Topical Collection "Architectural Photography"

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A topical collection in Arts (ISSN 2076-0752). This collection belongs to the section "Visual Arts".

Editor

Guest Editor
Dr. Pierluigi Serraino

502 Lagunaria Lane, Alameda, California 94502, USA
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Fax: +510 864 4030
Interests: post-war american architecture; california modernism; architectural photography; changes in architectural practice; digital design

Topical Collection Information

Dear Colleagues,

Architecture is physically anchored to its site. Its material existence bounds it to the particularity of a place. By default it is unmovable. Those who commit to having a first-hand experience of an actual space must embark on a pilgrimage to get there with the one-sided assumption that they will have full access to it. Photography is the messenger of the building's reality beyond its immediate surroundings. It broadcasts this metaphorical new-born in the built environment to all corners of the world. The photographer is granted a temporary visa to enter the premise and memorialize through the camera what s/he is able to read of that space. In this narrow window of opportunity, architecture is given new birth in media. The transition of architecture from three-dimensional artifact to images is a rite of passage with paramount consequences for discourse. To a large extent, those effects have remained largely unexamined increasing gaps of misreading. This collection of Arts is devoted to gathering a cluster of competing points of view on the role and (mis)use of architectural photography in critical and historical research. Contributions are solicited on a range of sub-topics under the umbrella of the main subject from scholars of disciplines whose internal discourse architectural photography has a detectable impact on. Suggested, but not limited to, themes range from the ethics of spectatorship, visual rhetoric, identity formation, long-term memory construction, canon formation, forms of historiography, manufacturing professional consent.

Dr. Pierluigi Serraino
Guest Editor

Manuscript Submission Information

Manuscripts for the topical collection can be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on this website. The topical collection considers regular research articles, short communications and review articles. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page.

Please visit the Instructions for Authors page before submitting a manuscript. For the first few issues the Article Processing Charge (APC) will be waived for well-prepared manuscripts. English correction and/or formatting fees will be charged in certain cases for those articles accepted for publication that require extensive additional formatting and/or English corrections. For further details see here.

Published Papers (2 papers)

2014

Open AccessArticle The Cambridge Experiment
Arts 2014, 3(3), 307-334; doi:10.3390/arts3030307
Received: 6 June 2014 / Revised: 4 August 2014 / Accepted: 26 August 2014 / Published: 8 September 2014
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Abstract
Since the latter part of 19th century photography has played a central role in the development of architecture for its persuasive visual impact. But, despite this clear interaction, there is still reluctance from scholars in accepting less rigid approaches to the two
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Since the latter part of 19th century photography has played a central role in the development of architecture for its persuasive visual impact. But, despite this clear interaction, there is still reluctance from scholars in accepting less rigid approaches to the two disciplines. Indeed, the combination of the subjects, with the necessary rigour, can open up new and effective horizons for architectural history, with a potential influence on the perceived reality: this could gradually establish attention towards less known heritage. In the case we present here, by means of a provocative exhibition on Cambridge’s buildings after the Second World War, we have used photography to re-evaluate modern architecture. Cambridge in Concrete. Images from the RIBA British Architectural Library Photographs Collection, was held on the occasion of the University of Cambridge Department of Architecture’s Centenary (1912-2012). The cues for our task were contained in the collections of the Royal Institute of British Architects: the photographic archive is the world’s biggest holding of architectural images which, since 2012, has been renamed in honour of Robert Elwall (1953-2012), first curator of the collection. As part of the exhibition we published a limited edition catalogue; we have here revisited, combined and enlarged our original essays. Full article
Open AccessArticle On the Past and Future Tensions Between Documentation and Esthetics in Architectural Photography
Arts 2014, 3(3), 335-349; doi:10.3390/arts3030335
Received: 2 July 2014 / Revised: 26 August 2014 / Accepted: 26 August 2014 / Published: 8 September 2014
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Abstract
From the perspective of a specialist in environmental health and as a son of an architectural and architectural photography innovator, the author of this essay reviews the ways that photographers approach architecture. It argues that the Internet and digital technology should be used
[...] Read more.
From the perspective of a specialist in environmental health and as a son of an architectural and architectural photography innovator, the author of this essay reviews the ways that photographers approach architecture. It argues that the Internet and digital technology should be used to document how architecture accommodates what clients do and how they interact as well as documenting brief esthetic experiences in and around architecture. Full article

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