"Architectural photography has always been a response to a problem, which is, how to promote a work, and help preserve its memory," says Portuguese architectural photographer Fernando Guerra.

Architectural photography goes beyond a medium to convey spatial qualities and design intent. It visually describes concepts such as emotion, the quality of the built environment, experience, reality, scale, and density. However, it depends on the architectural photographer to decide which one takes priority and what the photographer wants to frame.

What we see in every architectural photograph is not just an object or a static building; the meanings it conveys and represents may be completely different. However, as Fernando Guerra said, it is debatable whether it should necessarily reflect a problem. To give an example; without using words, a photographer can criticize a city through photographs and describe that city in a Photography Documentary. 

Architectural photography derives its power not only from the spatial qualities it depicts but also from the eye of the viewer, the techniques it uses, creativity, and the interaction it establishes with that space can move the space to a new dimension.

In our new series, we present 5 world-renowned architectural photographers and take an in-depth look at how they define architectural photography, how they give meaning to the visual medium, and how they elevate architectural photography to another level. 

The series, called Archimoments, will feature meaningful and provocative insights from the top architectural photographers. The series will aim to understand the relationship between architectural photography and architecture, creativity in architectural photography from the lenses of photographers, and analyze the basic elements of architectural photography.

The series forms the third part of the WAC Innovative Minds: Communication In Architecture series and the WAC Innovative Minds: Architectural Visualization series. 

Our third series features exclusive interviews with 5 world-renowned architectural photographers, including Chinese photographers Zhenhuan He and Zhewei Su of Arch-Exist, Czech photographers Jakub Skokan and Martin Tůma of BoysPlayNice Photography, Portuguese photographer Fernando Guerra of FG+SG Architectural Photography, London-based architectural photographer Marc Goodwin and Danish architectural photographer Rasmus Hjortshøj. 

As part of our interview series, we posed six main questions to the industry's leading figures:

• What is architectural photography? What are the most important elements that distinguish architectural photography from other professions?  
• How do you decide on the decisive architectural moments in architectural photography? What are the factors that trigger you?
• Is there a style in architectural photography? If so, how would you describe your style?
• After the Architect, for the first time, readers or visitors see the final product in the way you photographed it through architectural photographs. Is the aim of an architectural photographer always to make the building look beautiful? Or, do you capture the details you don't like as they are or interpret them?
• What details are important to you in architectural photography - light, shooting technique, composition, and environmental factors? And, what tools do you use to prepare your photographs?

Read on for the edited version of the interview transcript of the 5 architectural photographers in Architectural Photography:

Arch-Exist Photography. Image © Arch-Exist Photography

“Architectural photography is to answer our curiosity about life”

Zhenhuan He and Zhewei Su, Arch-Exist Photography

Founders of Chinese photography studio Arch-Exist Photography Zhenhuan He and Zhewei Su believe that "architectural photography is to answer our curiosity about life" and it is a macro-scaled product from a macro perspective. 

Raffles City Chongqing by Safdie Architects in Chongqing, China. Image © Arch-Exist Photography

"Architectural photography a macro perspective, which requires us to pay attention to architectural design and urban planning, as well as natural features, regional culture, and lifestyles of different kinds of people when working," said Zhenhuan He and Zhewei Su.

The photographers do not pursue "decisive moments" to create exciting shots but pay attention to the parts of daily life and the human factor.

"We do not deliberately pursue "decisive moments," said Zhenhuan He and Zhewei Su. 

"We are more keen to find those fragments of daily life. While paying attention to highlights of the building, we also pay attention to people. The characters in our camera always have an indirect but strong link with the building."

Bamboo Bamboo, Canopy and Pavilions, Impression Sanjie Liu by llLab in China. Image © Arch-Exist Photography

We call our style “daily architecture photography”

Zhenhuan He and Zhewei Su define their style as "daily architecture photography". He and Su specifically described the photos they took as "rough" rather than exquisite.

"Our photos are not exquisite, and sometimes even rough. This is similar to the brutalism of architecture. We pay great attention to details, but we try to avoid photos being too perfect," they said.

For Arch-Exist, making a building look beautiful is not the most important thing, but how the natural environment and architecture interact with each other is more important to them.

Zhenhuan He and Zhewei Su said "We will try our best to make the building look good, but this is not the most important thing. The architecture and the natural environment are always interacting with each other."

