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
In the year 2003 The National Power Company of Iceland started the building the 700 MW Kárahnjúkar Hydroelectric Project in eastern Iceland. The project consists of three dams, one of them being the highest in Europe, and a hydroelectric power plant. The dams block among others the big glacial river Jökulá á Dal, creating the 57km2 artificial lake Hálslón. The power plant is primarily being constructed to supply electricity to a new Aluminum smelter built by Alcoa of USA in the fjord of Reyðarfjörður on the east coast of Iceland.
The artificial lake and the constructions have spoiled the biggest wild nature in Europe. Making the Kárahnjúkar project, not only the biggest project in Icelandic history, but also the most controversial one. There have been a lot of debates about this project. Environmentalists are fighting for the preservation of the wild nature while those supporting the project talk about the need to use the energy the nature has to offer.
Imported Landscape, by Pétur Thomsen photography
Only two fashion photographers have been allowed to shoot on location at the Vitra Campus in Weil am Rhein until now. The latest is Pasquale Abbattisata’s shoot realised for ELLE Deutschland. The setting includes the new Vitrahaus designed by Architects Herzog & de Meuron, as well as the Vitra Design Museum building by Frank O. Gehry.
“This art project has taken me deep into the arctic landscape on Spitsbergen throughout the past seven years, on ten trips in total. I have become obsessed with the fantastic contrasts between the primal landscape and technology, between Man and the manmade; between our extrovert search for knowledge, and our introvert search for insight.”
– Christian Houge
Arctic Technology, by Christian Houge
Photographer Ditte Isager has captured the essence of Chef René Redzepi, head chef of Copenhagen restaurant, Noma
René Redzepi has been widely credited with re-inventing Nordic cuisine. His Copenhagen restaurant, Noma, was recognized as the third best in the world by the San Pellegrino World’s 50 Best Restaurant awards in 2009 and received the unique ‘Chef’s Choice’ award at the same ceremony. Redzepi operates at the cutting edge of gourmet cuisine, combining an unrelenting creativity and a remarkable level of craftsmanship with an inimitable and innate knowledge of the produce of his Nordic terroir.
Noma: Time and Place in Nordic Cuisine, Published by Phaidon, Hardback, 290 x 250 mm, 11 3/8 x 9 7/8 in, 320 pp, 200 colour illustrations ISBN: 9780714859033
Buy the Book: Amazon
Brutalism is the term coined to describe the raw architecture often made with concrete during the 1950s and 1960s (with a later resurgence).
When you go into a gallery a painting might cause you to stop and look, it isn’t the spectacle but the aesthetics ability to hold the viewer. Concrete buildings have this ability. They don’t fit into the streets and city centres where they appear (they are by their very nature brutal rather than accommodating) but there strength and power speak of a time when people had a belief in architecture as a force for civic good. These structures were solid spaces to create a solid and strong world emerging from the gloom of the second world war. The buildings represent what was great about building a society, universities, hospitals, local governments as opposed to the steel and glass of contemporary retail and office complexes. These buildings were about real people and real issues and they wore this realism brutally on the outside.
But it’s more than that. The form is itself appealing (beyond what that form represents). Simplicity in architecture is rare and to strip back so much of the adornments and leave the bare walls is somehow sensual, the opposite of what so many critics claim. The way lines are created and cut against the sky or interact with other buildings. The regularity of shape and form caused by the shutter process of creating the concrete, the ability to go up to the building and feel the roughness of the concrete matching and creating an indexical link with the way the building was made.
Sometimes a book is hard to read or a film is hard to watch but by completing it you know it was something important and worthwhile which deserved your perseverance. These buildings also deserve your perseverance. They are evidence of a modernism, a time when we didn’t dress up architecture but left it cold and honest for all to see.
Relics, is a series of lifeguard towers that populate the beaches of Southern California’s Pacific coast, by LA-based photographer and artist Amir Zaki, who is careful to categorize the work as portraiture rather than typology, casting it in an interpretative rather than documentary light.
Relics by Amir Zaki
Horizons, a series of architectural photographs by Brazilian photographer Bruno Cals, will be on view at 1500 Gallery. The six photographs in the exhibition are part of a personal artistic project that Cals, a well-known fashion/advertising photographer based in São Paulo, Brazil, has been working on since 2008.
The photographs in the Horizons series are suggestive of something beyond the record presented. The images of the buildings in São Paulo, Tokyo and Buenos Aires explore the limits of two-dimensionality, and articulate a radically different perspective on a commonplace visual scenario. In expressing this fresh point of view, Bruno Cals has invoked contrasting themes of possibility versus impossibility, presence versus emptiness, and search versus satisfaction.
Horizons, by Bruno Cals, May 6-July 31, 1500 Gallery, New York
Wired magazine has published images of Antarctic research bases. Engineered for long-term habitation in the most extreme conditions, many are built on stilts, so they don’t get buried in the snow. If there were more bases, it would make for an interesting typology, like Canada’s disappearing Wheat Kings.
Photography: Antarctic Research Bases, via: Wired Magazine