Interview: Architectural Photographer Rory Gardiner.

If you’re a regular consumer of architecture and design content (which if you’re reading this, we’ll assume) you’ve probably come across Rory Gardiner’s technical yet ethereal images. Born in Melbourne, Rory studied photography at RMIT before honing his practice in London after a serendipitous week-long trip turned into an 8-year stay. Now he splits his time between Melbourne and London having set up a studio in each, a move he likens to coming full circle.

Rory’s images consistently capture both aesthetic and conceptual beauty, due in part to the fact that he prioritizes visiting all projects prior to a shoot and taking time to simply observe the feel of a space. His father is an architect, which may explain a natural predisposition to being able to connect with an architect or designers’ intention. His portfolio is extremely well-travelled, having shot projects around the world for an impressive rolodex including the likes of David Chipperfield, Carmody Groake, Aires Mateus and Buchner Bründler as well as editorial publications such as Wallpaper*, Monocle and Domus.

But that’s enough from us – read on for more about Rory’s background, practice and thoughts on being a photographer today, including a very articulate take on the pros and cons of Instagram in the current creative zeitgeist.

Kunstmuseum in Basel by Christ Gantenbein.

Kunstmuseum in Basel by Christ Gantenbein.

Swiss National Museum in Zurich by Christ and Gantenbein.

Swiss National Museum in Zurich by Christ & Gantenbein.

+ Could you please give us a quick introduction on yourself and your background? What lead you to becoming an architectural photographer?

I was born and raised in Melbourne. I studied photography at RMIT and worked as a snowboard photographer in Japan during the summers. It wasn’t until I reflected on the mixed body of work I’d made at University that I begun to feel drawn towards photographing architecture – the images just stood out to me so much more. My dad is also an architect, so it makes a lot of sense in hindsight.

A week out of Uni I got a call from a lecturer saying I’d been shortlisted for a competition in London and that they were offering to fly me there for the week. I didn’t win the competition, but I did stay for 8 years. From there I steadily built a client base in London and then later in Switzerland and Mexico, where I still work regularly. During that period, I began working almost exclusively with analogue, an approach that has kept me feeling excited and connected to my work.

Tate Modern Switch House in London by Herzog & de Meuron.

Tate Modern Switch House in London by Herzog & de Meuron.

Museum of Islamic Art in Doha by IM Pei.

+ What is your main priority when starting a project? Is there something that is fundamental to your practice – your philosophy and your process?

I believe in working responsively, not formulaically, but this doesn’t negate the need for me to really consider each project first.

It’s really important that I visit a project before a shoot, so I can simply observe how a space feels – it’s a way of connecting with the architect or designers’ intention. I try to look at the way light interacts with materials, how the design sits within its context, and also how people have adopted the space. Often what is most interesting to me are the traces that people have left behind in the space.

Punchbowl Mosque in Sydney by Candalepas Associates.

Punchbowl Mosque in Sydney by Candalepas Associates.

Punchbowl Mosque in Sydney by Candalepas Associates. See more about this project here.

+ What do you feel is the most challenging part of being a photographer today?

It might be an age-old predicament, but I think trying to find a balance between art and commerce is still the most difficult challenge as a working photographer.

Ayla Golf Academy & Clubhouse in Aqaba, Jordan  by Oppenheim Architecture.

Ayla Golf Academy & Clubhouse in Aqaba, Jordan by Oppenheim Architecture. See our previous coverage of this project here.

+ Social media, particularly Instagram, is saturating creative industries and blurring the concept of ‘professional’ photography – how do you feel about social media as an advantage/disadvantage to your work?

It’s been both. Instagram has encouraged a diverse public discourse around photography and the role of images in society. Most people now have a decent camera in their pocket and this has made photography far more accessible and ingrained in our everyday lives as a means of communication and self-presentation. The result seems to be an increasingly visually discerning population – think back to the over-cooked hipstamatic filters only a few years ago and how this is rejected now. Personally, I find this engagement and exchange of imagery exciting.

Having said that, I am increasingly concerned at the vacuous feedback loop created by the currency of likes and follows. I’ve also noticed a decrease in my ability to concentrate – a critique I’ll happily level at the so called ‘geniuses’ of Silicon Valley.

Villa Waalre in Eindhoven, The Netherlands by Russell Jones.

Villa Waalre in Eindhoven, The Netherlands by Russell Jones. See our previous coverage of this amazing house here.

+ We understand you’re living back in Australia after quite a few years in London. How are you finding this has affected your work, projects, processes (if at all)?

I’ve just set up a second studio in Melbourne and am now splitting my time between the two cities. It does feel like I’ve come full circle after having spent most of my adult life on the other side of the world and the change is no doubt affecting my work. How I construct familiarity or unfamiliarity with a place has always felt quite important in motivating me to photograph. Moving to Europe, I had years of fresh eyes on new places coupled with a youthful urge to record everything I saw with my camera. Slowly those surrounds familiarised themselves and over time my practice changed to become more intimate. I began to better understand the intricacies of the light, the social and historical contexts and the architectural vernacular of each country I’d revisit. Back in Australia, I’m feeling a new kind of freshness looking at a place I knew so well. I’m noticing peculiarities in spaces I always took for granted and the consequences of the different latitude on the nature of the light here. Geography has such an impact on my work so I’m excited to see how working here changes things.

