My visual journey began long before I ever considered holding a camera. I have always been naturally drawn to shapes, light, shadows, curves, and materials. This instinctive attention to visual elements has shaped the way I perceive the world and still influences how I compose each frame as an architecture photographer.
Years later, a former partner of mine was completing her thesis in architecture. Through that experience, I came into contact with contemporary architecture in a more structured and deliberate way. I began exploring the work of architects such as Frank Gehry, Zaha Hadid, Richard Meier, Daniel Libeskind, Herzog & de Meuron, Tadao Ando, and Santiago Calatrava. Each of them offered something unique that helped me see the built environment with new eyes. This perspective would later become essential in my work as an architecture photographer.
Frank Gehry’s bold deconstructivist forms often break free from traditional geometry. Zaha Hadid’s flowing, futuristic structures emphasize movement and transformation. Richard Meier’s clean lines and controlled use of white express clarity and order. Daniel Libeskind introduces tension, fragmentation, and historical depth into his projects. Herzog & de Meuron reinterpret materials and surfaces with remarkable sensitivity to context. Tadao Ando’s minimalist architecture creates meditative atmospheres through the interplay of natural light and concrete. Santiago Calatrava blends engineering and sculpture, creating dynamic structures inspired by organic movement and anatomical forms.
Photography eventually became the way I chose to respond to what I saw in these works. It allowed me to explore not only the surface of architecture, but also its rhythm, weight, proportions, and the mood it can create. As an architecture photographer, I focus on how space feels, how materials behave under different light conditions, and how buildings interact with their environment.
Over time, architecture became a recurring and meaningful subject in my photographic work. I began paying closer attention to how curves could soften a structure, how angles might suggest direction or tension, and how natural light could transform surfaces throughout the day. I began looking beyond the outline of a building, focusing instead on atmosphere, material presence, and spatial composition. This way of seeing has remained central to how I operate as an architecture photographer.
You can see this influence in some of the images I have captured:
- Architecture Photography Gallery
- Seville – Metropol Parasol
- Universität Basel Juristische Fakultät
- Herzog + De Meuron – St. Jakob Park (Stadium Complex)
While photography remains my primary focus, I have recently started to explore videography as a natural extension of my visual work. Working with motion enables me to incorporate time and movement in the way I approach a subject, offering a different layer of interpretation. I can demonstrate how people interact with space, how light travels across surfaces, and how architecture integrates with its surroundings in a seamless flow. This adds depth to my work as an architecture photographer, expanding into video.
In parallel, I have integrated the use of drones into my workflow, utilizing them for both aerial photography and video. Drones enable me to present otherwise inaccessible perspectives, especially when it comes to showing the relationship between a building and its site. Carefully planned interior movements can also be captured with stabilised flight, offering smooth transitions that maintain the architectural intent without unnecessary distortion.
What I aim to produce is not driven by trends or spectacle. My goal as an architecture photographer is to create visuals that are clear, coherent, and respectful of the subject. I rely on visual precision, consistency, and an honest reading of space. Every building deserves to be seen with care and understood in its context.
Looking ahead, I would genuinely like to collaborate with architecture studios, especially here in the Basel area. Working alongside professionals who design and shape the spaces we live in would allow me to continue learning and refining my perspective. At the same time, I believe that thoughtful visual content, both photographic and video, can help studios present their work more clearly and effectively, whether for publications, competitions, or client communication.
It is something I hope to explore further in the near future. And who knows, maybe something meaningful could come out of it.
