Author: lucasbreder Page 1 of 3
Seaport / Cyclades, GR, 2016
82 x 103 cm
381 Unknown / Athens, 2017
50 x 40 cm
550 Artemis / Athens, 2017
50 x 40 cm
o.T. / Hammersbach, 2017
83 x 90 cm
Land / Mediterranean, 2016
60 x 70 cm
adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm
3292 Menander / Athens, 2017
50 x 40 cm
close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm
// in progress
Marmor / Mármaros
07, 02, 03, 04, 05, 01
Cyclades, GR
04. 2016 – 06.2017
50 cm x 40 cm
Dani / Portrait 2017
90 cm x 65 cm
Leo / Portrait 2017
90 cm x 65 cm
Jadir / Portrait 2017
90 cm x 65 cm
Mato I / Goiás, BR, 2017
70 cm x 105 cm
Mato II / Goiás, BR, 2017
70 cm x 105 cm
Palm II / BSB, DF, 2017
54 cm x 31 cm
Palm I / BSB, DF, 2017
54 cm x 95 cm
“The secret life of plants” makes reference to a song by Stevie Wonder. It was part of a soundtrack for a movie of the same name from the 1970s. The movie as well as the publication it was based on advocate the theory of a “primary perception” by plants.
ML: I am less interested in the postulated theory than in the attempt at demonstrating it. I don’t know whether it can be assigned any scientific relevance, but it provides sufficient material for speculation and narratives of supposed realities. This is also precisely what interests me about photography. A medium that is often used as evidence of an apparent reality. I’m generally concerned with a photographic image, the question regarding the narrative element. Regarding the reflection of what has been seen, the possibility of speculating about things, what occurs at the beginning, the irritation in the image. The beginning of a narrative that can be developed from vision. …
The chosen view into the undergrowth shows the coexistence, juxtaposition, and confusion of different things. A shimmering, ornamental chaos. Initially a world that lacks orientation, that changes by the minute, becomes another world with each change in the incidence of light. An unsettling disorder that evades any direct description. Without a focus on anything specific. In this sense, this work, torn out of its spatial context, constitutes a counterpoint to the designatable individual blossoms. …
The work deals with seeing, with the mechanisms of one’s own perception. Reflecting on what is visible by means of describing it. After the tree, the leaf, the branch, the trunk, the foliage, there is initially a lack of words for the complexity. With the approximation, with the progression of the description, as the photographer as well as the viewer of an image I weave one or any number of my own stories, see the hidden fragments of a plot, references in pictorial composition in art history, …
Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co
o.T./
Brasilia, DF / Goiás, BR
2013 / in progress
80,0 x 57,0 cm / 100,0 x 71,3 cm / 120,0 x 85,6 cm
How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.
The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.
2012
4c / with Pk. Odessa Co
120 x 90 cm
2011/12
sw / for the publication „Theodor Fischer Atlas, Städtebauliche Planungen München“
born in 1965, architect and extraordinary member of the Association of German Architects (BDA), lives and works as a photographer and urbanist in Munich and Brasília. Besides freelance artistic work, in his research and teaching activities he devotes himself to the description and reflection of spatial and relevant urbanist phenomena, in particular lived space. In 2010 he founded the photographers’ group Pk. Odessa Co. in collaboration with Simon and Sebastian Schels. Markus Lanz teaches the perception of space in the field of tension between architecture and photography, in 2011 as a visiting professor at the Universitat Politècnica de Catalunya in Barcelona and in 2012 at the Technische Universität München (TUM), and since then as a lecturer at the TUM and the Munich University of Applied Sciences.
Cooperation:
Simon Jüttner, Sebastian Schels / Pk. Odessa Co
Ana Gabriela Castello Branco dos Santos
photography / exhibition, publication, curation (selection)
(2018)
In: Porous City, Birkhäuser, 2018
In: Lina Bo Bardi, TOTO Publisher, 2018
In collaboration with Pk.Odessa Co,
for: Jaretti & Luzi, 1954 – 1974, B. Schmutz D. Fiederling, Park Books 2018
for: `Wertstattbuch´, Maier Neuberger Architekten, 2018
(2017)
In collaboration with Pk.Odessa Co,
for: DBU Bauband 2: Zukunftsfähiger Schulbau. Detail
in: Werk, Bauen + Wohnen, (03-Architekten, Palais Mai, Th. Fischer), Zürich, 10.2017
in: Bauwelt, Stiftung Nantesbuch, 10.2017
(2016)
`marble´, solo exhibition in Gallery Schlegel, Munich
(2015)
In: Lina Bo Bardi; photography, exhibition, The Watari Museum of Contemporary Art, Tokyo.
