LUIGI FILETICI_WINNER OF THE PIDA PHOTOGRAPHY PRIZE

by Laura Corvino

The Jury of the 2011 PIDA Ischia International Architecture Prize, taking place from the 18 to 23 July, has awarded this year’s Photography Prize to Luigi Filetici. His photographs are an interpretation of form and space, offering a critical reading of architectural design through the composition and use of light. Once again it is a recognition that focuses on quality and perfectly corresponds with the other directly awarded prizes.

The winners of the other sections are: Mario Cucinella, winner of the PIDA Sustainability Prize; Italo Rota, winner of the PIDA Career Prize for his hotels; and, Giorgio Santilli, winner of the Journalism section.

The following interview with Luigi Filetici examines some of the most interesting themes of contemporary architecture seen through the eyes of a photographer-architect.

How would you describe yourself in a few short words…

I am an architect who represents architecture also using the tool of photography. I taught a Graduate Course in Industrial Design at the Politecnico di Milano and the “Sapienza” University in Rome. I also work abroad for various publications, designers, architects, artists and companies.

Are you more of an architect or more of a photographer? Does your degree in architecture offer you something extra?

Perhaps I am more of an architect. To understand architecture it is best that one comes from the profession, to understand its secrets, its formal value and historical references.

Do you prefer taking photographs or drawing?

If they are beautiful you can do both. In any case it is stimulating and fun.

How did you become interested in photography?

It was a hobby, during my university studies. This passion was born of the desire to investigate the world of professional photography. To represent a work of architecture it is not possible to use standard compact or reflex cameras; it requires technical and complex tools, asymmetrical lenses….

Do you have a close relationship with any particular photographic project?

No. I feel closest to research that, for me, rotates around two principles: the first involves taking photographs of new works of architecture for magazines (Domus, Abitare); the other involves a personal research involving books, exhibitions and themes which I select. I think I feel most attached to an exhibition on Moscow presented at the Triennale di Milano and, more in general, I am very interested in Russian Constructivism and the analysis of the cities of Eastern Europe. 

To what degree should photography be a critical support to a correct reading of architecture?

I am involved precisely with the visual communication of architecture. Often this decisive moment is neglected by large offices who, after competing the design phase, believe that their work is done. This is not the case: while more entrepreneurial in nature, there are offices who pursue this post-construction phase.

Photographic representation is essential to books and magazines. All too often good projects are ruined by publications that are imprecise or low in quality. Architecture is “seen in the flesh” by an infinitely lesser number than those who read it through photography and in many cases we are deluded when reality does not correspond with our expectations…

Is it thus possible for an attractive photograph to improve a project?

Of course, this is our job! Photography must be documentary and creative, it must offer an emotion that exceeds the visitor’s simple perception. It must be real, it must have recognisable parameters, and a correct framing and perspective. This is where the difference lies between professional and non-professional architectural photography: each picture must reveal its mystery and its essence.