Symposium explores photography’s role in preserving 20th-century architecture

Fine architectural photography goes a long way. It has the power to inform, enthrall and inspire. When preserved well, it records the collective memories tied to architecture and stands as compelling testimony to historical change.

Landscapes in View: Exploring the Beauty of Heritage, an academic symposium held on Nov 24 in Beijing, made a strong case for the importance of architectural photography in both protecting and promoting 20th-century architectural heritage.

The event, which brought together nearly one hundred architects, photographers, professors and students who specialize in architecture and heritage studies, was jointly hosted by the College of Architecture and Art at North China University of Technology, China Electronics Engineering Design Institute Co, and the editorial departments of three journals: China Architectural Heritage, The Architectural ReviewandArchitectural Photography.

Academic support for the symposium was provided by the Committee on 20th-Century Architectural Heritage, which is affiliated with the Chinese Cultural Relics Society.

Jin Lei, the committee’s deputy director and secretary-general, moderated the conference and stressed the significant role of photography in communicating the value of architectural heritage.

“To promote great architecture, we need high-quality images,” he said.

“Concise and easy-to-read architectural photography not only documents and interprets buildings but can also resonate with a wide audience, helping to revive architectural heritage and raise public awareness.”

In the past decade, the committee, China’s largest academic organization dedicated to researching and promoting 20th-century architectural heritage, has selected 1,000 architectural works from around the country in 10 rounds. These buildings have been granted heritage status for exemplifying China’s modernization and showcasing the ingenuity of Chinese architects.

Jin also revealed that the committee is curating a photography exhibition on China’s 20th-century architectural heritage, which will open early next year in Beijing and then travel to eight other cities, including Chongqing, Changchun, Wuhan and Shenzhen.

In his keynote address, Ma Guoxin, a renowned architect, member of the Chinese Academy of Engineering and avid photographer who has published several photography books of architecture and documentary portraits, reviewed the early development of architectural photography in China. He also emphasized that architectural photography is an essential tool for preserving architectural heritage, documenting spatial transformation and advancing the study of cultural memory.

Ma noted that the amateur and professional photographers who came to China in the mid-19th century left behind a vast number of valuable images for architectural history research. He highlighted the work of Felice Beato (1832–1909), an Italian-born British military photographer who captured the ruins of the Old Summer Palace, and John Dudgeon (1837–1901), a British missionary and Sinologist who created an extensive visual record of Beijing.

During the 20th century, Chinese scholars like Chen Wanli, Liang Sicheng and Jin Shisheng advanced the systematic documentation of architectural images. Their efforts cemented photography as a vital resource for studying architectural history.

Discussing contemporary developments, Ma noted that the widespread use of smart devices and advances in digital technology have led to explosive growth in architectural photography. Many architectural design institutes have formed professional photography teams, although theoretical research, image authentication and archival development still lag behind.

Wan Yuzao, head of the committee’s photography department, argued that architectural heritage photography is not simply the representation of “beauty”. Instead, it is a process of gradually understanding the emotions and historical context embodied in architecture through extensive on-site experience.

A Beijing native and experienced photojournalist, Wan has devoted years to capturing the capital’s 20th-century architectural heritage. His intimate knowledge of the city enables him to anticipate the best light and angles for photographing major landmarks such as the Beijing Hotel, the Cathedral of the Immaculate Conception in Beijing, and the Beijing Workers’ Stadium.

When working outside Beijing, at sites such as the Shenzhen International Trade Center, the Turpan Museum and the Xinjiang People’s Theatre, Wan stressed the importance of preliminary research. On-site surveys and comparisons from multiple angles helped him determine the most expressive perspectives.

Wei Shuxiang, a professional architectural photographer from Northeast Heilongjiang province, shared a series of photographs of protected buildings along the historic Chinese Eastern Railway. Built by the Russians and completed in the early 1900s, the railway runs from Manzhouli on the Hulunbuir grasslands to Suifenhe on the Russian border.

In Wei’s striking compositions, which balance light and shadow, buildings such as the former residence of the Suifenhe railway officer, Harbin’s Jihong Bridge, and the puppet “Manchukuo” regime-era police station in Boketu Town blend with their environments, while human activity is a subtle presence.

“I like my photos of architecture to include people because architecture exists to serve people. Images without people feel a bit soulless to me,” he said.

Dong Ming, a veteran architect and photographer from Guizhou province in Southwest China, shares a similar approach. He has long documented the architecture of the local Miao and Dong communities, including timber houses, thatched dwellings, traditional roofs, and wind-and-rain bridges, some of which have since disappeared or fallen into decay.

In addition to recording vivid architectural details, Dong’s photos captivate viewers by capturing the atmosphere of communities. His focus on elderly villagers and left-behind children lends his work a deeply human quality.

During the panel discussion, participants shared their thoughts on improving architectural photography of 20th-century heritage, how it should be evaluated and how public awareness can be raised.

Veteran photographer Ye Jinzhong emphasized the importance of authenticity, noting that photographs of historical buildings must truthfully capture their spatial qualities to retain documentary value.

Liu Dong, head of the photography center at Tianjin Architecture Design Institute Co, noted that artificial intelligence and video technologies are challenging and reshaping architectural photography.

He argued that traditional techniques and modern technologies should be integrated in architectural heritage imaging. Film photography and traditional printing methods can convey the textures and material qualities of architectural heritage, while digital tools can help tell the historical stories behind buildings.

For example, to promote Tianjin’s historical buildings, industrial remains, and sites along the Grand Canal, his team produced moving images supported by stories written by historians and performances by virtual characters. The resulting videos are displayed in museums, universities and cultural venues, allowing audiences to learn about architectural history even when they cannot enter the buildings.

Zhang Zhe, a professor at North China University of Technology, argued that photography of 20th-century architectural heritage should be developed into a recognizable brand with its own value proposition. To achieve this, she suggested making greater use of emerging digital technologies, such as short videos and virtual reality, to tell the stories behind historic buildings and engage a wider audience.