2 PREFACE
This pamphlet is an exposé of the magical tricks architects use to
create representations and reproductions of their design work. The
focus will be placed on photography and especially its digital
manipulation in the context of architecture.
The magic pamphlet is divided into two sections, each framed by a
VSHFLºFWHFKQLTXHXVHGE\DUFKLWHFWVLQWUDQVODWLQJRUUHSUHVHQWLQJWKHLU
ZRUNV6HFWLRQVDUHIXUWKHUEURNHQGRZQLQWR(HFW+LVWRU\&RQWHPSRUDU\
&DVH6WXG\$SSDUDWXV5HTXLUHG0HWKRGDQG3UHVHQWDWLRQ
$OWKRXJKWKHVHWULFNVDUHQRWXQNQRZQDQGDUHXVHGH[WHQVLYHO\E\DU-
chitects, there is an issue of secrecy when revealing information
to the SXEOLFDVZLWKDOOPDJLFWULFNV+RZHYHUDVWKH(QJOLVKPDJLFLDQ'DYLG
'HYDQWZURWHLQ “exposing tricks or illusions — providing they are
not someone else’s new invention — is good for the profession. It
stim-
ulates public interest in magic and forces magicians to seek new
tricks
rather than to stagnate with some that are centuries old. The Magic
Circle
seems to think that it is the mechanics of a trick that are the
secrets of
its success. In my view, it is only the artistry of the performer
that can
make it magic.” 1
0D\WKHLQIRUPDWLRQKHUHLQFRQWDLQHGKHOS\RXWRFRQYLQFH\RXUFOL- ents and
overwhelm your harshest critics.2
ZIFENG WEI
HTS Diploma: Conjuring Consent - Secular Magic and the
Politics of Power
2012
INTRODUCTION
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[email protected]
WUDQVIRUPDWLRQZKRVHHHFWVDUHHYLGHQWEXWZKRVHRSHUDWLRQVDUHQRWDS-
parent.” The essay will focus particularly on secular magic, a term
coined E\6LPRQ'XULQJDV®PDJLFWKDWPDNHVQRFODLPWREHLQFRQWDFWZLWKWKH
supernatural — it’s not calling on hidden powers to act on the
world.”4
3KRWRJUDSK\FDQWKXVEHVHHQDVDFDWHJRU\RIVHFXODUPDJLFLQLWV
transformation of reality into an image and with the resulting
photograph
XQGHUVWRRGDVDSHUIRUPDQFH$OWKRXJKLWVPDJLFDOTXDOLW\KDVGLPLQLVKHG
lately due to its popularization, it remains a tool that
continually plays with illusions and deceptions, and deeply
embedded in our culture.
0DJLFDQGLQWKLVFDVHSKRWRJUDSK\ZDONVDºQHOLQHEHWZHHQGHFHS- tion and
illusion. The creation of illusions can open up minds to crea- tive
and speculative ideas, provide entertainment and act as a tool for
cultural construction. Its misuse can, however, easily turn into
forms of GHFHSWLRQDQGEHXVHGLQDSOD\RISRZHU:KHWKHUWKHUHVXOWLQJHHFWLV
consciously generated by a human agent or produced unintentionally
by the mechanisms of a device, the photograph is a powerful entity
and has al- ready become an integral part of our daily lives in
communications, media, science, politics and architecture.
