One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.

The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.

A look at the wider issues of design and industrial culture throughout Europe, Scandinavia, North America, and the Far East. The book explores the way in which 20th-century designs such as the Coca-Cola bottle have affected our culture more than those considered true classics

"Twentieth-Century Pattern Design combines photographs - including many newly published images - with soundly researched text, creating an essential resource for enthusiasts and historians of modern design. The book also serves as a creative sourcebook for students and designers, inspiring new flights of fancy in pattern design."--Jacket.

"A balance of sophistication and clarity in the writing, authoritative entries, and strong cross-referencing that links archtects and structures to entries on the history and theory of the profession make this an especially useful source on a century of the world's most notable architecture. The contents feature major architects, firms, and professional issues; buildings, styles, and sites; the architecture of cities and countries; critics and historians; construction, materials, and planning topics; schools, movements, and stylistic and theoretical terms. Entries include well-selected bibliographies and illustrations."--"Reference that rocks," American Libraries, May 2005.

Revealing that nineteenth-century photography goes beyond the functional to reflect the aesthetic, intellectual, and cultural concerns of the time, this study proposes that each photographic image of architecture be studied both as a primary visual document and an object of aesthetic inquiry. This multi-faceted approach drives Architecture in Nineteenth-Century Photographs: Essays on Reading a Collection. Despite three decades of post-colonial, post-structuralist and gender-conscious criticism, the study of architectural photography continues to privilege technical virtuosity. This volume offers a thematic exploration of the material, and a socio-historical examination that allows consideration of questions that have not been addressed comprehensively before in a single publication. Themes include exoticism and "armchair tourism"; the absence of women from architectural photography; the role of photographs as commodities; vernacular architecture and the picturesque; and historic preservation, urban renewal, and nationalism. Micheline Nilsen analyzes photographs from France and England?the two countries where photography was invented?and from around the world, representing a corpus of over 10,000 photographs from the Janos Scholz Collection of Nineteenth-Century Photographs of the Snite Museum of Art at the University of Notre Dame.

Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism. Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.

Building Knowledge, Constructing Histories brings together the papers presented at the Sixth International Congress on Construction History (6ICCH, Brussels, Belgium, 9-13 July 2018). The contributions present the latest research in the field of construction history, covering themes such as: - Building actors - Building materials - The process of building - Structural theory and analysis - Building services and techniques - Socio-cultural aspects - Knowledge transfer - The discipline of Construction History The papers cover various types of buildings and structures, from ancient times to the 21st century, from all over the world. In addition, thematic papers address specific themes and highlight new directions in construction history research, fostering transnational and interdisciplinary collaboration. Building Knowledge, Constructing Histories is a must-have for academics, scientists, building conservators, architects, historians, engineers, designers, contractors and other professionals involved or interested in the field of construction history. This is volume 2 of the book set.

Jackson Pollock, Georgia O'Keeffe, Andy Warhol, Julian Schnabel, and Laurie Anderson are just some of the major American artists of the twentieth century. From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected the extreme changes in American culture and society, as well as America's position within the international art world. This exciting new look at twentieth century American art explores the relationships between American art, museums, and audiences in the century that came to be called the 'American century'. Extending beyond New York, it covers the emergence of Feminist art in Los Angeles in the 1970s; the Black art movement; the expansion of galleries and art schools; and the highly political public controversies surrounding arts funding. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, and Neo-Expressionism.

Photography, Architecture, and the Modern Italian Landscape explores the impact of photography at a pivotal moment in Italian architecture and culture, focusing on the period between 1910 and the mid-1970s. The book analyzes architectural photographs taken by Italian cultural figures who helped transform the Italian landscape into what we know today. This study charts the oscillation of Italians’ ideas about what progress signified. For example, the book demonstrates that for writers and artists familiar with ancient ideas about civilization in 1910, the Roman countryside exemplified the contradictions inherent in primitivism. On the one hand, their photographs praised the region’s primordial beauty, yet their images condemned the crudeness of local living conditions. More broadly, it traces the history of primitivism and photography in Italy to show how cultural leaders’ alarm at the nation’s pre-modern living conditions, their aspiration to modernize them, and their grasp of photography to catalyze the process helped forge the modern Italian landscape—its monuments, housing, infrastructure, and natural environments. At the same time, it explores a vibrant period in photographic history when the advent of photographic reproduction as a commercial process developed into a medium with its own visual style capable of shaping ideas about modernity. This new image-making and reproduction technology empowered Italy’s cultural leaders not simply to represent the Italian landscape through photography but to determine how it developed. Of interest to researchers and students from a range of disciplines, modern architecture, photography, and Italian studies, this book demonstrates the power of art to transform society and to reformulate our ideas of progress.