Viviendas San Ignacio / IX2 Arquitectura. Jalisco, México. Image ? Lorena Darquea
建筑攝影中表達的美與局限：五位攝影師分享他們的觀點
The Virtues and Limits of Photography in the Representation of Architecture: Five Photographers Share their Perspectives
由專筑網王雪純，吳靜雅編譯
作為一種表現建筑的方式，攝影具有一種無可爭議的品質。有了它，就有可能從世界的一個遙遠的角落向世界各地的人們展示建筑，展示從一般視圖到內部空間和建設性細節的所有內容——在某種程度上擴展訪問建筑的范圍。
但與任何其他的表現形式一樣，它并非絕對可靠。即使技術進步允許更加明確的圖像和編輯軟件來潤色甚至改變建筑空間的各個方面，但攝影本身缺乏傳達建筑的感官和觸覺方面的手段。通過靜態圖像體驗空間的紋理、聲音、感覺和氣味是不可能的——至少效果不會令人滿意。
作為Archdaily二月主題的一部分—— 建筑表達——我們與國際建筑攝影師Lorena Darquea，Montze Zamorano，ManuelSá，Laurian Ghinitoiu和FangFang Tian進行了交流，以了解他們對攝影空間表現中的優點和局限的看法，以及他們的視角。
As a way of representing architecture, photography has certain undisputed qualities. With it, it is possible to present to a project from a distant corner of the globe to people anywhere in the world, showing everything from general views to internal spaces and constructive details - extending the reach and, in a way, the access to the architecture.
But like any other form of representation, it is not infallible. Even as technological advances allow for ever more well-defined images and editing software offer tools to retouch and even alter aspects of the built space, photography by its very nature lacks the means to convey sensory and tactile aspects of architecture. It is not possible - at least not satisfactorily - to experience the textures, sounds, feelings, and scents of spaces through static images.
As part of our February monthly theme - representation in architecture - we talked to Lorena Darquea, Montze Zamorano, Manuel Sá, Laurian Ghinitoiu and FangFang Tian, all international architectural photographers, to learn their thoughts on the virtues and limits of photography in the representation of spaces. Their perspectives, after the break.
Montse Zamorano
CEPSA Service Station / Saffron Brand Consultants + Malka+Portús arquitectos. ávila, Espanha. Image ? Montse Zamorano
“建筑攝影有幾個層次的優點。例如，攝影使得那些從未能夠親自參觀建筑物的人們與建筑貼近。它還使公眾能夠根據不同攝影師的表達和意圖來理解同一棟建筑不同的敘述和視角。
'There are several levels of virtue in architectural photography. For example, photography played a major role in bringing architecture closer to people who would never have been able to visit the buildings in person. It also allows the public to understand different narratives and perspectives of the same building, based on the looks and intentions of different photographers.
Venecia Park / Héctor Fernández Elorza + Manuel Fernández Ramírez. Zaragoza, Espanha. Image ? Montse Zamorano
但是，我們不應忘記攝影只是一種媒體，因此它永遠無法取代參觀建筑的體驗。當聲音在空間內移動時，物質和紋理的感覺，玻璃上的光線和反射等是物理上的相互作用，這些是無法在照片中真正感知到的。攝影是解釋建筑的一種非常重要的方式，但我們絕不應該僅憑一張照片來判斷建筑。”
However, we should not forget that photography is just a type of media, so it could never replace the experience of visiting a building. As sound moves within a space, the feeling of materiality and texture, the light on glass and reflections, etc., are physical interactions that can not be truly perceived in a photo. Photography is a very important way to explain architecture, but we should never judge architecture based on just one photograph. '
Manuel Sá
Museu Paula Rego / Eduardo Souto de Moura. Cascais, Portugal. Image ? Manuel Sá
“從19世紀末到現在，建筑攝影仍然是向世界展示新奇事物的重要手段。那些從前可能并不為人之所知的建筑能夠踏上全世界范圍內建筑的成功之路。Peter Eisenman曾經開玩笑說如果柯布西耶沒有在20世紀初發表他的書，我們可能永遠不會知道這些位于法國寧靜的內部標志性作品是否存在。作為一種表現手法，建筑攝影的局限性始終處于張力之中。
'Architecture photography, from the late 19th century to now, has remained essential in presenting novelties to the world. Projects that would probably never be known are able to enter a circuit of worldwide architectural success. Peter Eisenman once joked that if Corbusier had not published his books at the beginning of the 20th century, we would probably never know of the existence of these iconic works scattered in the quiet interior of France. As a technique of representation, the limits of architecture photography live in constant tension.
