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[1], [2] Turner, Chrsitopher. Man of the Moment: Iwaan Baan. Icon Magazine, 2011

U. of K.Faculty of ArchitectureMasters of Architectural DesignBatch 1Maha Omer Bani25.12.2014

Arc 713: Dissertation PreparationAssignment 5 Response Article

Editorial View: The inherently compromised relationship between buildings and

photography - Catherine Slessor (Editor)

The writer starts by attacking the existence of the photograph by referring to Barthes

observation in Camera Lucida as the driving force of her argument. She wrote that

there is no such thing as a photograph because (quoting Barthes) a photograph is

always invisible; itsnot itthat we seeand what we see in the scrutinizing gaze of thephotographer. Then she starts talking about the relationship between photography and

architecture, and how photography served architecture well but at the same time

there are compromises because architectural photography is unlike art practice it

renders buildings in a way that flatters architectural ambition meaning that no

critical enquiries are involved. Then she talks about the argument of how the

inherent narrowness of the photographic gaze inhibits how architecture is understood

and discussed and thats a problem because photography has come to define what

architecture isand architecture is a complex subjectwhile photography is selective

and it seduces peoplemissing the core idea or factor of architecture which is criticalto the wider learning process and that factor is how buildings fare in use or have

worked over time. She also said that how we are all architectural photographers now,

endlessly snapping and sharing. Then she concluded her article by pointing out how

shifts in technology had been accompanied by shifts in perception. And she

explained that by drawing a comparison example between the formal static

architectural photography and the informal, verite approach of photographers such as

Iwan Baan, and she explained how Baan is a phenomenonby comparing him to Mario

Testino and Julius Shulman, who were both icons in their professions.

While trying to understand the writers argument, we find out that the writer first

attacks the very existence of the photograph. But coming to think of it, a photograph is

not an object. It is a way of expression, i.e. we can say that its a way that the

photographer expresses what he sees or feels about something. It is not meant to copy

reality, its way of capturing the photographers vision. But when she starts to talk about

the relationship between photography and architecture, and how architectural

photography is unlike art practicebecause its rendering is for flattering architectural

ambitionand it it does not search for critical enquiry, and how it became essentially

an unspoken pact, Shes supposing that architectural photography is not art, and that

the intention of all building photos are just architectural ambition flattering andpromotion of buildings, as if that is the only essence and purpose of architectural

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[1], [2] Turner, Chrsitopher. Man of the Moment: Iwaan Baan. Icon Magazine, 2011

photography, and that it is only meant for seducing people in a way that supplants the

real thing in the minds of the viewers! How did she know that? How did she know what

every single person who viewed an architectural photo was thinking about while

viewing it? Or how he/she interpreted the photograph? She is saying that the

photograph has a narrow gaze that inhibits how architecture is understood anddiscussed. On what basis did she predict that? Maybe this narrow gazewas meant to

be this way in order for the photographer to translate what he/she is seeing or feeling

at that precise moment.

Then she contradicted herself by saying that photography does not show how

buildings fare in use or how they work over timebecause later she wrote about how

Iwan Baan is a phenomenon and his photography is distinctiveand era-defining. She

even compared him to Mario Testino and Julius Shulman.

Iwan Baans photography is all about showing the context of the buildings, and I quoteQuoting Herzog and Meuron: Whenever a new building appears somewhere in the

world, the image of it reaches you through the lens of his camera. His buildings are

never alone. They come with people. The people tell us about the buildings they use.

How they use them, why they use them, how it is to use them.[1]. Steven Holls also said

that Baan captures the emotion and vibrating life of people in space with humor. They

are the indeterminate, rather than determinate and frozen. [2]

In my own opinion, I can say that I donttotally disagree with the writersargument. I

agree with her in Barthes definition of the photograph. But what I disagree about is the

fact that photography misinterprets the real vision of buildings. I mean yes it IS true

that a photograph only shows a specific part of whole, but that doesntmean that what

its showing is unreal. As I said earlier, a photograph is not meant to copy reality, its

meant to show the photographers vision at that moment. Also I dontthink that its the

photographersresponsibility to control what the viewers think about the photograph.

Every viewer opinion may differ from the other. A single photograph can be viewed as a

masterpiece, or as perfect piece of art, at the same time this very same photograph can

be viewed in a critical way. A photograph can be taken by the intention of promotion or

inquiry. A photograph can mean a lot of things that can only be determined by the

viewer. Not the photographer.

There is a difference between a regular photographer, and an architectural

photographer. Just because technology has liberated photography and we can all

endlessly snap and sharephotographs doesntmake us qualified to be architectural

photographers as the writer implied. Photography requires specific skills, means, and

vision. And these are aspects that cannot be gained easily no matter how liberated

technology made the lumbering constraints and costly equipment.