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.
NASA astronaut Don Pettit recently uploaded a gallery of photos to the Johnson Space Center’s Flickr page.
“My star trail images are made by taking a time exposure of about 10 to 15 minutes. However, with modern digital cameras, 30 seconds is about the longest exposure possible, due to electronic detector noise effectively snowing out the image. To achieve the longer exposures I do what many amateur astronomers do. I take multiple 30-second exposures, the ‘stack’ them using imaging software, thus producing the longer exposure.”
- Don Pettit
Earth from the International Space Station, Photography by Don Pettit, via: Retina
Eindhoven-based design duo Raw Color toast the opening of Martin Creed’s grand overhaul of London’s Sketch restaurant with graphic still lifes dedicated to the restaurant’s new menu. The Turner Prize winning artist’s takeover saw him entirely revamp Sketch’s interiors, hanging his large-scale paintings along the walls and hand-picking each individual table, chair and piece of cutlery, as well as contributing in the kitchen. Sketch co-founder and Michelin-starred chef Pierre Gagnaire conceived two playfully named dishes dedicated to the conceptual artist–“Navet Martin Creed” and “Dundee Pinky”. Raw Color concocted their Irving Penn-esque visions from each dish’s disassembled ingredients, including black olive jelly, squid ink and parmesan cream. “The cooking side of the project was harder to translate into our own visual language,” says Christoph Brach, one half of Raw Color with Daniera ter Haar. “But looking at Creed and his approach to projects, how he organizes things, stacking from big to small, we knew we could take the ingredients and do something similar with them.” In typical Creed fashion the artist has even given the project a numbered title: Work No. 1347.
Read more: Edible Sculptures at Sketch
Wide angle views of futuristic locations. Most of these images are part of worldwide print campaigns for IBM and Microsoft. Agencies: Ogilvy & Mather, New-York, McCann, San-Francisco.
Epic, Photography by Christian Stoll
LIFE republishes a series of photographs by photographer Frank Scherschel from a feature that ran in the March 1, 1957 issue of LIFE, at the same time that the architect’s signature achievement — the 38-story Seagram Building on Park Avenue in New York — was nearing completion.
Titled “Emergence of a Master Architect,” the LIFE article made clear from the outset that until the mid-1950s, “Mies was renowned chiefly among fellow architects and his revolutionary ideas were known chiefly through models, a few buildings in Europe and the work of disciples.
Emergence of a Master Architect, Photography by Frank Scherschel, for LIFE
The Yellow River Surging Northward Rumblingly
Regarding it as a song. perhaps. has become a popular joke for a long time. Regarding it as a mother. or a root. probably ends by banishing such memory or cutting oft that relationship. We play and chase all day long in the powerful torrent of modernization. Yet the winding river has possibly been put out of our minds. There is no more gaze on it with quite and peace. even a second.
It is a river, with its unity of bend and straight, fullness and imperfection, rapid and slow. active or tranquil. majestic and elegant. simple and wonderful. bright and dark. light and color. form and spirit. visionary and real. Moreover, it also embraces people’s reality and fate, joy and sorrow, firmness and leisure. Then I determined to go and follow its pace, with all my courage and my only presentable equipment the large format camera. That’s the connotation and solemnness I can give. I know that it is improper for a photographer to make comments on mountains and rivers. It is a kind of bad manner to growl and to make a bowl pledge or a complaint on its plentiful history and such a constant exist. Now. it’s time for me to wake up my silent soul to quietly keep watch on it for the season. stare at it through this journey. have a cup of wine with it and sing a song. and sleep beside it.
Who will keep watch on whom? Who will flow with whom? As being alive. we all go by with time. But we are still here. and we may have a better consideration on the luture alter having a look at the past and present with heart.
In such a noisy world. only a lresh and simple song might possibly match with it original noble color. its past and present. and be well worthy of its drilting from place to place…
The Yellow River, by Zhang Kechun
Centro Niemeyer is a new cultural complex in Avilés, and is part of an ambitious scheme to redevelop the riverfront. Brazilian architect, Oscar Niemeyer, designed the complex as a gift to the principality.
A renowned photographer in the fashion industry, Stéphane Laniray travels to Tokyo twice a year. Stuck for long hours in his hotel room, waiting for the next runway event to be shot, the French artist decided to stave off boredom in going out and taking pictures of the city. The Tokyo Architecture series resulted of his wanderings around town. Private dwellings, government buildings and offices, public lighting or factories attracted the eye of Laniray, particulary fond of architecture, and a great admirer of Mies van der Rohe’s achievements.
Tokyo is stripped bare of any explicit representation (crowded and extremely lively, but also suffocatingly hot at the time the series was shot). Each image is multiplied, distorted into a renewed evocation, unleashing imagination. Far from cliché representations of Tokyo, Laniray’s quest for urban poetry reveals the raw beauty of a wall covered in graffiti, and turns a glass building into a finely shaped diamond. In most of the photographs, human beings are nowhere to be seen; a line of trees or tangled electric wires design a whole new urban story. Focused on actual details, the artist depicts a fantasied rendering of Japan’s capital city. Stéphane Laniray, whose pictures can regularly be seen in prominent Interior decorating magazines, owns and runs the Anorak Gallery in Paris.
(Journalist Elodie Palasse-Leroux is the founder and editor of Sleek design)
Tokyo Architecture, by Stéphane Laniray