smithson. Rather than arguing that the Smithsons’ practice belongs to postmodernism or the neo-avant-garde I want to suspend such a discussion until the end of this essay. Even though some of the most influential accounts of postmodernism and the neo-avant-garde have problematized a linear, developmental idea of time, where one movement is displaced and replaced by another more “advanced” one, the idea of architectural history as constituted by a progression of “one thing after another” is often secured through the use of the terms modernism/postmodernism and avant-garde/neo-avant-garde. Instead of mobilising these terms I want to pursue an insight offered by Jacques Rancière in his discussion of what he terms “the aesthetic regime of the arts.” Rancière, who purposefully refuses such designations as modernism and avant-gardism, suggests that the arts (which would include visual art, design, architecture, music and so on) follow a much longer periodisation, and that it is in the nineteenth-century that they are fundamentally transformed by the rejection of the hierarchy of subject matter (which would automatically make historical or biblical subject matter far superior to a domestic scene). The argument is premised on the idea that the writers and painters associated with realism provide “the horizon of possibility” for what followed, whether this was abstraction or photography. Nineteenth-century realism heralded a new regime of the arts which began “with the idea that painting a cook with her kitchen utensils was as noble as painting a general on a battlefield.”

Neo-avant-garde and Postmodern: Postwar Architecture in Britain and Beyond

Martino Stierli

Dirk van den Heuvel

One of my first pieces on the collaborations between the artists and architects Nigel Henderson, Eduardo Paolozzi and Alison and Peter Smithson in the context of the history of the Independent Group, the New Brutalism and Pop art. Published in the journal Oase no 59, 2002 (oasejournal.nl). It formed the basis for my work on the exhibition and book project 'Alison and Peter Smithson. From the House of the Future to a House of Today' in 2004 (together with Max Risselada).

Interspaces: Art + Architectural Exchanges from East to West (A. White and F. Marcello eds.)

Ryan Johnston

Nicola Culley

Interpreting a hidden visual order in Nigel Henderson's photographs of the East End, 1949 -1956

Pedro Treno

Pretendo nesta dissertação descrever os acontecimentos que estiveram na origem do termo Brutalismo, a partir da discussão que foi suscitada pelos arquitectos e críticos que o desenvolveram como sendo uma hipótese de superação do Movimento Moderno. Durante os anos 1950, enquanto o Reino Unido recuperava o seu poder económico e social, os arquitectos Alison e Peter Smithson preconizavam uma vontade de mudança e, no fulgor do seu percurso inicial, decidem usar a escrita como método para então propor uma nova maneira de olhar para a arquitectura. No mesmo período, o crítico e historiador Reyner Banham associa-se a esta demanda ao expandir as ideias estes arquitectos para o campo da crítica, possibilitando uma leitura mais abrangente com a junção da arquitectura e da arte. Sucederam-se então várias discussões em volta do Brutalismo, tendo sempre como protagonistas principais os arquitectos e o crítico citados. Depois deste período denso que durará até ao início dos anos 1970, estes voltaram-se para outras investigações dentro do seu campo de trabalho, ao mesmo tempo que o ímpeto inicial do Brutalismo que haviam incutido em Inglaterra era apropriado por diferentes facções a nível global, distanciando-se das premissas estabelecidas. O objecto de investigação encontra actualmente um interesse renovado por parte de uma nova geração de arquitectos, críticos e historiadores. O conjunto de projectos, edifícios e textos ligados ao Brutalismo, que estabeleceram contornos polémicos no passado, podem ser analisados de outra forma no presente graças a uma distância temporal que o permite. A dissertação encontra-se dividida em três capítulos, sendo iniciada por uma breve contextualização do objecto da investigação, seguindo-se uma descrição dos textos principais que o potenciaram, assim como os acontecimentos dentro da arquitectura e da arte que se seguiram. No segundo capítulo, são analisadas as reacções subsequentes dos arquitectos e críticos que entram na discussão em volta do Brutalismo britânico, passando depois pelos projectos de Alison e Peter Smithson e pela obra de Reyner Banham. No terceiro e último capítulo, é abordado o ressurgimento do Brutalismo que acontece a partir de retrospectivas do período analisado nos primeiros dois capítulos e também sob a forma de uma herança declarada por arquitectos britânicos contemporâneos em volta do trabalho de Alison e Peter Smithson.

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Saint Petersburg, FL, US

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Employment  .

Wannemacher Jensen Architects , Saint Petersburg, FL, US, Design Associate

Halflants + Pichette , Tampa, FL, US, Design Associate

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The Advanced Design Portfolio Award is given to the student who submits the top design portfolio to be admitted into the advanced program of The School of Architecture and Community Design. This award is chosen by faculty amongst all entry's into the advanced design program.

Thesis Award 2019 , Award

Recognized by the School of Architecture and Community Design as one of the Top thesis projects amongst the graduating class

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Given to a select group of graduate teaching assistants who distinguish themselves amongst their peers and provide exceptional assistance with the learning and development of the younger classes.

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Highest Design honor from the University of South Florida School of Architecture and Community Design.

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Architecture of Cities: Saint Petersburg- Capital of Culture

A 17th century-built city, a city with various architectural style cathedrals, grandeur palaces, 300+ connecting bridges, and popular Nevsky Prospekt, Saint Petersburg served as the capital of Russia for approximately two centuries. It is known by nicknames like the Venice of the North, Russian Venice, a city built on bones, a city of white nights, window to the west/ Europe. 

Saint Petersburg is the second-largest city of Russia with a population of 5 million, located at the head of the Gulf of Finland, on the delta of Neva River. A city with both symbolism of holding a dark past and a city with a lot of cultural and beautiful architecture.

