Twelve years, of standing.

I started photographing buildings because people were too fast. A facade holds still for as long as you need it to, and in the beginning that was the whole appeal — a subject that would wait while I worked out what I was doing.

That changed somewhere around the third year of Concrete Weather. I had gone to an estate outside Vienna to photograph a stair core, and ended up spending the afternoon with a woman who had lived in the block since 1974 and had opinions about every window on the south side. The building stopped being the subject that day. It became the evidence.

I work slowly and almost always in flat light. Not out of principle — flat light is simply honest about surfaces, and surfaces are what I am usually after. Most of my personal work is still made on film, because the cost per frame enforces a discipline I do not reliably supply on my own. Commissioned work is digital when the deadline says so.

Trained as an architect at ETH Zürich, which explains the obsession with alignment and very little else. I have been photographing full time since 2014, represented by Agency Sieben since 2021, and I teach one workshop a year because explaining a thing out loud is the fastest way to find out whether you understand it.