Exposures: Herzog & de Meuron and photography
DOI link for Exposures: Herzog & de Meuron and photography
Exposures: Herzog & de Meuron and photography book
It is commonplace that architecture lends itself particularly well as a photographic motif, because buildings cannot run away. If we do not, however, conceive architecture as something static but rather as an event, as something that is subject to the passage of time, something that is ephemeral, fragile and mutable, then photography is also a particularly suitable medium to capture it. During the nineteenth and twentieth centuries, the encounter between the camera and architecture repeatedly generated images that have shaped the perception of buildings more profoundly than the experience of the building itself. This includes photographic shots of buildings under construction, be it the Eiel Tower, or the Centre Pompidou; buildings in destruction, be it the collapsing Campanile in St. Mark’s Square in 1902, or the burning National University Library of Bosnia and Herzegovina in Sarajevo in 1992. And this especially includes buildings and neighbourhoods that are in danger of disappearing altogether.