The cover of the November 12, 2012, issue of New York Magazine depicting Hurricane Sandy was chosen by magazine editors as “Cover of the Year” in the seventh annual ASME Best Cover Contest, which was open to all consumer magazines published in calendar year 2012. The announcement was made today by Lucy Danziger, ASME President, and Editor-in-Chief of SELF, at the ASME Annual Meeting in New York City.
If you don’t know who Iwan Baan is by now, then you’re not paying attention.
In a relatively short period of time he has become the go-to photographer in the architecture business, combining a sharp eye for design with a talent for humanizing and storytelling that is missing in so many of the field’s cold, pristine portrayals of the built world.
Earlier this month, we looked at the New York City subway over time. This week, we’ve curated a selection of contemporary images from subways around the world. While we couldn’t include all subway systems, big or small, below are pictures from artists who have significant bodies of work on the theme or have photographed extensively in one location.
It has been just eight years since Iwan Baan began photographing architecture, but the way he sees the world has already made him a big name. His striking aerial photograph of Manhattan divided by the post-Sandy power outage quickly became an iconic image. “The Way We Live,” a solo exhibition of Baan’s lush large-scale images of cities and their people and buildings, opens this week at the Perry Rubenstein Gallery in Los Angeles.
In a movie Dezeen filmed at his Golden Lion-winning installation in collaboration with Justin McGuirk and Urban-Think Tank at the Venice Architecture Biennale, architectural photographer Iwan Baan talks about how residents have built their own homes between the columns and floor plates of the unfinished Torre David skyscraper in Caracas.
“It’s basically a whole city they built in there,” he says while describing the homes, shops, church, hair salon and gym the 3000 residents have created, each inventing their own construction techniques to create “a sort of architecture without architects”.
He tells how residents start by putting up curtains and tents, then build walls when they get chance, creating a patchwork facade where “every person decorates their place in their own way.” Construction halted before services were installed, including elevators, so taxis drive residents up and down in an adjoining 50-storey car park.
Baan’s photographs will be published in a book on the tower called Torre David: Anarcho Vertical Communities, written by Alfredo Brillembourg and Hubert Klumpner of Urban-Think Tank.
Critic Justin McGuirk talks about how the project could set an example for new forms of urban housing in our earlier movie, asking “why should the majority of the poor in countries like Venezuela be forced to live in the slums around the edge of cities if there are empty office towers in the city centres?”
Pieces that have defined our culture in the contemporary moment.
“…A serial globe-trotter who charters helicopters like most people make dinner reservations, Baan has become the most notable architecture photographer in recent years for his style of capturing not only buildings but also their urban context. It’s a more humanizing approach to a field that had previously been steeped in glamour shots. This eye for the connection between people buildings and cities is what makes Baan’s work stand out. It’s why he was able to encompass Sandy’s wrath so simply and elegantly…”