7KLVPDJLFSDPSKOHWSRVHVWKHTXHVWLRQRIKRZSKRWRJUDSK\DVDFDWH-
gory of secular magic, has penetrated deeply into architectural
design and
UHSUHVHQWDWLRQDQGLWVFRQVHTXHQWLQ»XHQFHRQDUFKLWHFWXUHDQGLQWKHGH-
VLJQRIVSDFH3UHVHQWHGDVDQH[SRVpRIWZRGLJLWDOSKRWRJUDSKLFWULFNV
WKHWH[WZLOOIRFXVRQ3KRWR0RQWDJHXVHGIRUSUHVHQWDWLRQVDQG+LJK'\-
QDPLF5DQJHWHFKQLTXHV+'5XVHGWRGRFXPHQWºQLVKHGEXLOGLQJVWKURXJK
examining their historical development and uses, I will show that
the dig- itally manipulated images of today are merely a
continuation of a tradi-
WLRQHVWDEOLVKHGLQWKHPHGLXP±VHDUOLHVWGHFDGHVºQDOO\E\SURYLGLQJ
detailed descriptions of the apparatuses and methodologies used to
achieve these tricks, the pamphlet hopes to demystify current
photographic prac- tice while discussing some of the ethical and
moral dimensions of its use and/or misuse.
4
things, but because on each occa-
VLRQLWºOOVWKHVLJKWE\IRUFH and because in it nothing can be
refused or transformed.”
())(&7
This very simple principle of cutting and pasting two or more pho-
tographs together to generate one image is used extensively by
architects in the design phase to present ideas and concepts.
Through the creation of an illusion, a vision is communicated to
the audience by revealing the
HVVHQFHRIWKHEXLOGLQJ:LWKWKHDGYHQWRIGLJLWDOPRGHOOLQJDQG&RPSXW-
HU*HQHUDWHG,PDJHV&*,UHQGHUHGLPDJHVDUHRIWHQXVHGLQFRQMXQFWLRQ
ZLWKSKRWRJUDSKLFPRQWDJHV7KHUDQJHRIGLHUHQWHHFWVWKDWDUHDFKLHY-
DEOHXVLQJWKLVWHFKQLTXHLVYDVW6LQFHWKHIRFXVRIWKLVWH[WLVRQWKH varacity
of photographs, we will address the manipulation and creation of
photo-realistic montages.
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and practiced widely at the same time.50DQLSXODWLRQRIWKHSKRWRJUDSK
VHHPVWRKDYHDUULYHGVLPXOWDQHRXVO\ZLWKLWVLQYHQWLRQ/HYLQ&RUELQ
+DQG\DFRPPHUFLDOSKRWRJUDSKHULQ:DVKLQJWRQ'&SURGXFHGPDQ\ºFWL-
WLRXVPRQWDJHVRIºJXUHDQGEDFNJURXQG)LJIRUPDJD]LQHVDQGSXE- lications.
The high demand for heroic images of soldiers who fought in
WKH$PHULFDQ&LYLO:DUPHDQWDVWHDG\VRXUFHRILQFRPH7'HVSLWHWKHODFN of
sophisticated retouching tools or digital technologies, the images
he managed to produce were surprisingly convincing. The seamless
blending of images as well as the careful positioning of various
elements rendered be- OLHYDEOHVFHQDULRV)LJ
7KHWHFKQLTXHXVHGWREHDWHGLRXVWDVNRIFXWWLQJDQGSDVWLQJRIWKH
QHJDWLYHVUHTXLULQJKLJKO\VNLOOHGODERXU1RZDGD\VGLJLWDOLPDJHVFDQ
EHHDVLO\UHDVVHPEOHGZLWKDIHZFOLFNVRIWKHPRXVH+RZHYHULWUHPDLQV
GHSHQGHQWRQWKHDUWLVWU\RIWKHSHUIRUPHUWR®PDNHLWPDJLF¯
5 7
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$QHZWHFKQRORJ\WKDWKDVEHFRPHDVWDQGDUGWRROLQDUFKLWHFWXUDO design and
representation must be mentioned in relation to photo montages
