Dennis Gilbert – Selected Buildings

by | 06. Nov 2012

The Camera

Dennis Gilbert has been photographing buildings since 1980. After graduating as an engineer in South Africa, he travelled in South America and studied art in Los Angeles before moving to London in 1983.

In the recent past, he has worked on projects such as Kansai Airport in Japan, Chek Lap Kok in Hong Kong, the German Parliament in Berlin, Reykjavik City Hall and High Court, and the 12 new Jubilee Line stations in London.

He is a partner in a London-based architectural picture library, which supplies pictures from many photographers to publishers worldwide.


Wingardh Sandell Sandberg Architects

Atrium Ericsson offices, London, UK


Walters and Cohen Architects

Stair Health Club, London, UK


Foster and Partners

German Parliament, Berlin, Germany


Studio Granda

Rekjavik City Hall, Reykjavik, Iceland


Ian Ritchie Architects

Concert Platform, London, UK


Herzog + de Meuron Tate Modern, London, UK


Daniel Libeskind Jewish Museum, Berlin, Germany


Herzog + de Meuron Tate Modern, London, UK


Foster and Partners German Parliament, Berlin, Germany


David Chipperfield Architects Dolce & Gabbana, Milano, Italy


John Pawson Chek Lap Kok Airport, Hong Kong, China


Brian Housden Architect House London, UK


Blauel Architects Offices California, USA


Arne Jacobsen Danish Embassy, London, UK


Foster and Partners Canary Wharf Station, London, UK


Michael Hopkins and Partners SAGA offices Folkestone, UK


Foster and Partners Chek Lap Kok Airport, Hong Kong, China


Jeremy Dixon & Edward Jones National Gallery Extension, London, UK


David Chipperfield Architects Dolce & Gabbana, Milan, Italy


Wingardh Sandell Sandberg Architects Atrium, Ericsson offices, London, UK

Photography and architecture are forever linked: to place a frame over a structure, which has been carefully composed in itself, and then to reduce three dimensions to two, could be a reckless act.The result might bear little resemblance to the building, or convey none of the experience of it, or it may even describe the entire object in painful detail.

Although I am not expecting one picture to stand for a building, I am attempting to make each picture [even in a series] do the same thing: to carry information about the ideal of the building, as it seduces the eye. It is the balance between image and fact, that keeps the work alive. All known picture-making formulas can be applied, but there is no getting away from the many decisions that need to be taken for each picture.

There are an infinite number of places the camera can be placed: how objective or how opinionated can one make the picture? When the mechanics of photography don’t distract, the photograph plays this balancing act to perfection. A fragment can suggest the whole and the picture can become a thing of beauty in itself.
Architectural photography is often considered cool and detached, but if it is to speak, there must be a controlled passion behind it.

Apparently Goethe once described architecture as frozen music: I expect the photograph to generate some heat ……. if one cannot be there in person.

/Dennis Gilbert

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