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161894153.Pdf Trillo, Derek (2017)‘The flow of life’: photographing architecture as populated spaces. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: http://e-space.mmu.ac.uk/621298/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk ‘The Flow of Life’: Photographing Architecture as Populated Spaces Derek Trillo A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy PAHC Manchester School of Art December 2017 List of Contents iii Abstract iv Acknowledgements v List of Illustrations x Preface 1 Introduction 15 Chapter One: The Craven Image: A Bifurcation of Representations 43 Chapter Two: Drawing with light 65 Chapter Three: Representing temporality and movement in photography 97 Chapter Four: Exploratory practice 126 Chapter Five: Practice-driven critiques 152 Conclusion 163 Bibliography 176 Appendices ii Abstract Many critics have highlighted the gulf between the experience of architecture and its representations via photography, suggesting a more humanistic and temporal portrayal. My research questions whether, in pursuing alternatives to conventional, commercial architectural photography, a more dynamic view can be revealed, one that is closer to the experience of encountering the built environment: episodic, temporal and in flux. I believe temporality and motion are indicative of the life of a building: both habitually omitted from traditional commercial representations. Practical and conceptual challenges directed me to techniques depicting ‘still’ and ‘moving’, that intersect with several of photography’s discourses: the evidential value of images constructed over time, the perception of movement in still photography and negotiations between description and creativity. My methodology is an empirical investigation drawing on principles of the scientific analysis of motion (chronophotography): interpretive, yet with evidential rigour. This allies to Henri Bergson’s concept of duration, Futurism, Cubism and cinematic animation, whence I take the portrayal of motion and multi-point perspectives in still images. By identifying examples from painting and illustration, I reveal a temporal approach, building up images over time, utilising observation, interpretation, editing, iteration and presentation. My subject matter is limited to what is found and what appears during each session; from this bricolage of serendipitous events selections are made throughout the practice’s reiterative process. I argue the case for appropriating the artist’s licence to interpret, producing an abbreviation of a longer period while remaining informative. I challenge Kracauer’s contention that the true ability to depict the city is exclusive to cinema, by using a static medium to represent ever-changing landscapes populated by transient characters in ephemeral scenes. My practice bridges the gap between architectural photography and the ‘photography of architecture’. I identify two anomalies that inform the practice: firstly the difference between mainstream architectural photography during the inter-war period and concurrent, vibrant, animated representations of the city in film and painting. Secondly, my case studies illustrate differences between architectural photography and visual representations in other media (CAD-generated images, architectural models and sketches); the animated nature of the latter negating the notion of commercially-driven work being necessarily objectified, pristine and sterile. iii Acknowledgements Many people have helped me to produce this thesis, for which this acknowledgement seems an inadequate reward. Above all I want to thank my wife, Lynn, without whose support none of this would have happened…and whose patience I have severely tested. Many thanks go to my supervisors for support and advice: Director of studies Eamonn Canniffe, Jacqueline Butler, Jim Aulich, and past supervisors Ray Lucas and David Brittain. Philip Sykas and Rosemary Shirley gave invaluable advice and encouragement at my annual reviews, as did Eamonn (before being DOS) and Steven Gartside at the transfer stage from MPhil to PhD. I am indebted to Patrick Wright, who helped to turn my dyslexia-induced phobia of writing into far less of a problem than previously (it is still a work in progress). Rose Nelson (MMU Learner Development Service) has provided sterling support for my disability issues: above and beyond anything I could have expected of her role. Poet Jen Hadfield and journalist/novelist William Shaw gave outstanding encouragement to a non-writer at a week-long residential writing workshop in 2013. I drew much encouragement and many inspirational ideas from papers and conversations at conferences: with particular thanks to Valeria