Introduction: People can’t digest the Visual food well.
“I see through my eyes, not with them” –William Blake
In the modern age, as people can get an information through digitalized rendered images with well written words, the knowledge of indirect reality seems to shape the world of design or at least it is supposed to be telling the truth of the space whereas it was only possible through a raw visual experience from their own travel when there was no internet. This applies to the public as well as the architects who are expert on architecture. Laszlo Moholy Nagy, who worked in the famous Bauhaus school at Dessau in the Weimar Republic, he wrote regarding photography in his work Vision in Motion that “<…> the power to become one if the primary visual forces of our life… Many people may not realize it but the present standard of visual expression in any field, painting, sculpture, architecture and especially advertising arts, is nourished by the visual food which the new photography provides.”
In the past, artists, writers and thinkers includes architects went on the Grand tour which sophisticated the creativity as well as the intertextual sensibilities at the time. According to the Adam Matthew Digital’s new website, a phenomenon of the Grand Tour took the public attention of English travellers to the continent between c.1550 and 1850, which had all sorts of meaningful eﬀects on cultural, social, political, architectural, gastronomic, sartorial and artist movement.
From another point of view, the fluid and informative information allows people to require no imagination to make things valuable rather than impinging on the imagination. Osbert Lancaster argues “Today, architecture is an activity about which the average man cares a little and knows less and such views as he may hold are founded not on any personal bias, which might be regrettable but would certainly be excusable, but on a variety of acquired misconceptions.” Consequently, architecture has always coexisted in a frame with any nature of habitation, however, a modern architectural imagery as a medium tends to distort things to be a form of being superficially photogenic.
From the view point of designer and an architectural photographer, this author recognizes the broad implication of how unconsciously people are receiving the superficial infra-knowledge as if they were the nature of life and how it influences a process of decision making, more importantly, how people are taking as an obvious inspiration. It is almost like an assembly line system. Th is includes the author himself. Th is paper aim to review the existing state of architectural photography and its role in order to locate an organic relationship between place, people and photography. READ MORE