Camera Being: (Dis)Assembling the Inside in Architectural Design

Within the academic framework of the teaching of architectural projects, this article discusses the relevance of studying the historical and social significance of the emergence -in the second half of the nineteenth century and early twentieth century- of new techniques for the production of images that transform perception, the media: photography and cinematography. The camera becomes an organ of vision or a prosthetic eye. From the origins of photography, figures like Charles Baudelaire were critical to its usefulness. Later, Walter Benjamin utilises film to establish key concepts for understanding contemporary perception -the montage, the dialectical image, shock, etc.-. Within this framework, it is possible to critically rethink an architecture that redefines itself over time from production to reproduction, and architects such as Le Corbusier and Rem Koolhaas exemplify how they propose transfers between disciplines. It demonstrates its own usefulness for the teaching of architectural projects.