GLJLWDOPRGHOOLQJDQG&RPSXWHU*HQHUDWHG,PDJHV&*,5HQGHULQJWHFK-
QLTXHVKDYHEHFRPHVRSKLVWLFDWHGHQRXJKWREOXUWKHERXQGDU\EHWZHHQDQ
DUWLºFLDOO\JHQHUDWHGLPDJHDQGDSKRWRJUDSK
$SDUWLFXODUFDVHKDVFDXJKWP\DWWHQWLRQODWHO\WKH\HDU
ROG,WDOLDQDUFKLWHFW$QWRQLQR&DUGLOORZDVDFFXVHGRIFKHDWLQJE\'HU
Spiegel, a German news
magazine.+HSUHVHQWHGEHDXWLIXOUHQGHULQJDQGPRQ-
WDJHVDVUHDOFRQVWUXFWLRQV)LJPLVOHDGLQJUHDGHUVDERXWKLVDFWXDO
DFKLHYHPHQWV+LVZRUNKDVDOVREHHQSXEOLVKHGLQDUFKLWHFWXUDOPDJD]LQHV
VXFKDV:DOOSDSHULQZKLFKKHZDVFRQVLGHUHGDPRQJVWWKHWRS\RXQJ
DUFKLWHFWVRI In a fast paced, image oriented world, architectural
awards are often given out purely based on photographs. With
rendering and
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detect, along with magazines and publishers being heavily reliant
on imag-
HVZHPLJKWVHHPRUHDUFKLWHFWVOLNH&DUGLOORFURVVLQJWKHWKLQOLQHEH-
tween creation of an illusion and a deception using photo
montage.
7 $33$5$7865(48,5('
To generate images, you will need a digital camera, a computer with
3KRWRVKRS'PRGHOOLQJ UHQGHULQJVRIWZDUHVLQVWDOOHG'60D[5KLQR
9UD\
0(7+2'$1'35(6(17$7,21 To retain a level of photorealism when
combining images, attention
PXVWEHSODFHGRQDFKLHYLQJ 6LPLODUSHUVSHFWLYHV 2. Seamless integration
6LPLODUOLJKWLQJ
7KHºUVWVWHSLVWRFROOHFWWKHLPDJHVXVLQJDGLJLWDOFDPHUDRURQ- line photo
libraries, making sure that the images have matching perspec-
tives. For the demonstration below, I will create a montage using a
site SKRWR)LJDVN\)LJDQGDFRPSXWHUJHQHUDWHGLPDJH)LJ8VLQJ
3KRWRVKRS±VSHQVHOHFWLRQWRROWKHRXWOLQHVRIWKHVLWHSKRWRDQGUHQ- dered
image are marked and the unnecessary elements removed. The images
are then scaled to the right size and layered over one another in a
photo- JUDSKLFPRQWDJH)LJ
FIG.7 ),*
),*
),*
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LQWHJUDWLRQEHWZHHQWKHYDULRXVLPDJHV7UHHVDUHH[WUHPHO\HHFWLYH at
masking some of the defects and harsh edges between the images
while creating a ‘green’ aesthetic appeal.
To provide the completed image with a coherent light and atmos-
phere, DVHSLDFRORXUºOWHUDQGDQRYHUOD\RIUDLQLVDGGHG)LJ
),*
),* ),*
),*
HHFWWKDWKDVQREDVLVLQ physical reality, but that -
in our hearts - ought to."
-Teller
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When photographing a high constrast scene, images are often washed
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HUDVHQVRU7KHFDPHUDRQO\GLVWLOVDSUHVFULEHGTXDQWLW\RIOLJKWZLWK
RQHH[SRVXUHZKLOHWKHKXPDQH\HDXWRPDWLFDOO\DGMXVWVWRYDU\LQJOLJKW
conditions. The dilation of the pupils allows the brain to record
more in- formation than any camera could. Thus, even when viewing a
scene with no
FKDQJHVLQOLJKWLQJWKHH\HVHQVLWLYHO\DGMXVWVDVWKHIRFXVVKLIWVIURP one
area to another.
