Abstract

Photographic Architecture and the Spread of German Modernism is a “picture anthropology” of modern architecture, showing how photography shaped its development, its reception, and its history in the 20th c. At first, architects used photography to promote their practices, even as they doubted its value and efficacy as a means of representation. Unlike other representations, photographs were both too real, and not real enough. Furthermore, the photographic image acted on its subject like an alchemical agent. Photography altered the material that it represented, at the same time shepherding architecture from elite social representation in the nineteenth century to potential mass communicator in the twentieth. In architectural markets, technological development and public self-presentation were at least equally important, and both were affected by photography and the mass distribution of cultural information. The collateral effects of market competition in architecture in the age of printed advertising, however, produced resistance in the architectural profession, as it insisted on the inadequacy of the new medium to adequately represent built things. The book focuses on two interconnected subjects subsumed in the term, “photographic architecture”: on the one hand, architectural photography and its circulation; on the other, the impact of photography on architectural design. In this particular strain of modern architecture, the visible appearance of buildings and the modalities of photographic images overlapped in consequential ways. This book analyzes the formation and impact of such ideas and the discourses that accompanied them.