Berlin has a fascinating collection of Modernist, Brutalist, and Industrial architecture, the composition of which has been directly influenced by the historical injections of vying ideologies that occupied the two halves:


In this flying visit of Berlin, I spent the majority of the my time exploring the communist and industrial architecture of East Berlin, namely the area surrounding Karl-Marx Allee, the main avenue extending from Alexanderplatz.

Following the theme of brutalism, I hopped on the S-Bahn then U-Bahn the next day to go gawk at a marvelous sci-fi-brutalist tower in the southwestern area. The tower, already impressive enough on its own, was connected to a once-planned transport and shopping hub, structurally entwined with an overpass. The hub had a consistent design: the colour-scheme, building materials and composition were all cohesive and seemlessly integrated with the underground station, documented in the U-Bahn collection.

B&W post-production allowed me to create a series of geometrically distinctive images that I feel emblemises the restricted philosophy of design that the brutal communist architecture and juxtaposed industrial buildings share: Function over Form.


This is a smaller collection that celebrates the muted cubism-like palette of communist planned architecture, with flagship colours of yellow ochre, salmon pink and teal.



I spent a considerable amount of time using the U-Bahn and S-Bahn rail network to navigate Berlin. Most subway systems are fairly unexciting to use, however many stations of the U-Bahn are beautifully decorated with intensely coloured tiles and contrasting ironwork. With the constant rain and cloudy skies making above-ground a nightmare to use my camera, these unofficial, underground studios were a blessing:


A few of the many stations I had a chance to pass through whilst on my way around Berlin. Most central stations are decorated with a two-tone colour-scheme, but only a few made for interesting shots. For those interested, the retro-futuristic tetrachromatic station is the Schloßstraße U-Bahn, and is connected to the sci-fi-brutalist tower mentioned in my architecture collection. The deliberately animal-themed tiling is from the Zoologischer Garten U-Bahn. The monochromatic shots are from the Karl-Marx Allee line, heading out from Alexanderplatz, east.


In July, I briefly met up with my Dad and company in Paris for a couple of days. In that time we zipped around, attempting to complete our jam-packed checklist. Whilst ticking off the big-boys like the Eiffel Tower, we also stumbled across some hidden gems whilst wandering through the backstreets:


Taking inspiration from the iron-clad Eiffel Tower, I wanted to produce a palette that focused on the orange hue of the ferrous metal, and how this is complemented by the acidic green foliage that decorates Paris. Shots are of the cafés, markets and bars that we encountered whilst roaming. The final three are unmistakably of the Pompidou exterior.


Paris in pastel. Some shots that celebrate the peachy, warm weather and the turquoise blues of the sky. The roofscape was taken from the 5th floor of the Pompidou. The church is the famous Sacré-Cœur, located in Montmatre.



This was my first time visiting Berlin, and because of my company I was mainly restricted to playing the tourist. These shots were taken on the move with an iPhone and Canon Powershot, so understandably casual. My 2017 collections are much more photographically minded! Written retrospectively:

BERLIN 2015 // SCOUT // B&W

Black and white shots from around Central Berlin. One afternoon included a walk over to the Bauhaus Museum, the Gemäldegalerie, Bauhaus museum and the Holocaust Memorial. We then continued around the go-to sights of Potsdamer Platz, Brandenburger Tor and the Reichstag. Staying rubber banded to the Spree we strolled around the Tiergarten to the northwestern corner.

The 1957 Interbau, was an architecture collaboration project located in the Hansaviertel, an area sandwiched between the heart of the Tiergarten and the river Spree. The first image in the collection is of one of the tower blocks constructed in the Hansaviertel, but apparently was not an original building to the Interbau. The area originally was intended to show off the prosperity of the west during Berlin’s occupation, but hasn’t been maintained well since it’s conception. Signs of revitalisation are now seeping in.


Some de-saturated shots taken on the aforementioned routes. The first two images are from the Holocaust Memorial -you may recognise the blocks if you’ve been there yourself. Last two are skylights from the Gemäldegalerie.


We visited Athens in August for a week over my birthday. We stayed in an apartment outside, but each day we tripped in. Athens was a bit of a culture shock to me. The first European city I’ve ever visited that could have looked like it was the capital of a middle eastern country. The white flat-blocks fill the valley floor of the hill ranges like a sea of concrete. Written retrospectively:


This is a collection of individual photos that each have some interesting aspect to them, but aren’t particularly cohesive, other than the fact they each capture a little bit of the street-scene of Athens.


Some wider scale shots of the valleys and ranges of East-Attica, the region Athens sits in. The arid landscape lets the dusty buildings seemlessly integrate into the hills.


Roofscape shots of Athens taken at sunset, from the Acropolis plateau. It’s best to observe the photos as a textural mosaic, rather than individually.

Post-processing is inspired by the work of French artist Philip Cognée, who paints in a similar fashion to the blotchy white forms that buildings take, and the bleeding blacks of the shadows. I felt it best reflected the intense blurring heat of the city, and the déjà vu-inducing repetition of the almost derelict white tenements.

The spread of these concrete tenements and their condition is an interesting one. The legislation in the city meant that for most families or businesses, it was cheaper/profitable to sell their low-level property to a building company, who would build a flat-block on the lot, and then offer a flat to the family for free as part of the deal. This was very enticing to a lot of residents, evident by the images above. But it meant that many buildings considered part of the heritage of the city were raised, and the new character became these soulless, white towers.

On a taxation front, if a flat-block hadn’t finished being constructed, then the building was exempt from certain forms of tax. This was originally because it is very common in Greece for all generations of a family to live together, and so it made sense to leave a roof ready to build another floor as to fit the upcoming family members in. Unsurprisingly, everybody left their rebars sticking out of their roofs, simply because they’d pay less tax. The overall result is that in many places in Athens and the rest of Greece, everywhere looks to be in disrepair, derelict.