and this one, open only to architects: http://www.architectseye.co.uk
Here is a list of many architects’ favourite photographers:
And here is an alternate list which combines commercial and fine art photographers, balancing conventional and experimental images:
and here is another:
arch photos now look like cgi.
halbe has sounded the death knell which not so long ago rang out for product photography.
though I am not thrilled with the results:
I agree with much of what is said in this interview with the director of AEDAS
But I wonder if he has given thought to how to link these ideas of specific case, by case, working methods vs an out of the box solution, to the photography of his company’s work. Below is an excerpt.
AD: Aedas has undoubtedly seen enormous success in places where markets are just starting to flourish. Would you say that scale and success go hand in hand?
Definitely not. We have been extremely successful in the emerging market because we’re very committed to understanding the unique problems in each city that we work. When we went into the Middle East ten years ago we were unheard of; Andrew Bromberg (who recently designed The Star in Singapore) went in there first and his evident commitment to understanding what the developers wanted led to a series of commissions. From that series of commissions we then picked up forty seven stations for the Dubai Metro. It was through an understanding of what Dubai wanted that we achieved the work.
AD: With a practice of Aedas’ scale, even following the demerger, how do you maintain consistency across the board in terms of design and service?
We are very proud that our designs are diverse because that proves that we are designing uniquely for every condition, every city, and every developer. If there is any indication of a ‘house style’ I would be extremely nervous that we’re not meeting the requirements of each and every project. Rather than maintain consistency, we try to maintain a consistently high standard.
an architecture blog about the importance of light
This pair of articles is interesting because it reveals some of the limitations to the conventionalised way of speaking and writing about art, speculates on possible origins of IAE (French ways of speaking carried across (translated) into English) and offers food for thought on the importance of form to content.
Of the 3 pilgrimages taken, only the one to Villa Savoye was a disappointment. The building seemed cramped, institutional, ugly, cold and sad. Perhaps it was partly because it is in very bad condition. The German buildings were pristine whereas the one in France was falling to pieces. But it was more than just that. Both the detailing an overall presence of the other two buildings were a pleasure to behold first hand. Being there really was even better than looking at pictures for that reason, because it added to the sensory experience of the place and gave me an increased appreciation of the crafts of architectural design and construction. Corbu’s building was easy enough to photograph, but I wouldn’t have wanted to spend even a night there and was happy to leave when I did. In all of these trips to buildings, the sense of pilgrimage was, as Juhani Pallasmaa told me when I interviewed him, a part of the experience as well. Having to travel, so spending time, money and energy to get there. Expectations mounting all the while, the surroundings changing, the anticipation growing, together with the fact that you are by default part of a community of other people doing the same thing for more or less the same reason. Much of this shared experience exists online and through books and magazines of course, only we are not aware of it.
On how lucrative the work is in America:
The cost of hiring an architectural photographer
“Photographer charges by the day + one assistant. Shoots are usually two days and we expect to get 10 – 20 final images.
In architecture we usually pay $10,000 per day because of variables… time of day, weather, time of year, harder to schedule.
An article that links to my current article in the works:
The AR archive illuminates the story of modern architecture
In a magazine as long lived as the AR (founded in 1896), there is a perpetual sense of being a privileged witness to the history of modern architecture. In a fascinating sub-plot, you can also track the changing ways in which this history is presented; the medium as well as the message. When the AR came into being, photography was still in its infancy, so drawings were the main means of conveying all kinds of subject matter, from architecture to the decorative arts. The cover of the first issue featured an ink drawing by the then editor, Henry Wilson, depicting the Spirit of Architecture, a sort of Arts & Crafts goddess, heroically leading her sisters of the other arts towards the future. Now Wilson’s goddess would be brandishing an iPad, showing the way to new digital opportunities for both architects and publishers.
Since that first issue there have been another 1,402. The buildings, ideas and discourse that shaped and defined the modern architectural era are now contained in 234 bound volumes occupying around 9 metres of shelf space. To our knowledge, there are only two complete collections in existence, one in our London offices and the other in the RIBA Library. Leafing through our back pages is always a compelling experience, but clearly future generations of architects, scholars and other interested parties will not necessarily have the opportunity or patience to engage with a physical entity resembling a medieval chained library. So a key ambition, starting this year, is to digitise the entire archive in order to disseminate more widely the AR’s rich repository of ideas, insight and intelligence and in a way that chimes more aptly with the technology of the times and the needs of our readers.
Making our past more accessible will intensify the AR’s relationship with architecture and the global community of architects. Rather than a static physical entity, the archive’s myriad digital currents will feed into and sustain a complex and evolving organism in ways our predecessors could only have dreamt of.
As part of this engagement we are introducing a new section,Archive, which will examine key moments in architectural history and bring to life the changing relationship between the message and the medium. Curated by Steve Parnell, the first article (p96) considers ‘Towards Another Architecture’, a 1970s campaign to encourage architecture to recover its ‘grip on social imagination’, in the same way as the AR’s recent Big Rethink attempted to redefine the correlation between architecture, society and ecology.
Being a journal of record is a crucial part of the AR’s mission and appeal. But it’s not enough just to be a passive witness, ‘an architectural Debrett, the recorder and illustrator of an established aesthetic’, as Parnell notes, quoting from an AR editorial of 1976. Now more than ever, architectural magazines must be relevant and engaging, propositional rather than reactive, cultivating an agile and fertile reciprocity between different media to illuminate the past, present and future of architecture.
The history of architectural photography
22 December 2013
Exploring photography’s obsession with architecture as motif and metaphor, a cluster of exhibitions in Los Angeles ended by questioning the neutrality of the camera in the architectural assignment
Nikolaus Pevsner, who is relevant both as a precursor to critical realism and because of his awareness of atmosphere and the effects of image on design through the picturesque – all my topics.