Iwan Baan, a Dutch photographer who visited China for 10 times a year, this time attending the Shenzhen-Hong Kong Biennale for the first time. In early December 2015, in the old flour mill building next to Shekou Port Ship, Ivan took pictures of her on mobile phones and placed Instagram on trips around the world, being printed on a piece of cloth that is as high as a wall. Hang like a curtain Next to each photo is a number of likes and comments.
Ten years ago, Rem Koolhaas, the chief architect of the Metropolitan Building Institute, saw Ivan’s “interactive panoramic photography” and invited him to Beijing to shoot his new CCTV building. Dutch documentary photographer Ivan began his first major creative project. Almost the same period, he also started a project with the “Bird’s Nest” at the Beijing Olympic Stadium, commissioned by Herzog-D-Mellon Architects.
Although Ivan was awarded the Julian Schulman Prize, the highest award in the architectural photography world, and the architectural design of various countries, such as Zaha Hadid, Ito Tomosu, Wang Shu, and Steven Holl The division maintained long-term cooperation and was commented by the media as “redefining architectural photography” but he did not like to be called a “building photographer”: “If the light is a shoot, the film may be shot with the sunset light Come, but in my footage, construction is just an integral part of the photo. ” His uniqueness is the interpretation of architectural photography into documentary photography, showing the human environment throughout the world contact person.
While filming a new CCTV building, Ivan remembered that there were 10,000 construction workers on the site at that time. “It is hard to imagine in the West.” Ivan knew through translation that all the workers came from small hamlets in the field and that it was only for a few years that Beijing came to Beijing for work. At the time, Ivan was hoping to go home with some workers to record their lives. “I think it’s hard to imagine living completely alienated from everything I know in an alien environment.” When I first came to China, Ivan was amazed at the number of construction workers and the number of cities under construction. “It is hard to see such a large-scale and high-speed construction elsewhere in the world, which makes me want to take pictures to reflect on what other cities in the world will look like in the next few decades.” It is only later that the practical difficulty is still Ivan gave up.
Whether it is a new CCTV building in Beijing or a new residential area in Africa, Ivan needs to ask: “Why exactly this city needs such a construction project?” Two years ago, Iwan had been to Urumqi for filming , He was deeply impressed by the notion that “the traditional building that has been preserved for hundreds of thousands of years has been stolen as a ‘dangerous building’ and was quickly demolished and replaced by a distinctive generic building complex.” For today While 99% of China’s urban buildings are dejected to be designed with unimaginative GM buildings, Ivan agrees with China’s embrace of new projects by architects and regards it as “a long-term perspective”: ” When Chinese cities most need this kind of imagination of architecture, the Chinese government has commissioned a number of international architects in time to work in. Even though architects lack the style of extremists, after all, they are all playing creatively imagination.”
Meanwhile, Ivan marvels at the execution of construction projects in cities in China. It has been 10 years since I took part in the urban construction in China. Ivan and his western friends witnessed “something that could only be achieved in China.” In China, some policymakers have said that such a building should be in this place or Someone who has enough money and power to do what he says is done is very interesting to us because of the close relationship between such power and the efficiency of the building.Like large projects such as CCTV and Bird Nest in the West It is absolutely impossible to build a project because after the project plan came out, there will be hundreds and thousands of individuals and groups to intervene in the name of different interests, so that the project will gradually be overthrown.
Ivan was inspired by the diversity of Chinese architecture that used to be in the past: different regions have their own architectural style that is interdependent on the local nature of climate, materials, etc., “but these are all erased.” He had filmed patio courtyard in Henan Province, Fujian Tulou and Huizhou buildings. About eight years ago, Ivan met Chinese architect Wang Shu at a group of Chinese architects in New York. Despite the language barrier at that time, Ivan relied on gesture gestures to communicate immediately and Ivan immediately recognized a familiar sense of urgency from Wang’s work: he saw it as a conscious attempt to combine traditional Chinese architecture with contemporary architecture The concept of a combination of architects. The two began to cooperate. Before and after participating in the Shenzhen-Hong Kong Biennale, Ivan originally planned to make creative works throughout the Pearl River Delta. Unfortunately, he finally gave up due to “time and financial constraints.” Ivan also has a plan to film “villages in cities” throughout China and is awaiting implementation.