Hufton+Crow are dedicated to creating inspiring and striking photographs of contemporary interior and exterior architecture around the world.
As two experienced photographers with complementary skills and competitive characters they offer a unique service because they work as a team – either both simultaneously photographing one project, or by each providing input, critiques and direction of the others work. The outcome is a passionate attention to detail, the most creative approach possible and a reliable and professional service. Above all, it results in beautiful photographs that show buildings at their best – images that describe architecture within the built environment.
Hufton+Crow strive to create strong and lasting professional relationships, by listening and attending to their clients’ objectives first. The breadth of their client base and the longevity of these relationships proves the efficacy of this approach. They shoot digitally, believing that it is the format that can provide the most benefit to the client. They also provide professional re-touching and post-production as part of the service.
This week, OMA has unveiled their latest project in London, Holland Green. Working alongside Allies & Morrison, the firm has created three new luxury residential buildings on a site of significant cultural importance: the former home of the Commonwealth Institute, designed by Sir Robert Matthew, one of the founding partners of RMJM. As a result, OMA and Allies & Morrison’s Holland Green project involved much more than just adding fuel to the fire of London’s booming luxury residential market—it also involved an extensive conversion to the original 1962 Commonwealth Institute exhibition hall, funded through the scheme’s profitable residential offering, to prepare the heritage building for its new tenants the Design Museum.
ArchDaily spoke with Reinier de Graaf, the partner in charge of the project at OMA, to discuss the development’s social aspirations, the challenges of the London context, and the story behind the project.
In the architecture world, few designers can claim to have a more clearly-defined style than Daniel Libeskind (born May 12, 1946). Much of Libeskind's work is instantly recognizable for its angular forms, intersecting planes, and frequent use of diagonally-sliced windows, a style that he has used to great effect in museums and memorials - but which seems equally adaptable to conference centers, skyscrapers and shopping malls.
Last week, ArchDaily unveiled the 14 winners of this year’s Building of the Year award. Selected by ArchDaily readers from a pool of over 3,000 candidates, these 14 projects represent the best designs published by ArchDaily in the past year, as determined by an unbiased network of 55,000 voters who took part - each of them a judge in one of the world's most democratic architecture awards.
Representing a diverse field of architects, locations and project types, each design has a very different story about how it came into being, how its design responds to its context, how it fits into an architect's oeuvre, or what it says about the direction which architecture is traveling in. But despite the many different types of story represented, each of the stories behind the Building of the Year winners is a fascinating architectural tale. Here are those 14 stories.
In the past two weeks, the topics of discussion in the ArchDaily comments section have been incredibly diverse: from a debate over a light-hearted approach to getting the architectural job of your dreams, to a serious argument over the exploitation of young workers in the industry; and from criticism of a Zaha-like “melted yellow cheese” design to a favorable analysis of an intellectual postmodernist landmark. Read on to find out what our readers had to say.
Hufton+Crow has shared with us their latest set of images taken within the new Transfer Terminal at Arnhem Central Station. Designed by UNStudio, the terminal features a "twisting structural roof geometry" that abandons traditional construction methods to free its lofty 60-meter-tall interior hall from the clutter of columns. As the architects describe, "the ceilings, walls and floors all seamlessly transition into one another," forming a 21st-century transfer hub.
Pritzker prize-winning architect, fashion designer and artist Zaha Hadid (born 31 October 1950) has become one of the most recognizable faces of our field. Revered and denounced with equal aplomb for the sensuous curved forms for which she has become known, Hadid rose to prominence not solely through parametricism but by designing spaces to occupy geometries in new ways. Today, her work continues to push boundaries both creative and technological, and her fearless media presence has cemented her place in society as a woman who needs just one name: Zaha.