Photography and film of the house as a place.
Exterior, rooms, materials, and the details that make a space specific. A spa or a restaurant can appear here as a room, when the subject is the space itself.
(01)The task
Make the building readable before anyone walks it.
Guests, press, and the house's own channels need a clear account of where the property sits, how the rooms follow one another, and which materials do the work. That account is the communicative task of architecture and interiors. The pictures may take in the approach and the facade, guest rooms and suites, the lobby and other public rooms, and a particular interior down to a joint or a fitting. A spa or a restaurant can be one of those rooms. Culinary identity and craft are a different subject: they concern what is cooked, poured, and served.
Subjects
Subject areas
Five territories inside this world. A spa or a restaurant may be included when it is being shown as a room.
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Exterior and setting
Approach, facade, and the immediate setting, so the property reads as a place before the interior begins.
Setting
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Rooms and suites
Guest rooms and suites: proportion, light, and furnishing, including what distinguishes one room from the next.
Rooms
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Lobby and public rooms
The lobby, lounges, and other rooms the house shares, recorded as spaces.
Public rooms
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Interiors and materials
Surfaces, joinery, textiles, and the material palette that should stay consistent wherever the house is shown.
Materials
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Particular rooms and spatial details
A specific room, such as a spa or a restaurant, plus the spatial details that identify it.
Details
(02)Photography
A still can hold a room long enough to read it.
Photography fixes what a passing view loses: the line of a facade, the proportion of a suite, the grain of a stone or a textile, a fitting that identifies a room. A series of stills can also describe a route, from the setting through the public rooms to one interior. The set is for where the building has to be understood: the website, press, a campaign, or a library that still lacks certain rooms.
(03)Film
Motion for the way a building discloses itself.
Film can follow approach, threshold, and the shift from a public room into a more private one, and it can watch light move across a surface. Sequence is the reason to use it: the building unfolding as a passage. The edit stays with that passage.
Approach
How architecture work proceeds
Begin with the rooms that have to be understood, then decide which of them need a still and which need a passage.
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Read the spaces
Name the rooms, materials, and relationships the house needs other people to understand. That list is what photography and film have to cover.
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Assign still or motion
Give a still to what must be studied: a facade, a proportion, a material, a detail. Give film to a sequence that only appears as you move.
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Edit for one place
Select the photography and film so the building reads as one house, from the setting to the smallest room in the brief.
Further
Further
Adjacent commissions, and the portfolio index.
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Strategy & Advisory
When the spatial message is not settled, advisory can set priorities and a direction before any photography or film.
Advisory
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Lifestyle & Guest Experience
Hosting, wellness, and the hours of a stay: the neighbouring world for people and how the house receives them.
The stay
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Dining & Culinary
Culinary identity and the craft of kitchen and bar are the neighbouring world, when the subject is the meal rather than the room.
The table
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Selected work
Hospitality projects collected in one index, under their titles.
Portfolio
Contact
Bring the rooms and the task.
Write with the spaces that matter and what the building needs to say. People and the stay belong with Lifestyle & Guest Experience.