Aussie architect and internet entrepreneur Nic Granleese, did his interview with us during his last visit in Toronto. He talked about his shoeless upbringing in rural Australia and how during a sabbatical early on in his career, he decided to hop on his motorcycle, quit architecture and become a photographer. Subsequently, his path led him to create bowerbird, a growing online platform that links architects with publications. Listen in to hear Nic speak about his path.
~ 4 minutes read
In the countless business-oriented books that one can find, there is a trend in recent years of books discussing the core of a successful enterprise. Heavily rooted in empathy, sometimes explicitly, sometimes not, it makes empathetic interpersonal relationships the center of attention. Heck, Entire businesses are created around developing empathy-based company cultures and leadership.
There are many stories of business leaders and creatives who created businesses (and failed many, many times while doing it) that were centered on providing satisfaction to their stakeholders in one form of another. There are books focused on teaching us to be better listeners, claiming that in this culture of telling, listening is a rare skill that can lead to great outcomes when wielded properly.
Over the last few years, while continuously educating myself on the matter, in order to understand empathy better and more importantly, why it has become such an integral part of the business thinking zeitgeist, I integrated some of these lessons in my own work. This led to developing services helping architects to develop better cultures and communication strategies.
What is empathy anyway? The dictionary definition is as follows:
“The action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit manner.”
It’s when someone tells you the details of a creepy story and you get the heebie-jeebies because you can picture yourself in that predicament. It’s when you become sad because your friend lost a loved one and you remember your own similar experience from a few years ago. It’s when someone tells you about skydiving out a flying plane and you get a rush of adrenaline just imagining what it would feel like.
You may say “OK empathy is great, but what’s your point?” Empathy is important because by gaining a deeper understanding of another’s circumstances helps us understand any given situation better. Combined with the outsider’s perspective, we are now equipped to help others overcome seemingly intractable problems, by having the ability to look past the blinders, yet understand their position at the same time, in other words effectively putting ourselves in their proverbial shoes.
On this journey to learn more about empathy and relationships, I slowly came to the conclusion that the architecture and design industry was in dire need of such help. In the course of my work, I get to interact with many architects and designers and invariably end up looking at their communications and marketing at one point or another. What became painfully evident to me is that there is a trend in the industry for incredibly uniform communications. In other words, architects, by and large, all convey the same message. You can go to any of their websites and you’ll find very similar descriptions of their companies, culture and work.
This lack of distinction in the way firms communicate leads to a general perception that architects are a commodity and therefore interchangeable. While this is also true in many other industries and conversely, one can find designers out there who stand out and buck the trend, the architecture industry is incredibly uniform in that sense. I believe that this is due to a couple of reasons:
Architecture schools don’t teach critical business skills: Marketing, communications, business management, sales and HR among others are painfully absent from architecture curriculums, or an afterthought at best. The heavy emphasis on design and technical knowledge creates amazing designers but largely ill-equipped business leaders.
Architects are generalists: Architects are trained to be generalists and often try to do everything. I think the future of the business lies in hyper-specialization. Instead of competing with a virtually infinite numbers of generalist firms, there is value in picking a niche and becoming the best at that very thing, competing with few or better yet, no firms at all. It may seem scary and limiting, but is in reality liberating because it cuts out a bunch of distracting activities and focuses a firm on one, narrow area of expertise.
Equipped with that knowledge and seeing the opportunity to change the way architects communicate in order to change the public’s perception of the value of architecture (#architecturematters) we are helping clients develop their culture, visual communications and marketing strategy.
Stay tuned for next week’s follow-up article on how we went about doing this.
What do you think stands to be improved in the architectural field?
~ 4.5 minutes read
In the typical cycles of business, we are now fully in the 100-day sprint, the roughly 100-day period between now and the holidays where businesses are the most productive. People are coming back refreshed from vacation, kids are back in school and summer is gone, so there is no more excuses to play hooky and go hide at the cottage. Lake water is too cold anyway. That is, until the end of the year, before people take off again for the holidays to go skiing in Gstaad.
In the realm of visual communications and specifically architectural photography, not only we are subject to business cycles as described above, but even more so to seasonal conditions. That translates into a shooting season - without guns - that extends from roughly May to November, coinciding with vegetation being in a suitable state and the weather being cooperative to allow for good photographs of your buildings and spaces. In that timespan we get all kinds of colours and textures, from the vivid bright greens and flower blooms of spring to the colourful fall season, without forgetting the deep greens of the mature, midsummer vegetation.
When you superimpose the seasons with the traditional business cycles, it looks something like this: post-christmas coma and hibernation from January to May, spring awakening in May-June, Summer slump (a.k.a. Spending summer at the cottage) in July-August and 100-day sprint from September to Christmas time a.k.a. “Shit! I need to wrap up my projects” period.
Why should I care?
We are in the last 50 or so days of good, predictable weather and decent vegetation before we are stuck with cold, shitty weather for the following 6 months which makes architectural photography quasi-impossible. Some projects are suitable to be photographed in winter, but these are the exception to the rule. Timing a project with a snowfall is also extremely challenging as winter snow tends to turn into slush in the city after a day or two and believe me when I say you don’t want to shoot in those conditions. If you’re an interior designer you might think “Haha, nice try, but this doesn’t apply to me!” as you’re not subject to weather.
