This title documents the shift from the building as structure to the building as image. This exploration of the use and significance of two-dimensional images in contemporary architecture looks at the works of major designers, including Zaha Hadid, Herzog and de Meuron, Rem Koolhass, and MVRDV, among others.

Jeff Wall and Jacques Herzog are among art and architecture's most successful representatives. Award-winning photographer Wall's photography of Herzog & de Meuron's Dominus Winery in California (1999) represents the point of departure for a discussion on the relationship between art and photography. Questions arise on topics such as "photogenic architecture," the construction of pictures and buildings, and the question of time.

"This book examines the development of architectural photography and its growing influence on our own perceptions of architecture. Including spectacular black-and-white photographs from the early days of architectural photography through contemporary selections, this volume also contains interviews with twelve leading architectural photographers. In addition, it provides documentation of some of this century's finest architectural achievements. Those who established the profession in the 1930s--Ezra Stoller, Julius Shulman, Bill Hedrich--discuss their philosophies, approaches, and backgrounds. Interviews with younger photographers explore the debt owed to their predecessors as well as their unique contributions."--Site web lensculture.com.

One hundred years ago, architects found in the medium of photographyOCoso good at representing a buildingOCOs lines and planesOCoa necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her OC picture anthropologyOCO demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up OC photographic architecture, OCO Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architectureOCotransforming how we see the world and how we act on it."

Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism.Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.

Examining the photographic collection that Alberto Sartoris donated to the Swiss federal government, this text throws light on a poorly understood aspect of 20th century architecture, namely the mechanisms behind the creation and diffusion of the 'image of modern architecture'.