Η Αρχιτεκτονική Φωτογραφία σήμερα: οι περιπτώσεις των Michael Wesely & Εριέτας Αττάλη

Ƈ ƠưƶƨƳƤƩƳƮƬƨƩƝ ƵƸƳƮƢưƠƵƞƠ ƲƝƫƤưƠ Ʈƨ ƯƤưƨƯƳƽƲƤƨƱ ƳƸƬ 0LFKDHO :HVHO\ ƅưƨƜƳƠƱ ƁƳƳƛƪƦ

ƊƴơƤưƬƝƳƦƱ ƃƨƽưƢƮƱ ƤƯƨơƪƜƯƸƬ ƩƠƧƦƢƦƳƝƱ

ƐƠƬƠƢƨƽƳƦƱ ƐƛƢƩƠƪƮƱ

Ƈ ƠưƶƨƳƤƩƳƮƬƨƩƝ ƵƸƳƮƢưƠƵƞƠ ƲƝƫƤưƠ Ʈƨ ƯƤưƨƯƳƽƲƤƨƱ ƳƸƬ 0LFKDHO :HVHO\ ƅưƨƜƳƠƱ ƁƳƳƛƪƦ

ƊƴơƤưƬƝƳƦƱ ƃƨƽưƢƮƱ ƤƯƨơƪƜƯƸƬ ƩƠƧƦƢƦƳƝƱ

ƐƠƬƠƢƨƽƳƦƱ ƐƛƢƩƠƪƮƱ

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Contemporary architectural photography: The cases of M ichael W esely & Erieta Attali Architectural photography has overcome its first definition as a simple documentary tool, as the photographer is no longer considered as a passive handler of the photographic medium, but he develops a strong statement through his photographs. Therefore, there has been created a need for a new definition of the architectural photography, based on contemporary terms. I study architectural photography, employing an under formulation context that includes the two natures that characterize it: the scientific and the artistic nature. Consequently, I consider architectural photography as a documentary tool that is originated from the landscape photography, as well as a means of artistic expression that is read with the principles of conceptual art. The aim of my research is to study the way in which the architectural photography (re)presents the architectural project, through a process of â&#x20AC;&#x2DC;reconstructingâ&#x20AC;&#x2122; the architectural image within the photographical image. In the present study we examine, apart from the two areas in which contemporary architectural photography is contextualized, the photographic approaches of Michael Wesely and Erieta Attali. Michael Wesely has invented and refine techniques in order to take extremely long camera exposures that capture the building process of an architectural project.

He is willing to emphasize in the creation, perceiving the architectural project as an element that is defined by time, through a series of activities and procedures, so that it will turn into a potential factor within the urban structure. Erieta Attali presents a dialectical relationship between the architectural project and the landscape, by managing the fluctuations of the light and overstating the boundary between light and shadow, along with the use of transparency and reflection. As a result she creates pictures that contain what may be invisible for the eye and are situated in the border between reality and fiction. Architectural photography through the interpretation process may serve as a stimulant for the critical mind and may provide us with insights into a buildingâ&#x20AC;&#x2122;s meaning. In the end, according to Kenneth Frampton, the architect and the photographer share a similar aim in that they both seek that elusive something, which is capable of providing the subject with a momentary mode of being.

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[Bright, Deborah [1990] Mother of Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography , Cambridge, ,+7. MIT Press] [Bright, Susan [2006] Art Photography Now ,London, ,+7. Thames & Hudson] [Sontag, Susan [1973] <4"$ A?)%1"#A$#5 ,µ(/1. .1$+6'8 @$2$"&5440* ,I;'4$, ,+7. 2,1"07"+0A J&(0%15/08] [Warner Marien, Mary [1997] Photography and its Critics, A Cultural History, 1839-1900, Cambridge-N.York, ,+7. Cambridge University Press]

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Bright, Susan [2006] Art Photography Now, London, +16. Thames & Hudson, ..49 10

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Bright, Susan [2006] Art Photography Now, London, +17. Thames & Hudson, ..49 11

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Sontag, Susan [1973] /0,. -&(+%,$-.$1, µ$"'. !'(13:* E(,(-#<00%4, A6:0(, +19. ,+'-%9-1%7 F#$%&'<"%*, ..21 17