While you’d be correct in thinking so from a technical and logistical perspective, let’s not forget the dreaded award season, from post-christmas to the early summer, where most award submissions are due. Marketing professionals spend most of that time working on submissions, on top of the million other things they usually have to do like managing social media, RFPs, etc. Based on my experience, most of them do not want to deal with managing photoshoots on top of that.
Ok, so all of this is self-serving, but how does it apply to me?
I’m glad you asked. Well, taking into consideration all of the above, what that means to you, is that by and large, you are left with 60 days (90 for interior design projects) to plan, execute and complete your photography projects before everyone in your office switches to holiday mode and slows down to a crawl for about a month, spending more time thinking about that vacation in Gstaad or the dreaded presents they need to get for their incredibly hard to please in-laws.
Considering that it takes easily 3-6 weeks to plan, prepare for and execute a shoot, there isn’t a lot of time left to get that accomplished. With professional pictures in hand before the the season’s end, you will be able to do the following:
Promote your latest 2018 projects to prospects with the goal to sign new clients, and keep feeding new prospects in your pipeline.
Have your images ready for your winter slump, when your marketing people will want to have them handy for the 10 million + 2019 award submissions they’re going to prepare. Believe you me, they will thank you.
Wrap up the current year with completed projects, which should bring a sense of accomplishment to your practice and boost morale before the seasonal affective disorder sets in. Happy employees = productive employees.
Take advantage of the winter slump to plan and prepare your 2019 press submissions and scour the newest editorial calendars, in order to time your media relations accordingly and increase your chances of being published, not to mention that beautiful photographs will help you in the matter.
All of the above, accomplishes one thing: it makes your practice more efficient and more effective on many fronts. Which results in less time spent scrambling to get something done at the last minute, more time to do other important business things (or more time for yourself) as well as a long-term increase in your profitability because you now run a lean, mean business development machine.
After all, who wouldn’t like more time and increased profits?
If you have questions about this article or rvltr, or want to book your fall 2018 shoot, you can reach us at firstname.lastname@example.org.
~ 7 Minute read.
In the ongoing raging debate about Toronto’s laneways and what to make of them, no one seems to be able to generate a consensus as to what should be allowed, prohibited and the amount of density that’s reasonable. I have my own opinions on the matter but that’s for another writing.
Working quietly in the background is Womxn Paint, an organization empowering women artists to express themselves through their art. Womxn Paint organizes a yearly jam, now in its second year, to transform a carefully selected downtown alleway into an outdoor art gallery, while making a big celebration out of it.
Beyond the celebratory aspect, it also creates a platform for the artists stories to be heard and raises the awareness of the potential for laneways to be become animated public spaces (more on that later). Headed by our friend, the indefatigable Bareket, Womxn Paint is a celebration of art and a demonstration of how community leadership can bring positive change with nothing more than cans of paint and an unwavering drive. Bareket is known around Toronto for her murals and you will have no doubt seen her “Smile” traffic signal control boxes around the city.
This community enterprise requires serious relationship and entrepreneurial skills, showing us that being an artist, is not just about producing art that gets people excited, and although that’s important, one has to get that art in front of the right eyeballs for it to have an impact. In other words, talent alone does not make a successful artist.
You may have guessed where I’m going with this? Yes, you’re right, this applies to architects too! The most visible ones are not always the most talented ones, but those who have one way or another developed solid business savvy. More often than not, their awesome tactical and operational skills were not learned in school, but elsewhere. It goes to show that soft skills are just as important as acquired technical knowledge to make any enterprise successful, particularly design businesses.
Say what you want about Bareket’s ability to produce beautiful art with a positive message, it’s her communications, relationships and permanent positive attitude, as well as her ability to mobilize an army of other artists that makes her laneway painting events possible.
Let’s not forget about the purpose behind it all.
What makes her successful in bringing all of this together? I’m going to go out on a limb and identify the following key aspects of her success:
The organization has a clear purpose, that makes it easy for like-minded people to get behind it.
The whole project is a collaboration with different entities, both institutional and private working towards a common goal and that goal isn’t “let’s paint pretty murals”. It forces organizations like StART, Womxn Paint (and even rvltr!) and many others, to collaborate with each other in support of that purpose. Without it, it would just be a bunch of people painting murals in an alleyway.
Her event is inspiring and community driven.
She’s a strategic communicator thanks to her past experiences in marketing and PR and knows how to garner attention quickly and effectively.
Did we mention that this whole endeavour culminates in a big party, where the public is invited to take over a laneway for a day and enjoy the art as it’s being painted on walls and garage doors? The warm embrace of the community, both the local residents and owners of the alleyway who have welcomed Womxn Paint in their literal backyard as well as the general public, makes it very difficult to dislike as it is inclusive of just about anyone who wants to participate.
To me, #1 is the key to everything else, without it, it would be a lot harder to get support from all the various stakeholders and would end up having competing interests fighting for limited resources and each trying to pull the project in a different direction.
