{"id":7081,"date":"2017-03-16T17:00:00","date_gmt":"2017-03-16T17:00:00","guid":{"rendered":"http:\/\/architizer.wpengine.com\/brick-wonder-rory-gardiner\/"},"modified":"2022-05-31T07:23:47","modified_gmt":"2022-05-31T11:23:47","slug":"brick-wonder-rory-gardiner","status":"publish","type":"post","link":"https:\/\/architizer.com\/blog\/practice\/materials\/brick-wonder-rory-gardiner\/","title":{"rendered":"Blue Hour: Rory Gardiner on the Power of Light in Architectural Photography"},"content":{"rendered":"

Brick & Wonder<\/a> is a curated platform of the highest-quality homes for sale worldwide. Launched by Lang Architecture<\/a> in 2016, Brick & Wonder provides access to homes in the marketplace with design integrity that have the capacity to improve how we feel, think, interact and ultimately live our daily lives. This week, Architizer shares an interview originally published on Brick & Wonder, conducted by Ed Thompson<\/a>.<\/h4>\n

Walking through Dalston, London, in the early morning light, Rory Gardiner<\/a> leaned over his viewfinder, peering through the lens at a shadow slashing across the corner of a brick building opposite.<\/p>\n

Gardiner\u2019s father was an architect, working in Melbourne, Australia. From a young age, Gardiner gained an understanding of form, light, structure and materiality. He became interested in photography partly for its nostalgic quality \u2014 the ability to capture and record memories from vacations and travels. Gardiner went on to study at RMIT, Melbourne, extending his course over five years while he earned his stripes assisting for professional photographers.<\/p>\n

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RMIT Design Hub<\/i><\/a> at the Royal Melbourne Institute of Technology in Melbourne, Australia, designed by <\/i>Sean Godsell Architects<\/i><\/a><\/p>\n

In his final year at school, he was short-listed for a Sony photography competition in London. His tutor invited Gardiner to make the trip to the show. \u201cI never got on the plane home,\u201d Gardiner mused as we sat down for coffee. He has now lived and worked in London for six years.<\/p>\n

\u201cFrom a photographic perspective, I like things that deliver a lasting experience. They tend to be sculptural, with a program that is a non-essential activity, like a museum or a pavilion.\u201d<\/p><\/blockquote>\n

\u201cI met some good people, and within a month I got a job for the Tate gallery. They wanted photos for their website that created the feeling of being there in person. At the time, I was shooting quite fluidly and loosely, and they liked the style. I made the horrific mistake of giving them unretouched photos \u2014 without watermarks \u2014 and they just put them up on the site. They\u2019re still up there today!\u201d<\/p>\n

We asked what kinds of architecture he finds most compelling. \u201cMy father is a residential architect, and he delivers projects people really want to live in. It\u2019s functional and simple, and I like that kind of work in terms of an approach to community and urban development,\u201d Gardiner explained.<\/p>\n

\u201cFrom a photographic perspective, I like things that deliver a lasting experience. They tend to be sculptural, with a program that is a nonessential activity like a museum or a pavilion. The architecture is much more experimental, but also people move around the space differently. They tend to mill around without too much purpose, doing strange things. Photographically that\u2019s a winning combination,\u201d Gardiner laughed. \u201cI love architecture that uses only a few materials. For many years, I\u2019ve been photographing brutalism in one form or another. I\u2019m drawn to architecture that doesn\u2019t overload the senses. The Japanese and the Swiss are very good at that!\u201d<\/p>\n

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The Long Museum in Shanghai, China, designed by <\/i>Atelier Deshaus<\/i><\/a><\/p>\n

Gardiner\u2019s photographs often show a playful sensitivity to light. The sense of nostalgia is evident in much of his work, too. Photographic \u201cnoise\u201d often permeates the photos, lending a tactile quality to the finished images, evoking the materiality of the architecture itself.<\/p>\n

