Sunday marked the completion of the New York City High Line, a three-phased project that transformed the once disused elevated rail tracks on Manhattan’s West Side into one of the world’s most respected public parks. With the first section opening in 2009, architectural photographer Iwan Baan has been documenting the entire process. Now, for the first time we present to you a photographic journey through the completed High Line designed by James Corner Field Operations with Diller Scofidio + Renfro. Take a look, after the break.
In honor of World Photo Day (August 19th) ArchDaily wanted to thank the photographers who bring to life the projects that we publish every day. So we asked 15 architects to weigh in on the work of some of our most-appreciated architecture photographers. Here, Steven Holl writes on behalf of Iwan Baan.
Surface Magazine’s reintroducing its famed Avant Guardian photography contest, a competition that has helped launch the careers of many photographers. Surface editors and a star jury – featuring international photographer Iwan Baan, along with Johan Lindeberg, Klitos Teklos (Air Paris), Benoit Lagarde (Splashlight), and Keren Sachs (Offset) – will select 10 finalists. Finalists’ work will be showcased in Surface’s October 2014 issue and in a traveling photography exhibition.
To inspire you to apply, we’ve rounded up some stunning images of Iwan Baan. Enjoy – and remember – the deadline for submissions is Thursday July 24th at 5 p.m. Eastern Standard Time!
Are you feeling short on inspiration today? For a jump-start, try watching one of these twenty TED Talks – a follow-up to last year’s post “The 10 Most Inspirational TED Talks for Architects.” Wherever your interests lie, the passionate people featured in these videos – from WikiHouse founder Alastair Parvin to famed photographer Iwan Baan and architectural great Moshe Safdie - will get your creative juices flowing. See them all, after the break.
ArchDaily has partnered with The Architectural Review to bring you short thematic introductions to the magazine’s monthly editions. Up now: AR’s April 2014 issue, which examines the complexities of architecture photography. Editor Catherine Slessor asks “what happens when controlled views of buildings are redefined by and adapted to new technologies?”
Roland Barthes once observed that there is no such thing as a photograph. ‘Whatever it grants to vision and whatever its manner, a photograph is always invisible, it is not it that we see’, he wrote in Camera Lucida. What we do see is the scrutinising gaze of the photographer, which can beguile or unsettle, but should always evoke some kind of response.
As a scientific and ‘truthful’ medium, photography has served architecture well, especially in the Modernist era when the evolving medium synthesised perfectly with a new approach to design. Yet the relationship between architecture and photography is an inherently compromised one. Unlike art practice, architectural photography lends itself less to searching critical enquiry, being essentially an unspoken pact between architect, photographer and publisher to render buildings in a way that discreetly flatters architectural ambition and sells copies of books or magazines.
This last Wednesday, April 9th, Herzog & de Meuron opened its first project in Brazil – Morro Arena - located in the city of Natal. With a capacity for 350 people, the arena features multipurpose rooms for dancing, classrooms, a terrace overlooking the sea, locker rooms and a sports court.
The project is the first finished part of a broader urban plan for the region developed by the Swiss Office in partnership with the Centro Sócio Pastoral Nossa Senhora de Conceição in 2009.
Iwan Baan’s recent TED talk on ingenious informal settlement ‘architecture’ became instantly popular, clearly striking a chord with people across the globe. The lecture has been called everything from heartwarming to condescending, but for Parsons graduate students Meagan Durlak and James Frankis it was reaffirming. Durlak and Frankis have spent time working in Sao Paolo’s favelas and understand that finding a balance between the good and the bad is key to the revitalization of these settlements. This article, originally published in Metropolis Magazine as “Response to Iwan Baan’s TED Talk,” journals some of their experiences working in South American slums, and why we need to stop treating those slums as a blight.
Meagan Durlak and I were excited to see the TED talk by architectural photographer Iwan Baan on the ingenuity found within informal settlements. In his presentation he walks us through a range of communities across the world, capturing many such settlements, including houses above a lagoon and a repurposed office block.
Baan’s view of informal settlements resonates with our own work; it’s an under-told story that we very much applaud. He shows an overview of people’s lives and their unique methods for adapting to difficult conditions. Perhaps as interesting as his film are the reactions to it from TED viewers. Many found the innovation in informal settlements to be inspiring and heartwarming; others claimed that this talk is just a life affirming story for the rich 1% of the world, perpetuating inaction for areas which need immediate aid. The two sides of the argument reminded us of our own work and the battles we have gone through in trying to wrap our heads around the systems of informal settlements, as well as the difficulties we have had in explaining their hidden properties to others.
