Ste Murray has recently visited Chicago and photographed the famous John Hancock Center on its 50th Anniversary. Completed in 1969, and conceived by architect Bruce Graham and structural engineer Fazlur Khan of Skidmore Owings and Merrill, the building was once the tallest structure in the world outside of New York.
Photography is still one of the most widely used means of representation and communication in architecture. Although it does not incorporate the temporal dimension, the level of fidelity with which photography represents the other three dimensions of the built world makes it one of architect's favorite tools to convey their buildings.
To celebrate World Photography Day, we've gathered 15 photographers from around the world who are worth knowing - and following on Instagram.
Architectural photographer Marc Goodwin recently visited Brazil to continue on his journey documenting the world's architecture offices. Expanding on his current list, he's already visited Panama City, the Netherlands, Dubai, London, Paris, Beijing, Shanghai, Seoul, the Nordic countries, Barcelona, and Los Angeles. In Brazil, Marc photographed 20 offices across a range of scales and project types. Find out more about the individual offices and the city they are a part of through Marc's feature.
Enquanto meio de representação da arquitetura, a fotografia apresenta qualidades indiscutíveis. Com ela, é possível apresentar a um público distante obras erguidas em qualquer lugar do mundo, de vistas gerais a espaços internos e pormenores construtivos - ampliando o alcance e, de certo modo, o acesso à arquitetura.
Entretanto, como qualquer outra forma de representação, não é infalível. Na medida que avanços tecnológicos permitem fazer imagens cada vez mais bem definidas e softwares de edição oferecem ferramentas para retocar e, por vezes, alterar aspectos substanciais do espaço construído, a fotografia, por sua própria natureza, carece de meios para transmitir aspectos sensoriais e táteis da arquitetura. Não é possível - ao menos não satisfatoriamente - experienciar as texturas, sons, temperatura e cheiros dos espaços através de imagens estáticas.
The American Institute of Architects Los Angeles Chapter has announced the winners of their 2019 Architectural Photography Awards. The 18 images, awarded in the Honor, Merit, and Citation tiers, were selected from 450 submissions of stellar quality, a two-fold increase on the 2018 edition.
The awards were founded as a “celebration of the use of architecture as a subject to make art, rather than a photograph as a documentational tool.” Recognizing the individuals driven to communicate the works of architects, the awards “celebrate the photographer’s eye, skill, and talent in expressing the transcendent nature of space."
In many parts of the world, more women have architectural degrees than men. However, this fact hasn’t translated past university into the working world as women continue to be underrepresented across nearly all levels of practice.
The conversation regarding women in architecture gained tremendous traction back in 2013 with the petition for Denise Scott Brown to be recognized as the 1991 Pritzker Prize winner, alongside her husband and the consequent rejection of that request by Pritzker. The Architectural Review and Architect's Journal have, since 2015, jointly presented awards to the exceptional female practitioners as part of their Women in Architecture Awards program. The swelling of these movements have helped to promote not only the role but also the recognition of women in architecture.
Architect Liz Diller and architectural photographer Hélène Binet have been awarded the 2019 Jane Drew and Ada Louise Huxtable Prizes, respectively, for their exceptional contributions to the field of architecture. The prizes are part of the eighth edition of the Women in Architecture Awards founded jointly by The Architect's Journal and The Architectural Review.
Last week, we covered the work of Moscow-based visual artist Danila Tkachenko, whose “Monuments” project appropriated abandoned Russian Orthodox churches with abstract modernist shapes. Tkachenko’s further work, “Restricted Areas” is equally as impressive, focusing on the human impulse towards utopia through technological progress.
The “Restricted Areas” photography set distills humanity’s strive to perfection through recording abandoned Soviet infrastructure. Traveling to now-deserted landscapes which once held great importance as centers of technological progress, Tkachenko captured images of “forgotten scientific triumphs, abandoned buildings of almost inhuman complexity” and a “technocratic future that never came.”
Moscow-based visual artist Danila Tkachenko has developed a project researching the boundaries of historical memories in Russian Orthodox churches. “Monuments” involved the sensitive appropriation of the abandoned rural churches, erecting lightweight structures in abstract modernist shapes.
The project sought to explore the area between fact and fiction, reflecting on “humanity’s inclination to exploit images of the past for the sake of our current needs, and future goals.” The structures, all abandoned in 1917 following the Russian Revolution, were adorned with striking modernist elements which, although visually powerful, can be dismantled following the project’s completion with no effect on the landmarks.