\u201cThe emotions you are left with in a building are what interest me.\u201d<\/p><\/blockquote>\n

Naturally, light is the obsession of any photographer, but there is a particular time of day that he prefers to shoot. \u201cI love \u2018the blue hour,\u2019\u201d Gardiner explained. \u201cAs the sun goes down, the sky wraps everything in a flat, bluish light. It\u2019s seems very surreal, but it is a real phenomenon. If you are close to the equator, it passes very quickly. In England, you get a much longer twilight, so you get these really long blue hours. It gives me this funny, tingly excitement.\u201d<\/p>\n<\/p>\n

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Los Terrenos in Monterrey, Mexico, designed by <\/i>Tatiana Bilbao<\/i><\/a><\/p>\n

Gardiner seldom uses artificial light in his photography, preferring the cooler tones of daylight. This means he needs to move fast and be flexible on a client shoot. \u201cIn commissioned architectural photography, you have a shot list to work through and you can\u2019t shoot every shot in the same light. Often, architecture is shot in the middle of the day in raw, neutral light.<\/span><\/p>\n

\u201cThat depicts the architectural program rather than the materiality or the experience; it\u2019s more like documentation,\u201d he explained. \u201cI would rather show something looking as good as I think it can look. The emotions you are left with in a building are what interest me. I\u2019m not an architect, so I\u2019m not really interested in how the architectural technicalities have been achieved. What\u2019s interesting to me is how someone experiences the space.\u201d<\/p>\n<\/p>\n

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The Museum of Islamic Art in Doha, Qatar, designed by I.M. Pei<\/i><\/p>\n

We asked how brokers and developers could do a better job of the photography for architectural homes for sale. \u201cPhotography is the main point of contact for selling the house, so it\u2019s really worth investing the time and money to do it properly. If you spend $5,000 on the photography and work with a stylist instead of spending $1,000, it can make a difference of $50,000 in the sale price,\u201d Gardiner told us. \u201cWork with a stylist and replace some if not all the furniture. Invest in a photographer and stylist you actually like.\u201d<\/p>\n<\/p>\n

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Clapton Warehouse in London, U.K., designed by Sadie Snelson<\/i><\/p>\n

A good way to find a photographer is to work with a publicist, especially if you\u2019re not naturally visually inclined. \u201cThe publicist will put a few photographers forward who will tender on the project,\u201d says Gardiner.<\/p>\n

The weather is an important factor, too. Although gardens look their best in the summer, the harsh light might make achieving emotive photographs difficult. \u201cI tend to advise clients on seasons \u2014 if they have time,\u201d Gardiner explained. \u201cThe autumnal period has very good light. In the Northern Hemisphere, north-facing fa\u00e7ades are a problem in the winter because there is no sun on them.\u201d<\/p>\n<\/p>\n

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The Long Museum<\/i><\/p>\n

As we finished coffee, Gardiner spoke about the most enjoyable parts of his work. \u201cIt\u2019s those moments to yourself when multiple things collide and you know you\u2019ve got a good picture. I\u2019ve started shooting the new Tate gallery in London, just for myself. I had a shot lined up with a long, empty, brick fa\u00e7ade. It was a foggy morning, and I\u2019d been shooting for about an hour. Suddenly a dog walked into the bottom corner of the frame and just cocked its leg. I was so happy for hours afterwards. It was like a career highlight! It\u2019s nice when the effort you\u2019ve put in and the luck that\u2019s involved come together to make a great photograph.\u201d<\/p>\n

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Rory<\/i> Gardiner, photographed by Ed Thompson<\/i><\/p>\n

Words by <\/i>Ed Thompson<\/i><\/a>. All images \u00a9 Rory Gardiner<\/i><\/p>\n

Rory Gardiner<\/a> is available for global commissions and has experience shooting institutional and residential architecture across Europe, Mexico, Australia, East Asia and the U.S.<\/i><\/p>\n

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