History of the City

Saint Petersburg was founded by Tsar Peter the Great on 27 May 1703. The first structure that was ever erected is the Peter and Paul fortress which was constructed on a low-lying marshland area near the mouth of the Baltic Sea. 

Since the area was marshland, it brought in many diseases to the construction workers, tree trunks were supposed to be sunk to support the structure, the place had a snowfall from early May to late September, the workers were of tools shortage often they had to dig my hands, frequent flooding all these caused the demise of thousands of involuntary labourers forced to work under the leadership of General Alexander Menshikov, who was a great friend of Tsar Peter. 

Saint Petersburg was a city that was built by the Tsar to make it a new capital of Russia, and its plan was inspired by the city of Amsterdam during his work there in a shipyard building place. The city has gone through myriad revolts, wars, revolutions. And now it has to find a way on how to stand the test of time, whether to resurrect its deteriorating cultural past or grow with the modern future and a space for development or to find common ground for both the functions. 

Architectural evolution of Saint Petersburg

Saint Petersburg was inspired by Amsterdam. A city with radiating prospects from its centre. Three rules were laid by Peter to intentionally control the city growth to elude organic growth like Moscow, which was the capital of Russia before Saint Petersburg. Stone is the construction material that is to be used. Streets were laid straight and not curved; buildings should be built next to each other facing towards a redline indication. 

German architect Andreas Schlüter and the Swiss Italian architect Domenico Trezzini were the planners of Saint Petersburg. A unique style – Petrine baroque was adopted. It is a style of 16th and 17th century baroque, breaking from the traditional Byzantine architecture, which the Russians have followed for a millennium.

Though Saint Petersburg city was started with the willpower of Peter I, who had travelled across various countries and wanted his new city to like Amsterdam, and when the city was taking shape, it had various interventions making a school of architectural styles, deviating from the intent to make it as a replica of Amsterdam. 

Styles like the Naryshkin Baroque style, Dutch Baroque style were largely seen. More Italian people worked on this project than Dutch. In 1712 Russia’s capital was shifted officially from Moscow to Saint Petersburg. And the elites and governmental structures followed this city with the added reason that Saint Petersburg was the only city allowed to build with stone and banned stone construction elsewhere. 

Schlüter proposed a grid-planned city to incorporate a courtyard within each building, which later paved the way to rent those courtyards for the immigrants and peasants deteriorating city planning and living.

Saint Petersburg city centre was divided into four zones naturally by the Neva River and its distributaries. Admiralty has the historical and cultural centres of the city. Vasilyevsky Island, the first of all areas to develop, has remarkable architectural marvels of the 19th-century style of classical Greek. Petrograd Side houses the first of all great structures like the Peter and Paul Fortress and Cathedral by Peter I. Lastly, Vyborg Side is a late 19th-century developed site with industrial establishments. 

Social, Cultural, and Political Dynamics

The Architecture of Saint Petersburg city is highly influenced by the social, political, and culture of the city. These three sectors are interconnected and are responsible for each other. Saint Petersburg had seen different rulers, and it evolved differently under every ruler. Saint Petersburg has 103 universities, 235 museums, 79 libraries, 130 parks, and gardens. The city has a range of architectural styles like neoclassical, neogothic, baroque, art nouveau, and soviet architecture. 

After the death of Peter-I in 1752, Peter II came to the throne, taking back the capital to Moscow. It was shifted back to Saint Petersburg at the time of empress Anna Ioannovna after the death of Peter II when he was 14. Cultural enlightenment happened during the reign of Catherine the Great. She enlightened Saint Petersburg by founding 25 educational institutions, including Russia’s first state school for girls.  

Saint Petersburg is unofficially called the cultural city, having contributed to various cultural aspects like theatre, literature, music, sports of the world.

Demographics And Modernisation’s Impact on the City

The change in the formulation of rules and bylaws of the city for its construction changed from time to time as the city population grew and the city had to adapt to the growing population without changing much of its originality, the sites were mostly narrow with the shorter side as their front façade. Later on, all these apartments were converted into single-bedroom apartments with shared kitchens and bathrooms. When the communist party took over, private properties were taken up as public property but maintained poorly.

Currently, the city is like the museum of cities, and if it continues just to be that, activists worry that people may want a change and move out of the city. Saint Petersburg should start considering the demanding values of the new age. The panoramic view which the city is known for is slowly blurring as these skyscrapers and modern tall buildings are starting to hide the beauty of the old—especially hiding the city centre, which is the UNESCO world heritage site now. 

Saint Petersburg is a city rich with culture, by far has stood the test of time to hold on to its values without the slightest deviations from its originality, which was shaped over time by different rulers under who the country was. But it is a serious time to think about the flexibility it holds for any development for the future. It is certainly complex to find a mid-ground to preserve the past and yet make room for the future, but it is not impossible. New constructions should have in mind to not completely make the new alienate the old.

Anon, (n.d.). Available at: https://commons.wikimedia.org/wiki/File:Saint_Petersburg_aerial_view.jpg .

Anon, (n.d.). Available at: https://www.theguardian.com/cities/2016/mar/23/story-of-cities-8-st-petersburg-city-built-on-bones-starting-to-crumble .

Anon, (n.d.). Available at: https://travelcultura.com/things-to-do-in-st-petersburg/ .

Anon, (n.d.). Available at: https://www.archipanic.com/st-petersburg-architecture/ .

Anon, (n.d.). Available at: https://baltictour.com/tours/group/saint-petersburg-winter.html .

Anon, (n.d.). Available at: https://dutchwannabe.com/3-days-in-st-petersburg/ .

Anon, (n.d.). Available at: https://newatlas.com/lakhta-center-st-petersburg/55696/ .

Stephy is an intrigued explorer of various paradigms of Architecture, choosing writing as a catharsis to her never ending thoughts.

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