This exhibition, showing at the gallery alongside renowned Regency architect John Soane’s pile in Ealing, features photographs of work by two 20th century architects: Konstantin Melnikov and Le Corbusier. Eloquent text panels introduce each architect and individual images. The photographer Richard Pare depicts buildings in three distinct ways in this exhibition: architecture as objects, buildings and landscapes, or rooms. People are not the subject of the photographs. There are a few individuals lurking in the backgrounds of some prints but these images are mostly forgettable.
Only one building designed by Melnikov is present. The Melnikov House, a suburban villa formed by two interlocking cylinders with hexagonal windows. Two large prints – side by side – to form a sort of interior panoramic of the house’s studio, but fail to create any sort of coherent image. Sunlight from several windows makes for a harshly lit interior – too intense to view all at once. Another diptych, this time of the salon, is photographed diagonally from interior stairs in the left background, stacked paintings by the architect’s son, and onto a desk in the right foreground. The viewing axis of the photographs suggests a spectrum from the intensity and privacy of the desk which reduces across the room and onto the staircase: this room is connected to others and can be left freely. Diffuse light softens the lilac painted walls and reveals scars in the plasterwork where light-fittings used to be. Perhaps comfort isn’t the right word for the effect but there is certainly a lack of anxiety in this image.
A range of Le Corbusier buildings are displayed, from early projects like the Villa Le Lac, to later work such as the priory of La Tourette. Here Pare demonstrates the anxiety between landscape and building in the work of Le Corbusier. A photograph of the rooftop of the Unité d’Habitation shows the contrast between the building’s garden with the Mediterranean in the background. Photographed orthogonally, the seated enclosures of the middle-ground are reflected in a manmade pool in front of them and the coastline is reduced to mere scenery.
Another photograph, this time of Villa Le Lac, has the familiar composition of Pare’s photographs of Corb’s buildings: the landscape is photographed orthogonally with the building shown obliquely at one side of the image. But rather than portray the building an object, Pare allows us just a little portion of it: a pocket of covered space and a doorway which connects back into the open-plan villa. The lakefront wall runs along a boundary marking the threshold between site and landscape. On the left edge the wall rises up to form a garden room with a frame-less window at its centre. Underneath this opening are two chairs either side of a concrete table. Compared with the plan libre and ribbon window of the villa’s interior, this window frames a fixed subject (the landscape) where all chance is abolished. Perhaps like one of Pare’s photographs.
Matthew Wells is an MA student at the Courtauld