Abstract

The frequent absence of views of buildings as unified, whole objects in nineteenth-century French architectural photography is striking, especially in publications for a professional audience. Instead, photographic views of contemporary architecture often focused upon two fragmentary forms: the ornamental detail (commonly represented through the intermediary of a plaster cast) and the spatial view, depicting an isolated “crop” extracted from a building. The former continues an archaeological tradition, linking historic restoration and historicist production through an indexical chain from cast to photograph. Images such as those in Édouard Baldus’s Palais du Louvre (1869–75), Charles Garnier’s Le Nouvel Opéra de Paris (1875–81), and Anatole de Baudot’s Sculpture française (1884) freeze the subjective labor involved in ornamental design, disseminating it alternately for commercial reproduction or as motifs to inspire a living decorative tradition. Around 1870 another form of photographic fragmentation took hold, this time willfully dissolving the unity of the architectural object to focus upon moments of heightened visual interest. Motivated by a rising interest in spatiality, these “photo-scopic” images in the Gazette des architectes, Revue générale, Félix Narjoux’s Monuments élevés (1880–83), and other publications instantiate a dynamic conception of architecture, one now open to subjective and atmospheric perception. While the ornamental fragment was often intended for recombination in future eclectic tableaux, the later morceaux demonstrate a new, modern form of vision, one that would greatly influence architecture in the twentieth century.

摘要

在19世纪的法国建筑摄影中，人们常常缺乏将建筑物视为统一的整体对象的观点，这一点令人震惊，尤其是在面向专业观众的出版物中。取而代之的是，当代建筑的摄影观照通常集中在两种碎片形式上：装饰性细节（通常通过石膏模型的中介来表示）和空间观（描绘从建筑物中提取的孤立的“作物”）。前者延续了考古传统，通过从演员到照片的索引链将历史修复与历史主义者的生产联系起来。诸如爱德华·巴尔杜斯（ÉdouardBaldus）的卢浮宫（Palais du Louvre）（1869–75），查尔斯·加尼尔（Charles Garnier）的巴黎勒努维尔歌剧院（Le NouvelOpérade Paris）（1875–81）和阿纳托莱·德·鲍多（Anatole de Baudot）的雕塑肖像作品中的图像（1884）冻结了涉及装饰设计的主观劳动，将其交替传播以用于商业复制或作为激发活泼装饰传统的主题。1870年左右，又出现了另一种摄影碎片形式，这次有意地消除了建筑对象的统一性，将注意力集中在视觉兴趣增强的时刻。由于人们对空间的兴趣日益浓厚，这些在“宪报”， Revuegénérale，FélixNarjoux的Monumentsélevés（1880-83年）以及其他出版物中出现的“可视化”图像实例化了一种充满活力的建筑概念，现已对主观和现实开放。大气感知。虽然观赏性片段通常是针对重组在未来不拘一格的舞台造型，后来莫尔索展示了一种新的，现代的视觉形式，它将极大地影响20世纪的建筑。