The influence Julias Schulman had on the developement and perception of modern architecture - Essay Example

?The Influence Julius Shulman on the Development and Perception of Modern Architecture Many photographers have combined innovation and architecture to create some amazing still images. However, only one photographer can claim the title of the best architectural photographer of all time. Julius Shulman is one man who has walked the isles of modern photography and left an indelible mark. Shulman who I perhaps best known for his work titled: “Case Study House #22, Los Angeles, 1960”, was born in October 10, 1910 in Brooklyn, New York to Russian Jewish immigrants. At the age of ten, he moved with his family to a farm in California, where he developed a love of nature, something that would be reflected in most of his later on in his life (Shulman and Gossel, 1999). His compositions have been described as being highly seductive, and they have been hailed as being the ones that helped build the reputation of Los Angeles and Chicago as the preferred destination for people who wanted to reinvent themselves. According to Lubbell and Woods (2011), Shulman’s works “demonstrate a profound sensitivity to and appreciation for the spaces in which people live”. Shulman was a visionary photographer who was able to see past the seeming lack of life in most of the modern buildings that came to exist in the 20th century. Many people in the photography world concur that Shulman almost single handedly was bale to transform architectural photography with his remarkable yet down to earth images that captured the attention of all and sundry. His images, as they are seen through his lens, offer visions of intrigue and beauty which can only be described as extraordinary (Amelar, 2009). This is no mean achievement for a 20th century photographer. The advent of modern architecture was greeted by widespread pessimism from the general public. Architects found it hard to sell their designs since most people regarded modern buildings as a rebellion from the traditional highly ornate houses they were used to. Shulman’s photography was of much help to the careers of many young and established architects as it helped them get public recognition. Shulman’s photography was also very important in shaping public perception about modern architecture. Some of the buildings featured in Shulman’s works include: Keck and Keck’s Minsk house, 1955, the Burton Frank House, 1960, Harry Weese’s Modern house and studio, 1957, and other masterpiece buildings by the likes of Bertrand Goldberg, Edward Dart, Edward Hunrich, Ralph Rapson and Paul Schweikher (Shulman and Gossel, 1999). For more than 70 years, Shulman was able to document most of his work which featured some of the most magnificent architectural pieces of the 20th century. Up until the time of his death on July the 15th 2009, Shulman’s work had been showcased not only all around the U.S., but also in many other cities across the world (Amelar, 2009). Shulman’s Work Many young architects actually owe their success to Julius Shulman. Most of the buildings he featured in his photography were built by young up coming architects. His photography was so good that after showcasing their work, most of thee individuals experienced unprecedented success in their work. Most of Shulman’s photography was done in black and white film. One could have expected his images to be dull due to lack of color. However, this was not the case. His architectural photographs were as real a they could be. He brought to life what many people thought to be dull architecture (Reed, 2009). He was able to open people’s eyes to the magnificence of the architecture that many had written off as being lacking in meaning. Shulman’s career started by chance in 1936 when he was asked to take some shots of the Kun House in the Hollywood Hills which had just been completed by Richard Neutra. Immediately after seeing Shulman’s images, Neutra fell in love with his work and commissioned him to take and publish more shots. He also introduced the budding young photographer to other established and up coming architects so that he could showcase their work. Thus began a lifelong career that spanned more than 70 years until Shulman’s death. In an interview with Los Angeles Times in 1994, Shulman had the following to say about his career: “I was lucky to be doing the right thing at the right place at the right time. Anytime anybody wanted a photograph of a modern house, Uncle Julius provided the picture” (Shulman and Gossel, 1999). In 1947, Shulman photographed Neutra’s Kaufmann House that was located in Palm Springs. This image showcased the glass house as a display of sparkling rectangles and squares. In the photo’s foreground, Mrs. Kaufman reclines next to a glowing swimming pool while in the background there is a beautiful outline of a dusk skyline that illuminates the rugged mountains. This piece of photography is one of the most reproduced and it led to the restoration of the Kaufman House in 