MAC USP / Oscar Niemeyer. S?o Paulo, Brasil. Image ? Manuel Sá
特別是，從化學攝影到數碼攝影的過渡仍然為一種可能性，使照片更接近繪畫，因為不太關注記錄時刻，它往往最終與建筑師的原始視角保持一致，既通過對圖像的處理，也通過曝光特性、顏色、燈光、陰影和照片層。歸根結底，建筑攝影仍然只是攝影，由鏡頭和相機所提供的來決定，但毫無疑問，數字處理能創造一種前沿感知和一種新的解讀視角，同時也可能會偏離決定性的時刻和陷入繁復的分層信息。”
In particular, the transition from chemical to digital photography, which is still being digested as a possibility, brings the photograph closer to painting, because, less concerned with recording the moment, it often ends up aligning with the original vision of the architect, both through manipulation of the image as well as through exposure features, colors, lights, shadows, and photo layers. At the end of the day, architectural photography is still simply photography, governed by what lenses and cameras provide, but there is no doubt the digital manipulation allows new frontiers in the perception and understanding of the project while sometimes moving away from the decisive moment and plunging into a sea of layered information. '
Lorena Darquea
RSF Ranch / AE Arquitectos. . Image ? Lorena Darquea
“建筑攝影的優點之一是它可以作為連接不同建筑空間和體驗的管道，讓您了解用戶與建筑的互動，了解其背景。它是一種連接世界某個地方的建筑的媒介，允許人去居住它，研究它并完全理解它。這種表現媒介與光線之間的緊密關系是如此微妙和復雜，以至于如果正確地表現，會產生宏偉的效果。
'One of the virtues of architectural photography is that it acts as a conduit for different architectural spaces and experiences, which allows you to know the user's behavior with the project and its context. It is a medium that connects projects from one place of the world to another, allows one to live it, to study it and to understand it completely. The close relationship that this medium of representation has with light is so delicate and complex that the results are magnificent when done correctly.
Taleny School / Aro Estudio. Guadalajara, México. Image ? Lorena Darquea
具有諷刺意味的是，攝影其中一個限制是技術本身。拍攝照片很簡單快捷，因為這個原因，很多照片很容易放棄拍攝的空間——這是從前照片很少的時候沒有出現過的情況。”
Ironically, one of the limits is technology itself. It's easy and quick to take photos, lots of photos, for that very reason, it's very easy to give up and live the space to shoot - something that was not possible before because you had few photos.'
Laurian Ghinitoiu
MahaNakhon Tower / Büro Ole Scheeren. Bangkok, Tailandia. Image ? Laurian Ghinitoiu
“攝影有能力捕捉到具體的建筑狀態。除了專注于建筑本身，它的氛圍，光線，規模和物質性，我正在嘗試通過我的照片將建筑設置在時間和背景中。建筑師將空間設計成一個編排好的舞蹈，其中光線運動主要是預測的，人們的行為是設計的一部分，或者以特定的方式改變和指導 ——你可以從可視化/渲染中輕松看到。我意外地被吸引，我一直在尋找獨特和隨機的情境，尋找“決定性時刻”的自發同步和在建筑環境中圍繞建筑的日常生活。在我看來，非正式性捕捉到的環境與建筑本身一樣有價值，攝影是實現這一目標的工具之一。
'Photography has the power to capture a very specific state of architecture. Besides focusing on the architecture itself, it’s atmosphere, light, scale, and materiality, I’m trying trough my documentation to put architecture in time and context. Architects design spaces as a choreography, where the light movement is mostly predicted and people’s behavior it’s either part of the design or changed and directed in a specific way - and you can easily see from the pre-visualisation/renders. I’m very attracted by the unexpected, I always search for unique and random situations, a spontaneous synchronization of “decisive moments”, the daily life around designed architecture within the built environment. In my opinion, capturing the context with its informality is as valuable as the architecture itself, and photography is one of the tools to achieve that.
