The following two chapters deal more specifically with “photographic architecture,” and both center on seminal works by Mies van der Rohe: the Barcelona Pavilion and the Villa Tugendhat in Brno. What interests Zimmerman about the former is the relationship of visual and bodily experience, and, more specifically, how vision, movement, and space are related in the representation and physical experience of modern architecture. This problem touches upon the more fundamental question of how Mies sought to apply a notion of painterly or graphic abstraction to his buildings (p. 83). Zimmerman differentiates between three different modes in Mies’s architecture: rhythmic, montage, and panoramic space. In this taxonomy, “rhythmic space” applies to the way the architect choreographs movement patterns through his buildings, a technique the author relates to the architect’s knowledge of the writings and works of Adolphe Appia and Jaques-Dalcroze, both of whom he would have known from Hellerau. “Montage space” on the other hand refers to how avant-garde cinematic conceptions of the connection (and disjunction) of images played into Mies’s spatial conception, most importantly, Hans Richter’s early abstract filmic experiments (such as Rhythmus 21). Finally, the notion of “panoramic space” is discussed with regard to the Villa Tugendhat. This line of thought is informed not only by a convincing “close reading” of a sequence of photos of the house by the Brno-based Atelier de Sandalo but also by a seminal text by Wilhelm Lotz on architectural photography first published in Die Form in 1929. The epithet “panoramic” refers to yet another mode of cinematic conceptualization of space, most evident in the construction of open-ended views and wide-ranging, horizontal windows in the Villa Tugendhat. Zimmerman’s analysis of the visual conventions in the photographs of the Atelier de Sandalo is equally convincing, revealing important discrepancies between inhabited and depicted space or, in other words, problems in the translation from architecture into its photographic image. As a side effect, Zimmerman here also tells the story of a little-known chapter in the evolution of the profession of architectural photography.