France

Carder, James N. "Compagnie Des Arts Photomécaniques (CAP)." Dumbarton Oaks. December 24, 2016. Accessed May 12, 2018.&nbsp;https://perma.cc/B2NK-DJ73

Good architectural photographers need to accomplish two things in their work.&nbsp;They must accurately capture a structure or space in a way that accurately represents the subject, and they must do so in an aesthetically pleasing, eye-catching style.&nbsp;Some architectural photographers employ specialized equipment and technologies to accomplish this, others rely more heavily on techniques.&nbsp;Of course most make use of both, but regardless of whether or not they carry around loads of advanced equipment or simply search and wait for the best angles and the best light, a truly great architectural photographer can see and successfully capture both the totality of a structure, and the specific features that make it stand out. This collection presents photographers who are particularly successful at this.&nbsp; This collection brings together two types of architectural photography.&nbsp;For my purposes I will refer to them as aesthetic and scholarly, though the distinction is not always clear. Aesthetic photographers tend to be more concerned about capturing a project in the most appealing manner possible in order to show a structure at its best.&nbsp;Very often these photographs taken by professionals for presentation panels, touristic brochures, project reports, or for submission to journals and prize committees.&nbsp;While these photographs must not misrepresent a site, the priority is on showing the site as its best.&nbsp;Scholarly photography, on the other hand, is primarily used for research and teaching.&nbsp;The emphasis is on accurately depicting a structure and its features.&nbsp;They may not be intended to show an architectural project at its best. Indeed, the objective may be the exact opposite.&nbsp;A scholarly image may be intended to capture defects in or damage to a structure.&nbsp;It may also make use of lighting effects or unusual angles that are not necessarily flattering, but which effectively capture something illustrative.&nbsp; Many of the photographers in this collection are professional photographers who have built their reputation on their skills in photographing architecture; others are prominent scholars who took photographs for purposes of research or illustration of their arguments.&nbsp;But regardless of the purpose for which the photographs were taken, all the artists represented in this collection are celebrated for their skills as photographers.&nbsp; The images represented here span the history of photography, from the late 19th c. to the present day.&nbsp;Hence you will find a variety of formats.&nbsp;Click on an authority to learn basic information about the photographers and their work.&nbsp;Click the button labeled images to see their photographs. --Michael A. Toler, Archnet Content Manager October 2018

