Open Space, Landscape in Reverse by Xavier Delory

 
 

OPEN SPACE, LANDSCAPE IN REVERSE

BY XAVIER DELORY

A renewed dialogue between ruin and landscape.
From a modernist office tower of the Glorious Thirty in a state of transient decay, Open space reverses the "classic" ruin / nature representation that can be observed in Flemish landscape painting from the 17th century. Unlike the "composed veduta" by painters from the north where you can see ruins of ancient Rome surrounded by an Arcadian landscape where nature and culture unite harmoniously, here the landscape no longer welcomes ruin, it makes part of the ruin. The mountainous landscape used, refers to the aesthetics of the sublime, giving a tone of confrontation between man and the forces of nature.
By introducing a landscape “freely” into this brutalist setting, Open space also plays with the relationship with nature, materials and landscapes, especially with the spatial continuity from inside to outside which was at the center of the concerns of the first modernist architects who wanted to put man back at the heart of "Creation" thanks to technique.

Bio
Xavier Delory, born in Liège (Belgium) in 1973, studied interior architecture and photography. His work is on the frontiers of art and architecture, questioning the characteristics of digital photography in its relationship to reality and to the construction of an image. The artist uses digital photomontages to create fictional architectures.

https://www.xavierdelory.com/

 

Fendas Intemporais by Jiôn Kiim & Artur Leão

 
 

FENDAS INTEMPORAIS

BY JIÔN KIIM & ARTUR LEÃO

EN / PT

Fendas intemporais starts from the discovery of a factory ruin and the will to explore it through photography, (re)inventing its forgotten spaces that, alongside with the light and signs of time, define a particular genius loci, a place that has already lost its original function with its decaying architecture. Forgotten Terrain Vague in search of a new identity and programme capable of resignifying its history and memory, transforming this location through a new gaze about its place in the city.

BIO

JIÔN KIIM was born in Busan, South Korea. She attended BFA in Industrial Design, specialising in Space and Product Design at Hongik Univ. in Seoul. She had been worked as a researcher in LG Electronics’ laboratory in Korea. After leaving the company, she began her own artistic research. One semester of studies at ABK Stuttgart as a guest student followed by five years at HfBK Dresden, having completed the Diploma, specialising in Expanded Concepts of Art. In 2015, she was a DAAD Erasmus scholarship holder for contemporary artistic practice in the FBAUP master’s degree. She recently collaborated with the Cityscopio Cultural Association in the field of photography as a critical and poetic research instrument for architecture, city and territory. She exhibited at the various collective exhibitions in spaces such as the Sophie Charlotte Salon in Berlin, Motorenhalle in Dresden, Memory Center in Vila do Conde, GNRation in Braga, ZAWP Space in Bilbao, Maus Hábitos in Porto and Artspace O in Seoul. Her thesis was presented at Oktogon in Dresden. During 2018, she developed a photographic research around abandoned ruins and industrial spaces that resulted in the projects “Terrain Vague”; post-Fordist society and “Fendas Intemporais”. Currently she lives and works in Porto.

Artur Leão went to Escola Artística de Soares dos Reis in the Course of Audiovisual Communication – Specialization in Photography. He has a B.A.In Visual Arts and Photography from the Escola Superior Artística do Porto (ESAP). His work Teedoff is published on the digital platform of scopio Editions (2017). He integrated the collective exhibitions “6 - Exposição de Artes Visuais” (2017) in the Torre B of Edifício de Belmonte, “Do Not Touch Fresh Paint!”(2018) on Espaço MIRA and “Playlist #25” (2018), a curatorial project of Nuno Ramalho on Café Candelabro. His project Fendas Temporais was selected to be exhibited in the library ofFAUP’s Student Association space during the year 2018. Co-founder of the musical project Benthik Zone.

