{"id":105971,"date":"2020-10-05T15:00:21","date_gmt":"2020-10-05T13:00:21","guid":{"rendered":"https:\/\/aarch.dk\/?p=105971"},"modified":"2020-10-07T15:32:27","modified_gmt":"2020-10-07T13:32:27","slug":"poty-2020-winners-and-special-mentions","status":"publish","type":"post","link":"https:\/\/aarch.dk\/en\/poty-2020-winners-and-special-mentions\/","title":{"rendered":"POTY 2020: Winners and Special Mentions"},"content":{"rendered":"
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News<\/a><\/p>\n<\/div><\/section>\n

POTY 2020 Winners and Special Mentions<\/h1>\n<\/div><\/section>\n

Here are the winners and special mentions from Photo Of The Year 2020.<\/p>\n<\/div><\/section>\n

05.10.2020<\/p>\n<\/div><\/section>\n\n<\/div><\/div><\/main><\/div><\/div>

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First prize<\/h5>\n

Mickael Minghetti (FR)<\/b>
\nTU Delft (NL)
\nElectronic Contact<\/p>\n

Motivation from the jury:
\nAn unanimous jury chose \u00b4Electronic Contact\u00b4 as this year\u2019s winner of Photo Of The Year. The five black and white photos create a narrative that beautifully visualize the current state of living, where lack of proximity and consequences of social distancing – especially for the elderly – are prevalent. \u00a0With a sharp eye for details and spaces the photographer composes a both poignant and poetic, realistic and respectful portrait of an elderly woman, who seems to be isolated in her home. The camera connects her embodied presence and traces of her personal life with the electronic devises that serve as different kinds of life lines. The series is a remarkable example of architectural photography, with original angles and strong composition, which elegantly includes architectural elements like plan, section and detail \u00a0– of human life. Each photograph holds an aesthetic and atmospheric density that opens for further interpretation and the series stays with the viewer for a long time.<\/p>\n<\/div><\/section><\/div>

<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>
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Mickael Minghetti (FR)<\/a> Mickael Minghetti (FR)<\/a> Mickael Minghetti (FR)<\/a> Mickael Minghetti (FR)<\/a> Mickael Minghetti (FR)<\/a><\/div><\/div>\n\n<\/div><\/div><\/div><\/div><\/div>
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Second prize<\/h5>\n

Alexander Auris (PE)<\/strong>
\nKatholieke Universiteit Leuven (BE)
\nVestigo Futuro<\/p>\n

Motivation from the jury:
\nThis series of visually convincing, large-scale topographical photographs is a strong reminder of how climate change, pandemics and colonialism before and now have caused displacement, forced migration, and land exploitation. The ruins of the settlements of native Peruvians searching refuge from the Spanish colonizers are important traces of the past and the photographs prompt us to speculate if the place today might be virtualizations of the future. The foreground is dominated by a lavish yet mysterious landscape, whose ruins contextualize the contemporary architecture in the distance and draws the viewer into the photographed space. In a documentary yet suggestive way, the silent grandeur of work connects past and present and future, people, landscape and architecture.<\/p>\n<\/div><\/section><\/div>

<\/div>\n\n<\/div><\/div><\/div><\/div><\/div>
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Alexander Auris<\/a> 003DCG-4<\/a> 003DCG-3<\/a> 003DCG-2<\/a> 003DCG-1<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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Third prize<\/h5>\n

Philip B. Stiernstr\u00f6m (SE))<\/strong>
\nAarhus School of Architecture (DK)
\nRipples from Movement<\/p>\n

Motivation from the jury:
\nThis almost abstract photographic series is characterized by a striking, minimalist composition. The traces of human behavior make the feet, that are seen from below, look like bacteria in petri dishes, – and like bacteria they multiply when they meet or touch each other, referencing the spreading of the current pandemic. The photo shopped technique gives the series a universal, clinical character, and an openness for interpretations. With its quadratic format the structure reminds us of a 6×6 slide, waiting to be developed. The sci-fi aesthetic reflects the establishment of a new normal of sharing space, pointing to the fear of walking in crowded spaces \u2013 or on glass high above.<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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Philip B. Stiernstr\u00f6m (SE)<\/a> Philip B. Stiernstr\u00f6m (SE)<\/a> Philip B. Stiernstr\u00f6m (SE)<\/a> Philip B. Stiernstr\u00f6m (SE)<\/a> Philip B. Stiernstr\u00f6m (SE)<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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Special Mentions<\/h5>\n

Jakub Ivancik (SK)
\nAarhus School of Architecture (DK)
\nRevisiting the Public Space<\/p>\n