"Under some specific weather and light, some architectural details will look completely different from the reality, but this is true. This is a vivid moment of architecture, and we may amplify this vividness," they added.

Zaishui Art Museum by Junya Ishigami+Associates in China. Image © Arch-Exist Photography

"The most important thing for creators is compassion"

"In our photography, what triggers us to press the shutter is the ordinary people and surroundings of architecture. We have always believed that the most important thing for creators is compassion, so equipment might not be that significant. Our work cameras and lenses are very basic, and sometimes we may even use an iPhone," the team added.

Arch-Exist Photography was established in 2012 by Zhenhuan He, who started as a documentary photographer, and Zhewei Su, a registered architect. Since its establishment, Arch-Exist has accompanied many international and local architecture firms to stand out in major architectural media events, biennales, and architecture festivals around the world.

Jakub Skokan & Martin Tůma. Image © BoysPlayNice Photography

"Architectural photography is always interpretation and representation"

Jakub Skokan and Martin Tůma, BoysPlayNice Photography

Contrary to Guerra's statement, Jakub Skokan and Martin Tůma of BoysPlayNice Photography define architectural photography as "interpretation and representation". The duo always considers that architectural photography interprets a place, an object, a building, or its idea.

The duo's photographs reflect different artistic styles, with "the grandeur of forms, industrial utility or the liking and intelligibility of pop", referring to Czech and Slovak architecture.

"Architectural photography is a unique genre that more or less utilizes the language of other photography genres," said Jakub Skokan and Martin Tůma. 

"It is a free discipline without firmly defined boundaries. Architectural photography is art, advertisement, documentary, a depiction of nature, design, and even fashion."

"The fundamental tool of architectural photography is always interpretation and representation. Architectural photography always interprets a place, object, structure, or perhaps just its idea," the duo added.

Refuel Works and Formafatal's Art Villas in Costa Rica. Image © BoysPlayNice Photography

"Our approach combines precision, craftsmanship, and our creative approach"

According to Skokan and Tůma, there is no single answer to capturing exciting moments. The design idea of the project, the atmosphere of the environment, and the photographer's eye can also bring a new interpretation.

"In our opinion, photography must reflect the architect's idea, work with it, develop it, interpret it, and meaningfully convey it to the viewer. The project's idea influences the mood of the photographs, directs the photographer's gaze, and influences the photographer's thinking about the project," said Jakub Skokan and Martin Tůma.

"The location is a mix of adrenaline and creativity: changing light, dramatic clouds, quiet fog, random moments: people passing by, animals running, leaves flying around the house," they explained.

"All this is controlled by a "concept cop" somewhere in the brain, telling you where to stand and when to press the shutter button."

The team believes that there is good architectural photography and bad architectural photography and adds: "Good architectural photography reflects the project and brings the photographer's mind and creativity into the image. The image can be technical, descriptive, documentary, artistic," said Skokan and Tůma.

"Our approach combines precision, craftsmanship, and our creative approach. We want the viewer to understand the project, but at the same time, we want them to look at an image that can be further explored, one that is unforgettable, one that not only describes the situation but develops and expands it."

Zaha Hadid Architects' Masaryčka in the Czech Republic. Image © BoysPlayNice Photography

"Our photography is therefore not critical"

Skokan and Tůma believe that a photograph should not be critical; in short, they are not interested in the imperfections of a building. What matters to them is interpreting something they "think is good".

"The most crucial aspect for us is the concept of the project, the architect's idea. If we resonate with the project, we can photograph it and create a presentation for it. If we don't understand, resonate with, or simply don't like the project, we won't photograph it," said the duo.

"Our photography is therefore not critical; we don't highlight imperfections because that's not the point of our work. The point is to interpret something we consider good."

"Details that are not in harmony often arise from very ordinary reasons such as lack of funds, incompetence of construction companies, uncontrollable interventions in the surroundings," they added.

Compass / Bachledka. Image © BoysPlayNice Photography

Light, shooting technique, composition, and environmental factors are very important for the team. Skokan and Tůma emphasize that they do not specifically use different tools, saying that their preparation stages consist of two parts.

"It's necessary to work freely with light, composition, and environment; understand and use them correctly for our purpose," said Skokan and Tůma.

