Long exposure shots from the New Transit Yurikamome, an automated guideway train that connects Odaiba to the mainland, passing through the Rainbow Bridge.
Yurikamome tracks, Tokyo, Japan, by Appuru Pai
For the last twenty years, Swiss artist Hélène Binet has captured the works of contemporary architects including: David Chipperfield, Coop Himmelblau, Daniel Libeskind, Sauerbruch Hutton and Peter Zumthor. In the language of photography Binet reflects her own notion and interpretation of the building, resulting in her work separating itself from pure documentation to a work of art. through her imagery, she lets light and shade take effect, seizes walls and openings, corners and curves, to express through the use of her camera, her personal point of view.
This exhibition at Gabrielle Ammann /Gallery presents a selection of Hélène Binet’s works from 1999 to 2011: ‘lfone’ (Zaha hHadid) from 1999, Le Monastère de Sainte-Marie de la Tourette’ (Le Corbusier) from 2007, as well as her landscape images entitled ‘Formations’. the ‘Kolumba 01′ (Peter Zumthor) a work from 2007, will be on the cover of the upcoming monograph ‘hélène binet: composing space, the photographs of Hélène Binet’, published by Phaidon in a limited edition. On the occasion of this exhibition, the gallery is proud to present, worldwide for the first time, ‘Vardø’, June 2011 (Steilneset, memorial for the victims of the witch trials in Vardø, Finnmark) built by Swiss architect Peter Zumthor.
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.
“Although not commonly thought of as a holiday destination all these photographs have been taken at tourist sites throughout the city. It took over a year to get permission to go in with my camera and nothing quite prepares you for what awaits. I was not allowed to take my mobile phone past customs and was met by two guides who were to accompany me at all times throughout my trip. At first they appeared robotic in conversation as if reading from a script, telling of their country’s great achievements. After a few days and many polaroids the guides became more relaxed and personable.”
– Charlie Crane
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.