Ins Bild Setzen; group exhibition, with Pk-Odessa Co, in Bavarian Architectural Association, Munich.
In: AV Monografías; Lina Bo Bardi, 1914-1992, photography, publication, Arquitectura Viva.
Nachtsicht; group exhibition, Munich, Nuremberg.
In: Performative Urbanism, Generating and Designing Urban Space; photography, publication, Berlin
(2014)
Lina Bo Bardi, photography, for exhibition and publication, Architecture Museum, Pinakothek der Moderne, Munich. Hatje Cantz, Berlin.
School, HOT Architekten, DAM Award for Architecture in Germany, Winner 2014; photography with Pk. Odessa, in exhibition and publication, DAM Deutsches Architekturmuseum
Die Wirkung der Dinge; Josef Wiedemann, photography with Basti Schels, Pk. Odessa, in publication, Tübingen Berlin.
Provisorium; photography, group exhibition, Schaustelle of Pinakothek der Moderne, Munich.
SHOW & TELL – Architekturgeschichte(n) aus der Sammlung; co-curation, Architecture Museum of the TU, Pinakothek der Moderne, Munich.
(2013)
The secret life of plants; photography, exhibition with Pk. Odessa Co in: Kunstpavillon im Alten Botanischen Garten, Munich.
(2012)
Theodor Fischer. Stadträume München; curation and photography, exhibition, with Chair of Urban Design and Regional Planning, TUM, Pk Odessa Co, in Architekturgalerie Munich.
Theodor Fischer, Atlas; research and photograpy, publication with Sophie Wolfrum, Alexandra Block, Franz Schiermeier; Munich.
(2011)
Heterotopia; photography, group exhibition, with Ana Gabriela Santos, in Edificio-Sede do Banco Central do Brasil, Brasilia –DF.
(2010)
Mumbai Disclosing City; curation and photography, exhibition, with Chair of Urban Design and Regional Planning, TUM, Pk Odessa Co, in Architekturgalerie Munich,
Sehnsucht; contribution, with Simon Schels, Venice Biennale of Architecture, German Pavilion.
Perlen, selected buildings and places in Munich; photography, publication und exhibition, with Pk. Odessa Co., ed. Architekturgalerie Munich.
(2009)
Multiple City; co-curation and photography, exhibition in Hamburgmuseum, Hamburg.
(2008)
Multiple City. co-curation and photography, exhibition, Architecture Museum of the TU, Pinakothek der Moderne, Munich:
Multiple City Stadtkonzepte 1908/2008; photography, publication, Jovis Leipzig
(2007)
A toda costa; curation, exhibition, Architekturgalerie Munich.
word / lecture, discussion, publication (selection)
(2017)
Situation, in Porous City, Birkhäuser, 2018
Processes of architecture; Interviews with Maier Neuberger Architekten
Debate Heimat, Kulturwoche Kempten
`Everyday life in a slum´, program Kulturwoche Kempten
(2014)
Trabalhar com Lina Bo Bardi; Film, interviews with Edmar de Almeida, Suzuki, Danilo Santos de Miranda, Zé Celso Martinez Correa, with Ana Gabriela Santos, in Architecture Museum, Pinakothek der Moderne, Munich.
Oral History; Longterm interviews with architects and planners: Fritz Auer and Carlo Weber (Olympiapark 1972, Munich), Richard J. Dietrich (Metastadt), Otto Meitinger (Reconstruction of Munich Residence), Christiane Thalgott (15 years Head of Department of Urban Planning, Munich)
forArchitecture Museum of the TU, Pinakothek der Moderne, Munich.
(2013)
GLOBAL CITY -LOCAL CITY, City Lab Munich; Programme consultancy, introductory lecture, SPIELART, funded by the Culture Programme of the European Union
ein Bild; Photo discussion: with Jonas Lüscher in The secret life of plants; exhibition.with Sophie Wolfrum, Max Ott in Theodor Fischer. Stadträume München; exhibition.
(2012)
Architektur als Ressource; Article in www.goethe.de.
Urban Image – Urban Space; Lecture, discussion, Technische Hochschule Nürnberg.
Mais além da Imagem Urbana; Lecture, Departemento de Teoria e Historia de Faculade de Arquitectura da UnB, Brasila.
Architektur für alle – Zivilgesellschaft bauen; Article in Humboldt, Goethe Institut.
Renaissance der Stadt – die neue Attraktivität der Innenstädte; Article in www.goethe.de. Kreativquartiere – Städte entdecken neue Impulse für ihre Entwicklung; Article in www.goethe.de
(2011)
Panel of Experts, study on the spatial development of Hackenviertel Munich; Moderation, Department of Urban Planning, Munich City Council.
