“Within a historic context of Victorian architecture a reflective swoosh cuts its way into the Birmingham of today. The photo illustrates the transformation of an industrial town into a service industries city and opens up room for different interpretations. What do we see here? And, above all, where are we here?”John Fraser will receive an Eames Plastic Chair from Vitra for his winning image and his photo will be on display alongside 9 entries that were shortlisted. There was an additional contest determined by voting on Facebook, won by photographer Pia Odorizzi after her photo accumulated 245 likes. Odorizzi’s photo will be displayed for two days on the 2,254 Info screens throughout Austria, which entertain more than 1.4 million viewers each week across Austria’s five regional capitals.
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The touring exhibition Barbara Kasten: Stages will arrive at the Museum of Contemporary Art in Los Angeles (MOCA) this summer, following presentations at the Institute of Contemporary Art in Philadelphia and the Graham Foundation in Chicago. The exhibition collects works from four decades in the artist’s career, from the 1970s to present. Barbara Kasten: Stages is the first major survey of the artist’s work, incorporating her sculptures and photography with documentation of her artistic process. According to curator Alex Klein, “stages” refers both to the stages of the artist’s career and her own process of staging sculptures in space.
The exhibition includes many of Kasten’s most well-known photographs from the Architectural Sites series, in which she abstracted works of postmodern architecture, like Frank Gehry’s Loyola Law School using an elaborate staging of light, sculpture, and mirrors and then printed them using the dye-destruction method Cibachrome for better depth of color and clarity. Stages will also include Kasten’s work with cyanotypes, which use the same technique used to make blueprints, and her early work with furniture sculptures.
The Museum of Contemporary Art Pacific Design Center 8687 Melrose Avenue West Hollywood, CA 90069 Through August 14
Hosted at Chicago’s Western Exhibitions, Chimera is a presentation of the architectural photomontages by Chicago-based architect Marshall Brown. Using a technique Brown refers to as “stealth collage,” images of buildings are cut and pasted into diverse, incompatible alignments. The specific pieces on display were created in 2014 as a set of 100 14- by 17-inch compositions. Chimera is the second solo show for Marshall Brown at Western Exhibitions. Marshall Brown is a practicing architect and an associate professor at the Illinois Institute of Technology College of Architecture. His practice, Marshall Brown Projects, has work currently on exhibit as part of the United States Pavilion at the 15th Venice Architecture Biennale.
Chimera: The Work of Marshall Brown was on show at Western Exhibitions, 845 West Washington Boulevard, 2nd Floor, Chicago, IL, through June 25.
Huntington Library showcases Yasuhiro Ishimoto’s photographs of Greene and Greene’s Pasadena architecture
Aerial photography, by nature, usually reveals patterns that are hard to comprehend as a pedestrian. Large-scale features such as infrastructure, landscape, and human geography can be put into perspective and thanks to Google Maps and other online satellite mapping services, this is information is all readily available at our fingertips.
However, as one photographer has pointed out, much still goes unnoticed. A resident of Cape Town, South Africa since 2012, Johnny Miller has captured the city’s housing landscape and highlighted a problem that's still plaguing post-Apartheid South Africa. As his project title Unequal Scenes suggests, Miller’s images portray the scale and proximity of inequality still present in Cape Town.
"There's a very uniquely South African form of spatial segregation that was developed during the apartheid," said Miller in an interview with The Architect's Newspaper (AN), adding how city planning and infrastructure carved Cape Town's social and racial demographics. "So, for example, roads, rivers, train tracks: the apartheid government did very well at separating people through architecture," he continued. "You see just in the way that the city is designed, it’s going be pretty difficult to redistribute wealth and facilitate the free movement of people."
Miller said he likes how his detailed images facilitate long-term viewing. The physical structure of communities becomes visible, allowing the disparity to be instantly apparent. The homes of the wealthy are arranged in a clearly structured and planned fashion. The "townships" of the poorer, black community however, show roads—if they can be called that—meandering in every which way. As a result, keeping track of dwellings, keeping them on the electric grid and part of the plumbing system, is difficult though most visibly, however, is perhaps the change in color from one side to the other. For instance, one township is adjacent to a golf course: a wealth of greenery covers the wealthier area while the township shows only shack rooftops and dusty dirt-tracks.
With the rise of the Nelson Mandela, the apartheid government lost power in 1994. More than twenty years on, Miller explains that change hasn't been easy. There's been a failure in communication between the government and its people, leading to mistrust in state power. "There’s a lot of inequality, disenfranchised people who are really angry," said Miller. But he's is hopeful his project will finally spark a constructive dialogue between the authorities and the population. “I’m trying to promote a peaceful dialogue where people can share their opinions and become aware…. I think awareness is the only tool to defeat the fear that I see as really the root problem,” he added.
Miller hopes the legacy of his project will be the government's response to the questions that arise from his photography. Already, government officials have responded to his work, remarking on their awareness of the issue and stating that they are working on the problem. "What gets me excited about this project... you start to hear those answers, which is really what people want to hear," Miller implored.
Merely photographing the from above, though, isn't Miller's only ambition. He estimates that very few individuals within these poorer communities have even heard about his work. Despite his doing the rounds in South Africa’s printed media, mobile-media remains the dominant form of communication for many in townships. Cellular data tariffs can be pricey. Miller subsequently intends to display his work to residents within the photographed townships, providing what he thinks is an unseen perspective on where they live. “I think it would be really fascinating to show the person on the rich side and the poor side, just see what they have to say.”