 

O NADO-MORTO

 

o nado-morto

BY mariana barreirA

 

Conclui o Mestrado Integrado de Arquitetura na FAUP em 2014/2015, tendo ganho Menção honrosa na Edição Archiprix 2016 com o projeto UM PROJECTO PARA UM CAMINHO. Ampliação da sede dos escuteiros do grupo Lac-Bleu, La Tour-de-Peilz, Suiça. Sob orientação do Prof. Dr. Marco Ginoulhiac, da Faculdade de Arquitectura da Universidade do Porto.

Synopsis

Pensamento fotográfico espontâneo e pouco ponderado sobre o edifício morto.

Spontaneous and unmindful photographic thinking about the dead building.

 

Editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.

 

MÉMOIRE

 

MÉMOIRE

BY SONIA MANGIAPANE

Sonia Mangiapane is a professional photographer whose areas of interest include architecture, spaces, landscape, art & design related projects. She has worked for a number of years for architectural, commercial and editorial clients while also pursuing my own personal work.

In 2012 she relocated to Amsterdam (The Netherlands) from her hometown in Melbourne (Australia). Recently she was shortlisted for the 2014 Arcaid Images Architectural Photography Awards.

synopsis

The initial aim of this series was simply to document temporary structures, all of which, at the time of shooting, were in a state of transition. I felt a sense of urgency; that these buildings ought to be recorded in some way, lest they be erased from collective memory.

Today some of the structures I have photographed no longer exist. In time some will cease to exist; while others will have elements retained, but their original state will be transformed in a fundamental way.

“Mémoire” explores two themes in parallel; one for the head and one for the heart as it were…

On the one hand, it aims to provoke discussion relating to the sustainable regeneration and adaptive reuse of our existing buildings. Regeneration of the urban environment is critical to a sustainable future. However, confronted with a multitude of social, environmental, financial & political issues to consider, the path we should take is not always clear-cut.

On the other hand, as the series developed I found that it wasn’t the structures themselves that were the most interesting aspect of this project. Rather, the fact that the spaces housed by the structure once had people inhabiting, occupying, visiting or passing through them. These “shells” are embodied with the history and memories of those people. I consider this series a tribute to those memories.

Shot mainly in Melbourne’s inner urban area throughout 2008 to 2010, “Mémoire” captures fleeting moments in our changing urban landscape.

editor's note

Our aim is to bring light to interesting work coming from emergent authors or young photographers.

 

MIES MODEL STUDY

 

MIES MODEL STUDY

BY JOACHIM BROHM


Joachim Brohm (Dülken, Germany, 1955). Has a Diploma in Visual Comunications/Photography from the University of Essen GHS/Folkwang (Germany, 1983) and at the Ohio State University in Columbus (USA, 1984). He has had many solo exhibitions all around the world: Germany, Holland, Austria, USA, Italy, Czech Republic, Belgium, UK, China and Portugal. He was Lecturer and Visiting Artist/Professor in Bielefeld, Dortmund, Salzburg, Chicago and Zürich. Since 1993 he is Professor of Photography at the Academy of Visual Arts in Leipzig where he was also Rector from 2003 to 2011. Has had several monographs as well as been part of many catalogues of group exhibitions. Lives and works in Leipzig.

synopsis

More than 80 years after (Mies van der Rohes) designs for the Krefeld Golf Club were abandoned due to the Great Depression, Belgian architect Paul Robbrecht set about to realize the unfinished project. In 2013, a 1:1 scale model of Mies van der Rohe's original design was realized on the outskirts of Krefeld, a location Mies had selected. Built from unfinished drawings and unrefined plans, the space was rough and incomplete. The temporary space provided rare insight into what could have been – a notion that intrigued photographer Joachim Brohm, and is emphasized by his photographs which draw on the style of the original Modernist photographers, using a mixture of color and black and white images which incorporate diagonal lines and emphasize the open, flowing spaces of the Mies design. Brohm has an extensive background in architectural photography. His portfolio of architectural eccentricities delves into the details of design anomalies, drawing attention to uncommon elements of building design. Brohm was given the opportunity to photograph the life-size Mies model, producing a series of photographs that examine the basic geometry of architectural design, with an emphasis on the unfinished elements of the building.