Atelier Li Xinggang, "The Third Space" by Metropolitan Society

Located in the Hebei province of China, design practice Atelier Li Xinggang recently revealed their residential project in Tangshan, East of Beijing. The infrastructure is designed to protect residents from strong exposure to sunlight. With it's two monumental towers angled at a slant, it helps dissipate heat by creating cast shadows, which are accompanied with irregular cantilever balconies to provide further cooling. View more of the project below. 

Third Space wooden scale model.jpg

Photography by Guangyuan Zhang, Xinggang Li, Peng Sun

Desert Interpretation Center: Emilio Marín & Juan Carlos López by Metropolitan Society

Architects Emilio Marín & Juan Carlos López, erect a new public space building in the Atacama Desert of Chile. The project aimed to challenge the contemporary idea of the deserts landscape in relation to architecture, and how they parallel. The building's exterior primarily composed of corten steel, encompassing the tones of the Atacama Desert. The form of the infrastructure is created in different heights and forms, drawing inspiration from the disproportionate landscape of the desert.  The buildings expand outwards from the center, where a patio is located. The centralized patio helps to create a new dimension of oasis and ecosystem. The entity of the space helps draw people in, creating a new sense of intimacy between the infrastructure and its surrounding landscape.

Photography by Pablo Casals Aguirre & Felipe Fontecilla

Museum of Contemporary Art Africa by Heatherwick Studio by Jerry Perez

Heatherwick’s Studio recent project of the Museum of Contemporary Art Africa is reimagined, using an old grain silo complex to bring forth the largest museum for promoting African contemporary art. Located in V&A Waterfront, Capetown, it’s one of South Africa’s biggest industrial city. Heatherwick Studio transformed the silos to capture and show the progressive history of the waterfront from it’s Industrial age to using the museum as a cultural epicenter. MOCAA’s final design holds up to 80 galleries and 6,000 square meters of exhibition space. It’s interior space consists of 9,500 square meter, 9 floors, commercial space and a rooftop garden. View more of the project below. Photography courtesy of Iwan Baan.

Interview: Julien Boudet | Bleumode by Jerry Perez

Oscar Wilde once said, "Fashion is a form of ugliness so intolerable it has to be altered every 6 months." In addition to its extremely high barriers to entry, one must constantly offer something new to the ever-hungry fashion industry just to stay in the game. Born in the South of France, now emigrated to New York City, comes Julien Boudet; a photographer known for capturing the “decisive moment.” Julien is relatively new to fashion photography, but, following his father's photographic lead, he has created exemplary studies which have earned instant renown. Inspired by minimalism and surrealism, Julien has a sharp eye for detail and composition. He has shot for Rick Owens, Louis Vuitton, Haider Ackermann, Thom Browne, and Daniel Anderson, to name a few. Not only is julien inspired by fashion, but he also takes cues from architecture, design and modern art. Metropolitan Society had a chance to interview Julien, to gain some insight into current fashion, street-style, architecture, film, and his other creative endeavors.

How do you approach street style photography in comparison to editorials/industry projects? What is it like behind the scenes of an editorial?

The main difference between these two is that before shooting an editorial, you get some time to prepare yourself, and even while shooting, you're supposed to have the time to think twice before pressing the shutter; you have a theme, a mood-board, a stylist, a model to work with, a team to help creating these images. In street style, obviously, it's the opposite; you are by yourself (although some informal “teams” seem to have been created lately), you have literally between 1 and 5 seconds to find your subject, to figure out what you want to focus on (pants, top, shoes, or the whole outfit), frame it, and capture it before it is too late. Everything happens so fast, and once you got the shot, you have to be back on track in order to shoot the next person you find interesting. You have to be ready all the time, which is pretty fun actually. There is a lot of excitement, I enjoy doing it. Personally, I see street style as a training for editorial/commercial projects, in that sense that you have to do everything so quick, over and over all day every day for a month, that is really challenging. Afterwards, you are on set for an editorial, and it all seems so slow, “easy” in a way that you can actually take your time.

How has fashion week, and street style evolved from when you first began? How has your work evolved with it?

