The World Photography Organization has revealed 35 images that are being considered to be the “world’s best contemporary photograph.” Of the shortlisted selection, beauty found within our built world takes center stage in four of the images. All entries were submitted freely by professionals and amateurs alike. See all four stunning images, after the break.
This past week, Adobe Photoshop turned 25 years old. That’s right: at an age where us mere mortals are often still embarrassingly reliant on our parents, Photoshop is taking the opportunity to look back on how it became one of the world’s most ubiquitous pieces of software, and how in just a quarter-century it has transformed our very conceptions of beauty and even reality itself.
Of course, to the general public Photoshop is probably best-known for the role it has played in the fashion and advertising industries. Serving up heavily processed, idealized images of anatomically dubious models, its effect in our wider culture is well-known, but Photoshop has had its impact on the architecture profession as well. Join us after the break as we look at 25 years of Photoshop in architecture.
Vincent Laforet is at it again, this time photographing Nevada’s Sin City from an elevation of 10,800 feet (8,799 feet above the city). Part two of Laforet’s dizzying series of city aerials, the Pulitzer Prize-winning photographer was drawn to desert city of Las Vegas because of its “island” effect.
“Just like the island of Manhattan that started this series, Vegas is an “Island of Light” in the middle of nothingness… A sea of black with an amazing source of light emanating from Vegas and its infamous strip… You can almost see the electricity running through it.”
A collection of “Sin City” images, after the break.
What is the draw of the aerial view? Whereas architects and designers often find solace in this particular spatial perspective there is a more inclusive, universal appeal to this way of seeing. The ease of access to online mapping services has increased our collective reliance on understanding our world from above.
Maps condense the planet into a little world inside our pocket, the commodification of which has universalised the ‘plan-view’ photograph. The question of whether or not their ubiquitous availability, having now been assimilated into our collective consciousness, is a positive step for the status of the plan is a discussion ongoing. Yet, in the face of this dilemma, architectural photographers are pushing the boundaries of drone technology in order to find new meaning.
Through January 31, The Building Centre is hosting Upright and Educated, a photographic exhibition documenting the work of UK charitable organization Article 25 in Burkina Faso. Captured by award-winning photographer Grant Smith, the images chart the construction and use of a school in Gourcy, in the country’s north.
Founded in 2006, Article 25 worked with local builders, craftspeople, and fellow UK charity Giving Africa to construct Bethel Secondary School, allowing up to 1100 children access to enhanced education and vocational training facilities. Learn more about the project and view selected images from the exhibition after the break.
Something he has “dreamed of capturing for decades,” Pulitzer Prize-winning photographer Vincent Laforet has released a stunning set of images that captures his hometown of New York in a way that has never before been seen. Taken from a nauseating 7500-feet above the city, Laforet’s “Gotham 7.5K” series reveals the unrelenting, pulsating energy that radiates from the Big Apple’s city grid.
All the images and the making-of video, after the break.
Modern times have seen the rise and proliferation of architectural media, allowing people to remotely experience spaces and buildings without ever physically entering them. As such, the importance of the architectural image has never been greater.
Opening on January 15 at London’s Sto Werkstatt and organized in conjunction with Arcaid Images, Building Images celebrates the “power and impact of photography on the way we sense and experience spaces.” Described by Arcaid Images co-founder Lynne Bryant as having “long been the means of communicating architecture,” photography is a medium that has grown inseparable from the notion and creation of the architectural image. Learn more and view selected images from the exhibition, after the break.
Despite being born in the same era, Expressionism embodies an entirely different architectural sensibility to other proto-modernist movements like the Bauhaus. Its complex forms marked the creation of what we know as the modern metropolis and became one of the iconic architectural styles of the Roaring Twenties. Throughout Europe, over 1,000 expressionist buildings remain standing, yet many are forgotten and not properly preserved.
For the past four years, Niels Lehmann and Christoph Rauhut have been working to document these surviving expressionist landmarks, following their previous book “Modernism London Style.” Their new book, “Fragments of Metropolis – Berlin” presents 135 remaining expressionist buildings in Berlin and the surrounding area, and with your help this incredible collection documenting the landmarks of expressionism will be published, with colorful photography and detailed maps revealing their exact locations. Follow this link to become a supporter and learn more, or continue after the break to see a selection of images from the book.
Cultured, one of the leading art, architecture and design magazines, has shared with us part of the 16-page photo essay “No Filter” by Iwan Baan that is being featured in its Winter Issue, on stands now. Enjoy!
If you pore endlessly over images of architecture the way we do, chances are you’ve been drooling over work captured by Iwan Baan. Though he’s adamant that he not be referred to as an “architectural photographer,” Baan has probably captured more buildings, pavilions, residences and just about every other structure in between than any other single lensman. Yet it is Baan’s background in documentary photography that most influences his work. “I choose my projects not so much for the architecture, but for its relationship with the city around it and how people respond to it,” says Baan. “I’m trying to tell the story of the built environment—the places where we live.” Here, Baan tells the story behind 11 projects completed this year, and two others that he has a personal connection to.
“I love great architecture that is very specific for its site and client, it’s for an architect always a dance between him, a site and a client. Here, Gehry was given complete freedom to design every detail, every nook and cranny of a building for Bernard Arnault to house his art collection.”
Read on for more quotes and images by the renowned Iwan Baan.