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Pallasmaa, Juhani [2005] The Eyes of the Skin , London, $8=. John Wiley & Sons Ltd 1

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42 H%.<.+4D, H3:115 [2007], !"#$%&'()*$+,- '('.)*,/"$-: 0$' /1.,*)/) µ" *) 23*45#624 7#$8*' 9**6&), C!F,I, &$D@4) 10, (.93 43 I&.?0&4), J"0++2) [2007], 7#$8*' 9**6&): :4%;4 µ" 9#<$*"+*4(,µ'*', C!F,I, &$D@4) 10, (.97

Assonitis, Alessio, [2010], ‘Consecrated Spaces: Sacred Journeys’, (&4: Attali, Erieta ($#"µ-1$".) [2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $98. The Graduate School of Architecture, Planning and Preservation, Columbia University, (.47 44

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/3&4 2 -++5". &53 ‘672158’ 9." &2) "$%:&2&.), #53 #%5(;<;53+ 5" $"9:+$) &2) /&&012 (3+0;53+ µ$ &5+ =.%.9&2%"(µ: &53 ‘.+5<9$"53’. >". #%5(-??"(2 &53 &5#<53, &53 +-53 &5#<53 #53 (3µ#$%"1.µ@0+$" µ-(. &53 9." &5 .%="&$9&5+"9: -%?5, #53 #.%.µ-+$" (3+$#4) .#: &2+ <;". &2+ ;".;"9.(<. &2) A*&5?%0A"(2), :#*) #$%"?%07.µ$ #.%.#0+*, µ-=%" &2+ A*&5?%.A"94 $"9:+.. B. &5#<. #53 #.%53("0C5+&." (.+ +. .+4953+ (&2+ <;". #$%"5=4, 4 .+&<(&%5A. &. &5#<. #53 D$#$%+0+$ &. ?$*?%.A"90 &53) (8+5%., 2 .#5(&.("5#5<2(2 .#: &5 .+E%'#"+5 9." 2 ;3(951<. *) #%5) &5+ =%5+"9: #%5(;"5%"(µ: &2) $"9:+.), #%5(;<;53+ µ". µ$&.A3("94 ;"0(&.(2 (&") A*&5?%.A<$) &2). F11*(&$ 2 <;". 2 A*&5?%0A5) -=$" .+.A$%E$< (&2 (.?4+2 #53 .#: µ"9%4 .(958(.+ ‘5" $"9:+$) &*+ #1.+2&"9'+ &5#<*+, .3&: &5 µ$<?µ. ("*#4), (9"0) 9." $&$%:A*&2) 10µ72)’. ,"9:+$), #53 E3µ<C53+ (&5+ G"0++2 H&.E0&5 &2+ #.%.&4%2(2 &53 Claude Levi Strauss :&" ‘5 9:(µ5) 0%="($ =*%<) &5 .+E%'#"+5 $<;5) 9." E. &$1$"'($" =*%<) .3&:’. 45 ! =%:+5) (&") A*&5?%.A<$) &2) .95153E$< µ". ‘µ$&.- .%=."515?"94’ 0#572 &53 9:(µ53, µ$ &") $"9:+$) &2) +. µ2+ #%5;<;53+ -+. #.%$1E:+, -+. #.%:+ 4 -+. µ-115+, µ. µ5"0C53+ +. $<+." µ5+<µ*) $9(3?=%5+"(µ-+$). 46 >5"0C53+ +. $<+." ;".%9') ($ µ".

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45 H&.E0&5), G"0++2) [2007], !"#$%& '%%()*: +,-., µ/ '"0#%/1%,23µ&%&, J!>,H, &$8=5) 10, (.98

B%.?.+58, BC<113 [2010], ‘Botanizing Architecture’, (&5: Attali, Erieta ($#"µ-1$".) [2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $9;. The Graduate School of Architecture, Planning and Preservation, Columbia University, (.33 46