1999. It also played a huge role in helping the revival of modernism architecture in Palm Springs (Lubbell and Woods, 2011). Shulman requested an architect friend of his, Raphael Soriano to build a steel home and studio that would be located in the Hollywood Hills in 1947. After completion of the building, he photographed it and published his work which gained critical acclaim in the worlds of photography and architecture (Serraino, 2010). The world would never have known of the brilliance of Richard Neutra’s and Charles Eames’ architecture had Shulman not brought them into the limelight through his devoted photography. Established architects such as Frank Lloyd Wright and Pierre Koenig whose work had been documented before Shulman came into the scene also greatly benefited from Shulman’s exhibition of their works (Rosa, Shulman and McCoy, 2008). The clarity with which Shulman presented his photographs demanded that people had to begin regarding architecture photography as an independent form of art. Each of the images Shulman captured using his camera has characteristics that brings together understanding and clear perceptions of the buildings and the environmental landscape around them. The compositions are so precise that can tell that there was a sense of humanity in Shulman’s work just by looking at them. Even when there is no human figure present in the actual photographs, they always have a sense of life in them, something that very few architectural photographers had been able to achieve. Shulman’s photographs were also able to reveal the architectural thoughts behind the surface of the building as ell as the hopes and visions of the 20th century (Amelar, 2009). One cannot go without mentioning another of Shulman’s landmark photos, the Case Study House #22, 1960 in Los Angeles (Shulman and Gossel, 1999). Pierre Koenig was the main architect of this building. In the photograph, the edge of the house looks like it is floating over the evening lights of the city of Los Angeles. Inside the house, some two women are sitting enjoying a conversation. This photo in particular highlights the modern architect’s ability to rise above some of the limits of the natural world. The portrayal of this kind of ability in an era when modernist architecture was highly frowned upon only testifies to Shulman’s optimistic nature, an attitude which rhymed very well with the modernist era. Julius Shulman was a genius in his specialty. His iconic images enabled one to have an analytic view of his systematic method which is evident in the way he clearly translated 3-dimensional art form to 2-dimensional photography. By utilizing his incredible skills, he was able to set high standards for future architectural photography. He earned acclaim and respect from all over the world for the optimism and enthusiasm with which he used to collaborate with some of the best architects and create superb photography (Lubbell and Woods, 2011). Shulman took his work very seriously and he never merely took photos to simply show to the public. He had a greater mission which was to use his platform as a photographer to highlight and build the reputation of innovative architects. His work was very influential and it brought to light the talent of some of the biggest names in the architectural world. His ability to match urbanity and nature was perhaps what propelled him to such great heights. He was also noted for his ability to have an eye for compositions and at the same time tell a story using the same composition (Amelar, 2009). Shulman was a master of his trade, and this was evident in the way he was able to record the modernist survey of California’s and Chicago’s residential architecture in a way that caught the full attention of everyone who laid eyes on his exceptional photography. Much of his celebrated work was featured in “Julius Shulman: Chicago Mid century Modernism”. The photographer also had a number of awards to show for his efforts. These awards included: the Architectural Photography Medal from the American Institute of Architects which he received in 1969 and the International Institute of Architects Lifetime Award, 1998. Shulman also was a recipient of several honorary degrees and doctorates from different colleges and universities (Serraino, 2010). Features and Criticisms of Modern Architecture Modern architecture is the form of architecture that gained fame in the early 20th century. One of the most outstanding features of these buildings is the lack of any ornamental structures. This gives them a simplistic form that was not very common before the 20th century. Scientific and analytical methods are very important components that modernist architects use when designing their houses. Modern architectural forms were born out of political as well as social revolutions that were happening at the time. The twentieth century was also one that was marked with tremendous engineering and technological developments which had an important role to play in the development of modernist