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Abstract(s)
A Arquitectura Revisitada. Fotografia da Obra de Arquitecto versus da Obra Apropriada pretende explorar a fotografia de arquitectura e o modo como esta apropria e permite apropriar o espaço arquitectónico.
Partindo desta ideia, procuramos entender a relação entre a fotografia e arquitectura e de que modo se complementam, sabendo que a fotografia enquanto imagem, tem da capacidade de alterar a percepção que se tem do mundo e, consequentemente, da arquitectura enquanto obra de autor e obra construída.
Apresentamos nesta dissertação uma resenha histórica sobre a fotografia, na qual descrevemos a origem desta arte e como foi ganhando um lugar na sociedade, sobretudo na representação e divulgação da arquitectura desde os finais do século XIX. Deste modo delineamos o período temporal de estudo, desde o século XIX (mais concretamente o ano de 1839, ano da invenção da fotografia), até à actualidade.
Tendo em consideração a importância da arquitectura na fotografia, esta possibilitou a criação de um inventário do género fotográfico da arquitectura, dividindo-o pelos seus períodos mais marcantes Deste modo e relacionando as duas artes, procedemos a uma releitura sobre a influência que a fotografia e estes vários períodos tiveram sobre a arquitectura ao longo da sua história.
Assim, procurou-se esclarecer e definir o percurso da fotografia enquanto obra de arte, referenciando o seu longo processo de afirmação enquanto tal, analisando a sua vertente mais esteticizada e a respectiva influência sobre a fotografia de arquitectura. Para isso, fazemos um paralelo entre as fotografias de retrato e de arquitectura, partindo da ideia de uma procura de uma fotogenia perfeita da arquitectura, que nem sempre traduz a realidade. Por outro lado, entendemos que a fotografia de arquitectura pode ser vista como um meio, em vez de um processo final e, de certa forma falacioso. Contrapomos, assim, dois tipos de fotografia: a ilustrativa que serve a obra construída na procura da perfeição, e a fotografia como uma revelação de algo oculto, como uma epifania que ao mesmo tempo permite novas releituras da obra construída.
A Arquitectura Revisitada. Fotografia da Obra de Arquitecto versus da Obra Apropriada intend to explore the architectural photography and the way it appropriates and enables architectural space appropriation. Based on this idea, we look forward to understanding the relationship between this two arts and the way that they complement each other, knowing that photography, as image, enjoys of its capacity of changing the perception that we have of the world and, consequently, of architecture as finished structure and as author’s point of view. In this dissertation we present a historic review about photography, in which we display how this art appeared and how is increasing as a place in society, manly in architectural representation and dissemination, since the late XIX century. Therefore, we define the temporal period of this study, since the XIX century (more precisely since the year 1839, photography invention year), until nowadays. Having in mind the importance of architecture in photography, this allowed the development of an inventory of the photographic genre of architecture, divided by the most important periods of that genre. After that, and relating both arts, we did a reinterpretation about the influence that photography and those several periods cause in architecture along its history. Thus, and considering the study realized, we search for understanding the path of photography as work of art, referring this long affirmation process, analyzing its aestheticized strand and the respective influence in architectural photography. For that, we drawn up to a parallel between the portrait photographs and architectural photographs, based on the idea of a demand for a perfect photogenie, that not always translate the reality. On the other hand, we understand that architectural photography can be seen as a resource, instead of a final and, in a certain way, fallacious process. Therefore, we oppose two types of photography: the illustrative that only seeks for the image, as a result of the finish structure that ascending to perfection, and the other that results as a revelation of something that its hidden, which means, an epiphany that at the same time allows news reinterpretations of the finished structure.
A Arquitectura Revisitada. Fotografia da Obra de Arquitecto versus da Obra Apropriada intend to explore the architectural photography and the way it appropriates and enables architectural space appropriation. Based on this idea, we look forward to understanding the relationship between this two arts and the way that they complement each other, knowing that photography, as image, enjoys of its capacity of changing the perception that we have of the world and, consequently, of architecture as finished structure and as author’s point of view. In this dissertation we present a historic review about photography, in which we display how this art appeared and how is increasing as a place in society, manly in architectural representation and dissemination, since the late XIX century. Therefore, we define the temporal period of this study, since the XIX century (more precisely since the year 1839, photography invention year), until nowadays. Having in mind the importance of architecture in photography, this allowed the development of an inventory of the photographic genre of architecture, divided by the most important periods of that genre. After that, and relating both arts, we did a reinterpretation about the influence that photography and those several periods cause in architecture along its history. Thus, and considering the study realized, we search for understanding the path of photography as work of art, referring this long affirmation process, analyzing its aestheticized strand and the respective influence in architectural photography. For that, we drawn up to a parallel between the portrait photographs and architectural photographs, based on the idea of a demand for a perfect photogenie, that not always translate the reality. On the other hand, we understand that architectural photography can be seen as a resource, instead of a final and, in a certain way, fallacious process. Therefore, we oppose two types of photography: the illustrative that only seeks for the image, as a result of the finish structure that ascending to perfection, and the other that results as a revelation of something that its hidden, which means, an epiphany that at the same time allows news reinterpretations of the finished structure.
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Keywords
Arquitectura Fotogenia Fotografia Imagem Mediatização