Max Dupain and the Photography of Australian Architecture
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Max Dupain and the Photography of Australian Architecture Volume 2 - Interviews A thesis submitted for the award of the degree of Master of Applied Science (Research) of Queensland University of Technology by Adrian Boddy, B.Arch.(Melbourne) July 1996 CONTENTS Number Page Title 1 Table of contents 2 Methodology 3 1 Author interviews with architects 1.1 Philip Cox 12 1.2 Daryl Jackson 32 1.3 Glenn Murcutt 56 1.4 Lawrence Nield 91 1.5 Harry Seidler 98 2 Author interviews with photographers 2.1 Max Dupain 108 2.2 John Gollings 125 2.3 David Moore 164 2.4 Eric Sierins 187 2.5 Wolfgang Sievers 213 2 3 Media interviews 3.1 Carolyn Jones - Max Dupain 222 3.2 Peter Ross - Max Dupain 244 3.3 254 Philip Adams and Gael Newton reflect on the life of Max Dupain 3.4 261 Mary-Lou Jelbart and David Moore discuss Dupain's life as a photographer 4 Tributes 4.1 David Moore -tribute 266 4.2 Harry Seidler- an appreciation 268 3 Methodology Introduction Much has been written about Max Dupain's photography, and indeed throughout his long career Dupain wrote numerous articles about the subject generally. Nevertheless this author considered it necessary to establish primary information specifically about Australian architecture and its photography - both by Dupain and others. Given this aim, the following set of questions was prepared for distribution among a small group of eminent Australian architects and architectural photographers. The questionnaire's purpose was to chart possible relationships between architecture and architectural photography in Australia with special emphasis on the work of Max Dupain. Some interviews conducted mid 1990 are of a less structured nature - perhaps this was due to a combination of the author's inexperience with oral techniques or simply the participants being uncomfortable with formally ordered questions. Nevertheless opinion gleaned from these interviews was central in the formulation of the argument contained in the thesis chapters 6 and 7 in volume 1. Architect, photographer and others: an interactive model It has been suggested that architect and photographer are part of a self-sustaining matrix in which other key factors are the patron, the media and a set of 'other factors' (e.g., contributory elements such as the economy, government policy and public instrumentalities). The model may be represented diagramatically as follows: 4 • • • • • • • • • • • • • • • • • • • AJRICIHITI'IrlEIC'Ir • • • • JFIHI([])'Ir«JJGJRAJFIHIJEJR • • • • • • • • • • • • • • • • •([])'IriHllEJR IF'AIC'Ir([])JR§ • • • • • • • • • • • lJ2lffi:lu!Rl©IT'il • • • • • • lil£ii~[Q)~ffi:\ • • • • • • • • • • • • • • • • • • • • • • • • A series of questions in relation to this model now follows. For convenience they have been grouped under subheadings. 1. Functions of architectural photography What purposes does architectural photography serve? What is it used for? Why is it done? Which of the following functions are especially important? • Design process photography, e.g. drawings, models, video simulations etc? • Documentation of past achievement? 5 • An art form? • Providing a 'forum' for discussing/debating the qualities of architecture? • Education, e.g. in-house, invited university lectures, lectures to the profession (e.g. RAIA)? • Promotion and publication, e.g. via magazines, books, brochures? • Recording the building process? • Recording architectural precedent? • Legal purposes? • Any others you consider important, e.g. photogrammetry, photo-montage? 2. The development of architectural photography Who in your opinion have been the great Australian architectural photographers? What are your reasons for thinking so? 3. The literature of architectural photography Have you done any reading about the development of architectural photography? 6 Who's doing the writing? Do you have any favoured authors? 4. Innovation in architectural photography Do you employ photographers because they're regarded as being the innovators of their profession? What are they doing that you regard as important? 5. Architecture Is there architecture in Australia which, in your opinion, is enhanced by photography? That is, are there cases where the quality of the photography is in advance of the architecture? 6. Photographers Which photographers have you selected to illustrate your work? On what basis was the selection made? For example, was it their understanding of your architecture and what you are trying to achieve; was it technical excellence in B&W/colour? How do the photographers with whom you've had dealings view their work? Have any of them ever 'philosophised' about their profession? Are there any incidents that stand out in your experience which help to explain how the photographers understand their craft? 