In the first part of my thesis after providing insight into the history of architectural photography I present the British photographer Eric de Mare and his division of approaches to architectural photography into three types. Because his approaches are based on objective and subjective photography, what follows is their definitions. Architectural photography is also divided according to usefulness; whether is documentary, commercial or artistic. At the end of the theoretical part famous authors from the 3 before mentioned parts of architectural photography are presented. Here I also describe approaches of individuals and their subjective experience of the surroundings.
My view on objectivity and subjectivity is shown through an installation of a model made from sugar cubes, above which hangs a construction that imitates rain. Drops falling from ropes melt the basic building blocks of the constructed installation, which illustrates the quickly wound time of the deconstruction of architecture and its transience. It shows the natural cycle of the architectural object, that despite its firmness and seeming eternity, deteriorates under the influence of time and natural processes. Time and the cycle of life is presented in a video-projection, that is projected onto the installation, and the shots presented within an artistic frame, like cut out details of a whole.
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