Carullo (as host) and Andrew Higgott at the only dedicated conference on this topic in the U.K. during my five years of research (Building with Light: The Legacy of Robert Elwall, RIBA, London, 2014). Fellow delegates at three of The International Conferences on the Image (Berlin 2014, Liverpool 2016 and Venice 2017) provided encouragement, feedback and advice on my paper and exhibition. Mark Durden provided useful comments after my presentation at the Open College of the Arts’ conference (Photography Matters) in 2016, as did fellow presenters. Attendees at my presentation for the RPS Contemporary group’s AGM, 2017 provided valuable insights. Nick Dunn, Jim Backhouse and Scott Miller were instrumental in developing my understanding of architectural models and model- making, particularly through their exhibitions and symposium. Paul S Holmes provided my induction session to MMU, along with insights into his and Zoe Kourtzi’s research into stroke patients’ recovery. Thanks also go to those who provided unpublished information: Colin Thomas (use of an image from his ‘Shropshire days’ series), Olivo Barbieri (image of Piazza del Plebiscito, Napoli). Eric Houlder (archaeological methods), Susan Meireis (conference paper transcript), Vid Ingelevics (record photography in museums and galleries), Ahmad Safri and Ahmad Hakim (workshop images). Many of my fellow researchers at MMU have proved to be sources of insights, sounding boards and healthy competition (as a source of motivation), becoming excellent friends. In alphabetical order they are Sue Blatherwick, Clinton Cahill, Sara Davies, Jan Fyfe, Ralph Mills, Liz Mitchell, Lewis Sykes and Simon Woolham. Friends Richard Britton, Brian Dennett and the late Ian Southon gave advice and encouragement based on their own diverse experiences of Doctoral research. From my first investigations into doctoral research I thank my former colleagues at The University of Manchester: Kostas Arvanitis, Eleanor Conlin Casella, Sam Alberti and Hannah Cobb: None of whom warned me off. Although sadly I never met him, I must also acknowledge the legacy of Robert Elwall, without whom much of the academic field of architectural photography (and R.I.B.A.’s archive) would not exist. Dedicated to the memory of my friend Ray Townend (1934-2016): The best father-in-law I could have hoped for. iv List of illustrations Figures illustrating thesis’ practice identified by (P) Chapter 1 Fig. 1: D Trillo, Two Perspectives, Fred Perry House, Stockport (2013) Fig. 2: D Trillo Park Hill Flats, Two Perspectives, Sheffield (2015) Fig. 3: D Trillo, Brooks Building, MMU, Two perspectives (2015) Fig. 4: D Trillo, Benzie Building, MMU, Three views (2013-2016) Fig. 5: Landesbildstelle [Photo], Weissenhof Estate, Stuttgart, [Ludwig Mies van der Rohe] (1927) Fig. 6: Abram Games, Your Britain: Fight for it [two examples] (1943 top, 1942 bottom) Fig. 7: John Szarkowski, [overview] Schlesinger Meyer Building (L. Sullivan 1904), Chicago (circa 1954) Fig. 8: John Szarkowski, [street level] Schlesinger Meyer Building (L. Sullivan 1904), Chicago (circa 1954) Fig. 9: Tony Ray-Jones, Pepys Estate (above) and Thamesmead (below), London, (1970) Fig. 10: John Donat Why does it never rain in the Architectural Review? Boots, Nottingham (1968) Fig. 11: Koluma 01 [Zumthor], Hélène Binet (2007) Fig. 12: Gym, Torre David, Iwan Baan (2014) Fig. 13: Untitled, ‘Archmosphere’ series Marc Goodwin 2016 Fig. 14: D Trillo, Guggenheim Museum, Bilbao, Spain (2013) Fig. 15: Viejo Santamarto Acebo, San Sebastian Gran Premio de Espana [Spanish Grand Prix], (1935) Fig. 16: George Grosz, The City (1916-17) Fig. 17: Otto Umbehr, Untitled (1928) Chapter 2 Fig. 18: Photographer unknown, Elephant delivered to the Natural History Museum, London (circa 1930) Fig. 19: D Trillo, Carved bone with interpretative drawing, Neues Museum, Berlin (2014) Fig. 20: D Trillo, Hacienda model (model made by N. Hardy) (2014) (above), Ben Kelly (architect), Hacienda club interior (circa 1986) (below) Fig. 21: Brooks Building, Manchester Metropolitan University, Sheppard Robson, 2014, two drawings, one CAD render, one architectural model (photograph by D Trillo) and two photographs commissioned at completion (none credited) v Fig. 22: One Angel Square, Manchester, 3DReid (2013): Three CAD renderings and a commissioned photograph (none credited) Fig. 23: D Trillo (photograph), Latz + Partner, CAD/drawing/illustration posters, St. Peter’s Square proposals, Manchester (2016) Fig. 24: Latz + Partner, Three illustrations of St. Peter’s Square proposals, Manchester (2012) Fig. 25: Latz + Partner, Two photographs of St. Peter’s Square, Manchester (2017) Fig. 26: Elizabeth Twining, Pomaceae,
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