Motivation from the jury:
\nAt first glance the work almost look like movie stills but at a close look it points to the political and social consequences of the pandemic in a rural Danish context. The cinematic approach gives the series a disorienting, super naturalistic character. The figure seems to be an outsider or stranger on a bench waiting for something, a bus, a home, a relation, and the visual narrative is indicating a feeling of alienation in the spatial periphery. The series represents a certain disconnectedness and a search for proximity or belonging.<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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Jakub Ivancik (SK)<\/a> Jakub Ivancik (SK)<\/a> Jakub Ivancik (SK)<\/a> Jakub Ivancik (SK)<\/a> Jakub Ivancik (SK)<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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Special Mentions<\/h5>\n

Bisher Tabbaa (JOR)
\nColumbia University (US)
\nThe Sacred Unit<\/p>\n

Motivation from the jury:
\nWith its precise drone view of white sprayed circles, and the casually elongated bikes, people and objects within the circles, The Sacred Unit documents the current 6ft social distancing regulation in the US. The photo becomes an aesthetic, poster like documentation of life in Corona times. Circles and squares sprayed directly on the ground have become part of the new urban fabric, but compared to chalk circles in countries with a denser and poorer population this photo is characteristic for a privileged western lifestyle, where people create boundaries for sunbathing rather than queing up for water or food.<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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Bisher Tabbaa I<\/a> Bisher Tabbaa II<\/a> Bisher Tabbaa III<\/a> Bisher Tabbaa IV<\/a> Bisher Tabbaa V<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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<\/div>
Special Mentions<\/h5>\n

Antonia Leicht (DE)<\/strong>
\nTU Berlin (DE)
\nBerlin vice versa<\/p>\n

Motivation from the jury:
\nThe jury highlights the strong composition, the sense of color, and the contrasts between shadow and sun in this beautiful, contemporary photo. The photo could be taken anywhere, but it keeps being enigmatic. A young man, isolated \u2013 is he longing for the city outside or is he comfortable in the interior and the gaze from the photographer?<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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Antonia Leicht V<\/a> Antonia Leicht IV<\/a> Antonia Leicht II<\/a> Antonia Leicht I<\/a> Antonia Leicht III<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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<\/div>
Special Mentions<\/h5>\n

Luciana Faustini (AR)<\/strong>
\nFacultad de Arquitectura, Dise\u00f1o y Urbanismo, Buenos Aires (AR)
\nToo Close<\/p>\n

Motivation from the jury:
\nThe photo is a critical and humorous comment to how technology especially during lock down has become an essential part of our lives, even when taking a bath. Through the absence of people or personal belongings the scenery establishes an alienated feeling, reminding of Hannes Meyer\u2019s manifesto Co-op Interieur (from 1926) that proclaimed an alternative principle of housing and living for a new world. What is architecture\u00b4s role in a world where all you need is a screen and everything can be fixed, ordered or lived from your bath? Is this \u00b4Psycho` 2020?<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
\n
Luciana Faustini II<\/a> Luciana Faustini V<\/a> Luciana Faustini I<\/a> Luciana Faustini III<\/a> Luciana Faustini IV<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
\n
<\/div>
Special Mentions<\/h5>\n

Luca Bilbo Rasmussen (DK)<\/strong>
\nAarhus School of Architecture (DK)
\nThe Space Between Us<\/p>\n

Motivation from the jury:
\nAn engaging narrative of separation and distance between an elderly woman and what could be \u00a0her grandchild. The photograph suggest they might be in different spaces and their gazes and reflections overlap in complex ways. So close, and yet so distanced. And even when they meet IRL precaution has to be taken in the form of latex gloves. The photographer\u2019s focus on windows and mirrors caught the jury\u00b4s attention, extending our architectural perception of the room or house. Combined with the motif of the two pair of hands on the table the photos constitute the theme of the competition, adding a flair for architectural composition through photography.<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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SPECIAL MENTION_2<\/a> SPECIAL MENTION_1<\/a> 113lbr-4<\/a> 113lbr-2<\/a> 113lbr-1<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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<\/div>
Special Mentions<\/h5>\n

Sarthak Rawat (IND)<\/strong>
\nDelhi Technical Campus (IND)
\nNot So Alone<\/p>\n

Motivation from the jury:
\nNaked architecture and tectonic to the bone, this photo despite its bold and unsentimental clarity evokes emotions. The greatness of the abandoned masterpiece and its fine architectural cropping caught the jury\u2019s attention.<\/p>\n<\/div><\/section><\/div>

<\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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Sarthak Rawat I<\/a> Sarthak Rawat II<\/a> Sarthak Rawat III<\/a> Sarthak Rawat IV<\/a> Sarthak Rawat V<\/a><\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>
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