I treat architecture as a subject, not a backdrop. The buildings I photograph aren't there to frame a more important moment — they are the moment. A staircase resolving into light, a walkway cutting a courtyard into geometry, a wall of bush-hammered concrete catching the last twenty minutes of sun before the City goes dark.
The most developed architectural series currently published here is Life at the Barbican, an ongoing project at the Brutalist housing complex on the northern edge of the City. The estate was designed by Chamberlin, Powell and Bon and completed across the 1960s and 70s — 35 acres of bush-hammered concrete towers, raised walkways, lakes and courtyards, planned around the idea that a city could be lived in vertically. Photographing it has taught me more about light than any classroom would have. More architectural work — including non-Brutalist and non-London buildings — is in progress and will be added as the series mature.
What I'm looking for, almost every time, is the moment the architecture and a single human figure agree on something. The Barbican was drawn for residents — the walkways and benches were planned for the rhythm of someone living there, not someone touring it. When a resident moves the way the architect intended, the photograph stops being about the building and stops being about the person, and becomes about the long agreement between the two. Brutalism is often photographed as a hostile object; I'd rather show it as a building in conversation with the people inside it.
Selected architectural images are available as limited-edition prints — editions of 25, signed and numbered, on Hahnemühle Photo Rag. Get in touch for architectural commissions, editorial work, or print enquiries.