Architectural Photography

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digital graphic

IAA706465

 Compagnie des Arts Photomécaniques

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Algeria

postcard

Les Rampes

Jami' al-Jadid, also known as the Mosque of the Fishery, is a congregational mosque located in Algiers, the capital city of modern-day Algeria. The mosque is dated to 1660/1070 AH by an inscription over its main entrance portal. That inscription also attributes its construction to al-Hajj Habib, a Janissary governor of the Algiers region appointed by the Ottoman imperial administration in Istanbul. The mosque's Ottoman patronage directs the structure in terms of both planning and ornamentation, but its location within a North African culture retains an underlying influence on the project. The building is unique in its blend of multiple architectural traditions, also incorporating elements from Andalusian and Italian religious architecture that were influential in north Africa at the time. The Mosque of the Fishery forms the eastern edge of the Place des Martyrs, its qibla wall abutting the northern side of Boulevard Amilcar Cabral. The Almoravid Grand Mosque of Algiers also sits along the boulevard, seventy meters to the east of the Mosque of the Fishery, while a step down in terrain immediately southeast of the thoroughfare forms the road along the Algiers harbor. The mosque got its informal name from this proximity to the harbor, as it was frequented by the local fishermen. The mosque is located in a part of the city that used to be the southern tip of the Almohad qasba, which was largely razed during the French occupation of Algeria in the late eighteenth century. The plan of the mosque measures twenty-seven meters wide east to west and forty-eight meters long north to south. Its longitudinal axis is rotated twenty degrees from the north-south meridian, and the qibla wall forms the southern edge of the building. The rectangular mosque is unevenly divided in plan into a grid three aisles wide and five bays deep, excluding a sixth bay of rooms that flank the central entrance stairway leading down into the mosque. The stairs have been added as the street level has risen: currently the ground level of the interior of the mosque is five meters below street level. Eight large stone piers, each two meters square in plan, demarcate the building's interior subdivisions. The piers are surmounted by round arches that support the cloister-vaulted ceiling above the central aisle and the gored domes over the side aisles. The round arches reach nine meters above the floor at their centers, while the central vault that they support reaches a height slightly above fourteen meters. The central aisle and the fourth bay are considerably wider than the other five-meter-wide aisle and bays, measuring nine-and-one-half meters wide between the piers. Their expanded dimensions create a cruciform figure in the plan, recalling other Ottoman mosque designs from the seventeenth century that typically include large domes at the intersection of perpendicular axes. The intersection of the two major axes is crowned by an eight-meter-tall pointed dome rising from pendentives and a drum that is approximately ten meters in diameter. The center of the dome reaches a maximum height of twenty-three meters. Windows perforate the drum of the dome as well as the tympana of the blind arches along the exterior walls. The mihrab and marble minbar are located directly beneath the central dome, as is often the case in Ottoman mosques. This is in contrast to the North African tendency to place the minbar along the qibla wall at one end of a large hypostyle prayer hall, which commonly features a T-shaped plan instead of the quatrefoil or octagonal Ottoman arrangements. However, the plan of the Mosque of the Fishery differs from that of typical quatrefoil Ottoman mosques such as Sinan's Sehzade Mehmed Mosque (1544-1549 CE / AH 951-956) in at least two significant ways. The supporting domes that abut the central dome on all four sides in the Ottoman model were replaced with a vaulted ceiling on two opposing sides in the Algerian example, and one of those vaulted aisles was further extended by two bays to create an asymmetry within the plan of the prayer hall that resembles the nave of a European church. This move effectively encloses the space that serves as an exterior forecourt in mosques like the aforementioned Sehzade Mehmed. The stone structure of the Mosque of the Fishery has been completely whitewashed on its exterior, including the domes and vaults of the roof, resulting in a clean, unified appearance. One of the only hints of color on the crisp exterior is a thin line of tile-work that trims the decorative merlons running along the top of the mosque's perimeter walls facing the street and the Place des Martyrs. Another decorative element on the exterior of the building is a delicate metal finial composed of four stacked spheres atop the central dome. Though the planning and decoration of the Mosque of the Fishery reveals a clear Ottoman influence, curiously the minaret of the mosque is based almost entirely on traditional North African models. Initially reaching thirty meters high, today the minaret extends twenty-five meters above the level of the Place des Martyrs due to the gradually rising street level. The minaret is square in plan, with a straight shaft that houses three interior levels connected by a narrow winding enclosed stair. The two upper levels of the whitewashed stone structure are inset with decorative panels; the rectangular inset panels on the second level frame ovals are of patterned tile, while the third level features clock-faces surrounded by rectangular tiled frames on all four elevations. The clock, integrated into the minaret by Bournichon, was originally part of the the Palais Jénina. Above the third level is a balcony edged by pyramidal merlons, accentuated by a wide tiled cornice wrapping all four elevations. The balcony surrounds a small square pavilion with a domed roof, also trimmed with petite merlons and capped by a finial of three metal spheres. The pavilion is open air, with doubled arched openings and a central oculus as perforations on all four sides. The confusion of architectural traditions continues in the decoration of the interior, where the minbar's ornamental carvings reveal decidedly Italian influences while the mihrab's prominent horseshoe arch follows Andalusian models. The use of Italian marble instead of wood for the minbar reflects Ottoman tastes, though the components are all typical of North African minbars. It has been suggested by some scholars that the uniqueness of the Mosque of the Fishery could be attributed to its designer's unfamiliarity with certain Ottoman architectural practices due to the physical displacement of Algiers from the seat of the empire in Istanbul. This physical and cultural distance could have led to the mixing of techniques between Ottoman, North African, and southern European traditions clearly visible in the unusual mosque. However, to its contemporaries in seventeenth-century Algiers, the mosque would certainly have appeared Ottoman in contrast to the many other mosques in the city that strictly followed North African building traditions. Sources: Blair, Sheila S. and Jonathan Bloom. The Art and Architecture of Islam 1250-1800. Yale University Press, 1994. 251-255. Bourouiba, Rasid, and M. Dokali. Les Mosquees en Algerie. Algiers: Ministry of Information and Culture, 1974. 48-55. Lafer, Ali. "Djamaa el-Djedid (la nouvelle mosquée)" in Discover Islamic Art. Place: Museum With No Frontiers, 2013.<a data-bypass="true" target="_blank" href=" http://www.discoverislamicart.org/database_item.php?id=monument;ISL;dz;Mon01;12;fr"> http://www.discoverislamicart.org/database_item.php?id=monument;ISL;dz;Mon01;12;fr</a>&nbsp; Consulted June 14, 2013. Michell, George. The Architecture of the Islamic World. London: Thames &amp; Hudson, 1978. 218. Tourneau, R. le. "al-Dj_azair." Encyclopaedia of Islam, Second Edition. Edited by: P. Bearman; , Th. Bianquis; , C.E. Bosworth; , E. van Donzel; and W.P. Heinrichs. Brill, 2011. Brill Online. Massachusetts Institute of Technology (MIT). <a href="http://www.brillonline.nl/subscriber/entry?entry=islam_SIM-2049" target="_blank">http://www.brillonline.nl/subscriber/entry?entry=islam_SIM-2049</a>. [Accessed 20 April 2011] Al-Masajid fi al-Jaza'ir. Algiers: Ministry of Information and Culture, 1970. 48-55.

