El Croquis SANAA: Kazuyo Sejima, Ryue Nishizawa. Sanaa. Publisher: El croquis. Binding: Hardcover. Pages: Measurements: x cm. Documents Similar To El Croquis 99 – Kazuyo Sejima + Ryue Nishizawa El Croquis 53 Rem Koolhaas. Uploaded by. Jhon Ander Beracochea Ruiz. El Croquis 99 – Kazuyo Sejima + Ryue Nishizawa – Ebook download as PDF File .pdf) or read book online.
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Nishizawa, starting with Weekend House, his debut work. I understand that when Mr. Nishizawa received the Pritzker Prize, he asked you to take his portrait for use by the media. Suzuki, tell us how the two of you met, and your views of Mr. When we first met, we went to a yakitori restaurant after the shoot. He told me that you can tell a sejims restaurant by its exterior.
We were walking around ccroquis he suddenly decided on a place, and it indeed proved to be a good choice. Suzuki ate with great relish. Eating seemed a way for him to recharge his batteries. That made quite an sejiam on me. You were present at the shoot, and we had dinner together afterwards. Nishizawa made quite an impression on me as well. I felt he was a esjima individual. This is something I felt when we first met, that though he crlquis delicate and discreet, he has great inner strength.
We also had a meal together in Madrid. Suzuki truly eats with relish. I think it is truly wonderful how appreciative he is of the act of eating. He seems to eat, shoot, and then eat again, energetically. I think for him there is a close connection between taking photographs all over the world and enjoying meals all over the world. El Croquis being a Madrid publication, I asked why they wanted to bother testing a photographer based in Barcelona but was asked to come to Madrid in any case to take photographs.
It was a house, which no longer exists, designed by an architect named Jaime Lorenzo, built by hollowing out an old castle.
As I was shooting, I heard sejimw sounds behind me. Jazuyo turned around and found Fernando standing there, holding a sandwich and beer. But I liked that, and I thought, maybe I can work well with these people. Sunlight is always important to an architectural photographer. Suzuki, you sometimes take photographs under an overcast sky or in mist. What do you, Mr. Nishizawa, think of such photographs by Mr. The first work by Mr. It was shot in the dusk at an angle from the lower end of a vineyard.
The building is a hotel in a provincial town in Bordeaux which I too once visited. The place as depicted in the photograph crlquis just as I had experienced it, or rather, it had even greater ambience.
I remember being amazed by the shot. The work exuded the ambience of the town. You could almost hear the sound of the church bell.
It captured the atmosphere of the region. It had a sense of transparency.
It was quite dark, and there was no one in the photograph, but it was a quite attractive landscape. The sky in that photograph too was certainly overcast, but it was a strange shot that seemed to transcend such matters as cloudy or clear skies.
The colors were amazing. A photograph of the Guggenheim Museum Bilbao also gave a sense of the entire city. It was surprisingly dark, and there was this dark building in the middle of seuima dark city. That photograph too had an impact on me. I was amazed by its worldview. Usually, when you shoot a landscape, the photograph is beautiful as a landscape but does not work as an architectural photograph. On the other hand, if you shoot an architectural photograph, the building inevitably ends up looking sehima an isolated object; it loses its connection to the environment.
A photograph by Mr. Suzuki, however, depicts the city or environment but is also an authentic architectural photograph at the same time. I believe there is an underlying classicism to his work. Photographs by him of our early buildings that made a lasting impression on me — as a matter of fact, I remember most of them quite well — for example, the ones of Kumano Kodo Nakahechi Museum, though unusual in that they were taken on a very clear day, were memorable.
When taken by Mr. Suzuki, a building somehow looks good. The photograph of the Guggenheim gave me a sense kazuto what Bilbao is like. I got a beautiful sense of a city in northern Spain. But I believe Mr. I believe he shoots genuine architectural photographs.
I think it is amazing how boldly and dynamically his photographs evoke something like the true appeal of architecture, no matter what the building is. Every time I look at cdoquis work by him, I think to myself, this is what architectural photography is about. I was amazed by the great dynamism of his model photographs of the Rolex Learning Center. In that respect, it is difficult to separate the books from the photographs. I am made keenly aware of how Mr.
Table of Contents for: Sanaa : Kazuyo Sejima, Ryue Nishizawa, 2
There will be a shot of the model taken at a 45 degree angle, and then, bam, the next one will be shot from the opposite angle. The effect is, how should I put it, dynamic, or stylish. The work is an eloquent statement of how architecture ought to be looked at. When I look through El KazuyyoI feel I am being told that architecture is no good unless it has this much impact. That comes, as might be expected, first from the strength of Mr. Suzuki takes photographs quite quickly.
The three engage in a passionate discussion, finish taking photographs in no time at all, and then go off to a restaurant. Taking photographs is much the same as eating. I think they truly love architecture. I decided to do that as well and began shooting them. When I heard that Mr. Suzuki went around shooting Romanesque churches in Spain, I thought how like him it was to do such a thing. I am always aware of the surrounding environment in my photographs. I am not trying so much to create a lasting work of my own; I think of a photograph more as a document, a record.
The inclusion of the environment increases its value as a document. My croqhis that that is so makes it quite easy for me to take a step back. Stepping back a little allows me to shoot the surroundings as well.
Published Art Bookshop – El Croquis Sanaa, Kazuyo Sejima & Ryue Nishizawa – Art
I shoot the environment as well because I myself want to see it. I include those things that I believe people will want to go back and examine after they have had their first look at a photograph. That has always been my attitude. When he is shooting an overall view of the exterior, the fact that he shoots the croquiss together with its environment makes the photograph that much more convincing. At the same time — though this may seem like a contradiction — he also shoots the building.
I sense the excellence and the love of architecture of the team of three working in perfect harmony at El Croquis. My intention is not to senima my work stylish.
Instead it cdoquis to do my best to engrave carefully, to stop time, to record. Kzzuyo turn over what is in front of me and examine it from the back as well. That is the kind of thing I am trying to do. Suzuki shoots every conceivable place. However, the photographs are worth looking at because they are shot with such conviction.
It was a shot of the elevation. Quite frankly, it was better than what I had imagined the museum to be like. Then, there was the first photograph on the previous page which showed the museum as seen between other buildings in the foreground.
That too was quite good. I thought it was great the way it clearly showed how the new building had changed the ambience of the city. Do you remember that photograph? I shot it after going up and down a hotel elevator a number of times. I was worried that the photograph would not turn out well because of the intervening glass, but it came out all right. I take great care with such cuts.