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313412%'+$&.": 2 .%5"&$4&3+"46 (75+0 ‘$#"#1-$"’ 6 ‘&%$µ38-99$"’ (’-+. &$5+2&: 4$+: #37 .+.#31$; &37) 4.&0µ.7%37) 37%.+3<) #37 #$%"(&3"5;=3+&." .#: >".(&2µ:#13".. 47 ? >".80+$". 4." 3" .+.41'µ$+$) $#"80+$"$) #37 #.%37("0=37+ +-$) 5*%"4-) (7+@64$), (75+0 #.%37("0=3+&.) >". &37 .%5"&$4&3+"43< -%937 &3 #$%"A0113+ &3#;3, A.(;=3+&." $B;(37 (&2 5%6(2 &37 8*&:), µ$ &37) #.+3%.µ"43<) 8.43<) +. (711.µA0+37+ 4." +. .#3&7#'+37+ -+. µ$9013 $<%3) &3+"4'+ >".83%'+. ? /&&012 #.%37("0=$" (5$>:+ .#341$"(&"40 .(#%:µ.7%$) 8*&39%.8;$), 4.@') &2) $#"&%-#37+ +. $4µ$&.11$7&$; (&3 µ-9"(&3 &") >".A.@µ;($") &37) 8*&:) 4." &37 (43&.>"3<. C#*) #.%.&2%$; 3 D"0++2) E&.@0&3), ‘2 /&&012 5%2("µ3#3"$; &3 8*) (.+ #%:(@$&3 .%5"&$4&3+"4: (&3"5$;3, #37 =*+&.+$<$" &3 µ#$&:+ 4." >;+$" µ3%86 4." 786 (&3 97.1;. E&3 #"3 .4%.;3 4." (795%:+*) >%.µ.&"4: #.%0>$"9µ., &2+ ">"*&"46 4.&3"4;. &2) 3µ0>.) DECA Architecture (&2+ /+&;#.%3, &3 4&;%"3 µ3"0=$" 4.&.(4$7.(µ-+3 $B 313416%37 .#: 8*)’. 48 ($"4:+. 4.09) /7&6 2 5%6(2 &37 -+&3+37 43+&%0(& 4." &*+ >".47µ0+($*+ &*+ #3"3&6&*+ &37 8*&:), >2µ"37%93<+ ><3 #31< (2µ.+&"40 (&3"5$;. (&") 8*&39%.8;$) &2) ,%"-&.) /&&012: &3 :%"3 4." &2+ .#&"4:&2&.. ! Roland Barthes $;5$ 40#3&$ #.%.&2%6($" #*) 2 (5-(2 µ$&.B< µ".) 4.&0(&.(2) ."(@2(".(µ3< (&. %3<5. $;+." #"3 -+&3+2 (&. :%". :#37 &3 -+>7µ. (7+.+&0 &3 >-%µ., :#37 &3 90+&" &$1$"'+$" 4." &3 µ#%0&(3 B$4"+0$" 6 $4$; #37 -+. #371:A$% &$1$"'+$" 4." .%5;=$" 3 1."µ:). !µ3;*), 2 >371$"0 &2) ,%"-&.) /&&012 $+&$;+$" &. :%". µ$&.B< &37 &3#;37 4." &2) .%5"&$4&3+"46), 5*%;) +. -5$" &2+ #%:@$(2 +. &. $+'($". /+&; +. $(&"0=$" ($ #%34.@3%"(µ-+. (&3"5$;., :#*) 2 #:%&.

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F"1"##;>2), G2µ6&%2) [2010], ‘In Extremis’ , (&3: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $4>.

The Graduate School of Architecture, Planning and Preservation, Columbia University, (.89 47

E&.@0&3), D"0++2) [2007], !"#$%& '%%()*: +,-., µ/ '"0#%/1%,23µ&%&, G!H,E, &$<53) 10, (.98 48

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49 Plaut, Jeannette, [2010], ‘The Thinking Eye’, (&4: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $?=.