I haven't been doing this for very long so I can't really answer that question like someone who's been around for more than 6-7 years, but from what I've seen for the past 2 years that I've been working non-stop, I can say that it has become more and more crowded with new photographers in front of shows. Clearly, people have noticed new opportunities out there and try to get their piece of the cake. It is not that easy though, a lot of photographers have been there for years doing that job already. If you want to come in and start right now, you'd better come up with something new in order to stand out right away. As far as I'm concerned, I had to adapt myself to this new market. When I first started, I was taking “regular” street style pictures, just like everyone else, without really expressing my point of view. Back then I was just trying to get nice and clean shots. Once I was able to take correct images, little by little, I found my own way of framing, finding a different angle, editing my own way, capturing certain styles only...It takes a lot of practice but finally you find your own vision - if you have one. A lot of people have been telling me lately that they recognize my images right away when scrolling down their Instagram news feed, without even looking at my name, I take it as a compliment.

What do you like and dislike seeing during fashion week’s streetstyle, or streetstyle in general?

During fashion week, I like to see guests coming to shows wearing what they wear on a daily basis, to have that genuine vibe that is becoming more and more rare throughout the seasons. That being said, I do enjoy seeing two or three “crazy” outfits a day (only when they are well worn), it's cool to capture some amazing pieces as a photographer. My favorite things to photograph right now are layers details and oversized outfits that look like big shapes... I don't really like when people try too much to get our attention to get their photo taken, it is a bit annoying for us when it's very obvious. I've even had people asking me straight up to take their picture, and I was like “mhhh well now this is very awkward...”

In your portrait or street style photos, often times the subject is someone from another creative discipline, ie hip­hop artist, musician, etc. Can you touch upon what you think street style’s role is, in pop culture today? In fashion today?

Well, first of all I have to say that I grew up listening to hip-hop. I still listen to hip-hop a lot, so obviously when I've seen that rappers started attending fashion shows in Paris, I thought it was great because it's a bit as if two worlds that I thought were opposite were finally colliding; fashion and hip-hop. I think street style allows artists' audience to keep track of their favorite singer/rapper's personal style. When I saw A$AP Rocky going to Rick Owens show in Paris wearing full Rick or Kanye West attending Haider Ackermann in Paris, I think it is a good thing for their fans because they are introduced to avant-garde designers they wouldn't have heard of otherwise, i.e not known by the average guy who has no interest in fashion.

You’ve said before that some of your favorite designers are Rick Owens, Damir Doma, and Yohji Yamamoto. Can you share with us why you're attracted to their works and its influence on your photography?

You must have found this info in an old interview because I eventually got a bit tired of two of these designers you just mentioned (laughs). Basically I am attracted to their works because they fit my personal aesthetics as well as my photographic vision. Attending their fashion shows is very inspiring to me. Looking at these monochrome outfits has forced me to pay more attention to details, in opposition to being distracted by colorful and flashy patterns printed all over a piece. Thanks to their works I've enhanced my personal vision, making it more edgy in a way.

Documenting your travels around the world is there a particular city you have a deeper attraction to than any other? Why?

I would say Paris is the city where I feel the more at home, I guess because I am French, but not only. I love the atmosphere there, it is very relaxing and it's definitely one of the most beautiful cities in the world. I love the culture there, there is a lot going on. I like New York a lot, but after 7 years there I am starting to realize I wouldn't be able to live there another 10 years; it is a bit too stressful and loud...

Are there specific architectural styles that speak out to you as a photographer more than others?

Without hesitating, brutalism is my favorite type of architecture. I have been documenting myself a lot about this movement, particularly on Le Corbusier work. Whenever I get a chance I go spend some time on the rooftop of his masterpiece in Marseille, “la Cite Radieuse,” it is a magical place!

How does shooting with film change your overall approach when shooting? What are your staple film cameras and lens you use when working?

Shooting with film is very different, mainly because of the fact that you can't check your images right after you shot them on the digital screen. It makes a big difference, it makes you think more before pressing the shutter. Also, I love nice black and white grainy images, it adds a dramatic mood that you don't have with DSLR's. Analog photographs feel definitely more authentic, more “real.” I shoot a lot with my Mamiya pro 7 ii (medium format) with a 80mm 4 lens and more recently with my Voigtlander Bessa-R4A (35mm) with a 50mm 1.1 lens.

What do you see for the future of Bleumode? Are there any big projects you're working on right now that you can share with us?

I have a lot of things in mind for the future of Bleu Mode. Basically I want it go grow into something that goes beyond photography, more like a very specific aesthetics that can be applied to other contexts as well, such as clothing, books, magazines...I want to collaborate with designers, artists, in order to create new work with that same Bleu Mode signature. As of right now I am working on a couple different projects like that so I'm very excited to share them with my audience soon. It should be cool!