architecture. The availability of new building materials such as concrete, steel, glass and iron led to the widespread adoption of this new form of architecture (Amelar, 2009). However, the modernist architecture was not warmly received by many people. Many of them saw it as an intentional departure from the traditional building styles. Some of them think that the modern style is stark since it has very little in terms of aesthetics. To others, the rectangular shapes of most modern buildings look uncompromising and inhumane. Modern buildings have been criticized for being elitist, sterile and lacking in meaning. These opinions have been some of the major drawbacks for the work and designs of new young architects. During the early to mid 20th century, most of modern architects’ work went unnoticed (Serraino, 2010). Shulman’s photography projects gave a new lifeline to modern architects and their work. Through his still images, the world got to see and understand that there was more to modern architecture than met the eye. Not only was he able to catapult the careers of the architects whose works he published, he was also instrumental in helping change public perceptions of their work (Reed, 2009). Through his published images, he was able to make the public appreciate the functionality that was emphasized in the modern architecture. His clients who included Gregory Ain, Rudolf Schindler, Frank Lloyd Wright, Raphael Soriano, Albert Frey, John Lautner, Pierre Koenig, Charles and Ray Eames and Harwell Harris (Lubbell and Woods, 2011). Almost all of Shulman’s work was included in some of the publications that contained modernist architecture. Shulman’s Contribution to Development of Modernist Architecture The modernist movement was a reflection of the changes happening in society in the 20th century. These changes were happening everywhere, and architecture was one of the areas most affected by the sweeping change. Shulman brought to public view commercial as well as residential buildings that had escaped people’s attention (Serraino, 2010). His daring, yet stunning photography work transcended the attitudes that existed about the lackluster nature of modernist architecture. Through the images he published and showcased to the public, a lot of the beauty of modern buildings was opened up to everyone and people started to appreciate the difference in the beauty of the buildings. Shulman often stated that his initial and most coveted goal was to sell architecture, and this he did with as much enthusiasm as he could master. His focus was not just on California and Chicago modernist houses, he also took shots of urban sites, tract housing developments, gas stations and other pieces of architecture that he believed the world should have a chance to see (Reed, 2009). His work involved photographing extraordinary buildings as well as those that were not considered so extra ordinary. He had a special ability to make ordinary buildings glow with superb excellence. During Schuman’s lifetime, architectural photography was mostly straightforward documentation; Shulman arranged his work so that his compositions could look glamorous and stylish. He was able to do this even though he often used black and white film to take his photographs (Rosa, Shulman and McCoy, 2008). He could animate his compositions using simple things such as light and branches. He could also cleverly use human objects to create a sense of life in his work. Due to the emphasis he put into creating style and life in his compositions, he was able to change public perceptions about new architecture. He was also very optimistic and he believed in the ability of the architects with whom he worked with. Through his work, he could present the kind of liveliness that people saw when they looked at the more traditional designs (Serraino, 2010). Many young and budding architects inherited Shulman’s enthusiasm and optimism and were able to sell their services to many clients all over the world. At first, modernist architecture was concentrated in only a few areas in the West. In America, this was in major cities such as Los Angeles, Chicago and New York. Photography was one of the means by which established as well as yet to be established architects could make their designs known and appreciated (Amelar, 2009). Shulman had a passion for architecture, and he enabled many architects showcase their workmanship, some of which is still celebrated to this day. Today, a lot of the modernist architecture has been replaced by post-modernist buildings. The magnificent city skyscrapers as well as spending residential houses that are common today could not have been there had people rejected modernist structures from architects such as Edward Hunrich, Ralph Rapson, Raphael Soriano, Paul Schweikher, Richard Neutra, Harry Weese, Edward Dart and Bertrand Goldberg all of who worked with Shulman. Post modernists have borrowed heavily from the concepts of modernist architecture which Shulman had a huge part to play in popularizing (Rosa, Shulman