Museo Internacional del Barroco / Toyo Ito & Associates. Puebla, México . Image ? Laurian Ghinitoiu
雖然我們能夠通過作品來捕捉運動或時間，但攝影有它的局限性。我經常覺得攝影過于僵化，無法表現空間，所以我嘗試了拍攝視頻。與Arata Mori（電影制作人和視覺藝術家）一起，我們創建了另一個擴展視野的方法，這種視野從未被人們所感知。
Although we’re able to capture movement or time through our work, photography has its limitation. I often feel that photography is too rigid to represent space which pushed me to experiment with video. Together with Arata Mori (filmmaker & visual artist), we founded anothertwo (another:) as an approach to expand the field of view, which had never been perceived.'
FangFang Tian
Jishou Art Museum / Atelier FCJZ. Image ? FangFang Tian
“我認為這次討論的建筑攝影是一種相對狹窄的攝影，這種建筑攝影通常由建筑師提供。它基于建筑設計本身，它是一種客觀表達，也是一種再創造。建筑攝影的優勢是顯而易見的，特別是在這個信息時代。這是一個重要的交流媒介。當一座建筑物建成后，設計師通過攝影來提煉想要表達的焦點，建筑師的設計理念可以轉化為一種易于閱讀的圖像語言，然后通過出版物，網站和各種社交媒體廣泛而迅速地發布。
'I think the architectural photography discussed this time is a relatively narrow architectural photography, which is the kind of architectural photography usually served by architects. It is based on the architectural design itself, it’s an objective expression also a re-creation. The advantages of architectural photography are obvious, especially in this era of information. Which is an important medium of communication. When a building is built, through photography, the focus that the designer wants to express can be refined, and the architect's design ideas can be transformed into an easy-to-read image language, which is then widely and rapidly published through publications, websites and various social media.
Taizhou Art Museum / Atelier Deshaus. Image ? FangFang Tian
建筑攝影的局限在于攝影本身的欺騙。在拍攝的前期，不同的構圖和鏡頭選擇可以帶來不同的空間感受。在攝影的后期，通過修飾軟件可以掩蓋許多瑕疵，因此照片是可以依賴的。但通過照片不能完全了解建筑物。其次，攝影的局限在于它不能完全取代空間的感覺、材料的觸感、，光線的強度、聲音的變化、空間的味道......
如此多的獎項評審團堅持要去項目現場。這個很重要。作為一名建筑攝影師，我們應積極探索建筑攝影的界限，揚長避短，并利用特殊的攝影媒介為行業服務，積極推動建筑文化的傳播與交流。
The limit of architectural photography lies in the deception of photography itself. In the early stage of shooting, different composition and lens selection can bring different spatial feelings. In the later stage of photography, through the retouching software, you can cover up many flaws, so you can rely on photos. Knowing a building is especially questionable. Secondly, the limitation of photography is that it can not completely replace the feeling of the space, the touch of the material, the intensity of the light, the change of the sound, the taste of the space...
So many awards juries insist on going to the project site. This is important. As an architectural photographer, we should actively explore the boundaries of architectural photography, foster strengths and avoid weaknesses, and use the special medium of photography to serve the industry and actively promote the dissemination and exchange of architectural culture.'
Tate Modern Switch House / Herzog & de Meuron. Londres, Reino Unido. Image ? Laurian Ghinitoiu
The Sales Center in Wenzhou TOD New Town / NAN Architects. Wenzhou, China. Image ? FangFang Tian
Sesc Pompeia / Lina Bo Bardi. S?o Paulo, Brasil.. Image ? Manuel Sá
Faculdade de Biologia Celular e Genética / Héctor Fernández Elorza. Madri, Espanha. Image ? Montse Zamorano
