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Seeing Architectural Photographs SEEING ARCHITECTURAL PHOTOGRAPHS: SPACE AND TIME IN THE WORKS OF JULIUS SHULMAN AND EZRA STOLLER A Dissertation Presented to The Academic Faculty by Myung Seok Hyun In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY in the SCHOOL OF ARCHITECTURE Georgia Institute of Technology DECEMBER 2016 COPYRIGHT © 2016 BY MYUNG SEOK HYUN SEEING ARCHITECTURAL PHOTOGRAPHS: SPACE AND TIME IN THE WORKS OF JULIUS SHULMAN AND EZRA STOLLER Approved by: Dr. Sonit Bafna, Advisor Dr. John Peponis School of Architecture School of Architecture Georgia Institute of Technology Georgia Institute of Technology Dr. Kenneth J. Knoespel Dr. Pepper Stetler School of Literature, Media, and Department of Art Communication Miami University Georgia Institute of Technology Dr. Claire Zimmerman Taubman College of Architecture and Urban Planning University of Michigan Date Approved: September 15, 2016 To my father. ACKNOWLEDGEMENTS In finishing this dissertation, I have been fortunate to receive overwhelming help of many people. Most of all I must extend my gratitude to my advisor Dr. Sonit Bafna. Without his intellectual guidance, understanding, and patience, I could not have finished this study. I must also thank Dr. Ronald Lewcock who kindly guided me during my early years at Georgia Tech. I am grateful to Dr. John Peponis and Dr. Kenneth Knoespel for their support and criticism that were crucial in forming the basic ideas of this dissertation. I was very fortunate to learn and gain experience from assisting Dr. Robert Craig, Dr. Elizabeth Dowling, Dr. Benjamin Flowers, and Dr. Laura Hollengreen in teaching – I thank them all and the College of Design for the opportunity. I would also like to send gratitude to my once fellow students, especially to Hyun Kyung Lee, Hoyoung Kim, Arief Setiawan, and Marietta Monaghan, who helped me in many ways through the years. I am also grateful to Dr. Pepper Stetler and Dr. Claire Zimmerman who generously read through my dissertation and offered constructive criticism. To my mother, brother, and sister, I express my love. Without their continuing care and patience, I would not be who I am now. Most of all, I would like to present this small achievement to my father, whom I never can thank enough. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS iv LIST OF TABLES vii LIST OF FIGURES vii LIST OF SYMBOLS AND ABBREVIATIONS xi SUMMARY xii CHAPTER 1. Introduction 1 1.1 Question 1 1.1.1 What Do We See of Architecture, Exactly, When We Wee an Architectural Photograph? 1 1.1.2 Values of Architectural Photography 12 1.2 Subject 20 1.2.1 Architectural Photography: Contrived Objectivity 20 1.2.2 Julius Shulman and Ezra Stoller 29 CHAPTER 2. Theories 40 2.1 Architectural Representation 40 2.2 Architectural Photography 43 2.3 Visual Reference 55 2.3.1 Transparency/Opacity 55 2.3.2 Exemplification 62 2.3.3 Imaginative Seeing 66 CHAPTER 3. Julius Shulman 72 3.1 Study Subject and Question 72 3.2 Seeing Space in Pictures: Visual Cues of Depth 77 3.3 Techniques of Photographic Depiction 85 3.3.1 The Camera: Position and Correlation between Lens and Negative 88 3.3.2 The Lens: Focal Length, Angle of View, and Depth of Field 93 3.3.3 Lighting and Exposure 96 3.3.4 Arrangement and Composition 102 3.3.5 Film, Filters, and Darkroom 103 3.4 