The Graduate School of Architecture, Planning and Preservation, Columbia University, (.113

D%.3.+45, D87116 [2010], ‘Botanizing Architecture’, (&4: Attali, Erieta ($#"µ-1$".) [2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $?=. The Graduate School of Architecture, Planning and Preservation, Columbia University, (.32 50

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4.11) /3%.4. µ$&.5$4%"(2 &67 8*&9) 3." &67 (36&.:"6; $4+." #67 :2µ"67%<$4 (&") $"39+$) &2) /&&012, &67) $#6+6µ.=9µ$+67) .#9 &6+ Kenneth Frampton, ‘3.1$":6(36#"36;) 5'%67)’ 6" 6#646" (&2+ #%.<µ.&"39&2&. :$+ 7#0%567+. >$ &6+ &%9#6 .7&9 2 /&&012 7#$%?.4+$" &6+ .%5"&$3&6+"30 (5$:".(µ-+6 5'%6 3." $#$+:;$" ($ +-6-:2µ"6;%<2&67) 5'%67) #67 ?%4(367+ &2 (;(&.(@ &67) 30#67 .+0µ$(. (&2+ .%5"&$3&6+"3@ 3." &6 &6#46, (&6 9%"6, 3." .+.:73+;6+&." µ9+6 50%2 (&6 8*). A $#0+.12B2 &67 &6#467 µ-(. (&2+ .+&.+031.(2, .+.:$"3+;$" &. .%5"&$3&6+"30 (&6"5$4. 5*%4) +. 5%$".=$&." &2+ 616312%*&"3@ #.%67(4. &67 .%5"&$3&6+"36; -%<67, µ$ .#6&-1$(µ. &$1"30 2 .%5"&$3&6+"3@ +. $#"(&%-8$" µ-(. .#9 µ". .#6(#.(µ.&"3@ .82<2µ.&"39&2&.. A /&&012, (;µ8*+. µ$ &2+ .%5"&-3&6+. Jeannete Plaut, ‘8.4+$&." +. $#"3.1$4&.", 3." &2+ 4:". (&"<µ@ +. #%63.1$4 .7&-) &") .82<@($"). A 8."+6µ$+616<"3@ :671$"0 &2) C-&$" (7<5%9+*) µ". (7(&61@ 3." µ". :".(&61@ &67 5'%67, µ-(. .#9 &") 7#$%C-($") 3." &2 (7+$5@ .11.<@ &2) µ6%8@) 3." &67 ?0C67)’.51 >-(. .#9 µ". $#$D$%<.(4. ‘.3&4+*+ E’ &2) .%5"&$3&6+"3@), 2 /&&012 :".&-µ+$" &2+ µ0=. 3." $#"&%-#$" (&2+ $(*&$%"3@ :6µ@, (&2+ $7C%.7(&9&2&. +. .+.:7C$4. /7&@ 2 .+&412B2 µ$%"3-) 86%-) .D"6#6"$4&." µ$ &6 +. µ$"'+$&." 2 .%5"&$3&6+"3@ ($ µ4. µ91") 1*%4:. (&6 ?0C6) $+9) &6#467, µ$ .7&9+ &6+ &%9#6 2 (7+@C$". &2) /+.<-++2(2) +. $#"&%-#$" (&6 &6#46 +. 1$"&67%<$4 *) µ.3%"+9 89+&6 .+&"(&%-8$&.". 52 ($"39+. 4.12) !" 8*&6<%.84$) .+.:$"3+;67+ &2+ .1121$#4:%.(2 &67 &6#467 µ$ &6 .%5"&$3&6+"39 -%<6 µ$ &-&6"6 &%9#6, #67 µ-(. .#9 &") +-$) (5-($") #67

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Plaut, Jeannette, [2010], ‘The Thinking Eye’, (&6: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $3:.

The Graduate School of Architecture, Planning and Preservation, Columbia University, (.113 51

52 F"1"##4:2), G2µ@&%2) [2010], ‘In Extremis’ , (&6: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $3:.

The Graduate School of Architecture, Planning and Preservation, Columbia University, (.89

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3.&.4$"3+56+&.", .+678$" -+. #$476 $%µ2+$7.) &2) 9-(2) &6: 3&"(µ-+6: -%86:, µ-(. (&6 ;:("3< 3." &$=+2&< #$%">0116+. ? .#6µ03%:+(2 .:&@) &2) (=-(2) .#< &2+ (:µ>.&"3@ .#$"3<+"(2 &2) .%="&$3&6+"3@) 3." &6: &6#76:, #%63.1$7 &6+ 9$.&@ +. $+&6#7($" µ-(. (&2+ $"3<+. &. 4".;6%$&"30 $#7#$4. $%µ2+$7.) &2), #6: #.%6:("0A6:+ +-. (=$(".30 #1.7(". &2) ;5(2) 3." &2) .+&.#<3%"(2) &6: .+9%'#6: ($ .:&@+. ,7+." "4".7&$%.