Kunstareal Munich; Workshop moderation, with Oskar Holl, KulturForum der Sozialdemokratie.
Urban Space and Photography; Lecture, UPC, ETSAB Barcelona.
(2010)
A5, Week of Architecture, Association of German Architects, Urban Landscape Munich; Thematic advice, programme development; Moderation and curation of several discussions; Citytour: Behind the noise barrier; Urban Land Scape, article in BDA Informations, LVB Bayern;
Urban Land Scape; Interview: Deutschlandfunk, BR.
Die Stadt im 20. Jahrhundert; Book review and discussion, with Prof. V. Lampugnani, Ch. Sattler, Prof. S. Wolfrum, Munich, Verlag Klaus Wagenbach.
Preliminary examination and moderation of architectural competitions for the main building department of the Max Planck Gesellschaft, with Hantje Hipp.
(2009)
Living Megastructures; Panel discussion with Sabine Bitter, Helmut Weber, in: Stadtmuseum Munich.
Wohnprojektetag Bayern; Moderation, Supreme Building Authority of the Bavarian State Ministry of the Interior, Bavarian Architectural Association, Alte Kongresshalle Munich.
Hofstatt, Zukunft findet statt; Moderation, panel discussion with Marcel Meili, Julian Nida-Rümelin, Elisabeth Merk, Oliver Frank.
Urban Identity; Lecture, IRGE, University Stuttgart.
Master Plan for Shanghai; Interview and photography, in Wohnrevue.CH.
Können wir uns die Stadt noch leisten? Panel discussion, BR Zündfunk, in Mufatthalle, Munich
(2008)
Multiple City; Interviews in BR, ZDF (Second German Television).
A toda costa; Article with Sophie Wolfrum, in Multiple City, Leipzig 2008.
The Coast at all costs; Article in ´scape, 2008/2.
Megacities, Brasilien; Lecture, Master‘s programme Clima Design, TU München.
(2007)
Rio de Janeiro, Brasilia, Sao Paulo. Article, in: brasil TU München.
TODA COSTA; Article, with Sophie Wolfrum, in: Wertewandel. werkundzeit 1-2/ 2007.
(2006)
Body Extensions, prosthesis and space; Article in stb, TU Munich.
Tunnel. Spatial Reality; Interview, article in Transitwellen, München.
Stadtgestalt und neue Architektur, Munich, panel of experts.
(2005)
Self Service City, Istanbul; Panel discussion with Orhan Esen, Stephan Lanz.
Self Service City: Istanbul; Book review, b_books, Berlin.
Istanbul, Change of a metropolis; Article, in: Wissenschafts-Blatt München.
teaching and further research activities
2014 – 2016
Academic, Hochschule München, Munich (HM)
since 2012
Academic, Department of Architecture, Technische Universität Munich (TUM)
2011/12
Guest Professor, Technische Universität, Munich (TUM)
2011
Guest Professor, Escola Tècnica Superior d‘Arquitectura de Barcelona (ETSAB)
Lecturer for urban design, TU München
2010
Academic, Master‘s Programme Clima Design, TU München
2003-2009
Research and Teaching Associate, TU München
Chair of Urban Design and Regional Planning, Prof. S. Wolfrum
Teaching Programme Development in structure and content; Organisation of study excursions Istanbul; St. Petersburg; Rio de Janeiro, Brasilia, Sao Paulo; Costa Blanca, Valencia, Benidorm, Alicante; Dehli, Chandigarh, Ahmedabad, Mumbai; Development and assistance of numerous design studios and scientific seminars; Organisation and assistance of student exchange programme with UIUC, Illinois and FAUUSP, São Paulo; International students´ workshops: Kigali, Ruanda; Saint Petersburg, Russia; Publication.
2001-2003
Teaching Associate, TU München, Chair of Urban Design and Regional Planning, Prof. F. Stracke
Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.
ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …
The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …
Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co
o.T. /
Brasilia, DF
2013
35,0 x 50,0 cm
CARDBOARD
Abandoned minimal arrangements for a temporary purpose
The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.
cardboard
2013 / in progress
17 x 14 cm
on DINA4
DÉRIVE
The beginning of the work is the inquiring exploration of a city by means of extensive, aimless rambling. It’s all there.
THE RELEVANCE OF APPEARANCE
A photograph depicts the visible areas of space only. The detail of a real situation at a specific time in the past. How do the levels of the space present themselves? The concreteness, the concept, the complex situation? I want to learn to read what appears. By taking photographs. The thing itself. For an understanding of space and the conditions of space production.
