Playhouse. While the 300 year old Italian home of architect Armin Blasblicher features rustic, vernacular elements like stacked logs, Blasblichler updated the house with whimsical, playful elements. He incorporated doors on ceilings, doors within doors, and a contemporary interpretation of stained glass inspired by Pantone color swatches, as pictured above. More at Gizmodo. Super-giant photo. The Culver Center of the Arts in Riverside, California is exhibiting the world’s largest photograph, created by the world’s largest camera. Lost at E Minor said the camera was fashioned from a converted airplane hangar with a 6mm opening in one its walls. At eleven stories long and three stories high, the resulting landscape photograph needed a 35 minute exposure. Blooming brownfields. Seattle is cleaning up its brownfields in South Lake Union. The district, once home to factories, paper mills, and other industries, fell into decline as businesses moved out. For decades, the sites lay abandoned, tainted with toxic chemicals. The city has issued large-scale cleanups that include removing contaminated soil and building materials. The area is in various phases of redevelopment, with new offices, residences, and shops opening, reported the Wall Street Journal. Un-knotting bikes. Knowhow Shop created a playful tongue-in-cheek bike rack for Roanoke, Virginia in the shape of a large comb, keeping bikes upright and tangle-free. Resting on its side, it is made from mangaris wood and supported by black steel bars that are supposed to resemble hair, posted Gizmodo.
Posts tagged with "Photography":
If you’re in DUMBO this week and catch a glimpse of a shirtless man hanging off a tree, don’t freak out. VAMOS Architects has curated an installation of photographer Robert Holden’s series The Treehouse, as part of New York Photography Week. The large-scale photographs depict semi-nude members of a rainforest commune, set against industrial buildings, rooftops, and scaffolding in DUMBO. The series is meant to let New Yorkers contemplate an alternative lifestyle, according to the artist’s statement. “It shows a commitment to live a life away from chaos, from monetization and find happiness carrying our existence where the highest value is not money or objects that define our status and class,” writes the website Yatzer, which declares that Holden’s subjective documentary approach “makes us reserve an immediate ticket through Kayak.” The Treehouse consists of 49 photographs tucked away in dark alleyways and splashed onto the sides of tall buildings. VAMOS worked with over 20 entities, including Brooklyn Bridge Park, Two Trees Management, St Ann’s Warehouse and Powerhouse books, to get permissions for the installation. The series is on view through May 31, 2011. Upon closing, the installation, which was designed to be zero-impact, will be disassembled and donated to other art projects and schools. "Sometimes architecture is not about building," said Evan Bennett, principal of VAMOS. "We hope the installation's brief life in the neighborhood inspires people to experience their place in the city in new and thoughtful ways."
Last night, the 1500 Gallery in Chelsea held an opening for Brasilia, a show of iconic photographs dating from the creation of the freshly minted Brazilian capital. Indeed, the show is meant to be a celebration of the Semicentennial of Oscar Niemeyer's city in the jungle. The show was organized by Brazilian photographer Murillo Meirelles and will be up through November 27. Pictures of pictures, and more from the opening, after the jump.
Since last year, esteemed architecture photo agency ESTO has been shooting video as well. Here is the latest effort, a look at the Diana Center at Barnard, narrated by the designers, Weiss/Manfredi. From the first frame, we couldn't help but think of Curbed's frequent Rendering vs. Reality feature. From that first frame on, at times it looks like exactly that, like we're looking at a renderings. Were it not for the cars and buses and students passing by at times, we might actually believe so. We're still not sure what Weiss/Manfredi was going for here in terms of appearance, but it certainly seems to be working for the firm.
The almost abstract series of prints by Brazilian photographer Bruno Cals could show race tracks, prisons, railroads, or meadows. But what Cals has captured through his lens are in fact some of the world’s most seductive new buildings. In an exhibition on view through July 31 at 1500, a new gallery in New York with a focus on Brazilian photography, what resembles swells of water in Prada turns out to be the facade of Herzog & de Meuron’s Prada store in Aoyama, Tokyo. Another shot shows not an undulating sheen of ice but the Maison Hermès by Renzo Piano in Ginza, Tokyo. Other images offer close-ups not of trophy architecture but of everyday structures that prove just as surprising. What at first glance looks like a lush field is a brick building in Palermo, Buenos Aires, studded with graffiti and crossed by an electrical wire. Cals, an acclaimed fashion and advertising photographer, divides his time between commercial and personal projects, launching Horizons, his first series of architectural images, in 2008. Six of the twelve images in the series—depicting buildings in São Paulo, Tokyo, and Buenos Aires—are on view as digital C-prints, while the rest are displayed on a LCD screen. Probing themes of “presence versus emptiness, and search versus satisfaction,” Cals finds provocative new perspectives in the everyday world around us.