Womxn Paint’s clear purpose short-circuits all of that and serves as a reminder for everybody involved that the end result is meant to be greater than the sum of it parts (also the topic of an upcoming webinar of ours). Which leads me to my next point.
Collaboration vs. Competition
All these talented artists could be vying for the same rare and valuable mural real estate, each competing for a piece of the same pie. Womxn Paint takes the opposite approach, where they grow the pie itself, allowing a bigger piece for each artist. They do so by creating events and culturally relevant art that people actually want to see, instead of single painted pieces by individual artists. Fittingly, this year’s theme is “Uplifting each other”, underlining the importance of the event in creating a space where the artists can support one another as they’re building their respective careers.
And that’s the basis of creating value, as the total value of the project is much greater than the sum of its parts. It does so by building and fostering a sense of community around a topic that these people are passionate about.
I will sound like a broken record, but designers have a lot to learn from this. Instead of competing for the same pie, there are things that can be done to raise the way we value design as a society. Toon Dreesen, Principal at Architects DCA is a tireless advocate for #architecturematters and design as a way to bring about positive change in society. A lot of what he bring to the public discourse touches on how the higher upfront cost of good design can be offset by massive savings down the road in the way buildings are operated and maintained. Value engineering has a tendency to save costs upfront and defer them to future generations.
If a vocal and intransigent minority of architects, following Taleb’s example of the dictatorship of vocal minorities banded together with the likes of Toon, it wouldn’t be long until the changes we are seeking would come into effect. Alas, the industry is very siloed with people who are friendly-ish with each other, but still compete for all the same jobs at the micro level and then complain that their pricing structure is a race to the bottom, without looking at the state of the industry at the macro level.
Dreesen argues that if design and architecture were more valued as a society, then there would be more money spent on good design, because there would be an underlying tacit understanding of its intrinsic value. There are countless examples out there of markets that were created virtually overnight simply by finding new and innovative ways to demonstrate the value of a product or service (check out Terry O’Reilly’s podcast for that, he tells these stories better than I ever will).
The million dollar question is: What can architects do today, to raise the cultural awareness of the value of good design the same way Womxn Paint is doing for mural artists?
One final thought.
Art is a powerful tool for transformation. It has the amazing ability to draw us out of our day-to-day routine and send powerful messages, whether it’s mesmerizing visuals that get you to zone out and create your own universe in your head; or in the case of Womxn Paint, the activation of an underutilised and drab laneway, turning it into an open-air art gallery, bringing people together. Until the condos start sprouting up that is. Art is often relegated to the “nice-to-have” category, but I believe that what’s happening with Womxn Paint shows us that perhaps we have our priority backwards. Creativity and play should be encouraged, fostered and celebrated every day.
If you liked this or think you have an answer to the question above, please share with a friend and let us know your thoughts in the comments!
When I hear the words aerial photography, it evokes a different perspective, looking at the world through a bird’s eyes. Since we humans, are so accustomed to looking at things from the ground level, which means looking up at the city; having access to this view from above, gives us the ability to appreciate the urban environment from an unusual perspective. A different point of view which makes us appreciate the amazing setting we’re a part of. I personally marvel at the level of human achievement every time I get a chance to look down at the city, as it suddenly comes into focus.
With the advent of consumer-level drones, aerial visualization & photography has become a bit of an ubiquitous commodity, but it has not completely superseded traditional aerial shots from aircrafts, if only for regulatory reasons that make flying a drone in the city both complex and a huge liability (drones also have the bad habit of being very prone to randomly crashing, speaking from experience). That means that to shoot anything from the air in the city, there is not yet a good substitute for planes and choppers.
This is why rvltr partnering with our dear friend and veteran aerial photographer Brett Price(linkedin) to offer you his expertise and knowledge of shooting from the air, combined with our knowledge of the city and its surroundings. Over the course of the first 2 weeks of September, Brett and rvltr will be available to shoot all over the GTA and beyond.
If you had projects under consideration for some yummy aerial photography, now is the time to act and book Brett + rvltr here. Spots are limited and going fast!
The fine print: Each location is shot to your specifications (Close ups, or to show property in relation to amenities etc). If you are interested, book us here, or have any questions please contact us, with the address of the property you wish to have photographed along with roof colour, and size of property. We will get back to you promptly to discuss the details of your project and come up with an appropriate scope of work and budget, based on your needs.
How is it going to help me achieve my goals?
We will assume for the sake of this article, that you’ve already established, as a part of a larger business development strategy, that getting your work published is something you actively want to do. You already understand the value and simply want to go ahead with it.
While you could be a Generic Gerald - more on that later - and start pitching your projects to publications right away, it’s a good idea to sit down and think about your business objectives and how getting published with help you achieve those.
Strategy, strategy, strategy.
This is where strategic planning comes in. You will want to identify your business objectives and where you would like to grow. For example, if you have a residential practice and get plenty of good residential work, but you would like to grow your institutional portfolio, it may make sense to emphasize the institutional work and try to get published in that area, even though you’ll still want to get your best residential work out there to maintain that side of your practice.
