Photography & Modern Architecture in Spain, 1925–1965

!e study of architecture, and particularly of the great legacy of modern architecture, has substantially been achieved from its irrefutable documentary sources: the pho- tographs. Since the advent of photography in the mid-19th Century we are witnessing a blissful basis for its pairing with archite...

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Main Author: Iñaki Bergera
Format: Article
Language:English
Published: Docomomo International 2022-01-01
Series:Docomomo Journal
Online Access:https://docomomojournal.com/index.php/journal/article/view/401
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author Iñaki Bergera
author_facet Iñaki Bergera
author_sort Iñaki Bergera
collection DOAJ
description !e study of architecture, and particularly of the great legacy of modern architecture, has substantially been achieved from its irrefutable documentary sources: the pho- tographs. Since the advent of photography in the mid-19th Century we are witnessing a blissful basis for its pairing with architecture. Once buildings were depicted, they could start to be studied, classified and dated. Later on, the revolutionary character that brought the modernists to the fore found in photography the opportune instrument to undertake its propaganda in mass media that valued these architectural objects as paradigmatic icons that should be emulated. At the same time, and apart from customer’s satisfaction, committed architects understood that the photographs of their buildings were the final crystallization of their work and what really remained beyond their personal satisfaction. In these reciprocal needs, the figure of the ar- chitectural photographer was consecrated as the technical — and even artistic — specialist in shaping this particular visual story.
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spelling doaj.art-c93a9f4d86fc4edd97c915348209b9d42022-12-22T04:25:48ZengDocomomo InternationalDocomomo Journal1380-32042773-16342022-01-0152401Photography & Modern Architecture in Spain, 1925–1965Iñaki Bergera !e study of architecture, and particularly of the great legacy of modern architecture, has substantially been achieved from its irrefutable documentary sources: the pho- tographs. Since the advent of photography in the mid-19th Century we are witnessing a blissful basis for its pairing with architecture. Once buildings were depicted, they could start to be studied, classified and dated. Later on, the revolutionary character that brought the modernists to the fore found in photography the opportune instrument to undertake its propaganda in mass media that valued these architectural objects as paradigmatic icons that should be emulated. At the same time, and apart from customer’s satisfaction, committed architects understood that the photographs of their buildings were the final crystallization of their work and what really remained beyond their personal satisfaction. In these reciprocal needs, the figure of the ar- chitectural photographer was consecrated as the technical — and even artistic — specialist in shaping this particular visual story. https://docomomojournal.com/index.php/journal/article/view/401
spellingShingle Iñaki Bergera
Photography & Modern Architecture in Spain, 1925–1965
Docomomo Journal
title Photography & Modern Architecture in Spain, 1925–1965
title_full Photography & Modern Architecture in Spain, 1925–1965
title_fullStr Photography & Modern Architecture in Spain, 1925–1965
title_full_unstemmed Photography & Modern Architecture in Spain, 1925–1965
title_short Photography & Modern Architecture in Spain, 1925–1965
title_sort photography modern architecture in spain 1925 1965
url https://docomomojournal.com/index.php/journal/article/view/401
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