There are some spaces that are a part of our daily life but that don’t impress our perception and our memory. Those spaces are something familiar that we habitually hang out: a subway station, an underground square, a bathroom.
Visited but unspoiled spaces, places that you don’t really look at.
Entrance halls - androni in Italian - are places that have been designed, built with a clear purpose, with a precise use.
Nevertheless them are invisible and remain unseen because they are not the stage for any emotional play. The uncertain beauty of androni lasts entirely unchanged during the years and none cares of them. Despite this oblivion, androni are the temple for the ritual of either entering or leaving home.
Architectural photography is now one of the most important mediums for recording, documenting, communicating and sharing architecture and constructed space. It is able to convey the dimensions and character of a place, as well as the emotions associated with it. An architectural publication would be unthinkable without such images.
In the digital era architectural photographers have acquired a new role (despite the enduring and increasing silence of the critics), which goes beyond mere documentation: they have become both interpreters and authors. Their visual language determines the way we perceive the contemporary constructed space. Their vision is crucial to the way we see and understand contemporary architecture. Their reflections on the reality not only document the constructed space, but also reveal it to us.
This issue of DIVISARE BOOKS is devoted to architectural photographers and to their stories told through images.
This issue is being released in a limited quantity print-run of 100 copies