In a distinct artistic approach that highlights geometry, architecture and engineering, Benedict Redgrove has captured some of the company’s most radical concept cars from the 1960s and 70s – some never seen before – including designs for Alfa Romeo, Lamborghini and Lancia. The series of images which was originally commissioned by Wallpaper Magazine, exudes a specialty in styling, coach building and manufacturing, with Bertone’s vision categorized by abstract angular frameworks, a use of unique materials for standard auto parts and super-sleek interiors built for luxury and functionality.
Photography by Benedict Redgrove, for Bertone Concept Car Design Studio
Night photographs of the Brazilian capital created by architectural photographer Andrew Prokos are among this year’s winners at the International Photography Awards competition. Entitled “Niemeyer’s Brasilia” the series of photographs capture the surreal architecture of Oscar Niemeyer, who shaped the Brazilian capital for over 50 years.
“I became fascinated by Oscar Niemeyer’s buildings as works of art in themselves, and the fact that Niemeyer had unprecedented influence over the architecture of the capital during his long lifetime” says photographer Andrew Prokos. Niemeyer, who passed away in 2012 at the age of 104, was Brazil’s best known architect and the designer of the United Nations buildings in New York.
Niemeyer’s Brasilia, Photography © Andrew Prokos
Carl Kleiner has completed a series of product photography for the lighting brand FLOS.
FLOS, by Carl Kleiner, at MINK MGMT.
In 1996 a palm tree appeared almost overnight in a suburb of Cape Town. This was the world’s first ever disguised cell phone tower. Since then these trees have spread across the city, South Africa and the rest of the world. Invasive Species explores the relationship between the environment and the disguised towers of Cape Town and its surrounds.
Invasive Species, by Dillon Marsh
In the vast barren landscapes of the southern Kalahari, Sociable Weaver Birds assume ownership of the telephone poles that cut across their habitat.Their burgeoning nests are at once inertly statuesque and teeming with life. The twigs and grass collected to build these nests combine to give strangely recognisable personalities to the otherwise inanimate poles.
Assimilation, by Dillon Marsh
Benedict Redgrove’s background as graphic designer has heavily influenced his imagery. His carefully composed images are clean and strong. He see beauty in utilitarian spaces and structures, loves good design and functionality. His meticulously crafted photographs range in scope from vast landscapes to intimate technical interiors.
Aeronautical, by Benedict Redgrove
For the first time Google unveils its data centers, including those located in Belgium, Finland and the United Dtates.
Photography: Google Data Centers
Manuel Bougot’s interest in Le Corbusier’s architecture began in the 1980s when he worked on Caroline Maniaque’s thesis in architecture–on the Jaoul Houses built in 1954 in Neuilly, France. From 2006 onwards, Bougot renewed his interest in Le Corbusier, attending talks on Chandigarh and photographed the only building the architect ever built for himself — a cabanon (a summer cabin) in Roquebrune- Cap-Martin. Photographing Chandigarh was therefore necessary to further any understanding of Le Corbusier, the urban designer and his philosophy about architecture and modernism.
The idea of creating Chandigarh, a new city post Independence, free from the shackles of history, unbound and a symbol of modernity belonged entirely to Jawaharlal Nehru. In 1949, on Nehru’s invitation, Swiss-French architect, Le Corbusier began his Chandigarh experiment, which became an extraordinary laboratory of architecture and town planning. Together with his cousin, Pierre Jeanneret and a team of architects, Le Corbusier conceived and designed a way of living for a people whose culture and life he was completely unfamiliar with. Sixty years later, it is this human encounter with Corbusian architecture, which intrigued Bougot enough to keep returning to Chandigarh over two years to make photographs. Apart from photographing the landmark institutional buildings that define Chandigarh, Bougot also takes the viewer into private spaces — homes and villas, which borrow elements from the Corbusian vocabulary. It is through this navigation of public and private spaces that Bougot’s photographs explore the discordance between the architecture and utopian ideals that inspired it. At the same time, Bougot does not shy away from observing the neglect of the monuments of high modernism in India. Bougot’s photographs don’t dwell on nostalgia and his gaze is not uncritical. His carefully constructed and muted colour photographs reveal much more on closer inspection–a highly nuanced and refreshingly different view of contemporary Chandigarh.