浅谈建筑摄影的几个特点

建筑摄影,与其它专业摄影,如风光摄影、工业摄影。科技摄影以及人像摄影等有共同之处,同时又有其自身的特点。 任何一种摄影都具有摄影的基本特性——纪实性和艺术性,只不过其含义各自不同而已,如果只有艺而无术,作品便不能表达思想,只有术而无艺,作品便不能提升到较高的境界。建筑摄影也不例外,它既要如实地表现建筑的物质形象,又要艺术地反映建筑的精神风貌,     

是建筑文化,也是建筑创作--中国建筑摄影论坛暨五台山摄影大奖赛侧记

如何看待建筑摄影？如果欣赏建筑摄影作品？怎么才能将建筑摄影的艺术表现提高到一个新的水平？怎样理解建筑摄影与建筑创作的关系？     

建筑摄影技巧

建筑摄影主要是为了展示建筑物的规模、外形结构以及建筑物的局部特征等，其特点是：被摄对象稳定不动，容许长时间曝光。另外，还可自由地选择拍摄角度，运用多种摄影手段来表现对象。     

德国柏林举办国际建筑艺术展

2006年8月26至12-31日国际建筑艺术展在德国柏林埃森鲁尔美术馆举办，本次展览旨在为建筑材料与使用者提供更多的互动机会，建筑物可以因此更被其使用者所接受，并让使用者随时可以增加或改变建筑物的外貌与功用，进而创作出具有多样功能的建筑作品。     

拍摄是我的幸福

我并非一个纯粹的建筑摄影师,称我为商业摄影师更准确一点。对我来说,建筑、人物、汽车都是美妙的风景,我将以风景摄影作为我毕生的工作。在建筑摄影方面,常常因拍摄远景及透过窗子拍摄风景而感动不已。建筑作为大风景中的一部分,在拍摄时我非常重视它与周围环境的协调和氛围。建筑虽然是矗立在那里一动不动的摄影对象,但随着周围环境、时间和季节的变化,它的表情也会发生微妙的变化。摄影就是要捕捉到这瞬间的变化,给看似无生机的建筑物注入生命的活力。     

为建筑代言——周若谷建筑摄影

一座建筑绝不仅仅是建筑物本身,在不同的时间、不同的季节,从不同的角度看去,它给人的感觉大相径庭。建筑摄影的魅力也就在于,同样的一座建筑被不同的影像捕捉者赋予了不一样的生命,建筑由此散发出的气质连建筑师本人都不曾想象。对于建筑师来说,其实也需要自己的作品有一套官方宣传照,那从建筑师转变过来的摄影师,是否能更好地为建筑代言呢?也许周若谷能用作品给我们一个回答。     

浅谈建筑摄影的艺术表现

建筑是许多摄影爱好者的主要拍摄题材之一。长城、故宫等诸多古建筑是经久不衰的拍摄对象,一些现代建筑融合了古典美和时代的审美潮流,也成为众多摄影爱好者的创作对象,尤其是落日下的城市天空和地面上建筑物的灯光能构造出光影迷离的效果。拍摄者只要掌握好技巧,就能拍摄出优美的建筑照片。     

中国建筑金属结构协会将举办协会成立30周年摄影展

为隆重庆祝中国建筑金属结构协会成立30周年,中国建筑金属结构协会决定举办"中国建筑金属结构协会成立30周年摄影展"。摄影展览的主题是中国建筑金属结构协会成立30年来中国建筑金属行业所取得的辉煌成就。参加摄影展可以是本行业的员工,也可以是专业摄影人员,企业也可邀请专家拍摄的作品送展。作品主要有企业风采、特色人物、艺术摄影和其他有关内容。     

好的建筑摄影是令人窒息的美丽

要给建筑摄影下一个精确的定义比想象的要复杂得多 ,很难用三言两语表达全面。我在此引用比较权威的《美国纽约摄影学院摄影教材》的说法 :“建筑摄影师在一张二维平面的相纸上再现建筑师的三维空间创作 ,他必须对其结构的审美很敏感 ,必须了解它如何为其用途服务 ,又是如何与其周围环境相协调。他不仅要努力记录下建筑物的外观和面积 ,还必须努力捕捉建筑师在结构周围所刻意表现的气氛和风采。他必须与建筑师具有同样的艺术家的感觉并敏感地再现其创作。好的建筑摄影作品是令人窒息的美丽。建筑摄影的类型有 :1.为建筑师服务 ,表现建筑师的…     

