{'fraction_non_alphanumeric': 0.019569471624266144, 'fraction_numerical': 0.004892367906066536, 'mean_word_length': 5.816666666666666, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Constructing Worlds: Photography and Architecture in the Modern Age

It is broadly acknowledged that architecture and photography have historically enjoyed a happy reciprocity. Because of their inherent stillness, buildings facilitated the long exposure time required by early photography. In turn, architecture harnessed the indexical condition of photography, with its attendant authenticating claims granting photographs the status of archival records. Early modernism saw innovations in the field of photography that were particularly compatible with the geometrical spaces and surfaces of modernist architecture, and in the 1920s and 1930s, architecture and photography enjoyed a particular aesthetic and ideological complicity. Beatriz Colomina has argued that the ways in which published photographs became the real site of architectural modernism (making widely visible industrial buildings in remote geographic locations) shaped the trajectory of architectural modernism itself. But it was with the invention of lighter and quicker cameras, in its increased capacity to picture the interaction between architecture and the society it served, that photography of the built environment began to diverge from the zealous campaigns of “architectural photography.” The discipline of “architectural photography,” with its controlled perspectives, is not the subject of Constructing Worlds, except, perhaps, tangentially in Lucien Hervé’s photographs for/with Le Corbusier, and Luigi Ghirri’s photos of the architectural works of Aldo Rosso. And while several works in the show include images of iconic modernist buildings, this is not a display of how photography has served the architecture of modernity. Here, we have images by 18 photographers who train their lens upon the built environment in an age of rapid change. Curated by Alona Pardo and Elias Redstone, the exhibition tracks several tendencies in this “expanded field” of architectural imaging. Although organised chronologically, the feeling that this show Photography & Culture