Jami' al-Jadid

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Morocco

Rabat - Dar-El-Maghzen and the Post 

Poste Maroc

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IAA708191

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Mazagan

The contemporary city of&nbsp;<a href="https://archnet.org/authorities/6315">El Jadida</a>, located approximately 105 km (65 miles) south of&nbsp;<a href="https://archnet.org/authorities/6567">Casablanca</a>&nbsp;on the coast Atlantic coast of Morocco, grew out of the fortified Portuguese city, established in the 16th c. The first fort on the site was constructed in 1514 by Francisco and Diogo de Arruda. Between 1541-1548 the fortress was rebuilt by Joao Ribiero and Juan Castillo using the plans of the Italian architect Benedetto de Ravenna.&nbsp;<blockquote>The fortification with its bastions and ramparts is an early example of Renaissance military design. The surviving Portuguese buildings include the cistern and the Church of the Assumption, built in the Manueline style of late Gothic architecture. The Portuguese City of Mazagan - one of the early settlements of the Portuguese explorers in West Africa on the route to India - is an outstanding example of the interchange of influences between European and Moroccan cultures, well reflected in architecture, technology, and town planning.1</blockquote>The walls walls average approximately 8 m in height and 10 m thick.&nbsp; The city was occupied by the Portuguese until 1769 when Sultan Mohammed ben Abdallah recaptured the region, bringing stability.&nbsp; Jews from Safi settled in Mazagan and became more prominent in daily left of the city.&nbsp; In 1821 the city was renamed El Jadida.&nbsp; The port remained important to the economy of Morocco until 1921 when it was superseded&nbsp;by the new port as Casablanca.&nbsp; The Portuguese city was declared a World Heritage Site in 2004. NOTES:&nbsp;1&nbsp;UNESCO World Heritage Centre. "Portuguese City of Mazagan (El Jadida)." UNESCO World Heritage Centre. Accessed May 16, 2018. https://whc.unesco.org/en/list/1058.

Cidade portuguesa

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Real Photos. Alger. Série 2.  Packaging for 10 prints of photographs

Packaging for 10 small photographs

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black-and-white print

Cathedral

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This Neo-Byzantine church sits on a hill above the sea to the north of Algiers. &nbsp;It was designed by&nbsp;Jean-Eugène Fromageau, architect for the Diocese of Algeria during the colonial era. It was severely damaged by an earthquake in 2003. &nbsp;A three year restoration project finished in 2010.&nbsp;<div> </div><div>Source:&nbsp;</div>"Basilique Notre-Dame D'Afrique (Alger) - Home." Basilique Notre-Dame D'Afrique (Alger) - Home. Accessed July 27, 2016.&nbsp;<a href="http://notre-dame-afrique.org/" target="_blank" data-bypass="true">http://notre-dame-afrique.org/</a>.