一个意大利摄影师的故事 摄影师Matteo Piazza访谈

Matteo Piazza,是近年来活跃在建筑和室内摄影界的意大利摄影师。他自幼热爱摄影,毕业于米兰理工大学建筑系,学建筑出身的他对建筑有更深刻的理解。他的镜头里既有诸如万神庙等经典的建筑遗址,也有当代著名建筑师的作品,足迹遍布全球。他的作品被世界各大建筑和时尚杂志上多次刊登。网址:www.matteopiazza.com     

“Glamourized Houses”: Neutra,Photography, and the Kaufmann House

The current debate on reproduction and architectural publication has established new terms for the examination of architectural photographs. No longer treated simply as a species of architectural documentation—such as renderings or plans—photographs of building are acknowledged as sharing in the cultural power of the photographic medium and must consequently be examined as a form of social production. The publication of Richard Neutra's 1946 Kaufmann house reveals the power of the print media in the establishment of an architectural canon; moreover, Neutra's habit of reworking photographs of his built designs suggests the appropriateness of reexamining his contribution to the legacy of involving photography and the media in the architectural process.     

Building with artificial light: architectural night photography in the inter-war period

The interplay of light and shade on architectural volumes has always been a unique source of inspiration to photographers. That this applies as much to artificial as to natural light is shown by the richness of architectural and urban night photography of the 1920s and 1930s. In these decades, photographers such as Bill Brandt, Willy Kessels, Brassaï, Georges Champroux, Roger Schall, Germaine Krull, François Kollar—and many others—captured the nocturnal city and its architecture. This study examines how photographers visualised buildings and cities at night. Despite the night as common denominator, examples of this kind of photographs could hardly be any more divergent. This paper argues that the nocturnal photography of the period cannot be fully understood without acknowledging the impact of the then shifting relationships between light and darkness. Therefore, I propose to study the nocturnal photographs in relation to the processes of cultural change that shaped the vision of the photographer at the time.     

折来折去同济大学中法中心的现场感

文章从建筑空间现场感知的不可表达性出发,分析了同济大学中法中心的一系列空间体验与设计手法。文章讨论了图形、照片等二维感知媒介和设计工具存在的盲区,阐述了对空间感和现场感的把握在建筑设计中的重要价值。     

The historiography of mud: Vincent Scully,Ralph Knowles and the image of ecology

In this article, I argue that the representational practices of ecology played a critical role in the field of architectural history in the late 1960s and 1970s as scholars sought to re-evaluate prevailing historical narratives in the context of environmental crisis. Taking Vincent Scully's and Ralph Knowles' writings about Pueblo architecture in New Mexico as a point of focus, the paper explores ways in which architects and historians developed image-making techniques—from panoramic photography to energy performance diagrams—in shifting the focus of architectural history from static monuments to the feedback between architecture and environmental phenomena.     

读解非文字的文化遗产史学——20世纪初日本的中国建筑调查历史照片之研究

真实性原则是文化遗产保护的关键,历史图像记录是建筑文化遗产保护、修复和研究工作中“真实性”的重要依据。从20世纪初开始,多位外国学者对中国进行了摄影记录,其中又以日本学者的记录最具系统性和代表性,开创了专业研究者对中国建筑摄影纪录的先河。这些庞大的摄影和研究成果资料群共同构成了中国最早的文化遗产图像数据库,真实地反映了20世纪初中国建筑遗产的状况,同时也是日本从明治末期开始的对亚洲国家遗产记录体系的重要组成部分。本文介绍了日本东洋建筑史研究回顾及为什么要进行历史图像的研究,日本对中国的建筑文化遗产研究概况和该研究的内容。     

