Fernando Alda.

(Published in ON DESIGN 209*)

The images are used to seeing architectural publications illustrating the part, along with the text and drawings, of how to communicate the architecture. Through them we can enjoy, at least a small part, from one building to people who probably will never do it live, spreading in an agile and immediate the latest trends and movements.

My work has its starting point in the contemplation of the building. From it are derived aesthetic judgments and practical understanding that will produce a series of photographs. A journey through the exterior and the interior of the building to help understand the decisions of the architect, projecting the concept and application of all this results. The appreciation of the volumes, forms, masses, shadows and spaces, harmony of light and the symmetry of the elements, execution, help us to gain a maximum of aesthetic and functional meanings in our work of visual interpretation.

Saved technical issues of photography and commissioned as a limitation for the production, the photographer can throw at creating their own language searching. This search, I believe, could be divided into three parts: first, taking advantage of transferring it between photographer and architect in the latter draws the gaze of the photographer, and this in turn the building and its design, own ways to create photographs with materials that the architecture offers. A second, dissecting the building piece by piece, photo and photo, documenting the "beauty" of architecture not as a goal in itself, but rather as the result of a proper resolution of functional problems, without thinking about it as an accident. In a third, also, raises the social value of architecture, the environment where the building is located and the idiosyncrasy of the place, essential in the character of the individual and the work itself (abstraernos would be against nature). In the place where the building is not always the asphalt slides into the grass, or he dies from the rectilinear steel, turn, yields to a perfect plaster. These images are coming to us from the pages of journals in Central. Here in the south, the boundaries are not so obvious nor so perfect, often the work is located in a chaotic environment and degraded, where the approach of a building to communicate with meaningless. From this point of view, the building becomes, often- in the cornerstone and must give rise to these future links and relationships. Of these possible suggestions, also want to record my photos.

Therefore we must open the view, fearless, on the environment and teach the reality of the environment, is truly the place where dreams are drawn.

*This text, published in 2000, explain my position to most of the works of architecture that was to interpret and photograph. The years, most personal experience and job opportunities outside the southern environment, have added further complexity and my position with the rich and diverse architecture. Even so, has not dampened my interest in exploring the context in which the play is set. I still thrilling the capacity of some architects, to impress you place: understand and develop their potential.