+LJK'\QDPLF5DQJH+'53KRWRJUDSK\LVDGLJLWDOO\LQWHOOLJHQW stitching of
two or more varying exposures of the same scene to produce one
image that is representative in both dark and bright areas. The
human H\HFDQUHFRJQLVHFRQWUDVWUDWLRVRIXSWRZKLOHDGLJLWDOFDPHUD
UHFRUGVRQO\DQGºOPQHJDWLYHVMXVWVRWKHXVHRI+'5EH-
FRPHVDZD\WRFRPSHQVDWHIRUWKHLQDGHTXDF\RIWKHDSSDUDWXVHV
+,6725<
),* FIG.2
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IRUWKH86JRYHUQPHQWWRGRFXPHQWQXFOHDUH[SORVLRQWHVWV8VLQJWRQHUH-
PDSSLQJºOPOD\HUVH[SRVHGDWYDULRXVOHYHOVZHUHFRPELQHGLQWRRQHVLQ-
JOHLPDJHFUHDWLQJDJUHDWHUG\QDPLFUDQJH)LJ,QWKHFRP-
SXWHUJUDSKLFVUHVHDUFKHU3DXO'HEHYHFGUHZXSRQWKHRUHWLFDOPDWKHPDWLFV
WRGHYHORSDQLPDJLQJWHFKQRORJ\WKDWFRPELQHGVHYHUDOGLHUHQWO\H[SRVHG
LPDJHVWKXVSURGXFLQJWKHºUVW+'5LPDJH
$OWKRXJK+'5LPDJHVKDYHDUHSXWDWLRQRIORRNLQJ°IDNH±RU°GUHDP\± it could
be argued that they are actually more accurate at representing
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WKXVEHH[SODLQHGE\LWVUHODWLYHQHZQHVVLQWKHºHOGRISKRWRJUDSK\$V
$UWKXU&&ODUNHQRWHV®$Q\VXLFLHQWO\DGYDQFHGWHFKQRORJ\LVLQGLVWLQ-
guishable from magic.”
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QLTXHZKHQSKRWRJUDSKLQJDQGSUHVHQWLQJWKHLUEXLOWZRUN7KHFRPSDQ\±V
humanitarian approach to architecture along with their visually
stunning images have gained them a worldwide reputation, winning
them the Europe- DQ3UL]HIRU$UFKLWHFWXUHLQDQGD0LHVYDQGHU5RKH$ZDUGLQ
+RZHYHUPRVWRIWKHDZDUGLQJERGLHVKDYHQHYHUVHHQ7<,1±VSURMHFWVLQ
SHUVRQGXHWRWKHLUUHPRWHORFDWLRQVDQGVRTXHVWLRQVRIYHUDFLW\DQGDX-
thenticity emerge again.
+DYLQJZRUNHGZLWK7<,1,IRXQGRXWWKDWWKHLUXVHRIWKH+'5WHFK-
QLTXHKDVRIWHQEHHQFULWLFLVHGIRUORRNLQJ®IDNH¯)LJ2WKHUVKDYH even asked
when the buildings will be built - assuming that these imag-
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where the real has been magically transformed into an
illusion.
$UHWKHFRQFHUQVRQO\GXHWRWKHWHFKQLTXHEHLQJUHODWLYHO\QHZDQG not yet
mainstream, or are they really over the exaggerated versions of
reality?
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<RXZLOOQHHGDGLJLWDOFDPHUDDWULSRGDQGDFRPSXWHUZLWKVRIW-
ZDUHOLNH3KRWRPDWL[RU3KRWRVKRSLQVWDOOHG
0(7+2'$1'35(6(17$7,21
3LFNDVFHQHZKHUHWKHUHDUHH[LVWLQJKLJKOHYHOVRIFRQWUDVW)DVWHQ the
digital camera on a tripod and set the exposure to a correct level
us- LQJLWVEXLOWLQOLJKWPHWHU7DNHDSKRWRJUDSK)LJ:LWKRXWFKDQJLQJ
WKHSRVLWLRQRUIRFXVRIWKHFDPHUDDGMXVWWKHH[SRVXUHWROHYHOVEH-
ORZWKHFRUUHFWOHYHODQGWDNHDQRWKHUSKRWRJUDSK)LJ)LQDOO\WDNHD
WKLUGSKRWRJUDSKDQGRYHUH[SRVHLWE\OHYHOV)LJ
,PSRUWWKHWKUHHSKRWRJUDSKVWRWKHFRPSXWHUDQGRSHQXS3KRWRVKRS
&OLFN)LOH!$XWRPDWH!0HUJHWR+'5 /RDGWKHLPDJHVDQGFOLFN2.