To honor renowned Brazilian architect Oscar Niemeyer’s birthday (December 15, 1907), Slovenian photographer Danica Kus published a series of black and white photographs highlighting Niemeyer’s surviving architecture. The architect, who passed in 2012 at the age of 104, is considered one of the greatest modernist architects of the 20th century.
Kus’ photographs accentuate the hyperbolic curves characteristic of Niemeyer’s design, while also highlighting the geometric harmony of rectilinear elements. In an exclusive interview with ArchDaily before his death, Mr. Niemeyer described his personal definition of architecture: “In my opinion, architecture is invention. And under this prism is how I do my projects, always searching for beautiful, expressive, different and surprising solutions.” This photo series encompasses the subtleties of Niemeyer’s premier works and spans his career.
The architectural and engineering feats of Spanish architect Santiago Calatrava can be admired around the world, but his City of Arts and Sciences, designed alongside Felix Candela, has remained a modern architectural marvel. Like many international visitors, Lebanese photographer Anthony Saroufim found himself inherently attracted to the highly publicized building complex with a specific, tailored angle - unraveling the relationship between the built reality and the people interacting with it.
Alvaro Siza orchestrates, like no other, the experience of the visitor in his works. By means of compressions and decompression, openings and closings, volumes, voids and light, the Portuguese architect marks the paths, points of view, and perspective of the passage of time. In this photo essay, Ronaldo Azambuja photographed the Iberê Camargo Foundation ten years after its inauguration.
Architect and photographer Romullo Fontenelle of FLAGRANTE studio shared with ArchDaily a series of photographs from the recently inaugurated Japan House Sao Paulo, a project by Kengo Kuma in partnership with the local office FGMF Arquitetos.
The global initiative by the Japanese Government aims to "create a vision of contemporary Japan." Opened May 2018, Japan House combines art, technology, and business to offer an escape to present day Japan.
Andres Gallardo’s photo series “Urban Geometries” continues, this time the self-taught photographer chose to capture the architecture of Milan. The series focuses on the architectural contours of contemporary structures, varying in both age and function while highlighting the materiality of the façades, architectural, industrial details of each building.
Gallardo’s Milan series features the work of Zaha Hadid Architects and Grafton Architects. Other images in the series include elements of the city that often go unnoticed, such as a series of colorful recycling receptacles.
The winning entries of the Siena International Photo Awards 2018 have been unveiled. The “Architecture and Urban Spaces” category winners offer a wide range of subjects, locations, and perspectives, from the relationship between the Moon and the Leaning Tower of Pisa to snow-capped “Toy houses.”
The Siena International Photo Awards saw 48,000 images submitted from 148 countries. The announcement of the winners coincides with the launch of the “Beyond the Lens” exhibition of the winners, running until 2nd December 2018 in Siena.
Tijuana is one of the most populated cities in Mexico. In 2000, the construction of collective housing boomed. This phenomenon completely transformed the limits of the city; the periphery exhibited a new appearance: a modernized future, new urban schemes, and a new lifestyle.
Bogota's modernization between 1940 and 1970 is featured in a wide array of books, magazines, and photo albums, as well as in the city's own public and private archives. Every one of these sources reveals a deliberate, as well as critical, approximation of how modern architecture reconfigured the city's center and brought together the new buildings and urban space with the already existing cityscape.
When analyzing the impact of photography from the street, it's impossible not to talk about Leo Matiz, Armando Matiz, and Hernán Díaz. These three photographers have captured the personalities, events, and urban life of Bogotá. Here, we've compiled some of their most noted works featuring the streets, plazas, crosswalks, and landmarks of Bogotá. Through their photography, modern heritage finds a place on the stage of collective memory, where architecture and urban spaces are the stars.
In this edition of Bogotá in 10 photographs, we will come to know the legacy of Leo Matiz:
Andres Gallardo, the self-taught Spanish photographer, recently traveled to Paris to capture the city’s urban architecture, documenting the spirit of the buildings, the city’s rich architectural history, and international design influence.
Gallardo describes the city as “magical,” which he chooses to document in both monochrome and color photographs, incorporating overall perspectives and small structural details that often obscure the structures’ overall identity.
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