Holiday House in Monterrey, Mexico by Tatiana Bilbao.

Holiday House in Monterrey, Mexico by Tatiana Bilba. See our previous coverage of this incredible house here.

Open-Air Holiday Home in Zicatela Beach, Mexico by Ludwig Godefroy & Emmanuel Picault.

Open-Air Holiday Home in Zicatela Beach, Mexico by Ludwig Godefroy & Emmanuel Picault. See our previous coverage of this project here.

+ You’ve travelled a lot for your work. Is there a particular place where the architecture really speaks to you?

Switzerland and Portugal, for different reasons. The level of architectural quality and public discourse around architecture in Switzerland blows me away, and it’s hard to take a bad picture there. In Portugal, I find the architectural sensitivity to historical context really interesting and heart-warming. I feel like the Portuguese will be able to look back over time and be proud of each architectural period, rather than seeing blunders across the board.

Kirschlager Nuglar in Basel by Lilitt Bollinger Studio & Buchner Bründler Architekten.

Kirschlager Nuglar in Basel by Lilitt Bollinger Studio & Buchner Bründler Architekten.

Kirschlager Nuglar in Basel by Lilitt Bollinger Studio & Buchner Bründler Architekten.

Kirschlager Nuglar in Basel by Lilitt Bollinger Studio & Buchner Bründler Architekten.

+ Who/ what are some of your main sources of inspiration? Other photographers, creatives, or references you are regularly drawn to?

It depends on the day, but the character of light is always paramount to any feelings of creative energy I experience.

I’ve also always paid attention to what’s happening in cinema. Like architecture, cinema is such a holistic art-form – it’s very humbling that such large groups of people can collaborate to make something so singular and beautiful.

Daylesford Longhouse Residence & Working Farm by Partners Hill.

Daylesford Longhouse Residence & Working Farm by Partners Hill.

Daylesford Longhouse Residence & Working Farm by Partners Hill. See our previous coverage of this project here.

+ What advice would you give to emerging photographers? What has been one of your biggest lessons learned since starting your practice?

Do your thing, period. I’ve learned this lesson the hard way – blundering a job for one of the most respected firms in the industry – just because I let myself get pushed around by other voices in the room. At the end of the day, anyone worth working for is hiring you because they believe your authorship will enhance their work, so it’s our job to pursue this.

Rose House in Melbourne by Baracco+Wright Architects.

Rose House in Melbourne by Baracco+Wright Architects.

+ What are you most proud of professionally? Do you have a favourite shoot/project thus far?

Just the fact that I get to fly around the world to take pictures. I’ve been so fortunate in so many ways, so I don’t know if I can be proud of that, but I certainly am incredibly happy to do what I do. I guess working for David Chipperfield has been a highlight. He’s always been on the top of my wish-list so to get that call was pretty exciting.

AS Building in Mexico City by Ambrosi I Etchegaray.

AS Building in Mexico City by Ambrosi I Etchegaray. See our previous coverage of this building here.

+ What’s the craziest experience you’ve ever had on a shoot?

Being dropped at the top of a mountain in Italy at night, in minus 25 degrees Celsius to shoot a Zaha project and then being told to make my own way down.

Casa no Tempo in The Algarve, Portugal by Aires Mateus.

Santa Clara 1728 in Lisbon by Aires Mateus. See our previous coverage of this amazing project here.

Museo Jumex in Mexico City by David Chipperfield.

Museo Jumex in Mexico City by David Chipperfield.

Museo Jumex in Mexico City by David Chipperfield.

+ What would be your dream creative project or collaboration?

I’ve got too many to list here but right now I’m keen to work on some monographs for architects – I find longer term projects very appealing as a lot of my shoots tend to happen fairly quickly. I’d also love to be commissioned to work on a book about one of the older periods in Australian architecture.

NUS School of Design Environment in Singapore by Serie Architects.

MoMA in New York by Yoshio Taniguchi.

Elmer Bobst Library in New York by Philip Johnson.

Let’s Get Real!

+ What’s the best mistake you have ever made?

Working in fashion photography – though I despise the fashion industry, it taught me to always interrogate whatever the current status quo approach may be.

+ Your most treasured belonging?

Whatever roll of film is currently in my camera.

+ What’s one thing other people may not know about you?

The circumference of my head is 65cm. Look that up.

+ It’s not very cool, but I really like…

Photographing massive towers.

RMIT Design Hub in Melbourne by Sean Godsell.

Serpentine Pavilion in London by Sou Fujimoto.

Serpentine Pavilion in London by Sou Fujimoto.

Messner Mountain Museum in South Tyrol by Zaha Hadid.

The 7th Room in Swedish Lapland by Snøhetta.

[Images courtesy of Rory Gardiner.]