Most architects are familiar with the work of Iwan Baan, the eminent photographer who has documented some of the most famous buildings of our time. But what you may not know is that Baan had not originally intended to photograph architecture. Had it not been for a chance meeting with Rem Koolhaas, things may have turned out quite differently.
In the video above, Baan speaks with ERCO at the Louvre Lens, a SANAA-designed offshoot of the Paris Louvre located in a small mining town in the north of France. As he traipses around the museum’s campus, he speaks about everything from his approach to photography (one that is less wrapped up in architecture than you might think) to the importance and transformative properties of light .
Iwan Baan’s curiosity for the built environment has led him to be one of the world’s most preeminent photographers whose skills are in constant demand by architectural elites worldwide. Constantly on the move, Baan has found himself documenting fascinating testaments to human ingenuity. From the informal vertical community of Torre David in Caracas to the floating Niagara slum of Makoko, Baan’s encounters with thriving communities in some of the most unexpected places has led him to believe that there is “no such thing as normal” and humans can truly adapt to anything.
Calling all urban innovators, organizers, stewards and builders: Today, September 20th, from 9am to 5pm EST, curators Chris Anderson, John Cary and Courtney Martin will kick off TEDCity2.0: Dream me. Build me. Make me real. The day-long event, which will be live-streamed for free, will share stories of urban ingenuity and interdependence from across the globe, while featuring an unexpected mix of over 20 speakers, including walkability expert Jeff Speck, world renowned architectural photographer Iwan Baan, and several 2012 City 2.0 Award winners. View the event program for more details.
“Whoever reviews Ito’s works notices not only a variety of functional programs, but also a spectrum of architectural languages.” — From the 2013 Pritzker Jury’s Citation
Toyo Ito has just been announced the winner of the 2013 Pritzker Prize. To commemorate this master architect, we’ve reached out to Iwan Baan, architecture’s premier photographer, and assembled a retrospective of some of Ito’s greatest works (all photographed, of course, by Baan) – including the Za Koenji Public Theatre, Toyo Ito’s Museum of Architecture, Silver Hut – TIMA, Ken Iwata Mother and Child Museum, Yaoko Kawagoe Museum, Suites Avenue Hotel, Huge Wineglass Project, Mikimoto 2, Tama Art University Library & White O. See them all, after the break…
Once more, Iwan Baan shared with the Za Koenji Public Theatre by Toyo Ito in Tokyo, Japan. An impressive black volume in the middle of the city of Suginami in Tokyo and managed by Creative Theatre Network (CTN), a non-profit organization led by president Ren Saito.
You can see the complete photoset on Iwan’s website.
Opening tonight, February 20, at 6:00pm PST at the Perry Rubenstein Gallery in Los Angeles, Iwan Baan‘s ‘The Way We Live’ exhibition features captivating large-scale images of urban, architectural, and home environments that capture Baan’s singular vision. Baan’s artistic practice examines how we live and interact with architecture, focusing on the human element, which brings buildings, intersections, and public gathering places to life. Running until April 13, this is Baan’s first solo exhibition at the gallery. More information after the break.
Torre David, a 45-story skyscraper in Caracas, has remained uncompleted since the Venezuelan economy collapsed in 1994. Today, it is the improvised home to more than 750 families living in an extra-legal and tenuous squat, that some have called a “vertical slum.”
Urban-Think Tank, the authors of Torre David: Informal Vertical Communities, spent a year studying the physical and social organization of this ruin-become home. Richly illustrated with photographs by Iwan Baan, the book documents the residents’ occupation of the tower and how, in the absence of formal infrastructure, they organize themselves to provide for daily needs, with a hair salon, a gym, grocery shops, and more.
Iwan Baan‘s name may ring a bell for all those following Hurricane Sandy’s devastation across New York City and New Jersey’s coast. The photographer’s iconic photograph made headlines when it was featured on New York magazine’s front page days after the storm, showing lower Manhattan in complete darkness, set against its vibrant counterpart uptown, as the United States’ east coast was recovering from the extensive damage left in Sandy’s wake. The image not only brings to mind the absolute helplessness that New York City faced during the storm, but also lends a hand in a social commentary that is notably pervasive in Baan’s work.
Starting February 20th, 2013, The Perry Rubenstein Gallery in Los Angeles will feature the Baan’s work in his first, two-month exhibition entitled The Way We Live, honing in on the images that encapsulate the world of architecture, urbanism and human engagement.
More on Iwan Baan: The Way We Live after the break.