"Preparation has two parts: first, we need to learn more about the project's concept, conduct a location survey with the author, experience the place, the lighting conditions, and examine the context of the building." 

"The second part is the work of our assistants. Very often, it's necessary to adjust the place, clean it from deposits, and create optimal compositions of furniture. Simply to adapt the lived three-dimensional reality to a two-dimensional representation. Then it's just a matter of choosing the right time for the photo shoot and letting reason and intuition guide us," the duo concluded.

BoysPlayNice was established in 2008 by Jakub Skokan and Martin Tuma. Photographers Jakub Skokan and Martin Tůma present contemporary Czech and Slovak architecture in a special way. 

Fernando Guerra. Image © Fernando Guerra, FG+SG Architectural Photography

“Architectural photography has always been a response to a problem”

Fernando Guerra, FG+SG Architectural Photography

Portuguese architectural photographer and FG+SG Architectural Photography founder Fernando Guerra believes that "architectural photography is always a response to a problem and emphasizes that how to promote a work and help preserve its memory."

"Architectural photography has always been a response to a problem, which is, how to promote a work, and help preserve its memory," says Portuguese architectural photographer Fernando Guerra.

The photographer is known for his works that highlight emotion and the spirit of space in the integrity of geometry, lines, light, shadow, and color.

Originally trained as an architect, in 1991, Guerra founded his studio FG+SG Architectural Photography together with his brother, Sérgio Guerra to disseminate contemporary Portuguese architecture in a visual medium.

"Being a photographer means constantly being someone who absorbs their surroundings with greater intensity because generally, we have to capture it in some way," Guerra told World Architecture Community.

"Photography is probably the answer in the search for beauty. Finding the beauty in the small things," he said. 

"In detail of a wood joint, in the placement of the house in that context, in that location, or the person that is passing by. How a curve is special at that moment and ceases to be the next."

Technology School of Guelmim, Saad El Kabbaj and Driss Kettani and Mohamed Amine Siana in Guelmim, Morocco. Image © Fernando Guerra, FG+SG Architectural Photography

"Paying attention to the scale"

Guerra also draws attention to the notion of scale in architectural photography. "Perhaps the scale is the biggest difference in the photography arena," Guerra explained. 

"The architectural photographer must have the precision of a product photographer with a dash of the emotion of a fashion photographer’s photography, together with the reflexes of a photojournalist."

The photographer, who attributes the capture of "decisive moments" to his 38-year history and knowledge, emphasizes that the more a photographer works, travels, and develops, the more he can improve. 

He said that "My style of photographing is the result of 38 years with a camera in my hand. However, one thing remains the same: the pleasure I find in photography and the desire to achieve the perfect image, the one that captures the essence of what I see and want to share."

"Driven by a desire to document architecture in a more nuanced and vibrant way, I began to immerse myself more deeply in my subjects from the beginning of FG+SG, blending my passion for storytelling with the art of capturing human elements within urban landscapes."

"My focus has always been on capturing fleeting moments that reveal the character and function of a space, thereby producing images that are more than mere representations of physical structures," he said.

"The decisive moment is about capturing the harmony between subject and environment, creating an image that transcends the ordinary and becomes a timeless expression of the human condition."

"This quest for the unique image—a snapshot in time that cannot be replicated—guides my work." He added that "My ambition is to capture the narrative of a space, to tell the story of its day-to-day life, and to evoke the feeling of being there."

Casa Das Historias Paula Rego by Eduardo Souto de Moura. Image © Fernando Guerra, FG+SG Architectural Photography

"My biggest challenge was including people in my images"

Guerra underlines that his current style derives from formal elements inspired by travel photography in the 1990s and is enriched with foreign elements. According to the photographer," this approach created a sense of depth and dynamic tension within. References or events would ultimately converge to form the perfect image."

"My biggest challenge was including people in my images. It might seem almost humorous today, but at that time, the human figure was typically avoided in architectural images," he said. 

"There was an almost concerted effort to convey a purity in images of architecture, devoid of people, which for me was synonymous with being devoid of emotion."

Anyang Pavilion by Alvaro Siza and Carlos Costanheira. Image © Fernando Guerra, FG+SG Architectural Photography

"My relationship with photography is one of constant search for what pleases me"

Pointing out that a photographer does not have to make a building look beautiful, he says that this creates "a paradox". According to Guerra, a photographer doesn't have to like the building he/she photographs, and a photographer doesn't have to form an emotional connection with it.

