Nigel Henderson, Eduardo Paolozzi and Alison and Peter Smithson, Patio and Pavilion, Whitechapel Art Gallery, London, 1956.
Jeff Wall, Morning Cleaning, Barcelona, 1999.
"I think I shot for about twelve days. The light was right only in the early morning, from about 7 to 7:35. I had only about seven minutes each day to photograph the space as a whole, because the shadow patterns change so quickly in the morning. I had to be ready for those seven minutes each morning, and during them I made the “master” views, without the figure. He was standing by, and as soon as the masters were done, I readjusted the camera and photographed him changing the end-piece of his mopsqueegee. Since he is in shadow, and since that shadow did not change shape and brightness as quickly as some of the other areas did, I had maybe twenty to twenty-five minutes to work with him each day. Once his shadow area changed, the shoot was over. That was about 8 a.m. I’d get the film back around 4 or 5 p.m. and spend some hours each evening studying it, trying to determine what I had and what I still needed, then got ready for the next morning’s shoot, getting up at 5. It is a little stressful to be shooting for digital assembly without being able to make some test assemblies because I amusually uncertain about various possible problems. Most of these have to do with hard technical things, like depth of field, focal plane, exposure and so on, things that need to be very consistent if the different pieces are going to go together properly. I had to examine all the film from each day extremely carefully, looking for problems and making certain that key pieces were compatible with others. The computer work was done later that fall, back home".
From Michael Fried's Jeff Wall, Wittgenstein and the Everyday (2007).
Mies van der Rohe, Poster of the German Universal Exposition Pavilion in Barcelona.
R. BUCKMINSTER FULLER
United States Pavilion under construction, Expo 67, Montréal, Québec.
Aerial view towards the South.
In the afternoon of the 20 May 1976, during structural renovations, a fire burned away the building’s transparent acrylic bubble. Today is a museum dedicated to the envirnonment, the Montreal Biosphère.