Wednesday, 2 October 2013

Thomas Florschuetz: Assembly

I had thought that I would find a photographic comparison of Le Corbusier's Chandigarh and Niemeyer's Brasilía in this tome for this was what the press release by the publisher had said. Instead I discovered a lot of photographs of elements of buildings and all of them called enclosures taken in Chandigarh, Agra, Delhi, Ahmedabad, La Jolla, Belo Horizonte, Rio de Janeiro, Brasilia, and Berlin.

Some of the pics enchanted me (and especially the one on page 137, it has no title but it says "Wonder Valley" in brackets and so I assume it was taken in Wonder Valley, California), others left me rather indifferent.

Since the photographer gives very scarce information, I guess that what I'm looking at is most probably considered art, by some. There is however a text by Alexander Klar that helped me understand what my eyes were showing me (on some occasions, that is, on the whole I felt it to be rather confusing).

Here's an example of an observation that I thought useful:
"Florschuetz's work inspires us to contemplate the relationship between interior and exterior. His pictures draw attention to the transitional realm from indoors to outdoors. This is a realm that can be read as a membrane which, while separating two distinct areas, still remains quite flexible, allowing each to be hinted at or manifested in the other."

And here's an example of a comment that borders on the absurd (for there are no users to be seen on these photographs):
"Florschuetzs views of reflective corridors, building lines leading off into the distance, and vast plazas show places that are obvious in function and whose users have evidentally installed themselves respectfully in the ideal architecture."

Nevertheless, there is something truly intriguing about Florschuetz's photos. It's to do with his eye for framing. To me, he creates an environment of his own, and it is one that appeals to me. And why is that? My best momentary guess is this: I perceive it to be the result of truly seeing, of contemplation.

Thomas Florschuetz
Hatje Cantz / Museum Wiesbaden
Hatje Cantz, Ostfildern 2013

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