Subtle Variations in Photographing Space 109 3.4.1 Case 1 112 3.4.2 Case 2 119 3.4.3 Case 3 122 3.4.4 Case 4 127 3.4.5 Case 5 131 3.4.6 Case 6 132 3.4.7 Case Study Summary 135 v 3.5 Content of Photographic Space: Architecture or Life 140 CHAPTER 4. Ezra Stoller 144 4.1 Study Subject and Question 144 4.2 Seeing Time in Pictures 152 4.2.1 Visual Cues of Motion 153 4.2.2 Temporal Durations in a Still Photograph 165 4.3 Temporal Elements 177 4.3.1 Human Figures, Cars, and Water 179 4.3.2 Shadows and Clouds 186 4.3.3 Reflection and glare 194 4.4 Timelessness against Temporal Elements 198 CHAPTER 5. Conclusion and Commentary 210 REFERENCES 216 vi LIST OF FIGURES Figure 1-1 – Édouard-Denis Baldus, Nouveau Louvre, Paris, c.1855. 3 Figure 1-2 – Bill Hedrich, Fallingwater, Bear Run, 1937 (architect: Frank Lloyd Wright; building completed in 1937). 5 Figure 1-3 – Judith Turner, Benacerraf House addition, Princeton (architect: Michael Graves; building completed in 1969). From Judith Turner, Judith Turner Photographs Five Architects (1980). 16 Figure 1-4 – Myung Seok Hyun, Marina City, Chicago, 2009 (architect: Bertrand Goldberg; building completed in 1964). 21 Figure 1-5 – Hiroshi Sugimoto, Marina City, Chicago, 2001 (architect: Bertrand Goldberg; building completed in 1964). 22 Figure 1-6 – Ezra Stoller, Marina City, Chicago, 1965 (architect: Bertrand Goldberg; building completed in 1964). 23 Figure 1-7 – Dell and Wainwright, Daily Express Building, London, 1931 (architect: Ellis and Clarke Architects); car service station, 1934. 32 Figure 1-8 – F. S. Lincoln, double-page spread from Architectural Record (January 1934) featuring photographs of Space House (architect: Frederick Kiesler). 33 Figure 1-9 – Lake Shore Drive Apartments, Chicago (architect: Ludwig Mies van der Rohe; building completed in 1951). 36 Figure 1-10 – Lake Shore Drive Apartments, Chicago (architect: Ludwig Mies van der Rohe; building completed in 1951). 36 Figure 1-11 – Lake Shore Drive Apartments, Chicago (architect: Ludwig Mies van der Rohe; building completed in 1951). 37 Figure 2-1 – Le Corbusier (Charles-Edouard Jeanneret), Prague; Pisa, 1911. 47 Figure 2-2 – Aquitania ocean liner. From Le Corbusier, Vers une architecture (1923). 50 Figure 2-3 – Ozenfant Studio. From Le Corbusier, Vers une architecture (1923). 50 Figure 2-4 – Farman aircraft. From Le Corbusier, Vers une architecture (1923). 50 Figure 2-5 – Le Corbusier, Swiss Pavilion, Paris, 1931. 50 Figure 2-6 – Scott Denis, James Dean at the Grave of Cal Dean, 1995. 61 vii Figure 3-1 – Julius Shulman, Maslon House, Rancho Mirage, 1963 (architect: Richard Neutra; building completed in 1962). 75 Figure 3-2 – Julius Shulman, Kaufmann House, Palm Springs, 1947 (architect: Richard Neutra; building completed in 1946). Exemplary depth cues of (A) occlusion, (B) relative size and density, (C) height in visual field, and (D) aerial perspective apparent in the photograph are indicated below. 82 Figure 3-3 – Ordinal depth thresholds for pictorial sources of information. From James E. Cutting, “Reconceiving Perceptual Space” (2003). 84 Figure 3-4 - Taxonomy of lines. From James E. Cutting, “Reconceiving Perceptual Space” (2003). 84 Figure 3-5 – Julius Shulman, Northrop Corporation, Nortonics Division Building, Palos Verdes (architect: Charles Luckman Associates). From Julius Shulman, Photographing Architecture and Interiors (1962). 