Disassembly by Canadian photographer Todd Mclellan is a series of images capturing old relics of our past in its dismantled form. including items such as a typewriter, push lawn mower and a rotary phone, the collection delineates the astounding intricacies and craft of these mechanical objects. Every piece and component are positioned in an almost obsessive-compulsive arrangement — by type, size, function — resulting in a clear portrait of an era that we have seemingly left behind.
Disassembly, by Todd Mclellan, via: designboom
In this fresh look at the work of Charlotte Perriand (1903-1999), the Petit Palais reveals for the first time the part played by photography in her creative process, both as a source of inspiration and sometimes as an actual component of her pieces. When she joined the Le Corbusier/Pierre Jeanneret studio as furniture design associate in 1928, she at once began using photography for her preliminary studies, then as a means for observing the “laws of nature” — in the mountains, especially — and the urban context. This provided her with inspiration for her experiments with forms, materials and spatial arrangements. The exhibition also particularly emphasises her passion for objects found in the course of her walks; in their distancing of the rationalist spirit of the 1920s, these brought greater flexibility and formal freedom to her work.
Charlotte Perriand 1903-1999: From photography to interior design
April 7 – September 18, Petit Palais, Musée des Beaux-Arts de la Ville de Paris
Paris-based photographer Ben Sandler took Alvar Aalto’s Maison Carré and used it as a set for his latest photo shoot called Tomorrowland. Inspired by AMC’s Mad Men, Sandler says, “I really appreciate the design and decoration and style in that series, It’s spot on.” And in using Aalto’s house — which was commissioned by an art dealer in 1956 and has since been preserved beautifully and converted into a museum. Sandler and his crew rented the house for a couple days. The lighting and furniture are Aalto originals.
Sandler worked with a CGI artist to dot the scenes with weird little technologies — flying cars, video phones, robot maids — that never were. “I’ve always been a big fan of movies about the future,” he says. “So I decided to look at the technology of the 1960s, at the things they thought would be everyday objects but inevitably didn’t come about.” In short, he says, “Tomorrowland is a glimpse into a world that can never exist.” So it’s like Mad Men and Brazil rolled into one.
Traveling throughout France, Belgium and the Netherlands, photographer Jonathan Andrew has documented abandoned bunkers from World War II as a personal project.
Abandoned Bunkers, by Jonathan Andrew
Berlin-based photographer Matthias Heiderich recent work are abstract compositions of architectural elements in landscape.
ISO 3ERL1N, Meanwhile, back in Berlin, Color Berlin, by Matthias Heiderich
New York based photographer, Jason Koxvold makes images on 4×5″ and 8×10″ negatives using cameras by Toyo and Wista, with lenses provided by Schneider-Kreuznach.
Arctic, Matter, Units of production, from Everything, and Nothing, Photographs of the Future, by Jason Koxvold
New work by Japanese photographer Noboru Morikawa of the Teshima Museum by Ryuei Nishizawa.
Photography: Matrix, by Noboru Morikawa
Shot on location at Molteni’s factory, this unique catalogue was designed to showcase the latest designs by Spanish designer Patricia Urquiola. The giant, faceted wooden sculpture and over-sized trees used throughout the imagery not only complimented the new furniture pieces but also marked a departure for the brand from traditional roomset and lifestyle photography.
In the show Cool and Hot we will see beneath the iconic images an analytic view of the systematic approach Julius Shulman used when he translated the three-dimensional art of architecture into the two-dimensional art of photography. Not only was he able to set the standards for modern architectural photography, and collaborate with the most brilliant architects of these important decades; he invented a style never seen before.
Cool and Hot presents Cool in the reduced settings of the California Style, which reflected the American way of life – during a period of unlimited economic growth. This Coolness found its expression in the way he integrated people or their belongings into his photographs. Conversely it affects the Hot in the viewers and thus creates the desire to follow these congenial translated dreams of life. Hot describes the reactions, which are caused by his images. It is this perception which leaves us admiring the beauty of architecture and photography, while evoking the deep desire to be part of the scenery and thus to take part in the Great American Dream. This momentum in his work is outstanding, rare, and is an inseparable part of his art.
Cool and Hot combines the iconic images of the 40´s, 50´s, and 60´s, with the last decade of his work done in partnership with Juergen Nogai. Most people did not realize that Shulman was collaborating intensively with Juergen Nogai, a Santa Monica based architectural photographer. It is to Juergen Nogai’s credit that through this very real partnership, they were able to transform and capture the dreamlike architecture in beautifully believable images.
Julius Shulman: Cool and Hot, Photographies by Julius Shulman and Julius Shulman/Jürgen Nogai, October 17th – February 27th, at ZEPHYR | Raum für Fotografie, Mannheim Germany