post your Architecture photographs!

[David Hedley]

Thanks Harley.

This one is from a few months ago, during an intense cold snap across Europe, of the Centre Pompidou-Metz (in Metz, France);

Sinar F, Rodenstock Grandagon-N 75mm, Ilford Delta 100 / PMK Pyro at N-1

[Laron]

classic, very nice! I love the beautiful tonality you produce...

[Laron]

Volta centrum by Buchner & Bründler Architects + Volta west by Degelo Architekten, Basel:


Volta by Aron Lorincz, on Flickr


Volta zentrum by Aron Lorincz, on Flickr

[David Hedley]

Thanks Aron - front rise would probably have helped a bit as well ;-)

Both of yours above are excellent - in particular the first, where there really does seem to be some form of dialogue taking place between the two buildings. The grass in the foreground is unexpected, almost surreal in this context.

[David Hedley]

One more from Mario Botta's Chiesa di San Giovanni Battista. Very few straight lines, even where they should be;

Sinar F, Rodenstock Grandagon-N 75mm, Delta 100 / PMK Pyro, N-1

[David Hedley]

One of the choir stalls at the Chiesa di San Giovanni Battista;

Sinar F, Rodenstock Grandagon-N 75mm, Delta 100 / PMK Pyro

[Michael Wynd]

I like the one of the choir stalls David. When I scroll down to get all the picture ithere is an optical illusion. The image seems to spread and get wider as you scroll. I don't know if anyone else gets this, or if it's because I haven't had enough sleep.

[David Hedley]

Hi Michael - that's an interesting observation. It may be that Botta uses the alternate layers to create a sense of a larger space. It's certainly something I'll give some thought to when I am next in or near one of his buildings. (The Bank of International Settlements is near where I live).

A last one from this series, of the steps to the exterior of the Chiesa di San Giovanni Battista;

Sinar F, Schneider 180mm, Delta 100 / PMK Pyro

[Steve French]

Last but not Least. I realy enjoyed your series David. Well Done!!

[Pat Kearns]

Great series David, they have a wonderful M.C. Escher look to them.