Yesterday, we told you the story of how the 100 strong New New York Photography Corps snapped some 4,500 photos of the city in stasis for a new show being put on by the Architectural League, The City We Imagined/The City We Made: New New York 2001–2010. Here now are a bakers dozen of the best. To view a slideshow click here or the photo above.
The plight of Detroit is a subject of endless fascination for architects and planners and has been irresistible to photographers. Still, the scale of the city’s problems retains the ability to shock. According to the Detroit Free Press, the city is moving to bulldoze between 2500 to 3000 abandoned homes this year—a fraction of the more than 10,000 homes considered dangerous and slated for demolition. Given the fact that it costs approximately $10,000 to demolish a house, the 2500 figure is all the finacially strapped city can afford to take down. Council President Pro Tem Gary is pushing to reduce the eight to nine month lag time it takes for the utility companies to shut off electric, gas, and water going at the houses. The federal Neighborhood Stabilization Program is providing most of the funding for the demolitions.
First there was Ezra Stoller, then Julius Shulman. Now comes Iwan Baan, who is furiously "remaking the genre" of architectural photography, as Charles Renfro put it to Fred Bernstein in Sunday's Times. Baan, while only 34, has an exploding, explosive list of clients. As Bernstein explains, "Mr. Baan’s work, while still showing architecture in flattering lights and from carefully chosen angles, does away with the old feeling of chilly perfection. In its place he offers untidiness, of the kind that comes from real people moving though buildings and real cities massing around them." It is for this reason, among many others, that Baan was selected as one of a dozen photographers in our annual Best Of issue, now online. Not surprisingly, his work turns up throughout, bringing to life everything from the High Line's lighting to 41 Cooper Square's facade. Do think of calling on him—as well as the hundreds of other contractors, fabricators, and suppliers in Best Of—next time you need a smart hand or steady eye on one of your projects.
Today we got an email from the fine folks at Archphoto announcing that one of its trio of photographers, Paúl Rivera, has been featured in the current issue of the Japanese architecture magazine, A+U. The featured work was of the MASterworks award-winning TKTS Booth, including the above photo. In addition to being an unexpected and breathtaking view of the structure and surrounding environs, it made us realize something we hadn't yet about the much-talked about closure of Broadway in the square: While all those cars whizzing by may have been a pedestrian and congestion nightmare, they sure brought wonderful life to the countless photos that have come to define the Crossroads of the World.
What better way to see LA than the way she was intended, by car. My colleague Sam Lubell was kind enough to chauffeur me around the city from time to time--when he wasn't, the buses were surprisingly nice, far more so than in New York, I must admit. While Sam drove, I did my best to take a few pictures. UPDATE: Here are some more pictures from the bus ride to Union Station, where I caught another bus to the airport. Also, I was wrong about the above building. That's a parking garage. See the comment section below for more.
"Everybody's doing it." That's how Erica Stoller of Esto described the august architectural photo agency's foray into web video. Now don't fret. At the heart of these videos remains Esto's unparalleled still camerawork, but given these changing times, experimentation is in order. And, as Stoller's colleague Joel Sanders explained, the philosophy remains the same. "Esto has always been about expressing architecture in its truest, purest, most honest form," Sanders told us over the phone. "We see these videos simply as an extension of that. It's a means to describing the architecture." For its first two videos, Esto showcases the work of photographer Albert Vecerka. One documents the restoration, more than 13 years later, of P.S. 70, a burned out Bed-Stuy school that was transformed by Robert A.M. Stern into the Excellence Charter School. The other presents a time lapse installation from last summer of KieranTimberlake's Cellophane House at MoMA's prefab show, Home Delivery.
We ran a rememberance of Marvin Rand yesterday by Larry Scarpa of Pugh+Scarpa. Here's another from Ray Kappe, the founding director of Sci-Arc:
Marvin Rand was a good friend and an exceptional architectural photographer. I have fond memories of that slight, energetic man with the large camera photographing one of my earliest houses in Sherman Oaks, in 1956. We grew up in Los Angeles architecture together--I developing my practice, and he photographing some of the most important buildings in Los Angeles--from documenting the Watts Towers, Greene and Greene, the architecture of early modernist Irving Gill, the Case Study houses and other works of Craig Ellwood, to many of the young architects of today. Marvin enjoyed working with younger architects, especially in recent years. He switched to digital photography and used the latest techniques. I am sure that is what kept him young at heart. He was also generous with some of us older members of the profession later in life, photographing work that he thought was important, and without charge. He honored me by photographing my 50 Year Retrospective exhibit at the A+D Museum in 2003-2004, and contributed two large major photographs, 5’ x 8’, which hung from the ceiling. Those of us who were fortunate to know and work with Marvin, as well as the architectural profession at large, have lost a generous spirit, and a talented friend and advocate. He will be sorely missed.