“Context,” “vernacular,” and “reference” were the architectural buzzwords of choice that critic Owen Hatherley, at the start of 2017, used to recall the Architectural Review’s “Townscape” campaign. Here, he postulated that enhancing the old can be achieved by celebrating the new and serve as a deterrence to bland homogeneity. In London, viewing architecture without actually experiencing it in person is dominated by two abstract frames of reference: Instagram and flying things.
Portraits of the New Architecture II
In his newest book, Portraits of the New Architecture II, the talented architectural and portrait photographer, Richard Schulman brings architects back to the forefront. Not only does Schulman’s volume of photographs artfully capture the world’s leading architectural creations, but also their creators.
Schulman is a massively accomplished photographer, particularly in the realm of architecture. However, today I am commenting on some of his portraits.
Richard Schulman has photographed unique architectural masterpieces for over 30 years. His Portraits of the New Architecture 1 was a bestseller and this volume 2 (2015) follows upon it. Mr. Schulman’s work has appeared in publications including The New York Times, The London Times, Vanity Fair, Paris Match, Der Spiegel. In this book, he photographs not only the architecture but also the architects, a close-up of the designers behind the spectacular buildings. The introduction is by Pulitzer Prize-winning architectural critic Paul Goldberger. A book signing will follow the talk with visuals.
To see the event please visit: The Arts Arena
Thom Mayne, Oscar Niemeyer, Daniel Libeskind, Richard Meier, Jean Nouvel, Richard Rogers.
The constancy of change.
In your constant research as an architecture photographer and as a portrait photographer — which brings you in direct contact with the greatest architects —, what anecdote best reflects your experience with Gigantism?
‘I remember when Richard Meier suggested that I should photograph his enormous Perry Street project. He wanted me to do the shoot in the morning when the glass surface would best show its opalescence, rather than in the afternoon when the sunlight would reflect in it. But it’s so difficult to follow guidelines to the letter that, in the end, I decided to shoot in the afternoon. Photography is a personal experience; we’re all struck by light in our own way. This is why people become photographers, not to take pictures on command, but to express their own interest in the subject, and their own vision of it. Frank Gehry suggested that I shoot his IAC building from a ‘Clipper Ship’ prospective, since he’d designed it with this idea in mind (shared with his client Barry Diller)...
Magazine for Architectural Entertainment
Issue 9: Greg Lynn
El Artista en su Taller.
Featuring Fernando Botero, Frank Stella, Andre Masson, Andrew Wyeth, Williem de Kooning, Jim Dine, Larry Rivers, Reuben Nakian, John Piper.