(2µ.+&"3< +. &6+7(6:µ$ &2+ "3.+<&2&. &2) /&&012 +. $;.%µ<A$" .:&@ &2+ .µ;"(>@&2(2 &*+ #.8"*µ-+*+ (=-($*+ µ$ &6 +. #%6&$7+$" +-6:) &%6#6:) 9$'%2(2) &2) .%="&$3&6+"3@) 3." µ-(. (&6 (58=%6+6 .(&"3< &6#76. ! &61µ2%<) .#631$"(µ<) &*+ &$=+2&'+ 3.&.(3$:'+ .#< &6 &6#76 $7+." µ". .3<µ2 .#<4$"B2 &2) 9-12(2) &2) /&&012 +. :#$%>$7 &2+ .%="&$3&6+"3@, #6: 4$+ $7+." #1-6+ -+. :#6=%$*&"3< (:(&.&"3< &2) .#$"3<+"(2) $+<) .%="&$3&6+"365 &6#76:. C$ &-&6"$) .#<D$"), 2 .%="&$3&6+"3@ $7+." #0+&. #.%65(. $#$"4@ .:&-) 6" ;."+6µ$+"30 ‘.3.&6732&$)’ $"3<+$) &2) ;5(2), .#$:9$7+6+&." 0µ$(. (&") .%="&$3&6+"3-) "4"<&2&$): &2+ µ+2µ$".3<&2&., &2+ .;."%$&"3<&2&., &2 %:9µ"3@ $#.+012D2, @ &2+ 6µ6"<µ6%;2 :;@. E$ &2 >6@9$". µ".) .:(&2%@) ($"%0) :#."+"8µ'+, 2 .%="&$3&6+"3@, µ$ .:&<+ &6+ &%<#6, $#"(&%-;$" *) µ". µ$8012 µ$&.;6%0.53 /:&< #6: 3.&.;-%+$" 2 /&&012 $7+." +. B$;58$" .#< &2 42µ"6:87. µ".) $"3<+.) µ$ (&6"=$7. 3.&.4@1*(2), <#6: &6 +<2µ. 47+$&." 0µ$(. 3." (=$4<+ µ6+6(@µ.+&.. !" ;*&68%.;7$) &2), µ-(. .#< µ". 4".4"3.(7. #.%.µ<%;*(2) 3." .+.(5+9$(2), 42µ"6:%865+ 4".;6%$&"30 $#7#$4. $%µ2+$7.) &2) $"3<+.). ? .#6µ<+*(2 .%="&$3&6+"3'+ (&6"=$7*+ 3." 2 4".1$3&"3@ &6:) (=-(2 µ$ &6 &6#76, 8$++65+ .;282µ.&"3-) (&"8µ-) #6: >%7(36+&." ($ 4".;6%$&"30 (2µ$7. µ-(. (&2+ $"3<+.. F) .#6&-1$(µ. &6 >1-µµ. &6: 9$.&@ #%-#$" +. #$%"2829$7 (&2+ $"3<+. 3." +. =&7($" -+.

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53 G"1"##742), H2µ@&%2) [2010], ‘In Extremis’ , (&6: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $34.

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Plaut, Jeannette, [2010], ‘The Thinking Eye’, (&6: Attali, Erieta ($#"µ-1$".)

[2010], Erieta Attali , In Extremis: Landscape Into Architecture, 6.#, (.113 55

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58 Pallasmaa, Juhani [2010] ‘Landscape Of the Mind: The Inner Space of the World’, (&5: Attali, Erieta ($#"µ-1$".) [2010], Erieta Attali , In Extremis: Landscape Into Architecture,New York, $:4. The Graduate School of Architecture, Planning and Preservation, Columbia University, (.11

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W EBSITES http://www.antilipseis.gr http://www.erietaattali.com http://www.photographyinfo.gr http://www.re-public.gr http://www.wesely.org 3BC>4DC E'%:F?"GA :=<A,2:2 µ7 ,% )F,%&'.)% Michael Wesely

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