About Black White / Analog Troya Museum Photos
It would be a good experiment to go over the perception of “time” hidden in the state of “not being there anymore”.
Photography is one of the most powerful tools to explain and convey architecture. It is said that the meeting of photography with architecture and the meeting coinciding with a tight breaking moment of history, the knowledge of ancient architecture circulating in black and white photographs, and the perception produced by this technical aesthetics is a form of architecture.
On the other hand, when you look at it today, black and white photography is a part of a dangerous nostalgic illusion that is in the past and missed just like everything aging.
This analogue world and the aesthetics attached to it are free of colors and immersed in their own abstract state. Perhaps because of its nostalgic perception, perhaps its rarity, the reduction of colors and textures, or a kind of reduction reproducing other things…
When Egemen said, “Let’s take the Troya Museum in analog and black and white,” I had the opportunity to recall and reflect upon the museum’s desires for desolation, absence, imperfection and time.
In digital times, I recalled that another kind of timelessness is an integral part of slowness and weight, while running without knowing what to look for in the future. Black and White contains not only the old but also another stationary or movement. It is like a journey that has been filtered from shadows and lights than the movements in the colors we have always seen. Being analog describes an imperfection that cannot be overtaken at once, when everything is changed layer by layer to be perfect.
Architect Ömer Selçuk Baz
ANALOGUE OVERVIEW OF THE TROYA MUSEUM
It is described by the designers of the Troya Museum;
“The design has to face a situation beyond the physical context in the given environment. This must be to create a feeling beyond a structure by looking at a civilization that has existed in history for a while. ”
“Absence!” This was the word that appeared in my mind. For me, it contains a bit of “deficiency” and a bit of “blunder”. In fact, I would like to state it like this: Something that we knew existed there before is no longer there.
So how could I give this feeling to architectural photography? It would be a good experiment to go over the perception of “time” hidden in the state of “not being there anymore”. As a form of production and the end product, analog photography was a good choice for playing with the mind’s perception of time. In fact, using black and white film strengthened this feeling even more. We know that analog photography is a representation of the past for us. When we look at an old photograph, we think that what we see is no longer there, that it does not live, or that it has changed at best, and we unknowingly remember that our own existence is also subject to time. For us, producing today with a technology that is a thing of the past awakens this to both the executive and the minister. The uncertainty of when the building was built or when the photos were taken is the feeling that the Trojan civilization was still there, if not there anymore.