Phenomenological reduction.
Integrated into a culturally coded perceptual pattern, the photograph is readable as a symbolic depiction of a space. At the same time, it establishes a connection to an individual perception and experience. Photographs contain a specific attitude toward things.
People in photographs of architecture. Where am I, where are the others? What am I doing here, and what can any of us do here? Architecture, enduring pithiness in its form, yet at the same time offering a wealth of experience in terms of its versatility. Possibilities of interacting in space. This is where space and the quality of architectural spaces becomes visible. Working with people on the spot is part of my work.
IN SPACE WE READ
Watson´s Hotel, Esplanade Mansion, Kala Ghoda / Mumbai
in collaboration with Simon Schels
The first cast iron structure building in India (1867-1869) was pre-fabricated in England, shipped into Bombay and assembled on site. Located in the former Fort Precinct of the City, the Watson´s Hotel forms an important corner in the center of the Kala Ghoda Art District. The “whites-only” luxury hotel with its 130 rooms and the glamorous central atrium was closed in 1960. The new owner subdivided the building into individual spaces used for residences and offices. The building has a multi-tenanted and multi-user space pattern. In the absence of any common care therefore, the cast iron structure is now failing. Worn out due to years of neglect, inappropriate additions and physical modifications.
since 2010 / sketches
The architectural ensemble of Marine Drive was built in the 1930s as one of the largest collections of Art Deco buildings in the world. The Art Deco style was the formulated expression of a newly emerging Indian elite implicitly rejecting the architectural ethos of the grand Gothic and Indo-Saracenic imperial buildings.
The ensemble is well protected and highly endangered in the same moment.
Faced to the sea and well located in the greater area, Marine Drive was and still is a preferred liberal quarter in Mumbai with a high investment pressure.
The Bombay Rent Control Act, passed in 1947, froze some rents at a low level and thus impedes refurbishment, renovation or even painting of the buildings.
Nowadays the ensemble at Marine Drive is strictly monitored by the World Heritage Committee.
Visibility of production conditions of space. Architectural photography.
The known view is the view with the buildings in the back faced to the sea.
/ eat the breeze
2010
MUMBAI. DISCLOSING CITY
Megacities illustrate urbanist phenomena and social problems of worldwide relevance, beyond media-related clichés that are dominated by photographs of apocalyptic scenarios.
Based on the dimensions of the city proper, Mumbai is the largest city in the world.
2010
* exhibition MUMBAI. DISCLOSING CITY
Architekturgalerie München, director, in cooperation with stb,TU München and Pk.Odessa Co.
BRASÍLIA. BEYOND URBAN IMAGE
Attempt at a dense description. Text and photographs.
Brasília, one of the most spectacular urban development projects of the modern era, went from drawing board to reality within a period of only four years, and thus the myth of the planned city was born. For half a century now, never-ending, identical images have shown us Brasília as a cold utopia. Brasília’s reality has since changed significantly. Despite the fact that essential components of the urban structure were reshaped, negated, or neglected, we are now getting a spatial idea of all of the dimensions on which the city’s master plan is based and thus of possible scenarios that may be developed from them. (…)
Against the background of the prevailing European critique of modernity and the associated revitalization of planning dogmas, the work ventures a second, an open view of the planned city of Brasília and everyday life as it is lived there beyond the images that preserve the myth. The gaze is not directed toward a city that claims to provide a solution to coexistence in an urban society, but rather toward its inherent potential. It seeks the specific spatial qualities, their appropriation and overlay. The work scrutinizes the mechanisms of image formation as generated and consistently validated by photography.
In progress.
Network City. Munich Region
What urban spaces do we produce? Through planning. Through use. A narrative.
2008
To the extent that urban structures constantly reproduce themselves in multiple ways, so does perception change as well as the visibility of urban phenomena.
Thus the development of urban photography always exhibits parallels with urban planning and development. It is in this field of tension that I seek to photographically capture the themes and concepts of the city in formed and lived urban space, here and now.
Garden City | Urban Landscape
Functional City | Patchwork City
Region as City | Network City
Tessuto Urbano | City as Collective Memory
Urban Regeneration | Urban Renewal
Urban Design | Architecture of the City
Genius Loci | Place and Atmospheres
Situational Urbanism | Performative Urbanism
Mobile City | Telepolis
Healthy City | Sustainable City
Social Housing | Lifestyle Urbanism
Pleasure City | City of Perfection
City as Image | Urban Icon
New Towns | New Capitalist City
Territory City | City as Prize
The Myth of Metropolis | The Myth of Megacity
* topics of the exhibition MULTIPLE CITY
2008 / in progress
publication, exhibition: MULTIPLE CITY. CITY CONCEPTS 1908/2008
in Architecture Museum of the TU, Pinakothek der Moderne, Munich
MATERIALITY IN ARCHITECTURE
Architecture is the separation of two spheres. My clothing is my closest own space. The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.