This is where the projects to be promoted are discussed and you can start to form an idea of how you’re going to go about this. We are looking at long term goals, so really try to think about your practice in 5 or 10 years. Whether that vision may change or not, does not matter at this point.
Based on these business objectives, you can put together a list of completed projects in order of priority. This will form the basis of your publishing endeavour.
Did I say anything about strategy?
This is where you need to be bold and brave with your goals. The more off-beat and unexpected, the more likely you are to attract attention. It can be a scary proposition, but it’s a necessary one. This is where you have an opportunity to shine and express an opinion, something unique to yourself, that represents you and your company.
Being bold is a valid strategy. Heck, in my opinion, it’s the only way to consistently attract attention. The most successful architectural practices are the ones that find a way to stand out. That doesn’t mean that they mindlessly jump around like an over-excited child high on sugar. It’s more about speaking to the audience’s interests and desires and that may look very different for each practice.
Choosing the right hook.
Now that you have a strategy and know which projects you want to promote, it’s time to find the right hook, a.k.a. the angle of your story. You will want to tap into what makes your company unique. If you already know this and have an established company culture and set of values, this should be pretty straightforward. If this is not clear, you may want to spend some time figuring that out.
Then, onto the project. What is unique about it? It is a great space? Does it reflect the personality of the users? Is it particularly well suited for a specific use? Does it have a unique story? You want to reflect on the project and really nail down what its unique attributes are. Many publications, though not all, are interested in the way the space is lived in and will want to have access to users on the record as part of the story they will write. Not only it’s a good idea to include that in your pitch, but you may want to go a step further and prep your clients by letting them know that you want to get published and get their consent to be contacted by the media should they bite, as getting the users on record is a very common condition for publications, and a deal breaker if they can’t.
Picking the publications that fit with your strategy and angle.
Most editors like to be fed with stories that not only fit their editorial stance (that’s where you need to do your research and find out more about them) but also are compelling enough and well put together so that they can determine right away if that’s a possible fit before they spend any more time on your submission. I’ve heard first hand from editors that they get hundreds if not thousands of submissions and helping them sift through them quicker is very valuable to them and will give you brownie points with regards to increasing your chances of getting published.
If you’ve managed to get past the first line of defense, a succinct, yet thoughtful and most importantly, well put together submission will also play in your favour. Magazines get many submissions following the traditional press release format, which tends to focus on the project itself and the designer, generally following this formula: “Our project is awesome + we’re awesome, so please publish us”. Don’t be a Generic Gerald and do what everybody else is doing. The biggest missed opportunities when submitting projects for publication is when firms fail to speak more in-depth to their projects and how they function, enabling their users to live better lives and instead focus on the aesthetics.
How to be a winner
Being published is never guaranteed, as we will always be subjects to the unfathomable whims of editors and journalists. However, if you thoughtfully spend the time to strategize, come up with a catchy hook and be deliberate about the publications you choose to target, you will likely start seeing publications pick-up your stories more and more.
Keep in mind that this is a long game, and the more you can establish trusting relationships with media outlets, the less resistance you will find on your path to greatness and lack of success early on should not deter you from continuing as you will get better at it over time. Publications will start recognizing your name and give your submissions more attention. Like real life relationships, this takes effort to create and maintain.
Once you’ve submitted your project, the work doesn’t stop here. As everybody else is, editors and journalists are busy people. While it’s a common excuse around these parts to not give someone the time of day, we have to put ourselves in their shoes for a minute and imagine how many hundreds of submissions they have to go through for each and every issue. Sometimes, an otherwise perfectly suited submission will slip through the cracks just because.
Instead of giving up by assuming that since no one responded to your submission, they’re not interested, it is critical to pick up the phone and call that editor (easier to do if a pre-existing relationship exists) or even just send a follow-up email asking for an answer and/or feedback. It is not rare for a follow-up to lead to a yes, so this is low-cost, near effortless opportunity to increase your chances of being published. And don’t forget to ask for feedback on why they didn’t see a fit anytime you get a chance, it will help you improve both the quality of your submissions and strategically target them to the right media.
When it comes to doing this type of work, my personal mantra is “I’m not giving up until they either say, yes, no or tell me they never want to talk to me again”. If you behave like a polite, civilized human, the latter will be very rare. Most people value persistence so don’t be afraid to follow-up multiple times.
This traditional way of getting published, is still effective, albeit very time-consuming. I believe it is worth investing into if you can afford it, as paper-based publications are still very much alive and carry a lot more weight in terms of brand image. Telling someone you’ve been published in Architectural Record is way more prestigious than telling them you’ve been published on ArchDaily and for a good reason. Online publications have a place in your marketing efforts and for different reasons, but that’s for another article.
In episode 2 of our second season, Stefan Hunt, recounted his -short- life story, from a typical western childhood in New South Wales, Australia, to his early foray into film making, crossing the US at 18 with no money, a bieber haircut and a drive to surf all 48 states, including the 20+ landlocked ones. His first film, self-described as “cringeworthy”, got him some attention and eventually led him to become the multi-talented professional filmmaker, artist and storyteller he is today; all the while continuing on his literally off the beaten path journey. Listen in to hear more about how one can be a highly creative, decent and compassionate human being at the same time.