"I photograph almost every day, and it would be impossible for me to feel a deep love for every project I work on—I don’t have to love anything," he said. 

"My responses are always a mix of emotional and professional rigor in solving a problem. Of course, the building should be shown in the best light and from the best angle, as it’s part of the job."

"My relationship with photography is one of constant search for what pleases me, the representation of an aesthetic that I confront and from which I delicately extract a moment - the pursuit of an angle, special light, shape, or ensemble," Guerra added. 

"Photography provokes me, challenges me, and gives me the freedom to observe and be surprised. And, each day, each session, is a new beginning."

He stated that "nothing is easy. If I find something easy, I become lax and complacent. Therefore, I maintain only one state: attentive. As an architectural photographer, you are only as good as your last job."

Mayor Winery by Alvaro Siza. Image © Fernando Guerra, FG+SG Architectural Photography

According to Guerra, shooting techniques are a secondary element in his photographs. The photographer, who describes himself as a Canon ambassador, argues that the aesthetics of the final product he frames emerged instinctively. 

"With time, technique becomes secondary, it becomes engraved, and everything happens almost instinctively. The tools I use have always been simple and accessible. As a Canon ambassador, I have the opportunity to work on the development and launch of new products," Guerra explained.

"Yet, I keep the gear I use and travel with around the world very minimal, staying true to what got me started: compact, lightweight cameras—striving to be invisible during sessions, not the center of attention," he added. 

"Like a street photographer hidden in the shadows. The spotlight should always be on the work; that’s why I photograph. At most, I am a storyteller, a messenger of good news," Guerra concluded.

A pioneering name in architectural photography, Fernando Guerra established FG+SG Architectural Photography in collaboration with his brother, Sérgio Guerra, in 1991. Together with his brother, they have been dedicated to the dissemination of Portuguese contemporary architecture over the past twenty-five years.

Fuzhou Strait Culture and Art Centre by PES-Architects. Image © Marc Goodwin, Archmospheres

"Architectural photography is and has always been the principal means of selling architecture and making architects famous"

Marc Goodwin, Archmospheres

Award-winning British architecture photographer and Archmospheres founder Marc Goodwin, unlike Fernando Guerra, argues that architectural photography is a tool used to sell architecture and promote architects.

Trained as a photographer, he established his studio Archmospheres in 2004. He completed his PhD at Aalto University School of Arts, Design and Architecture, Media in 2016. He travels to several cities in Europe, the US, the Middle East, and Asia for photography commissions and the production of the Architecture Studios Atlas.

Stating that the first photographs taken were of architecture, Goodwin emphasized that the image quality increased greatly from Niépce's Rue de Lac photograph dated 1826 to Daguerre's Boulevard du Temple dated 1838, but the thing in the picture remained the same.

"Architecture has continued to provide subject matter and work for photographers, due in part to the large cumbersome cameras used and the even larger, heavier buildings they captured," Goodwin told World Architecture Community. 

"But even as Leica made hand-held photography possible from the 1910s onwards, and commonplace from the 1950s, architectural photographs continued to look much like they always did with non-converging vertical lines, a sense of distance and proportion and clarity, and a cleaned up sense of place - these continue to determine what architectural photographs look like to the present." 

"So it could be said that, unlike with other forms of commercial photography, a long architectural tradition has determined the elements that distinguish architectural photography from other professions," Goodwin said. 

"Architectural photography is done mostly by architects and can be seen as a part of the continuum of architectural representation," he added.

Buhais Geology Park Interpretive Centre by Hopkins Architects. Image © Marc Goodwin, Archmospheres

Emphasizing that light is important in capturing decisive moments, the photographer underlines that a photographer must be in the right place and at the right time.

"Light determines nearly every decision," Goodwin said. "You follow the sun around as though the building were a giant sun-dial. The only other factors are chance findings with people doing interesting things you did not expect."

"There is also a certain amount of making sure you are in the right place at the right time, so in that sense, it is neither a question of the decisive moment nor being triggered."

"But there are often surprises and these tend to be my favorite images," he added.

Pointing out that there are different styles in architectural photography, Goodwin says that this distinction is evident in British, German, and Austrian photography.

"There are two prevailing styles, with a subdivision of each, and a newcomer," the photographer explained. 