6HOHFWELWFKDQQHO &OLFN,PDJH!0RGH!ELWFKDQQHO
$GMXVWWKHWRQHPDSSLQJVHWWLQJVGHSHQGLQJRQWKHGHVLUHGORRN
'XHWRWKHULFKWH[WXUHRIWKHPDWHULDOVLQWKHVFHQHWKHºQDOLPDJH becomes
highly detailed and will appear slightly unreal, if not slightly
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CONCLUSION
In his celebrated mediation on photography Camera Lucida5RODQG
%DUWKHVDUJXHVWKDWWKHSKRWRJUDSKLVGHFHSWLYHEHFDXVHLWV®SRZHURIDX-
thentication exceeds the power of representation”. The photograph
claims WREHDQREMHFWLYHUHVXOWRIDPDJLFDOSKHQRPHQRQRIQDWXUH\HWFDUULHV
potentially invented and structured meanings. We easily assume that
it ®GRHVQRWLQYHQWLWLVDXWKHQWLFDWLRQLWVHOI¯DQGWKDW®WKHDUWLºFHVLW
SHUPLWVDUHQRWSUREDWLYHWKH\DUHRQWKHFRQWUDU\WULFNSLFWXUHV¯22 Through
the examples shown in this pamphlet, we begin to notice a blurring
boundary and uncertainty betweeen ‘tricked’ and ‘untricked’
photographs.
'LVWLOOHGLQDSKRWRJUDSKDUFKLWHFWXUDOVSDFHPDWHULDOLW\DQGVFDOH are
collapsed, altered, transformed and forever preserved in an ideal-
L]HGVWDWH+RZHYHUEXLOGLQJVDUHVXEMHFWWRDFRQVWDQWPRUSKRORJ\LQ the
three-dimensional world, molded by the weather and by the
activities
RIWKHLURFFXSDQWV7KHVHYDULDWLRQVDUHGLLFXOWLIQRWLPSRVVLEOHWR
FRQYH\WKURXJKDQLPDJHVWLOO<HWDUFKLWHFWXUDOHGXFDWLRQDQGSURGXFWLRQ
remains highly dependent on the consumption and study of such
potentially manipulated images which mediate between the imagined
and the real.
With the advent of digital tools, it is becoming easier to
manipulate
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RIDXWKHQWLFLW\DQGWKHLQFUHDVLQJGLLFXOW\WRGLVWLQJXLVKUHDOLW\IURP
illusion are problematic in architectural representation. The magic
of photographic manipulation is thus more and more often deployed
for ideo-
ORJLFDORUSHUVRQDOHQGVDVFDQEHIRXQGLQWKHZRUNRI$QWRQLR&DUGLOOR who
uses rendered images to sell himself as an architect, and the
stylised
LPDJHVWKDW7<,1WHJQHVWXHXVHWRKHOSDGYHUWLVHWKHLUKXPDQLWDULDQFDXV-
HV3KRWRJUDSK\±VLQ»XHQWLDOSRZHUVDUHXQGHQLDEOHVRLWPLJKWEHEHVWLI we
steer our focus towards its constructive ability to capture,
motivate and imagine, while always being aware of its deceptive
powers.