A report on lessons learned from a Giaimo x rvltr instagram takeover.Read More
Cities such as Hamilton are rapidly growing and being designed to accommodate the sheer influx of people moving to the downtown and surrounding areas. This is a reversal of the strategy of the 1950's when the United States and Canada preferred to build cities around highways to promote easier travel and automobile use. Thus, today the surrounding areas of Toronto (Hamilton, ON in this case) are becoming more architecturally sound, interesting and diversifying the neighborhoods. The Hambly House by DPAI and Toms + McNally featured on the cover of Canadian Architect this month is a prime example of bridging the gap between old and new. Further reading HERE!
This home, built to replace a dilapidated coach house, finds privacy on a tight plot. (Via Dwell)Read More
Press Contact Info : arnaud marthouret | revelateur studio toronto | t: 647-996-9220 | email@example.com
For immediate release.
featuring Ultradistancia by Federico Winer and Architectural Inoculation and Attracted Opposites by Arnaud Marthouret.
Toronto – 18 March 2016 – “TAXONOMIES” featuring Ultradistancia, Architectural Inoculation and Attracted Opposites was a massive success. The dynamic playful show lived up to expectations providing a perspective centered on global human placement, as well as a look at how we as a species interact with the surrounding environment; built or natural. This is not a critique or praise of human activity, but rather a starting point for discussion for the viewers. For them to come to conclude their own perspectives on today’s times, and our interactions with the world at three different scales: Macro, Meso and Micro.
“…Opening night, over 200 art lovers and collectors came to see “TAXOMOMIES” and Ultradistancia… It helps you to understand that your art can reach all audiences, such as the fantastically curious and educated Toronto scene,” says Federico Winer, (macro + Ultradistancia). Further, Federico remarks, “… the show was a perfect collaboration between artists who are devoted to space, though we see the way we see the earth in diffferent ways, we can appreciate this is the way we both perceive earth and space.
In short, “TAXONOMIES” is Arnaud Marthouret and Federico Winer “brainchild” after meeting 6 months ago via Arnaud reading an article about Ultradistancia. Feeling inspired to contact Federico -- they have been on a roll ever since. The two began discussing how to collaborate on a show, found a gallery that fit their style and built a small international team to make it happen.
“… The show itself is a culmination of months of work, with a great team, which made it successful… and as my first professional art show, I look forward to doing many more. I truly enjoy discussing how blending art and architecture, specifically as the line between them grows thinner and thinner -- especially given my day job as an architectural photographer -- is extremely exciting for me...” says Arnaud Marthouret, (meso + micro/Architectural Inoculation + Attracted Opposites)
ONLYONEGALLERY was an extraordinary space for the event. The artwork, being architectural and environmentally focused was very complimentary to the 3,000sf raw gallery space. Large walls, tall ceilings and multiple levels gave viewers opportunity to see art at all scales: Macro, Meso and Micro.
Gallery owner, Cais Mukhayesh said, “… “TAXONOMIES” featuring Ultradistancia, Architectural Inoculation and Attracted Opposites was a huge success with serious continued interest… people have returned to the gallery daily since the opening.” He also stated, “the show was an amazing time, people were super pleased with the artwork, and there was a constant flow of people over the course of 6 hours… what more can you ask for!” Cais also mentioned, “ONLYONEGALLERY goes above and beyond to bring new and upcoming artists and concepts to light. Providing a platform for showing new works, potential collaboration with other artists (as well as what I would call an almost “mentorship” by Cais); truly a unique opportunity for up and comers.
“TAXONOMIES” featuring Ultradistancia, Architectural Inoculation and Attracted Opposites is up through March 26, 2016 at ONLYONEGALLERY (located at 5 Brock Ave. Toronto, Ontartio, M6K 2K6). Their hours are Sunday through Tuesday by appointment only (firstname.lastname@example.org); Wednesday through Friday 3:00pm to 7:00pm; and Saturday 12pm to 5pm. Make sure to call ahead, the artists love to hang out at the gallery!
For professional photographs from the show visit the ONLYONEGALLERY Facebook page HERE!
About the Artists + Gallery
Federico Winer, born in Buenos Aires, Argentina, is a multi-faceted artist, photographer producer, a habitual traveler and super friendly, colleague and collaborator. With his background in Political Science, Philosophy, Architecture and the arts, it was natural for Federico to become a professor of Political Philosophy at the University of Buenos Aires, where he is currently teaching. He is also the founding member of the Experimental Group of Experimental Thought Soy Cuyano, with several academic and art performances in Argentina and Europe.
Born in Grenoble, France, Arnaud Marthouret, founding partner and lead photographer of revelateur studio is a trained architect and architectural photographer. As an inherently creative person, he brings an imaginative perspective that often categorizes him as quirky artist but that only feed his insatiable curiosity and thirst for the new and unusual. These traits he cherishes and nurtures to this day, as they allow him to understand the world with a different attitude.
revelateur studio (Arnaud Marthouret)
revelateur studio brings together many curiosities uniting slightly schizophrenic yet opposite lifestyles: hip cosmopolitan urbanite vs. outdoorsy nature lover. The studio’s work goes the extra mile to ensure integrity for each building, photographically, which inspires and deserves the best photographic representation. revelateur studio works with a team of the highest level photographers, photography assistants, PR professionals, stylists, film-makers, graphic designers, coaches and mentors.