and McCoy, 2008). Julius Shulman almost single handedly made modern architecture what it is today. His incredible photography work continues to attract attention of architectural enthusiasts from all over the world. He was able to enhance the development of modernist architecture due to the positive and relevant worldview he had that fit very well into the expectations of the 20th century (Shulman and Gossel, 1999). His legacy in the realm of the world of photography has had great influence on how people view architecture and environment. Through his photographs, he passed on his belief in the future and his belief that technology could be used as a tool to improve society (Lubbell and Woods, 2011). Thanks to his intuitive timing and unique camera angles, many constructions have come to enjoy the honor of being used in the study of such design elements of design as light, shadow and mass, just to mention a few (Ghetty Centre, 2005). One such construction is the Convair Astronautics building in San Diego, California, designed by Luckman and Pereira. Shulman’s photograph of the construction captures the building to be partly made up of dynamic lines which in the actual sense make a spiral ramp in suspension (Ghetty Centre, 2005). With the over 70,000 images credited to Shulman, a lot is revealed with respect to architects vision and spirits behind their designs (Ghetty Centre, 2005). By showcasing the works of various designers, many previously unrecognized albeit remarkable designers got to be marketed by the photographer. Furthermore, the photographs in a unique way reveal the design and principle changes that have taken place over the span of 70 years in architectural cycles. In fact, his archive of pictures fulfills the needs of generations of customers in academia, construction, architecture, media and publishing. To-date (more recently in 2005 at the Ghetty Centre), exhibitions are held in various parts of the world in honor of Shulman’s contributions to architecture and photography. Conclusion Ever since it was developed, photography has played an important role in the portrayal and development of architecture. Julius Shulman has without a single doubt left his mark in the world of photography, and most especially, modern architecture photography. Many view him as the greatest photographer of the 20th century. Before his death, the photographer had received many honors in recognition for his tremendously outstanding work. Shulman’ work also helped other people. His camera work was so perfect that he could make the simplest of house designs look magnificent. His portrayal of different buildings in cities around the United States of America helped catapult the careers of many young architects. Shulman’s photography was also very important in shaping public perception about modern architecture. Up until the 20th century, the most outstanding buildings were those built using Victorian, Medieval, Romanesque and other designs which were considered classical. To many people, these designs could not be compared to the modern world’s architecture in terms of quality and aesthetics. However, Shulman was able to make people see that modern architectural work could be as good as that of old times. His photography highlighted features of the buildings that could not be seen by an ordinary passer by (Shulman and Gossel, 1999). After seeing his photos, many people started appreciating the work of 20th century architects. Shulman was also a very enthusiastic photographer and he loved his job dearly. His optimistic nature was fit very well into the modernist era. His optimism was oftentimes translated into his work, and this could be the reason why sp many people believed in his work. His photographs contained the aura of the promise of a bright future. Although he mostly used black and white film, his photographs were never dull. He had the ability to make technology to improve the outcome of his photographs. Shulman’s eventual death might have been a huge loss for the photography and architectural world, but the impact he left behind will never diminish. His images which were highly evocative of place and time will be used as a benchmark for modernist architecture photography for a very long time. Reference List Amelar, S. 2009. Julius Shulman: Remembering the Illustrious Photographer. Accessed 10 August, 2011: Ghetty Centre (2005) Julius Shulman, Modernity and the Metropolis http://www.getty.edu/art/exhibitions/shulman/ Serraino, P. 2010. Julius Shulman: Modernism Rediscovered. New York: Rizzoli. Lubbell, S. and Woods, D. 2011. Julius Shulman Los Angeles: The Birth of a Modern Metropolis. New York: Rizzoli. Rosa, J., Shulman, J. and McCoy, E. 2008. A Constructed View: The Architectural Photography of Julius Shulman. Accessed August 11, 2011: Reed, C. 2009. Julius Shulman: One of the Premier Architectural Photographers f the 20th Century. Accessed 10 August, 2011: Shulman, J. and Gossel, P. 1999. Julius Shulman: Architecture and Its Photography. London: Taschen. Read More