Thank you for your time Julien. Is there a message you would like to leave for our readers?

I'll just end this interview with a quote from Camus, for those who feel a bit lost in life (we've all been through this): “En vérité le chemin importe peu, la volonté d'arriver suffit à tout.”

Interview: Victor Enrich by Stephen Hopkins

Born in Barcelona, Spain, Victor Enrich is an architectural photographer and media artist. With the underlying theme of the city displayed through his work, Enrich recently created a photo series of manipulated buildings in Munich. Enrich always toys with the idea of shape and dimension of buildings and structures throughout his CAD work and photos. We recently caught up with Victor for a Q&A regarding his work and the thought processes behind it.

How has architecture and design changed your way of thinking? Architecture has always been a very important companion in my life. Even though I've never worked as an architect, I've been working for and with architects for several years. Definitely designing a building is such a complex process that above all, needs a clear and structured mind, capable to anticipate eventual problems and get them solved before they show up. However, I also consider this foreseeing attribute sometimes a bit unneeded as, most of our problems are already solved, and, in a world without problems, maybe architects will not be necessary at all. On the other hand, I must admit that these two disciplines have led me to enjoy growing my sensitivity, which is crucial when it's time to be update in this constantly evolving contemporary culture that we're in.

Do you have any new projects in the works? Yes. I tend to work on several projects at the same time. They take important amounts of time so I have to rethink them again and again. This means that some of them need to be sent to the freezer while I resume other ones that were kept frozen for some months. For instance, now I'm working on a project that will use the White House in Washington D.C. For this project I need to make a 3d model of not only the White House itself but everything nearby also because this project is expected to use aerial views. However, I'm not sure yet if this will be my next project but I can't permit myself to start working on it once I'm sure it will be, I just try to work constantly every day and make decisions show up at the most appropriate time.

Stitched Panorama
Stitched Panorama

What motivates you to manipulate the buildings in the ways you do? I think it is a combination of a research about the possibilities of the form and a personal will to do something different, hopefully never seen before. I have a strong commitment with creativity, not only the one of my own, but the one of any one of us, humans, and in extension animals and plants. Creativity is a process that, by re-connecting several corners of our brains, strives to contribute to the common consciousness and intelligence of nature.

Is there anything specific you want the viewer to take away from your work? Not really, at least explicitly. The world is full of messages, inscribed in the form of art pieces, ads, books, tv shows...etc..People so saturated with messages, in particular those that want you to buy something. My goal is to stimulate people's curiosity and critical profile. And in a world with such amount of visual stimuli, there's no other way than trying to impact as much as you can, otherwise, all your work will not reach the surface and thus will be forgot.

Who are your biggest influences when it comes to your work? Since I was a kid I was always very fond of tall and big structures. It really overwhelms me to see how humans can sculpt the horizon; introducing forms that are hundreds or even thousand times larger than we are, and among all these structures, cities acquire an important role, especially for its labyrinthine condition. So, every geometric formation, used to organize the lives of the people within a community of any size is relevant for me, and if there are some skyscrapers or suspension bridges...even better. The first time I got in contact with these elements was through a picture book about geography that my father bought when I was just a little kid.

What was the hardest thing you have faced while shooting? Believe it or not, I suffer from a bit of claustrophobia. Something that I try to fight exposing myself to unusual situations, especially when I go shooting, as a sort of impact therapy. So the hardest experience for me was when I climbed to the top of the first suspension bridge of the Bosphorus, in Istanbul, accompanied by the Bridge Police chief, who granted me access, together with some friends of his. To get up there I needed to use a prehistoric elevator of half a square meter that goes up for 150 meters within the metallic structure of one of the took 2 minutes to get to the top, no windows and only a creepy sound of the chain pulling up the elevator. Once at the top, just a tiny handrail separated us from the abyss...however, I managed to enjoy the view all over the strait, it was amazing.

What is your favorite building that you have shot, and why? Hard to say. I prefer to say that my favorite building is the one I haven't shot yet. However, to pick an overwhelming spot, I guess that the first prize goes for the Hagia Sofia Mosque in Istanbul that I managed to shoot in the midst of the roofs of the Gran Bazaar. It was like all those books I read and movies I watched about the middle East came back to live. However, the sad thing is that the picture never acquired the specialty of the moment as it had to be shot in few seconds and without instrumental.

To view more of Enrich's work, or to purchase your own print be sure to check out