For information visit www.revelateur-studio.com
ONLYONEGALLERY (OOG) was created in December 2011 as a limitless experiment in concept space. OOG is about collaborating, creating, and demonstrating something special - a live physical experience. OOG is a multidisciplinary studio and gallery that hosts and produces individual and group exhibits. OOG is proud to support emerging and established artists alike, to present a roster of ambitious exhibitions, and to act as a creative hub where ideas come to life. In July of 2015 OOG relocated to a new 3000sq ft. gallery space in the heart of Parkdale, Toronto.
Cais Mukhayesh is the owner, director and curator at ONLYONEGALLERY located in Toronto, Canada. Since 2011 he has worked intensively with both local and international artists, photographers, and musicians; producing over 30 art shows, exhibitions, and events showcasing primarily urban contemporary art, music and culture. Cais has worked on many successful creative partnerships with companies such as Absolut Vodka, Jameson Whiskey, Havana Club, Molson-Coors, Steamwhistle Breweries, Iishiko Japan, Hennessey and Saks 5th Avenue; as well as established an impressive roster of talented artists.
For information visit www.onlyonegallery.com
For immediate release
TAXONOMIES photography show (#taxonomiesoog)
Ultradistancia by Federico Winer
Architectural Inoculation + Attracted Opposites by Arnaud Marthouret, in collaboration with Reza Aliabadi and Melissa Tung
27 February 2016 -- The much anticipated gallery show opening at ONLYONEGALLERY will have its grand opening event on March 10th, 2016 starting at 6:00pm, while the show will continue to run through March 26, 2016. “TAXONOMIES” is a dynamic yet playful perspective centered on global human placement, as well as a look at how we as species interact with the surrounding environment; built or natural. This is not a critique or praise of human activity, but rather, a current snapshot of today’s times, showing our interaction with the world at three different scales: Macro, Meso and Micro.
Ultradistancia, Macro, is a global perspective using a simple and free visual apparatus – Google Earth – for use in abstract image manipulation. The abstractions play with color, texture and shape to a surreal degree. The objective being to understand how humans, as a genus, forget to look with our eyes and habitually perceive the world through technology.
Architectural Inoculation, Meso, with Reza Aliabadi, is photographic documentation showing injective designs residential designs into post-war era residential Toronto neighbourhoods. These middle-class unapologetic, sometimes disruptive, architectural customizations, which have become a phenomenon in recent years, many times disrupt their surroundings. The boldly truthful photos turned out - authentic, honest and beautiful - true to the architecture. Here, the subject isn’t portrayed as a stand-alone piece of art or architecture but rather as object trying to integrated within its urban fabric.
Attracted Opposites, Micro, is a significantly playful collaboration where “ownership of public urban spaces” was the overall objective. Together, Arnaud and Melissa came up with creative ways to explore and take over stylish, sophisticated public parks within Toronto to openly practice yoga poses. This project is about being temporary. Appropriating spaces for uses they are not intended for. It is about transporting vitality and seduction to sometimes hard, cold spaces, presenting final images that would otherwise be void of such beauty.
ADDITIONAL EVENT INFORMATION ON FACEBOOK.
About the artists:
Federico Winer. Born in Buenos Aires, Argentina, is a multi-faceted artist, photographer producer, a habitual traveler and super friendly collaborator. With his background in Political Science, Philosophy, Architecture and the arts, it was natural for Federico to become a professor of Political Philosophy at the University of Buenos Aires, where he is currently teaching. He is also the founding member of the Experimental Group of Experimental Thought Soy Cuyano, with several academic and art performances in Argentina and Europe.
Arnaud Marthouret. Born in Grenoble, France, Arnaud, founding partner and lead photographer of revelateur studio is a trained architect and architectural photographer. As an inherently creative person, he brings an imaginative perspective that often categorizes him as quirky artist but that only feed his insatiable curiosity and thirst for the new and unusual. These traits he cherishes and nurtures to this day, as they allow him to understand the world with a different attitude.
TAXONOMIES Opening Night brought to you by our wonderful and generous SPONSORS:
Absolut Vodka - Liquor
TPH - Production/Printing
South Street Boatbuilders / Tim Richards - Furniture
Dr. Michel Marthouret - Financial Backer
Victory Social Club / Andres Landau - Logistics
RZLBD Atelier - Collaborator / Supporter
Melissa Tung Yoga - Collaborator / Supporter
About the organizers:
ONLYONEGALLERY (OOG) was created in December 2011 as a limitless experiment in concept space. OOG is about collaborating, creating, and demonstrating something special - a live physical experience. OOG is a multidisciplinary studio and gallery that hosts and produces individual and group exhibits. OOG is proud to support emerging and established artists alike, to present a roster of ambitious exhibitions, and to act as a creative hub where ideas come to life. In July of 2015 OOG relocated to a new 3000sq ft. gallery space in the heart of Parkdale, Toronto. For more information visit www.onlyonegallery.com
Cais Mukhayesh. Owner, director and curator at ONLYONEGALLERY located in Toronto, Canada. Since 2011 he has worked intensively with both local and international artists, photographers, and musicians; producing over 30 art shows, exhibitions, and events showcasing primarily urban contemporary art, music and culture. Cais has worked on many successful creative partnerships with companies such as Absolut Vodka, Jameson Whiskey, Havana Club, Molson-Coors, Steamwhistle Breweries, Lishiko Japan, Hennessey and Saks 5th Avenue; as well as established an impressive roster of talented artists.