7 7. The architect-photographer link When did you commence the photography of your work? Which photographer did you select? On what basis, e.g. their understanding of your architecture and of what you are trying to achieve; technical excellence in B&W/colour? What in general do you ask the photographer to achieve, or do you not brief them? What is your method of briefing, e.g., phone, fax, joint site visit? Do you distinguish between an interior and an exterior photographer, i.e., do you specialise in your employment of photographers? What do you think of the work of the photographers that you haven't personally employed? E.g,. Sievers, Kos, Strizic, Dupain, Moore, Gollings, Mudford, Stacey ... others? Have there been any overseas architectural photographers whose work you have particularly admired? Do you distinguish between an architectural photograph and documentary photography of the built environment? If so, what criteria do you use in making the distinction; i.e., how do you define an architectural photograph? Other than yourself is there an association between an architect and photographer in Australia that you think is important? Can you say why? 8 Have there been any overseas architectural photographers whose work you have particularly admired 8. Publications, the media, the public relations industry Are there any architectural publications the photography of which you admire? What is it that you admire about them, and why? Are there any publications whose photography you find particularly irritating, and why? 9. Other factors The questions in this section relate to the influence 'other' factors exert on both architect and photographer. • The patron To what extent are you influenced in your choice of photographer by your patron (i.e., the person who has engaged you)? • Party politics, governments, government instrumentalities and legislation To what extent does the influence of government and government agencies affect your decisions to use photography in your work? • The economy 9 Does your decision whether or not to use photography reflect the state of the economy? In what way? • Others, e.g., the role of the real estate trade, the influence of environmental factors etc. Have you any comments on such issues that would help this project? 10. Interactions Is photography a determinant of architecture. If so, how? Could you give some examples? To what extent does architecture determine the quality of the photograph? To what extent do you think the media, especially the specialist journals, are making demands on the design of architecture? Do architects succumb to pressure from the journals to create images that may look graphically spectacular in print form but are not necessarily good architectural practice? Is there a similar problem in relation to the patron; i.e., is the architect swayed by the knowledge that the patron wishes the finished product to appear photogenic? Are there any other significant sets of interaction that you have found to be important constraints? 10 11. Where might architectural photography go next? What are the possibilities for the future? For example, instant electronic imaging, fully manipulable upon person computers? What are the limitations? For example, cost, time, quality assurance? How do you see the possibilities being developed? How do you see the limitations being overcome? What can architectural photography do to promote the type of architecture likely to be appropriate in the new century? 12. A note of appreciation Thank you for your assistance with this questionnaire. Your participation in this project is greatly valued and appreciated! The material gathered during interviews will be transcribed later. You will be provided with a copy of the transcript for your own reference and information. Where you feel amendment is necessary, your guidance is requested. ADRIAN BODDY, A.R.A.I.A., 144 Pacific Rd., Palm Beach, NSW, 2108. Phone: 02-9745753. 11 Author Interviews with Architects Philip Cox interviewed by Adrian Boddy 477 Kent Street, Sydney, September 14th, 1992. Philip, I sent you a copy of the thesis outline and a questionnaire, which may or may not form the basis of this interview. I didn't want to hit you with a whole series of questions out of the blue so to speak. Anyway the material should indicate the scope of the research. I think the 'interactive model' is good, in that it goes beyond the photographers to include the architects, critics, media, etc ... it seems very comprehensive. Which photographers have you principally used to record and demonstrate your architecture? Well there was Max Dupain, Wesley Stacey, Grant Mudford, David Moore, John Gollings. We've tried many others too, in an attempt to encourage them, and they've mostly failed (laughs). Do you think the exponents I've mentioned, plus Sievers, Strizic, and Kos are those that represent excellence in the field? Grant Mudford and Wes Stacey are both peripheral in a way but interesting nevertheless. They have more than flirted with the subject matter. Given the opportunity, Grant Mudford would have loved to have done more, but 12 architects didn't react positively to him. What we were looking for was different to what he was looking for. We went past each other. I mean he is obviously very interested in architecture - but differently to the way architects look at their work. And the same with Stacey; he takes a completely different viewpoint.