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 architects to weigh in on the work of some of our most-appreciated architecture photographers. Here, Iñaki Ábalos writes on behalf of José Hevia.
For Renata Sentkiewicz and I to work, these past years, so so closely with José Hevia, it’s meant much more than just having “good photographs” of our projects; it’s a different way of seeing a constructed project, working with a collaborator and critic, and forming a permanent stimulus.
The last collaboration we developed with him in the Spanish Pavilion at the Venice Biennale attests to how the importance of knowing how to see has added to our work. Thanks to his talent and artistic formation (it’s not a coincidence that he has a Fine Arts degree), the visual labyrinth that we’ve proposed together with SIO2 to develop the idea of the “interior” in Mediterranean culture was transformed into an architectural experience and integrated illusion. His work models an interior of interiors that permits traditional instruments of architecture (walls, doors, hallways, color, light…) to coexist with traditional elements of photography. It generates a medium that speaks for itself, allowing us to elude the use of words in the Biennale, which if the Biennale has a particular defect, it’s the proliferation of words in the presence (and absence) of proposals. José Hevia makes architecture with photography, circumventing the role of either in favor of the many; a luxury that also makes it a pleasure to work with him.