Revelateur studio (Arnaud Marthouret). Revelateur studio brings together many curiosities uniting slightly schizophrenic yet opposite lifestyles: hip cosmopolitan urbanite vs. outdoorsy nature lover. The studio’s work goes the extra mile to ensure integrity for each building, photographically, which inspires and deserves the best photographic representation. Revelateur studio works with a team of the highest level photographers, photography assistants, PR professionals, stylists, film-makers, graphic designers, coaches and mentors. For additional information visit www.revelateur-studio.com
révélateur recently completed the photoshoot of Bay street corporate offices for Altius architecture. It was an interesting challenge as this was the first time we shot corporate interiors. We brought on board 3 models as the client wanted the project to look a bit more lived-in and showcase people. Managing the talent and the logistics of the shoot at the same proved to be a bit of a challenge, but the results speaks for themselves and we are hoping to get more of these corporate shoots in the future.
Scroll down for more pictures.
Version Française ci-dessous
Back in February this year, I visited the Arc et Senans Royal Saltworks in the Franche-comte region of France. The complex was designed by Claude-Nicolas Ledoux in the late 18th century. It was intended as a salt processing facility for briny spring waters from the surroundings.
The complex was designed hierarchically in a semi-circular plan that was to form part of a larger city imagined by Ledoux, plan that never fully came about. It was completed at a time where traditional, labour and ressource-intensive means of production were starting to be replaced by thanks to the nascent industrial revolution, which made the saltworks obsolete almost from the beginning.
It never produced to the extent it was supposed to and about 100 year after opening, salt production permanently ceased, not being able to compete with cheaper sea salt brought by rail.
Nonetheless, Ledoux designed a very innovative complex for the time, rationalizing the organization of the salt production, housing all the workers on-site, essentially forming a self-contained community. Indeed, salt was then a very coveted commodity as it was used to preserve food and was heavily taxed by the Ferme générale. Housing all workers on-site was a way to control production and prevent the smuggling of salt outside of the facility.
Of note, at the Maison du directeur, are several architectural features that separate the building from the rest of the complex, to show its importance. The columns are made of square and cylindrical sections which create very photogenic shadow plays. The central location, unique architectural feature and the oversized oculus in the pediment makes it crystal clear how important is that building to the plan.
Ledoux’s legacy ended up being mostly made of unbuilt projects, the saltworks being on of the few built projects that still stand to this day and allows us to see how ahead of his time he was.
Au mois de Février 2015, j’ai eu l’occasion de visiter la Saline Royale d’Arc et Senans, dans la region Franche-Comté. L’ensemble conçu par Claude-Nicolas Ledoux au 18eme siècle fut â l'origine une usine de production de sel, utilisant les sources saumâtres locales pour en extraire cette substance très précieuse.
Le projet a été conçu suivant un plan semi-circulaire ou toutes les fonctions sont hiérarchisées et placées en fonction de leur importance. Il fut conçu a l’origine comme faisant partie d’une ville conçue par Ledoux qui ne fut jamais complétée. Le complexe incorporait des méthodes de production proto-industrielles qui furent mises en place un peu trop tard, la revolution industrielle ayant commencé peu de temps après, ce qui rendit les salines obsolètes des le depart.
La saline ne produisit jamais autant que prévu et fût fermée tout juste 100 ans après sa creation, la concurrence avec le sel de mer, livré par chemin de fer, étant trop forte.
Ledoux néanmoins conçût un ensemble innovant pour son époque, rationalisant la production de sel, incluant des logements pour les ouvriers sur site pour créer une forme de commune autarcique. Le sel étant un denrée très convoitée a l’époque pour la preservation de la nourriture, il était logique de protéger les revenus de la Gabelle de la Ferme Générale en contrôlant l’accès à la saline et en limitant les allées et venues des ouvriers.
A noter, la maison du directeur qui occupe la place centrale de la Saline, comporte des éléments architecturaux qui la distingue du reste, tels que les colonnes a sections carrées et ronde ainsi que l’oculus démesuré au milieu du frontispice, mettent en evidence l’importance de cet edifice par rapport au reste du complexe.
L’heritage de Ledoux reste composé principalement de projets non-construits, la saline étant un des rares complexes qu’il a pu voir bâti. Après la chute de l’ancien regime, Ledoux se concentra sur la conception de villes idéales et de projets spéculatifs, car ayant été un architecte disposant des faveur du roi, il sombra dans l’obscurité, jusqu’a ce qu’il fut redécouvert bien plus tard, au vingtième siècle.
