Arquitectura e Imagen. Tensiones entre espacio y fotografia

Abstract

Establishing the foundations of aesthetics through different philosophical trends, it is possible to analyse the basis of the judgements that are expressed around architecture. The historical perspective allows us to study this analytical behaviour of knowledge and to conclude a series of components that explain the appearance of the urban landscape according to the time and place. On the other hand, the consumer society, guided by the impositions of an industry in continuous evolution, lives in a constant yearning conditioned by the disturbing speed with which products are developed. In this way, they try to touch the customer's sensibility so he does not stop pursuing his new expectations. Since the appearance of photography and its subsequent digitalisation, in the field of architecture it has conditioned the way in which a set of spaces created for the human being are looked at, felt and understood. Moreover, its nature has been altered, to a great extent, by this phenomenon which allows us to reach a wider sample of the population from the two-dimensional. Thus, the infinite access to images provokes the mass diffusion of the projects, making each one create his own image from all of them. In this way, when the individual turns to specialised media, he models his mental image based on the perspective and filter of a photographer who decides and selects what he thinks should be highlighted. For this reason, we analyse the different approaches that have managed to expose the work from a specific perspective, in accordance with the image of the architect that is constructed. In social media and digital publications, a photographic line known as commercial is usually followed, where the importance of the space, its functioning or appropriation is often relegated to a secondary place. The immediacy of the digital revolution does not let make deep analysis beyond the superficial appearance. As a result, the consumer society promotes architectural icons that are visually attractive, with less attention paid to enhancing life within them. Therefore, through the analysis of the current context, where photography is one more component of the architectural project, we try to conclude the influence of photography in the design and thought of new works more focused on the visual than the spatial component, because its knowledge and diffusion is produced through the result of the image selected for it.