Akademik Veri Yönetim Sistemi
IDA: International Design and Art Journal, cilt.7, sa.1, ss.81-92, 2025 (Scopus)
Architectural photography has long been a tool for expression, documentation, and propaganda, primarily aimed at portraying urban landscapes and modern buildings as aesthetically pleasing, livable spaces. This tradition aligns with modernist architecture’s moderate aesthetic view. However, by the 1960s, a shift occurred, as architectural photography began to engage with the representation of the city critically, embracing poststructuralist theories and questioning the roles of both architecture and photography. Despite this transformation, the adoption of a deconstructivist approach in architectural photography remains rare. This study examines the work of Turkish architectural photographer Murat Germen, exploring how he integrates deconstruction into his photographic practice, particularly in relation to unplanned urbanization. The research employs conceptual analysis to investigate Germen’s themes, such as Muta-morphosis, Construct, and Facsimile, and formal analysis to examine the visual and compositional strategies in his photographs. Using a deconstructivist and poststructuralist framework, particularly drawing on Deleuze’s concepts of the body without organs, flow, and lines of flight, the analysis highlights how Germen’s work critiques the conventional representation of modern architecture and urban spaces. The study concludes that Germen’s deconstructivist approach challenges traditional visual representations of the city, offering a deeper understanding of the complexities of unplanned urban growth and modernist architecture. His work demonstrates how architectural photography can evolve beyond mere documentation to become a critical social and artistic critique tool.