%\DQDO\VLQJSKRWRJUDSKLFPDQLSXODWLRQWKURXJKWKHODQJXDJHRIVHF-
XODUPDJLFZHFDQEHJLQWRFKDUDFWHULVHWKHSRVVLEOHGHºFLHQFLHVVKRUW-
FRPLQJDQGGUDZEDFNVLQRXURYHUUHOLDQFHXSRQLWVWHFKQLTXHVEXWDOVR realise
its great potential as an imaginative tool for cultural and archi-
tectural construction.
22
REFERENCES
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QHWPDJD]LQHRUJLVVXHVGDZHVSKSDFFHVVHG1RYHPEHU
2.
/DXULH,UHODQG,UHODQG±V1HZ&DUGDQG&RLQ0DQLSXODWLRQ&KLFDJR7KH,UHODQG0DJLF
&R/D\RXWFRYHUGHVLJQDQGLQWURGXFWRU\SKUDVHVZHUHLQVSLUHGE\WKLVPDJLF
pamphlet.
-RKQ3RWWVDQG(GZDUG6FKHHU7HFKQRORJLHVRI0DJLF'RUVHW3RZHU3XEOLFDWLRQV
xi.
4.
6LQD1DMDºDQG6LPRQ'XULQJ®0RGHUQ(QFKDQWPHQWV$Q,QWHUYLHZZLWK6LPRQ'XULQJ¯&DE-
LQHW0DJD]LQH,VVXH0DJLF6XPPHUKWWSZZZFDELQHWPDJD]LQHRUJLVVXHV
QDMDºSKSDFFHVVHG1RYHPEHU
5. 0LD)LQHPDQ)DNLQJ,W1HZ<RUN7KH0HWURSROLWDQ0XVHXPRI$UW Ibid. 7.
Ibid.
/XLJL3UHVWLQHQ]D3XJOLVL®3RVWFDUGIURP,WDO\$UFKLWHFW)DFHV,PDJHU\6FDQGDO¯
)UDPH:HEKWWSZZZIUDPHZHEFRPQHZVSRVWFDUGIURPLWDO\DFFHVVHG2FWREHU
Ibid.
-RQDWKDQ$OOHQ®'HFHSWLRQLVWVDW:DU¯&DELQHW0DJD]LQH,VVXH0DJLF6XPPHU
KWWSFDELQHWPDJD]LQHRUJLVVXHVDOOHQSKSDFFHVVHG1RYHPEHU
6ZDSQLO0DWKXU®3KRWRJUDSK\+'5LPDJLQJH[SODLQHG¯1'79*DGJHWVKWWS
JDGJHWVQGWYFRPFDPHUDVIHDWXUHVSKRWRJUDSK\KGULPDJLQJH[SODLQHGDFFHVVHG
'HFHPEHU
0LD)LQHPDQ)DNLQJ,W1HZ<RUN7KH0HWURSROLWDQ0XVHXPRI$UW Ibid.
6ZDSQLO0DWKXU®3KRWRJUDSK\+'5LPDJLQJH[SODLQHG¯1'79*DGJHWVKWWS
JDGJHWVQGWYFRPFDPHUDVIHDWXUHVSKRWRJUDSK\KGULPDJLQJH[SODLQHGDFFHVVHG
'HFHPEHU
Ibid. Ibid.
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-RKQ+LOO®(XURSHDQ3UL]HIRU$UFKLWHFWXUH$ZDUGHGWR7<,17HJQHVWXH¯:RUOG$UFKL-
WHFWVKWWSZZZZRUOGDUFKLWHFWVFRPHQSDJHVHXSUL]HW\LQWHJQHVWXHDF-
FHVVHG1RYHPEHU
0LD)LQHPDQ)DNLQJ,W1HZ<RUN7KH0HWURSROLWDQ0XVHXPRI$UW
5RODQG%DUWKHV&DPHUD/XFLGD1HZ<RUN)DUUDU6WUDXV *LURX[
5RODQG%DUWKHV&DPHUD/XFLGD1HZ<RUN)DUUDU6WUDXV *LURX[ 22.
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PHOTOGRAPH CREDITS
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