In light of the responses Miller’s work has drawn, especially in comments on his Facebook page, it seems that his photography illuminates what appears to be an inconvenient truth for many. “In my opinion, I think it’s a lot of fear that drives these negative comments. Fear of the other, not understanding the person on the other side of the fence."
“Perhaps it takes flying above people, two to three hundred meters, to take away that humanity and reduce humans to mass clearings, or agglomerations, for people to pay attention," he continued, noting how some may have become desensitized to the traditional imagery of poverty: the African child with a bloated stomach looking into the camera. Indeed, "that face" can come from anywhere in the Third World, whereas Miller's drone images illustrate that poverty literally is on their doorstep, something which is arguably more personal.
What is apparent from Miller's work is that the drone provides a new perspective that, in Miller's words, “people really respond to. Seeing something they thought they knew in a different way" is evidently something that resonates—with the wealthier side for now, at least. If you want to follow Johnny Miller's project, you can do so through his Twitter feed, here. You can also find more videos here.
Braving temperatures as low as -22°F, Iwan Baan is no stranger to shooting in the extreme. Armed with his camera, tripod, and Canada Goose Parka, the esteemed Dutch architectural photographer has produced a series on Beijing-based MAD Architects' Harbin Opera House in China's Northernmost province.
His work, unlike most in the industry focuses on people, not buildings. "My pictures are always very much about the users of the place," Baan says in a film covering the shoot. "I'm not trying to create timeless images which could be in any moment in time. They always should very much have a connection to a specific place, time, people, a context, a culture and this kind of thing."https://www.youtube.com/watch?v=xzvG8D-PI5M
"So people are, in that sense, a very important part," he explains. However, despite the alternative choice of focus, his work still conveys the fluid curvature of MAD's Harbin Opera House. Cast against a snow-white sky, the meandering white aluminum panels can be seen elegantly rising from the snow.
In this medium, the building's intentions of emulating the sinuous nature of its marshy surroundings and adjacent frozen riverbank are well and truly achieved. Even among fading light, the opera house's relationship with the site remains intact through Baan's lens from both interior and exterior perspectives.
“Harbin is very cold for the most of the year, so I envisioned a building that would blend into the winter landscape as a white snow dune arising from the wetlands,” says Ma Yansong, principal architect and founder of MAD Architects.
“Opera design normally focuses on internal space, but here we had to treat the building as part of its natural environment—one outside the urban context,” Yansong adds.
Traditionally, opera house photography evokes silent spaces, that, by contrast are designed to be anything but. Here, the acoustic properties of the space embedded within the theatrical grandeur are enhanced. With his uncanny habit of seeing things differently, Baan however, captures crowds on their feet in rapturous applause. Outside he shoots tourists, dog walkers, and local ice fishers setting an enlivened scene.
Purist's needn't worry though, as shots without any intrusive people also feature.
In related news, MAD has released a video showcasing their Invisible Border Installation for the Interni's Open Borders exhibition at the 2016 Milan Design Week. A descending veil, comprised of translucent polymer strips can be seen fluttering in the wind as it is loosely held in an undulating form, suspended from the Loggia of the Cortile d’Onore.https://www.youtube.com/watch?v=CwYvelwAlc4
This series of photographs, titled Urban Jungle, highlights the sheer physical mass of Hong Kong's urban environment while showcasing the array of colors used for its residential high-rises.
Prior to this, Yeung had been taking pictures from the opposite perspective. In his Look Up series, dizzying images show towers stretching up into the sky, amplifying their daunting qualities.
Other photos reveal facades in a different light, with repetitive patterns often being the focal point of his work.
Another series BeeHive again showcases the density of Hong Kong but from another different view point.
Inspired by the notions of varying dimensions and surprise Edwin A. Abbott's Flatland: A Romance of Many Dimensions, Turkish digital artist and photographer Aydın Büyüktaş has created a fanciful Istanbul in his latest project. Aerial depictions of the city turn the landscape on itself—literally.
Using a drone, his photographs have been digitally manipulated to appear as if the city is doubling back over itself creating a fantastical curved world.
Büyüktaş's images can appear disorientating at first sight with the viewer's eye naturally following what should be linear forms that end up being viewed from alternate perspectives. The scenes resemble those from Christopher Nolan's Inception and Interstellar movies where cityscapes are curvaceous, both in dreams and in space.https://www.youtube.com/watch?v=LRT0GGTWYnM https://www.youtube.com/watch?v=dG22TcpjRnY Creating the curving montages in a flat world was no easy task. Drone's were sent up into the skies, but Büyüktaş had to rely on the weather and wildlife to be on his side.
"So many times I had to turn back without a picture because of bad weather, technical problems, or birds attacking the drone," he said.
Once he had collected all the images, Büyüktaş adopted the much more grounded approach of editing and patching them together in Photoshop.
"We live in places that most of the times don’t draw our attention, places that transform our memories, places that the artist gives another dimension; where the perceptions that generally crosses our minds will be demolished and new ones will arise," Büyüktaş says on his website. "These works aims to leave the viewer alone with a surprising visuality ironic as well,multidimensional romantic point of view."https://www.instagram.com/p/BAQCOYCF8IT/