The Architect's Eye
By Eric G
27 Jul 2007
As an architect and interior designer, I'm always looking at design through a photographer's eye, that is, within the boundary of the frame. We present our built projects, of course, through photography, and we present our proposed ones in 3D computer modeling...again, digital images. I don't think there's a day that goes by that I don't have to consider composition, cropping, content and concept in our work.
In fine arts photography, being a designer means there is always a great interest in geometric subjects; streaks of light, industrial landscapes and objects, wires, patterns and naturally, architecture. I always search for the poetics of the shot, somehow finding a narrative thread that might be implied in the scene. In this way, I like to find out how the objects, or the field can speak by themselves, but it is all the better when there is a figure that joins the story. Even better, is when the moment is liminal--on the threshold of change--such as the characters in Hopper's painting. I read recently that what makes the mood in those paintings so palpable is that you're never sure happened before the frame, or what happens after. You're just there for that split instant.
It's a very internal, quiet pursuit of work, and it's one where I am looking at the world at all kinds of sizes and situations where these things might present themselves. (Of course, the fear is always that they are right there for the taking, but I'm just not seeing them.)
All of the arts have the same considerations of "language" (compositional elements) and structure. Music is an obvious analogy. When I was studying poetry, the poem clearly had a design quality very conceptually married to the architect's practice of organization, emphasis, sequence, etc. The selection of images and their arrangement in the piece was as a clear-cut problem of design as any building plan might be.
The design of a photograph is no exception...it's concept and intent must be simple but never boring. A photograph thrives if it has emphasis, and a defining subject of interest that the rest of the elements in the picture support. It will have compelling chiaroscuro if it is a black and white photo, and a rich figure ground of shapes. A strong, evocative and expressive design really is no different, and will generally have the same main element, or focus, with a supporting cast of characters. I propose these as general, loose rules, as there can never be a fixed recipe for compelling pictures. (I have many favorites that are disorganized fields, with deliberate low contrast. I would argue though, that that method's concept and intent is nevertheless quite clear and deliberate.)
When the photograph becomes a design, and the photographer is a designer, some great opportunities and ways of seeing will occur.
1. What kind of designer are you?
Architect and interior designer.
2. What did you want to do for a living when you were a kid?
Believe it or not, I always wanted to be an architect. My father was a builder.
3. What is it about your design work that makes your photography better? And vice versa? Where do you see parallels between the two?
See above, but I would also say that each practice takes constant devotion, even daily practice if you are going to transcend your usual boundaries and preferences of practice. The hardest things to overcome are your own habits.
4. What do you find most challenging about your work?
Clients, contractors, local officials and vendors. Generally the whole chain of characters required to get a project built. The analogy of a general trying to direct an army through the desert is a good one. You're relying on a group that has competing interests.
5. Do you have design heroes? Photography heroes?
To many to name, but for architects I could throw in James Sterling, Rem Koolhaas, and Steven Holl. For designers, I'm partial to a whole host of Russian Constructivists....El Lissitzky, Chernikhov, Rodechenko, etc. There are so many photographers...Brandt, Steichen, Sudek. There's Alex Maclean, Burtynsky. There is no better than Koudelka. I'm also huge fan of Robert and Shana Parkeharrison.
You forgot to ask me poets: Charles Simic, Mark Strand, Mary Oliver, and so on.
6. Name some unexpected sources of inspiration you've had.
Charles Simic's poems have always stressed comic and collage imagery married to very serious literary themes and situations. It is probably the most difficult kind of work to create and communicate, but one I've been very interested in. Films often strike me the hardest. Such as "Sans Soliel," "The Man Who Wasn't There" and "Wings of Desire" but, that's not too unexpected.
7. Do you have any regular habits/exercises that make you a better designer? Photographer?
As a designer you must remember to remain positive if you are going to convince anyone of building anything. That is a real challenge sometimes, given the outrageous schedules and skimpy budgets that you are handed...all with a straight face. . As a photographer, it is this: consider carefully what stays outside the frame. What you don't show is even more important than what you do. The mind is fertile territory and it must be left free to imagine and fill in the blanks.
Designers are often too stiff, too married to geometry, and reserved to put them in the situations that might make a great street photograph. In this way, it's been great therapy, and there is more to come.
1 response
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Craig Fraizer gave props (14 Dec 2008):
awesome essay and photos, voted
