Fotografia como um dispositivo mental de representação e perceção da Arquitetura

• Autor(a) principal: Mariana Fonseca e Sousa
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/131528
• topic: Artes; Arts

The image is the means of representation that the man, from an early age, began to employ, using different techniques and instruments to allow him to create records without the subjetcive interference of his hand. In this sense, the evolution of the photographic image as a means of registration and documentation has always been accompanied by architecture. Photography is one of the means by which architecture seeks to be represented, acting as the main form of communication for an architectural work. The importance of architectural photography transcends its technical representation, since, in a modern paradigm, its visual aspect gains greater prominence, beginning to introduce itself into architecture. Architecture, being an activity that prioritizes the image as a means of representation, is also immersed in the current comsumption of imagery. This way, architectural photography becomes one of the main means of communication for a construction, due to its evident similarity to reality, but also because it acts as a significant communication support and instrument of representation and design in the universe of architecture. We, as consumers of images, have a natural need to understand how the representation communicates and transmits its intentions. It is necessary, therefore, to understand the influence of this media coverage of photography in architecture and its various aspects, as well as the influence it exerts on the authors of photography and the work, the photographer and the architect. These two disciplines come together and bring together two distincts artists, with the aim of creating images that can document and promote architecture. The relationship between architect and photographer becomes important insofar as it is through photography that the architect's intentions are represented, also allowing for new readings and interpretations of the space provided by the photographer. However, the problem inherent in any means of communication, its origin in a partial point of view, persists. It is understood that the image is manufactured to be apprehended by the eyes, as a means of visual communication that carries a sense attributed by its creator. In this way, we realize that "all images embody a way of seeing" 2, that is, images should not be understood in isolation from their manufacturer. We then try to understand how our gaze is subject to the influence of the interpretations of those who produce photography and those who produce what photography exposes. Through photographic representation, Iwan Baan and Roland Halbe seek, in several of their photographic projects, to communicate different dimensions that assist the architectural space: form, volume, surfaces, identity, uses and the 'genius locci' of these places. The construction of a visual narrative explores not only the images as an internal part of photography, but also as a relationship between them and architecture. Through the use of unexpected perspectives, the presence of people and movement in their photographs, these authors are able to transmit the human sensory experience of a space. Therefore, these two authors are part of the case study, and together with the literary review, they become the basis for a practical case of an experimental nature of photography. This case study is constituted by the practical object where a methodology of documentary and artistic photography of architecture is tested on the different experiences and representations of the spaces of the Faculties of Engineering and Architecture of the University of Porto.