在这本包括19张以前未公开的图像的书中，其中的建筑现代主义语言是在勒•柯布西耶（Le Corbusier）的Villa Savoye，密斯•范德罗（Mies van der Rohe）的Seagram Building和弗兰克•盖里（Frank Gehry）的古根海姆•毕尔巴鄂（Guggenheim Bilbao）的照片中提取的。由于图像的模糊性和黑白色彩，这些图像将建筑物精简到了本质，我们可以想象的是建筑师对外形的**纯粹印象。缺少了由大型人类协作活动自然产生的建造细节和瑕疵，而是由光和影来定义这些建筑物的外形。《建筑》中的照片继续了这位艺术家对时间和历史流逝的长期研究。这些展示人类创造力和工业时代力量的成果和它们看上去那样永恒呢？

The latest in Damiani and MW Editions' Sugimoto project collects his majestic images of classic modernist buildings

In 1997, Hiroshi Sugimoto (born 1948) began a series of photographs of significant works of modernist architecture, intending “to trace the beginnings of our age via architecture.” One of the hallmarks of Sugimoto’s work is his technical mastery of the medium. He makes photographs exclusively with an 8 x 10" view camera, and his silver gelatin prints are renowned for their tonal range, total lack of grain, wealth of detail and overall optical precision. In making the Architecture photographs, however, he inverted his usual process: “Pushing out my old large-format camera’s focal length to twice-infinity ... I discovered that superlative architecture survives the onslaught of blurred photography. Thus I began erosion-

testing architecture for durability, completely melting away many of the buildings in the process.”

In this volume, which includes 19 previously unpublished images, the language of architectural modernism is distilled in photographs of Le Corbusier’s Villa Savoye, Mies van der Rohe’s Seagram Building and Frank Gehry’s Guggenheim Bilbao. By virtue of their blurriness and lack of color, the images strip down buildings to their essence, what we might imagine was the architect’s first, pure vision of form. The details of construction and imperfections that are a natural result of a massive, collaborative human undertaking are absent, and instead light and shadow define the forms of these buildings. The Architecture photographs continue the artist’s longstanding investigations of the passage of time and history. Are these monuments to human ingenuity and the power of the industrial age as eternal as they seem?