"The four styles can be summarised as follows: blue-empty, blue-populated, white-empty, white-populated. Recently, however, a third way has been popularised by Salva López, which consists of warm-toned unpopulated images." 

"It remains to be seen whether this is a passing fad or not. For my part, I think these images look like a return to the autumnal shades of the 70s. But they are far more beautiful than images I can think of from that period," Goodwin continued.

"I have called my company Archmospheres partly in response to this bipartite, tripartite, or quadripartite system and partly because reading Peter Zumthor’s book on the subject of atmosphere was an aha moment."

Suvela Chapel by OOPEA in Finland. Image © Marc Goodwin, Archmospheres

"Clients choose images which I wouldn’t"

Goodwin also believes that an architectural photographer does not have to make a building look beautiful, noting the different perspectives between photographer and client when choosing a photograph.

"I work in collaboration, and 99% of what gets shown is determined by the client," he said. 

"This means invariably that they choose images which I wouldn’t. It boils down to whether you view photography as a window onto a world - you look through that window - or as a work of art which you look at."

"I like to look at photographs, analyzing their technical and expressive qualities, whereas clients tend to look through them, much as parents do when looking at photographs of their children," he continued.

"To this extent, architectural photography is a subclass of commercial media. Architectural photography is and has always been the principal means of selling architecture and making architects famous," Goodwin added.

Ningbo Gateway by in Ningbo, China by Rogers Stirk Harbour + Partners and Schmidt Hammer Lassen. Image © Marc Goodwin, Archmospheres

"Light and environment"

According to Goodwin, light and environment are the most important details needed to prepare a photograph. The photographer lists the other helpful technical tools he uses as Capture One and Photoshop.

"I think of light or environment as a detail," the photographer said. 

"Techniques ranging from capture (exposure and composition) to post-production (processing the film with Capture One and Airbrushing the undesired elements out with Photoshop) are what I can add to that which I find on-site," he added. 

"In terms of preparation, most architects are very good at providing a detailed brief filled with information which I then supplement with a study of the light on the building, street views and aerial views of the site, and additional research in the architect’s practice," Goodwin concluded. 

BLOX by OMA in Copenhagen. Image © Rasmus Hjortshøj

"You frame the intent and the design that precedes a space"

Rasmus Hjortshøj, Rasmus Hjortshøj Studio

Danish photographer Rasmus Hjortshøj describes architectural photography as "a prism" that contains the entire human-made environment and other elements. 

However, Hjortshøj, agreed with Fernando Guerra, underlines that a photographer frames "an intent and design" rather than a physical space.

"Architectural photography is, for me, a certain prism through which you observe human-made surroundings. All genres of photography have a certain subject that they focus on and while many of these subjects blend with other genres of photography, they are somehow set in their niche," said Rasmus Hjortshøj. 

"The same goes for architectural photography where many different types of subject matter are interesting for the photographer."

He added that "the world's first photograph was an ‘architectural photograph’ as Niépce, one of the inventors of modern photography, photographed the building from across his studio window in France."

"My point is, that labeling something ‘architectural’ is just as much labeling it designed or human-made. You frame the intent and the design that precedes a space. When the space is an actual building, it just becomes that much more apparent," Hjortshøj explained.

Hjortshøj argues that a photograph should focus primarily on the building, people and other objects should be secondary parts of the composition. 

"The subject matter, I think, should be on the premise of the building and less so on the persons or things also inhabiting the space," he said.  

"Having multiple subjects complementing each other is great, but the premise for the composition should be framing the building or space."

"I think it is important to use straight lines as a way to let the viewer know, that the photograph intends to highlight the geometry and tectonics of a space or object and let everything else be subjugated to this idealization of the form and geometric composition – less so the other way around," he continued. 

Danish National Maritime Museum by BIG in Denmark. Image © Rasmus Hjortshøj

"I try to steer their attention to the craftsmanship of architecture"

The photographer, who simply photographs a building as it is, believes that architectural photography should be an honest representation of architecture. For Rasmus Hjortshøj, capturing the essence of design is the most important element.

"My process or method is an important factor in this. I have both a very rigid way of portraying buildings and spaces and a very free or intuitive approach that I switch between during a shoot," he said.

"I love it when a building is portrayed very honestly with no thrills and no embellished romantic elements like a purple sky or a kid holding a balloon. Just an honest representation of the architect’s design."

