Photographs of silos

Abstract

This article explores the dissemination of the photographs and photo-reproductions of the now-canonical North and South American grain elevators, published and disseminated in the early twentieth century in publications such as the 1913 Werkbund Yearbook where Walter Gropius included them as illustrations to his article, and later by Le Corbusier in Vers une architecture, amongst many others. It emphasises that while within architecture discourse the idea of a canon made up of buildings is widely accepted, this article identifies and stresses the role of ‘photographic canons’ as a means to further challenge these constructions. To do so, the article focuses on the moment where these photo-reproductions were consolidated as canonical and the mechanisms that such a construct implied. It investigates the photo-reproductions’ history as objects of trade and exchange, as well as their mobilisation in relation to photographic media and different dissemination platforms to argue that, on the one hand, that this informed their reading as architectural, and thus singular, objects. And on the other, that the materiality of the photo-reproductions’ different instances testifies to their nature as commodities and objects of trade, and therefore to the consolidation of their canonical status.