“So we worked, and it got dark and the lights came on and I think somebody had brought sandwiches. We ate in the kitchen, coffee, and we had a nice pleasant time. My assistant and I were setting up lights and taking pictures all along. I was outside looking at the view. And suddenly I perceived a composition. Here are the elements. I set up the furniture and I called the girls. I said, ‘Girls. Come over sit down on those chairs, the sofa in the background there.’ And I planted them there, and I said, ‘You sit down and talk. I’m going outside and look at the view.’ And I called my assistant and I said, ‘Hey, let’s set some lights.’ Because we used flash in those days. We didn’t use floodlights. We set up lights, and I set up my camera and created this composition in which I assembled a statement. It was not an architectural quote-unquote “photograph.” It was a picture of a mood.”

Source: https://www.holdenluntz.com/

In this photo of the David & Gladys Wright House in Phoenix, Arizona, Guerrero tackled the harsh desert light and deep shadows in the sparse landscape. The
expertly composed image, in which viewer and house are connected through the deep recess of the concrete block wall (what Wright identified as the house’s “anchor”), captures the heat’s intensity. In his biography, Guerrero recalled that Wright and his son David had an argument over bougainvillea vines that David had trained to soften the architecture. When Wright commanded they be ripped out for the photograph (published in House & Home in 1953), David kicked the architect and photographer off the property. Guerrero was tenacious and stayed behind for a photograph from the end of the driveway.

Source: https://franklloydwright.org/


Viewed from the Northwest, circa 1953. Photographed from the entrance on the ground level. As visitors approach the home from the drive, they walk under the main level, across the garden court to the base of the ramp, up the circular ramp to the entrance on the main level. The lower level of the large massive column houses the bath/changing room for the pool. The second level of the column is the master bedroom fireplace. Although the column anchors the eastern end of the home, the main level cantilevers past it and seems to float above the ground. The master bedroom is on the left, the bedroom gallery is on the right. Photographed by Pedro E. Guerrero for the June issue of House & Home. 10 x 6.75 B&W photograph. Courtesy of the David & Gladys Wright family.

Source: http://www.steinerag.com/

Although the Danish-born architect Knud Lonberg-Holm is relatively unknown as a photographer, his revolutionary images of American cities in the mid-1920s were profoundly influential to the generation of avant-garde photographers active between the two World Wars. This extraordinary night view of the Thomas Cusack Company Building on New York's Madison Square was reproduced in a section of Erich Mendelsohn's landmark book Amerika entitled "World Center—Money Center." Built in 1919 by the young modernist architect Ely Jacques Kahn for a firm specializing in outdoor advertising, the six story building was designed with a façade that allowed for bands of signage beneath the windows and was surmounted by a massive signboard bearing the Cusack Company name. In Lonberg-Holm's futuristic view, floodlights transform the entire structure into a glowing billboard framed by the soft white orb of a streetlight and a diagonal stream of headlights. The effect is otherworldly, recalling the fantastical set designs for Fritz Lang's film Metropolis (1929) and presenting the new American city as an ethereal utopia founded in commerce and existing entirely of light and energy.

Source: https://www.metmuseum.org

Photographing great landmarks of modernist architecture around the world, Sugimoto has deliberately taken the images out of focus and at unusual angles, isolating the recognizable forms. The blurred forms evoke the passage of time, muting the architectural details and leaving the essence of the building; suggestive of the way in which our memories preserve images.

Source: https://fraenkelgallery.com/

Eye Camera Window: Takashi Homma on Le Corbusier presents photographic sequences and clusters that present the window as a spatial and perceptual motif in both Le Corbusier and Homma’s work while calling into question the act of seeing. A selection of Le Corbusier’s original drawings from the CCA Collection will also be exhibited, emphasizing his concepts for the treatment of windows and openings to construct views.

Source: https://madoken.jp/