"I think people are important for understanding a space and how it is being used and experienced, and I do love including people in my work, but I also appreciate pictures where the focus is solely on the design," Hjortshøj explained.

"I try to steer their attention to the craftsmanship of architecture, the composition, and of course the detailing and tectonics by meticulously framing this certain angle," he added.

Hjortshøj believes that he has his own photographic style, resembling the Düsseldorf School introduced by Bernd and Hilla Becher.

The Düsseldorf School, also known as the "Becher School", takes its name from the Kunstakademie Düsseldorf, where Bernd and Hilla Becher began teaching photography in 1976. The school set new standards of objective excellence, ushering in a new movement in art photography.

"If I have a certain style, it would be similar to the Düsseldorf School, which was manifested by Bernd and Hilla Becher," he said. "Andreas Gursky and Thomas Ruff, both of whom I admire greatly, were also part of this school."

"When I photograph man-made landscapes these influences become quite apparent. It’s an almost detached or distanced style, where the subject matter is inscribed into its surroundings or rather, the subject becomes the surroundings," Hjortshøj explained.

He also stated that "when I photograph commercially, my style becomes more tailored to the client’s needs. I use a more varied approach with angles that also very much cater to the more intimate moments in architecture and the interplay of people and spaces, light and shadow."

Tingbjerg Library and Culture House by COBE in Copenhagen. Image © Rasmus Hjortshøj

"I’m not there in the capacity of being a critic"

Arguing that a photograph should not be critical of architecture, Hjortshøj emphasizes that when photographing a project, it should be photographed for what it is.

"I am very honest when photographing a project and try to show the work for what it truly is," the photographer explained.

"When I work with clients in a commercial setting, the objective is to highlight the more successful aspects of their work, bringing either a certain function or design detail to the forefront."

"I’m not there in the capacity of being a critic, but in the capacity of presenting their project from my unique perspective. However, sometimes the qualities of a project lie somewhere in-between what the architect thinks are the qualities, at what I find to be an interesting, funny, or uncanny feature," he added.

"I don’t think you need to overly embellish a project if it is already a great project, but rather be true to what came out of the architect’s laborious work."

"If I only deliver images based on my own perspective of how I think a building should be ‘judged’ I think I might be missing the point of delivering an image package that takes the client into account," he continued. 

"However, when I photograph landscapes or cultural heritage the focus often shifts in the direction or having more of a critical stance towards spaces. Questioning the origin of spaces or if there in act ever was intent behind the way especially human-made landscapes are laid out, or if things just came to be this way out of neglect or near-sightedness," he added.

Camp Adventure Park by EFFEKT in Denmark. Image © Rasmus Hjortshøj

Hjortshøj stated that "the title of my PhD is "Territory of Entanglement" and it is about how the urbanized coastal territory can be represented through photography."

"Entanglement refers to the concept of the Anthropocene, where I see the coastal territory as particularly interesting because it is a stretch of land and sea that is often perceived as natural and untouched," he explained.

"In the PhD, I have focused on the Danish coastal territories using photography as a way of representing and mapping this condition."

Hjortshøj, agreed with Marc Goodwin, and thinks that light, shooting technique, composition, and environmental factors are important in architectural photography. 

"When I prepare for a shoot, I spend the most time checking the lighting conditions and angles of the sun, the weather forecast, the access conditions, and just if batteries are charged," he said.

"If there are 20,000 square meters to be photographed, it is good to know if there are any special places in the building that are particularly important, so I prepare with the architects to get an overview and a brief," Hjortshøj added.

Trained as an architect, Rasmus Hjortshøj holds a PhD degree in architecture and urban studies, focusing on coastal territories in the Anthropocene. The photographer's work focuses on regional photography, combining mapping with an aesthetic framing, highlighting the urban coastal areas where he works. His studio has also a research branch, called COAST. 

This article has been published as part of the Archimoments series. Our next write-up will feature an interview series on Artificial Intelligence. 

We invite you to join our interview series to discuss the future of architectural photography together. Selection for the interview at WAC's discretion. Contact us to take part in the series: [email protected]. 

Top poster image in the article © Technology School of Guelmim / Saad El Kabbaj + Driss Kettani + Mohamed Amine Siana. Photography by Fernando Guerra. 

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