The architectural photographer, James Brittain, whose day job is shooting newly-completed buildings for architects, has this time, presents a series of large scale colour photographs documenting Montreal's Habitat 67, the residential complex designed by the Israeli-Canadian architect Moshe Safdie as the Canadian Pavilion for the World Exposition of 1967.
When Moshe Safdie presented Habitat 67 as part of the International and Universal Exposition in 1967, all eyes were on Montreal. The Israeli-Canadian architect’s spectacular housing complex was his first-ever built project, but it totally reimagined high-density urban living with its deconstructed take on a block. Made up of 354 pre-fabricated concrete units, it remains one of Canada’s most significant architectural landmarks.
Accompanying these contemporary images are photographs of archival material from the Canadian Centre for Architecture and Canadian Architecture Collection at McGill University depicting the original ambitions for Habitat 67.
Revisited: Habitat 67 is part of Jonathan Tuckey Design’s new season of Building on the Built of talks and exhibitions at the practice’s studio, 58 Milson Road, London, W14 0LB. See the website for opening times. Brittain will be speaking about the project with architectural curator Vanessa Norward on 6 February at 6.30pm.
When Moshe Safdie presented Habitat 67 as part of the International and Universal Exposition in 1967, all eyes were on Montreal. The Israeli-Canadian architect’s spectacular housing complex was his first-ever built project, but it totally reimagined high-density urban living with its deconstructed take on a block. Made up of 354 pre-fabricated concrete units, it remains one of Canada’s most significant architectural landmarks.
“Photography has always been central to our understanding of and engagement with modern architecture. Is it still possible to photograph the places where we live and work, the spaces around us, thoughtfully and usefully? And if so, how do we do that?
I’ve been thinking about layers and traces of life left on architecture over time. I’ve also been considering the way Habitat 67 itself has aged, how it’s used and inhabited, and how both public and private space at the complex has been adapted by the residents.
The photographs are also a response to the daily dose of digital imagery of architecture on social media and the web. Mainstream photography of architecture has largely withdrawn from communicating the experience of buildings and spaces, and specific moments spent in places. The line between digital render and photograph has also become increasingly blurred. In the pursuit of standing out in the visual noise, much contemporary imagery of architecture has reduced itself to the ordinary – clean, similar and mundane.”
I’ve been thinking about layers and traces of life left on architecture over time. I’ve also been considering the way Habitat 67 itself has aged, how it’s used and inhabited, and how both public and private space at the complex has been adapted by the residents.
The photographs are also a response to the daily dose of digital imagery of architecture on social media and the web. Mainstream photography of architecture has largely withdrawn from communicating the experience of buildings and spaces, and specific moments spent in places. The line between digital render and photograph has also become increasingly blurred. In the pursuit of standing out in the visual noise, much contemporary imagery of architecture has reduced itself to the ordinary – clean, similar and mundane.”
James Brittain
Accompanying these contemporary images are photographs of archival material from the Canadian Centre for Architecture and Canadian Architecture Collection at McGill University depicting the original ambitions for Habitat 67.
Revisited: Habitat 67 is part of Jonathan Tuckey Design’s new season of Building on the Built of talks and exhibitions at the practice’s studio, 58 Milson Road, London, W14 0LB. See the website for opening times. Brittain will be speaking about the project with architectural curator Vanessa Norward on 6 February at 6.30pm.
![Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés](/sites/default/files/styles/mopis_home_news_category_slider_desktop/public/lead-images/metalocus_narelle-jubellin_carta-aberta_22_2p.webp?h=3b4e7bc7&itok=ALbdeJ3O "Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés")