Basilique de Notre Dame d'Afrique

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Statue du duc d'Orleans et Mosquée Djama Djedid

Jamaa al-Jadid

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La Poste

Built on the site of an Anglican church, the main post office was designed by&nbsp;<a href="https://archnet.org/authorities/8393" rel="noopener noreferrer" target="_blank">Jules Voinot</a>&nbsp;and&nbsp;<a href="https://archnet.org/authorities/8392" rel="noopener noreferrer" target="_blank">Marius Toudoire</a>, and constructed in 1910. In July 2014 the government announced plans to renovate the Post Office in order to transform it into a post and telecommunications museum.&nbsp;

Grande Poste d'Alger

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Archnet is a community-powered resource that provides ready access to visual and textual material to facilitate teaching, scholarship, and professional work of high quality.&nbsp;This unparalleled resource continues to grow with both the addition of historic archives and documentation on contemporary trends shaping the built environment today.&nbsp;To better serve you, our user, in the study of art and architecture of Muslim societies, we continue to build our vast collection of sites, publications, images, and videos. To ensure a high level of scholarly content and accuracy in the information provided, we appreciate your expert feedback and, more importantly, your contributions..&nbsp;&nbsp;<ul><li>Please send comments, corrections, commendations, and other feedback to <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;</li><li>If you find sites on Archnet to which you can contribute in compelling and meaningful ways, your generosity is most welcome. If you would be interested in contributing research, publications or other media to Archnet, please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite contributions of relevant, previously published, Open Access or copyrighted material for which you are able to grant Archnet a non-exclusive license. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We invite the contribution of syllabi, lesson plans, recorded lectures, or other material for our pedagogy project. Please contact us using <a href="about:blank" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.&nbsp;</li><li>We welcome the donation of select archives based on our current editorial policies and priorities.&nbsp;If you have a collection you would like to bring to the attention of Archnet's editors, please send an email to: <a href="http://mailto: archnet-submission@mit.edu/" rel="noopener noreferrer" target="_blank">archnet-submission@mit.edu</a>.</li><li>Occasionally, Archnet editors issue calls for contributions on specific themes or of particular types of material. Follow those on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">website of AKDC@MIT </a>or <a href="https://mailchi.mp/17fc345bbd94/archnetakdc-updates" rel="noopener noreferrer" target="_blank">subscribe to our mailing list</a>.</li></ul> The breadth, depth, and quality of Archnet is oachieved through the generosity of numerous institutions and individuals listed on the respective pages throughout the site.&nbsp;We thank you for your generosity!

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Archnet is an Open Access resource, provided to the public to facilitate cultural understanding and excellence in both scholarship and practice. Content from Archnet.org may not be published, displayed, or appropriated for commercial use without the expressed written permission of the copyright holder. Unless otherwise noted, Archnet material is available for instructional, nonprofit use, and personal use on the terms of a <a href="https://creativecommons.org/licenses/by-nc/4.0/" rel="noopener noreferrer" target="_blank">Creative Commons Attribution-NonCommercial 4.0 International</a> (CC BY-NC 4.0) license. Please contact Archnet to request permission to use the Archnet.org website and its contents beyond the scope outlined above. High-resolution images may be available by contacting us using <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>. The content available on Archnet, including but not limited to information, text, graphics, logos, and multimedia related to the the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture’</a>s programmes, such as the <a href="https://www.archnet.org/collections/54" rel="noopener noreferrer" target="_blank">Historic Cities Programme</a>, the <a href="https://www.archnet.org/collections/848" rel="noopener noreferrer" target="_blank">Aga Khan Award for Architecture</a> and the <a href="https://www.archnet.org/collections/132" rel="noopener noreferrer" target="_blank">Aga Khan Music Programme</a>, may be protected by copyright, trademark, or other intellectual property rights and laws, whether owned by the Aga Khan Trust for Culture, its affiliates, or third parties. Unauthorized use, reproduction, distribution, modification, or display of this content is strictly prohibited without the express written permission of the respective copyright or trademark holder. Violation of this prohibition may result in legal penalties.