I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.
Three buildings designed by the Munich-based architect Josef Wiedemann
Allianz Hauptverwaltung, Königinstrasse, Munich
Landesbausparkasse, Karolinenplatz, Munich
Erweiterung der Dresdner Bank, Promenadenplatz, Munich
2014
with Pk. Odessa Co
publication Josef Wiedemann, “Die Wirkung der Dinge”
How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.
The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.
2012
4c / with Pk. Odessa Co
120 x 90 cm
2011/12
sw / for the publication „Theodor Fischer Atlas, Städtebauliche Planungen München“
User, 2001:
Ground Floor: Gala Stationary Mart, Shah Ganshi Danji & Co, Ritu´s Choice, Smart & Hollywood, Air India Baggage Claim, Lucky Copy Center, Sheetal Copy Center, Champion Traders, The Relik, Simla Stationary Mart, The Army Restaurant & Stores, Royal Refrigertion Co., M/s R.K. Trading Corporation, Jaykumar D. Ved Advocate
First Floor: J.C.B Controls, N.B. Bijoor Advocate, T.M. Nad, Brij Bushan Saxena-Advocate, S.K. Dubey-Advocate, Suresh Kamat-Advocate, M. Pestonjee & Co, Ashok M. Saraogi – D.C. Shah – R.R. Verma Advocate, Indian Market Research Bureau, Probe Qualitative Research, Anshuman Exports & Imports Pvt. Ltd, Atlantic Sales & Services, National School of Banking, Om Sai Agrotech Investments Ltd, High Tech Publishing Pvt. Ltd, Utangale Nath & Co, Syrisa Travels Pvt. Ltd, Alfred Associates Importers & Exporters, M. Chandran & Co, Anandeep Orbit & Co, Pranlal D. Shah – Hind Engieneering Corporation, Gem International, N.G. Thakkar & Co, Rajputana Textiles Pvt. Ltd, The United Eastern Agencies, Reshma Ruparel Advertising, Nisha Engineering Consultant, Sanjay Enterprises, Nirman Estate Agency, Dream Merchants, …
Second Floor: Mazda Enterprises, Framroze Sorabji Augra, Jamestone Engineering Co, S. Jamshedji & Co, Cement Industries, Mahendra Shah, Deepak Enterprises, Deepak M. Thakkar – Advocates, N.S.B. Financial Services, A.S. Madon & Co, Mahendra H. Shah, J.B. Trust, Salu & Co, Kamla Builders, Rocket Sales Publicity, Shri.E.K. Thakur, Jades Shipping, Lalla Advocate
Third Floor: Tejas Bhatt Advocate, Manas Enterprises, Mrs. Achala Saxena – Avdocate, The Indian Society for Agricultural Economics, Raju More – Advocate, S. Pardawala, Federal & Rashmikant – Advocate, M/s Sharma & Associates, Raju Z. Moray – Advocate, V.C.K. Share & Stock Broking Co., Ashok Kumar & Co, Jaishree Dagli & Associates, Sudesh Kumar & Associates, Suyashree Finstock Pvt. Ltd, M/s G.R. Pandya, Mrs. Anjana Gupta Advocate, Bharucha Trust
Fourth Floor: S. Radhakrishnan, C.M. Jha. R.A. Rodrigues, Goolnaz Advertising Pvt. Ltd, N. Lmakhijani & Co, Iqbal. Mohd. Yusuf Advocate, Naaz Secretarial, Ranjana Devi Nikam Advocates
*cf.: Urban Design Research Institute / Mumbai
SPACE AS A “CRIME SCENE”*
The black-and-white photographs are a comparative examination of different urban spaces designed by one architect in a city. They focus on the material constitution of urban spaces from the vantage point of someone walking by in bright daylight. The gaze is directed upward. The eaves of the buildings delineate the shape of public spaces. “Im Raume lesen wir die Zeit”—In space we read time.*
LIVED SPACE
In contrast, the large-format color photographs are overviews in specific spaces. Space furthermore becomes recognizable as a complex situation. Interaction in architectural space, visible to its depths, attests to the urban fabric and the context beyond the frame of the photograph. Situative work, the development of actions with people on the spot, is part of my architecture photography.
