This volume is a treasure trove of photography from the last 175 years, following the evolution of Vienna from imperial capital to modern metropolis. Like a visual walk through time and cityscape, hundreds of carefully curated pictures trace the developments in Vienna’s built environment and the cultural and historical trends they reflect, whether the urban Gesamtkunstwerk of the 19th-century Ringstrasse or the experiments of “Red Vienna” in the 1920s, when the city had a social democrat government for the first time.
Vienna combines drama and elegance like no other. For centuries the heart of the Austro-Hungarian Empire, the stately city on the Danube, has been defined by vast palaces and imperial grandeur—but behind the Baroque opulence, Vienna is also a place of genteel coffee house culture, epicurean tradition, and a heritage of both delicate and daring music, art, and design, from Johann Strauss to Egon Schiele, from Gustav Mahler to Josef Hoffmann.
First published in 1897, Country Life is itself a late-Victorian institution. What could be more appropriate, therefore, than to celebrate this anniversary with a collector’s issue of articles and photographs from the magazine’s archives?
An opening timeline offers an overview of the Victorian Age, but the focus of what follows is exclusively architectural. The coverage of country houses has always been central to the magazine, but it can also claim to have been a pioneer in the study of Victorian architecture through the work of two former Architectural Editors, Mark Girouard and Michael Hall.
This year is the 200th anniversary of the birth of both Queen Victoria and Prince Albert, respectively in May and August, 1819. Their marriage 21 years later in 1840 was long arranged and, after a difficult beginning, grew to be unexpectedly happy. With perfect symmetry, it lasted 21 years, until Prince Albert’s early death in 1861.
Copenhagen’s legendary bicycle setup has been propelled by all of these aspirations, but the critical element is the simplest: People here eagerly use their bicycles — in any weather, carrying the young, the infirm, the elderly and the dead — because it is typically the easiest way to get around.
Copenhagen’s status as a global exemplar of bicycle culture owes to the accommodating flatness of the terrain and the lack of a Danish auto industry, which might have hijacked the policy levers. Trouble also played a role.
Nearly half of all journeys to school and work in Copenhagen take place on bicycles. And people like it that way.
The global oil shock of the 1970s lifted the price of gasoline, making driving exorbitantly costly. A dismal economy in the 1980s brought the city to the brink of bankruptcy, depriving it of finance to build roads, and making bicycle lanes an appealingly thrifty alternative.
Voiceover: Júlía Hannam
Music: Sam Plotkin
Percussionists: Amin Malekpour, Sam Archer, Kris Wismer
I filmed this in four days while traveling around Iceland alone. The sun set at midnight and rose at 3am, but it never really got dark. I shot as much of the day as I could, stopping everywhere that caught my eye. I found places off the road and slept on a pad under the stars. I got rained on and blasted with wind, but I felt alive.
I have made a habit of traveling alone in wild places. I feel magic in the howling wind, the ice on my face, the sand in my shoes. My mind can drift back to the beginning of time or out to the stars where the earth is just a dot. I finally feel the connection and peace I so long for, and yet is so elusive in my daily life.
No place has inspired me like this more than Iceland. This film is how it feels to me. Beautiful and serene, but dark and violent as well. Time moves differently here. The land still exists in some ancient forgotten epoch, when earth was still lava rock soup.
Caravaggio & Bernini: The Discovery of Emotions features some of the artists’ greatest works, but also charts their influence on others. And that influence proved to be powerful and enduring. Caravaggistas spread across Europe like termites. And so we could call this exhibition a battle of the swaggerers, the pomp of a very eclectic brand of Viennese historicism facing off against the theatrical push and preen of two great Italians.
From almost the beginning, Caravaggio, that man who arrived in Rome in the 1590s, is completely outrageous. Whom did he think were his principal patrons? Churchmen, of course. Did they care that he depicted John the Baptist in an extraordinary painting, circa 1602, as a carefree, lascivious, curly-haired boy with the cheekiest of grins imaginable?
Explore at 8K resolution and through the Timelapse technique, the beautiful city of Toledo. A 3.000 years old city declared ‘World Heritage Site’ by UNESCO in 1986, also known as the ‘City of three religions’ in Middle Ages where Jewish, Muslim and Christian communities peaceful coexisted.
I spent 5 days exploring and shooting Timelapse and Hyperlapse, around this incredible city!
Many thanks to Hotel Santa Isabel (hotelsantaisabeltoledo.es) and Azotea de Carlos (carlosv.com) for the access to their beautiful rooftops.