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<h2>ARCHNET FAQ</h2>1. Will ARCHNET work on my device?Archnet works well on the most recent version of any major browser (Chrome, Firefox, Safari, Edge), either on a mobile device or computer. It may work on older or less common browsers as well. If Archnet fails to work properly on your machine, please let us know about your experience by clicking the blue feedback button at bottom right!2. Will my URLs from earlier versions of Archnet still work?Yes, if they are from the version launched in January 2013. As of October 12, 2021, all URLs from the old Archnet have been redirected to ARCHNET.&nbsp;&nbsp;3. How do I download a/n:&nbsp;<ul><li>image - Select the image you want to download from search results, a site or an authority. The image will open in your browser.&nbsp;Right click to download.&nbsp;For larger, high-resolution copies, see contact us using archnet@mit.edu.&nbsp;</li><li>publication - Open the page for the publication in your browser and click the download button. Reprinting Archnet publications is permissible only for personal use.&nbsp;Please contact us for any other requests.&nbsp;</li><li>site descriptions and metadata - Site descriptions and metadata can be used for any nonprofit or educational organization with appropriate attribution to the authors and Archnet.&nbsp;</li><li>video - Currently video downloads are not possible. If you'd like to use an Archnet video, please contact <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</li></ul>See our <a href="https://www.archnet.org/pages/terms" rel="noopener noreferrer" target="_blank">Terms of Use</a> for information on how you can use Archnnet material.4. Can I contribute material to Archnet?&nbsp;Yes!&nbsp;See our <a href="https://www.archnet.org/pages/contribute" rel="noopener noreferrer" target="_blank">Contribute</a> page for more information.&nbsp;Calls for specific contributions are also also shared in our social media and on the <a href="https://libraries.mit.edu/akdc/category/contributors/" rel="noopener noreferrer" target="_blank">web site of the Aga Khan Documentation Center at MIT</a>.&nbsp;&nbsp;5. What happened to the Archnet Timeline?&nbsp;Timeline has migrated into the ARCHNET NEXT Collections page&nbsp;<a href="https://www.archnet.org/collections/collection_type/3/1" rel="noopener noreferrer" target="_blank">as a category</a>. These collections provide short introductions for each period, often offering lists of additional resources at the end of the entry. Only the timeline graphic listing the periods along a chronological axis has not migrated.6. My question isn't here.&nbsp;How can I get help?&nbsp;If your issue is with using Archnet, use the blue Feedback button to alert us to your issue. This will allow you to include a screenshot or recording. Please, also, feel free to contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>We are currently developing the help section of ARCHNET NEXT. In the meantime, please use the blue Feedback button in ARCHNET NEXT to send us feedback or other questions. Contact us at <a href="mailto:archnet@mit.edu" rel="noopener noreferrer" target="_blank">archnet@mit.edu</a>.&nbsp;

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Welcome to ARCHNET, an open access, interdisciplinary, intellectual resource focused on the built environment of Muslim societies.Focused on the built environment of Islamic civilizations past and present, we seek to:<ul><li>Facilitate excellence in scholarship and professional work by&nbsp;providing reliable information and ready access&nbsp;to vetted, high-quality textual and multimedia resources&nbsp;focused on architecture, urbanism, environmental and landscape design,&nbsp;heritage&nbsp;conservation, economic and environmental sustainability, community development and resilience in the face of rapid change, and related topics.</li><li>Enable teaching and learning in these domains by providing educators with reliable, effective pedagogical material and teaching aids.&nbsp;</li><li>Serve as a platform through which scholars, practitioners, and institutions can bring their work to new global audiences.&nbsp;</li><li>Promote intercultural understanding and dialogue through reliable, high-quality, peer-reviewed material on the diversity of and pluralism within Muslim societies and the interaction between Islamic and other religious, cultural, and philosophical traditions as it relates to architecture and urbanism.</li><li>Enable easy access to a wide variety of resources via a custom-built, web-based, mobile-friendly platform optimized to minimize financial, infrastructural, linguistic, and other barriers to access.&nbsp;&nbsp;</li></ul>Launched in 2002 after several years of development, ARCHNET is a pioneering digital resource that has proven a reliable authority on the built environment of Muslim societies, past and present.&nbsp;ARCHNET is a partnership between the <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a> (AKDC@MIT) and the <a href="https://www.archnet.org/authorities/1903" rel="noopener noreferrer" target="_blank">Aga Khan Trust for Culture</a> (AKTC), with support from the <a href="https://www.archnet.org/collections/50" rel="noopener noreferrer" target="_blank">Aga Khan Program for Islamic Architecture</a> at Harvard and MIT.&nbsp;ARCHNET is developed and maintained by <a href="https://www.performantsoftware.com/" rel="noopener noreferrer" target="_blank">Performant Software Solutions</a>.

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