89 Figure 3-6 – Julius Shulman, Residence, Bel Air, Los Angeles (architect: Ernest W. Le Duc) From Julius Shulman, Photographing Architecture and Interiors (1962). 91 Figure 3-7 – Julius Shulman, Church of the Resurrection, Cedar Rapids (architect: Crites and McConnell) From Julius Shulman, Photographing Architecture and Interiors (1962). 91 Figure 3-8 – Julius Shulman, First Methodist Church, Glendale (architect: Flewelling, Moody, and Horn). Three photographs taken with different angle lenses. From Julius Shulman, Photographing Architecture and Interiors (1962). 94 Figure 3-9 – Comparison between different applications of lighting. 99 Figure 3-10 – Julius Shulman, Case Study House #22, Los Angeles, 1960 (architect: Pierre Koenig; building completed in 1960). Below are the scenes registered by separate exposures. 101 Figure 3-11 – Julius Shulman, Stephen College Chapel, Columbia, 1957 (architect: Eero Saarinen; building completed in 1956). 105 Figure 3-12 – Photographic techniques, depth cues, and effects. 108 Figure 3-13 – Correlations of photographic techniques, depth cues, and effects proposed by the comparison between the three photographs. 108 Figure 3-14 – Julius Shulman, Maslon House, Rancho Mirage, 1963 (architect: Richard Neutra; building completed in 1962). 110 Figure 3-15 – Case 1: Julius Shulman, Maslon House, Rancho Mirage, 1963. 111 viii Figure 3-16 – Case 2: Julius Shulman, Maslon House, Rancho Mirage, 1963. 120 Figure 3-17 – Case 3: Julius Shulman, Maslon House, Rancho Mirage, 1963. 123 Figure 3-18 – Case 4: Julius Shulman, Maslon House, Rancho Mirage, 1963. 128 Figure 3-19 – Case 5: Julius Shulman, Maslon House, Rancho Mirage, 1963. 130 Figure 3-20 – Case 6: Julius Shulman, Maslon House, Rancho Mirage, 1963. 133 Figure 3-21 – Case study summary: comparison in plan and angle of view. 138 Figure 3-22 – Case study summary: comparison in architectonic and spatial elements and angle of view. 139 Figure 4-1 – Ezra Stoller, Salk Institute for Biological Studies, La Jolla, 1977 (architect: Louis Kahn; building completed in 1965); camera position in plan. 149 Figure 4-2 – Ezra Stoller, Salk Institute for Biological Studies, La Jolla, 1977 (architect: Louis Kahn; building completed in 1965); camera positions in plan. 150 Figure 4-3 – Dynamic balance. The bronze statues of Discobolus by Myron. 155 Figure 4-4 – Multiple stroboscopic images. Etienne-Jules Marey, Vol de mouette, 1887; Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912. 155 Figure 4-5 – Affine shear or forward lean. Jacques-Henri Lartigue, Grand Prix of the Automobile Club of France, 1913. 157 Figure 4-6 – Blur. Edward Steichen, Lillian Gish as Ophelia, 1936. 157 Figure 4-7 – Action lines. James Gibson, optical flow, 1947; Eric Staller, Poseidon 1980. 158 Figure 4-8 – Walter Gropius, Bauhaus, Dessau, 1932. Figure and ground and view (photographer: Lucia Moholy). From Colin Rowe and Robert Slutzky, “Transparency: Literal and Phenomenal” (1963). 160 Figure 4-9 – Zaha Hadid Architects, Vitra Fire Station, Weil am Rhein, 1993 (photographer: Christian Richter). 161 Figure 4-10 – Zaha Hadid Architects, Hoenheim-Nord Terminus and Car Park, Strasbourg, 2001 (photographer: Roland Halbe). 161 Figure 4-11 – Peter Eisenman, Aronoff Center for Design and Art, Cincinnati, 1996.
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