The internet has been good to fans of “ruin porn,” providing them with a platform for sharing images and even coining the phrase, courtesy of a well-known Detroit blogger in 2009. However, the phenomenon isn’t actually as new as most people believe. In this article, originally published on 6sqft as “Before There was ‘Ruin Porn’ There was ‘Ruin Value’” Diane Pham expands on the idea of the connection between ruins and architectural value (recently discussed on ArchDaily in an article by Shayari de Silva), delving into the concept’s surprising history.
In the hierarchy of “things the internet likes”, we’d argue that ruin porn sits wedged somewhere between Buzzfeed quizzes and cats. Images of decaying architecture conjure up unsettling feelings of tragedy and loss, but somehow manage to grip us with its intangible beauty. Whatever the cause for this may be, the thrill and enjoyment we get from looking ruin porn is palpable.
The term ‘ruin porn’ is said to have been coined by blogger James Griffioen during a 2009 interview with Vice magazine in which he criticized photographers who scouted down-trodden Detroit for provocative photos. While ruin porn is the trend at hand, decades before its arrival there was something called ‘ruin value’.
Architecture photographer Danica O. Kus has shared with us images of Frank Gehry‘s recently completed Fondation Louis Vuitton. Labeled as a “late-career triumph” by Los Angeles Times critic Christopher Hawthorne, the sailed glass structure teeters on the edge of a Parisian water garden in Jardin d’Acclimatation. For a closer look at the building’s much-discussed structure, check out all of Kus’ images after the break.
What does it take for a 22-year-old art school drop-out to start a lifelong professional relationship with “the greatest American architect of all time”? Originally published by Curbed as “How a 22-Year-Old Became Wright’s Trusted Photographer,” this article reveals that for Pedro E. Guerrero, it took some guts and a lot of luck – but once they were working together this unlikely pairing was a perfect match.
When Frank Lloyd Wright hired Pedro E. Guerrero to photograph Taliesin West in 1939, neither knew it would lead to one of the most important relationships in architectural history. Wright was 72 and had already been on the cover of Time for Fallingwater. Guerrero was a 22-year-old art school drop-out. Their first meeting was prompted by Guerrero’s father, a sign painter who vaguely knew Wright from the neighborhood and hoped the architect would offer his son a job. Any job.
Young Guerrero had the chutzpah to introduce himself to the famous architect as a “photographer.” In truth, he hadn’t earned a nickel. “I had the world’s worst portfolio, including a shot of a dead pelican,” Guerrero said later. “But I also had nudes taken on the beach in Malibu. This seemed to capture Wright’s interest.”
Hufton + Crow have been named “Architectural Photographer of the Year 2014” by Arcaid Images. The news was announced in Singapore at the World Architecture Festival after the duo’s interior image of Zaha Hadid’s Heydar Aliyev Centre staircase received the highest score from the judges. Hufton + Crow also received runner-up in the award’s exterior category with another image from the Heydar Aliyev Centre. You can check it out, after the break.
Currently on exhibition at Barbican Art Gallery in London is Constructing Worlds, an exploration of architectural photography from the 1930s to now. The exhibition brings together over 250 rarely seen works by 18 leading photographers who have demonstrated the medium’s ability to look beyond simple documentation of the built world and reveal wider truths about society. Learn more about the exhibition after the break.
German photographer Yannick Wegner has shared with us his latest time-lapse exploration through the Museo Soumaya. Designed by FR-EE / Fernando Romero Enterprise, the 150-foot structure has become iconic in Mexico City’s Polanco district due to its sculptural physique and scale-like skin of 16,000 mirrored steel hexagonal tiles.
Stills of the museum, after the break…
Brooklyn based architectural photographer James Ewing has placed first in the American Photographic Artists’ APA Awards for architecture. The image, as Ewing describes, “was created to describe the verdant landscape that surrounds the Matrimandir and the community of Auroville.”
“The land was in an advanced state of desertification when the Auroville project was started in the 1960s. Heavy erosion had removed most of the topsoil and left a barren scorched earth. Through many years of careful engineering and land management Auroville has created a lush, wooded, garden city. I sought out an elevated vantage point that allowed me to present the building in context with its landscape. The building without the landscape would only be half of the story. The cyclists in the foreground show scale and provide a contrast between the familiar low-fi technology of the bicycles and the fantastic sci-fi form of the Matrimandir itself.”
Europe‘s ancient ruins are numerous: Pompeii, the Parthenon, the Colosseum – but what about new ruins? Skeletons of incomplete buildings now litter the skylines of European cities. A form of memento mori, these abandoned constructions prove that no structure is permanent or impervious to the changing desires of a society in flux. English photographer Sam Laughlin documents the creation of these ‘ruins’ in his series Frameworks, a contemporary dissection of the aging built environment.
Enter the abandoned world in Frameworks with more photos and info after the break.
To coincide with the opening of the Royal Institute of British Architects (RIBA)’s new Architecture Gallery at their headquarters in London’s Portland Place, the first major retrospective of Edwin Smith will open next month. Smith, one of Britain’s foremost 20th century photographers, was considered a master of capturing the essence of the places, landscapes and buildings he documented over an extensive career. The exhibition, entitled Ordinary Beauty, will display over a hundred carefully curated black and white images from a collection of over 60,000 negatives and 20,000 prints donated by Olive Cook, Smith’s widow and collaborator, to the RIBA Library.