Robert Damora and the mission of American architecture

In the United States of the 1950s, many architects, artists and historians were engaged with issues surrounding the nature of an authentic American architecture, and their professional responsibility to define its contours and potential. These issues included questions about the relationship of design to a democratic society and the expressive possibilities of architectural monumentality. This essay examines the contribution made by the master architectural photographer Robert Damora (1912–2009) with his wife Sirkka (b. 1924) to the development of a response to these concerns. It addresses his part in shaping American modern design through: his documentation of the work of prominent American modern architects and designers such as Marcel Breuer, Walter Gropius, Eero Saarinen, I. M. Pei, Florence Knoll, Edward Durrell Stone, Paul Rudolph and Philip Johnson; post-war studies of new housing types and innovative concrete construction; photographic interpretations of corporate work such as the Hancock Tower in Boston. Like his contemporaries Julius Shulman, Balthasar Korab and Ezra Stoller, Damora also communicated to the public the heroic drama of modern buildings through the two-dimensional medium of photography, yet unfortunately his work remains less-known than that of his peers. The essay seeks to fill this gap by presenting Damora's own participation in envisioning a new American ideal of a refined yet functionalist way of living, both through the medium of photography and through such exploratory architectural projects as the Seeds for Architecture programme of the Universal Atlas Cement Company.     

莫霍利-纳吉创立的新包豪斯与设计学院

莫霍利-纳吉在芝加哥建立了新包豪斯和设计学院,开设了基础课程、摄影课、视觉设计、产品设计以及建筑设计等主要课程。学院最初只是对包豪斯思想的植入,到后期受到美国实用主义理论的影响,开始强调适用于工业化的设计。这种实用主义的教育理念对当今建筑教育仍具有重要的借鉴意义。     

昆明老城区传统民居的调查分析

结合实地考察和对老城区居民的访谈调查,并结合实地测绘和拍摄的资料,从建筑学的角度,在平面、立面、结构、装饰与构造上分析总结出昆明老城区传统民居的特点,以及形成特点的原因。     

THE COLLABORATIVE CONSTRUCTION OF TIMBER TRADITIONS IN JAPANESE ARCHITECTURE: PHOTOGRAPHIC ARGUMENTATION AND ALTERNATIVE HISTORICAL METHODS

Even though knowledge of geographically and culturally distant architectures is more often circulated and translated through the dissemination of images than gained by visceral first-hand experiences of actual buildings, places and spaces, there have been limited historiographic analyses of the critical role that architectural photography plays in shaping such understandings. Broadening perspectives, this paper examines explicit collaborations between Japanese architectural photographers and historians as a method through which particular histories about Japan and its architecture have been constructed. The study considers several examples of this genre of publication, and two cases in particular, from the mid-twentieth century and the early twenty-first, wherein the constructed photographic record provided the fundamental armature for argumentation in the fabrication of different accounts of Japanese timber traditions. The publications examined illustrate different variations of this alternative method of discursive construction through integrated image and prose portrayals, reflecting an evolving operative negotiation and articulation of endogenous architectural traditions at different stages of Japan’s post-1945 redevelopment in the economic and cultural frameworks of global modernity. The paper examines Japanese cases, but the findings have implications for broader understanding of how architecture contributes to the global dissemination of cultural practices and knowledge.     

Eric de Maré: between the functional and the beautiful

Eric de Maré’s photographs were very widely published in post-war Britain and his images may be seen to have influenced a generation of architects. Perhaps more than any polemic or lengthy rationale they expanded the possibilities of architectural design; his pioneering work on the photography of early industrial buildings seen in ‘The Functional Tradition’, published as an article in The Architectural Review in 1957 and subsequently as a book, helped to create a new language at a time ready for such change.

De Maré was part of the wider architectural culture of the Architectural Press and The Architectural Review, and acknowledged the influence of the long-time proprietor de Cronin Hastings as well as other contributors such as John Piper, Gordon Cullen and J.M. Richards. There are clear links with another major position in British architectural work of that period, the ‘New Brutalism': the Smithsons’ ideas of honesty of form and materials are very close to the lessons which were drawn from de Maré's photographic evidence, whilst drawing attention to the ordinary and unvalued was the common ground basic to both positions. More than this, his images of worn surfaces and ageing structures are informed by an acute architectural sensibility. De Maré's work represents a repudiation of the utopianism of Modernist practice and theory, in favour of a new kind of beauty, redemptive in the harshly utilitarian modern world.