English version below.
Ce projet d’extension d’un Lycee a Pontcharra, pres de Grenoble, consiste en l’addition de 14 salles de classes sur un niveau RDC. Les 4 batiments sont en bois modulaire 3D installes en forme de “U" atour d’un jardin des poetes. Cette typologie caractérise l’ambience introvertie et apaisée du lieu, créant un environement propice a l’enseignement.
Le cote simple et sans prétention du complexe est très appreciable, ou la qualité de l’experience des usagers prend le pas sur les gestes architecturaux. C’est un projet élégant par sa simplicite et son efficacité, sans fioritures.
La toiture metallique apporte une touche d’elegance et permet d’augmenter la durée de vie des bâtiments, tout en améliorant le confort d’été et réduisant la consommation énergétique. Les larges ouvertures contribuent à la qualité des intérieurs par leur abondant apport en lumière naturelle, ainsi qu’à la transparence des bâtiments qui confère a l’ensemble une impression d’ouverture, très a propos pour des bâtiments scolaires.
J’ai pris beaucoup de plaisir a photographier ces lieux, d’une part car c’est un project architecturalement intéressant et d’autre part car le cadre montagnard est absolument magnifique.
révélateur had the privilege to shoot this extension for a high-school in Pontcharra, near Grenoble, France. The four buildings comprise 14 classrooms on one level, a "poet garden" courtyard and are prefabricated wood structure, manufactured in a plant and assembled and finished on-site.
The unpretentious atmosphere is very pleasant, as it is the user experience that takes precedence over grandiose architectural gestures. It is an elegant project du to its simplicity, functionality and well-chosen materials.
The steel roof, though not functionally indispensable, brings visual elegance to the ensemble and summer comfort as am oversized sunshade that contributes to reducing the energy footprint of the building. The oversized windows contribute to the feeling of transparency, literally and figuratively, which is perfectly appropriate for an educational building.
I truly enjoyed shooting this project as it is both architecturally competent as well as set in a mountainous landscape that provides the perfect backdrop.
This past fall révélateur was commissioned by Kevin Weiss, principal of Weiss AU, to shoot a pretty exceptional project, if not in size, at least in quality and originality.
The boathouse, located on a private island in Georgian Bay, near Parry Sound is a beautiful object in and of itself, that also manages to blend in its natural element seamlessly. Unapologetically contemporary, it proudly stands among the trees on the shoreline of this island.
Though it is decidedly contemporary in form, its materials are a nod to traditional Canadian cottage architecture. The colours are neutral (mainly grey) and the predominant cladding and structural material is wood, which contributes to making this project at home in cottage country.
French version below | Version Française ci-dessous
During my last trip to France, back in February, I was lucky to visit the famed Chapelle de Ronchamp by Le Corbusier (Wikipedia).
I had the opportunity to snap a few photos, which hardly do the building justice. Le Corbusier has a knack for designing religious buildings that generate uplifting and highly spiritual experiences, even to the non-religious. His buildings are always best experienced in person as the space, light and materials are difficult to convey in photographs.
I took these shots on a freezing, sunny winter morning, which resulted in beautiful deep-blue skies that frame the white and grey building really well.
The property contains additional annex buildings (such as the maison du pèlerin, pictured above) in addition to a new convent for the local Clarisse Sisters chapter designed by Renzo Piano.
Piano’s building is well integrated in the hill and hardly visible from anywhere, in deference to the master’s chapel. It is nonetheless a very sensible project that is very well executed in typical Piano fashion.
Au cours de mon dernier séjour en France, j’ai eu l’honneur de visiter la chapelle de Ronchamp par le Corbusier (Wikipedia)
J’y ai pris quelques photos, qui rendent difficilement justice a cet édifice d’exception. Corbu savait concevoir des bâtiments religieux générateur d’expériences spirituelles fabuleuses, accessibles à tous, y compris les personnes non-religieuses. Il est recommandé de visiter ses bâtiments en personne, car la lumière, les espaces ainsi que la matérialité de ses projets difficile a représenter en images.
J’ai pris ces photos un jour d’hiver ensoleillé mais également très froid, ce qui m’a permis de capturer ce ciel très bleu qui encadre la chapelle blanche et grise et contribue a la mettre en valeur.
Les bâtiments annexes (comme la maison du pèlerin, ci-dessus) sont assez peu connus parmi l’oeuvre de Corbu et sont cependant de petits dépendances architecturalement intéressantes, bien que formellement simples et initialement conçues pour abriter le curé ainsi que les pèlerins.
Renzo Piano a récemment conçu un nouveau bâtiment qui s’intègre dans le programme existant. Il s’agit d'un couvent pour les Soeurs Clarisses, ainsi qu’un centre d’accueil et d'exposition (Porterie), qui s’intègre très bien dans la pente et n’est presque pas visible de puis le haut de la colline. Le parti architectural, a la fois discret et efficace, rend hommage a la chapelle du maître sans jamais essayer de lui voler la vedette. La lumière et les matériaux en font un projet typiquement Piano.