View allAll Photos Tagged concretearchitecture
photographed by
Frank Dinger
BECOMING - office for visual communication
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Set against the sharp, modernist lines of the Unitarian Universalist Church of San Francisco, this contemplative garden scene features a powerful stone sculpture of a seated adult with two children—one in their lap, the other at their side. Carved in a softly textured, almost primitive style, the sculpture evokes themes of care, protection, and intergenerational strength, echoing the social justice mission of the church it fronts.
The building behind it—a geometric blend of concrete and shingled pyramidal roofs—stands in contrast to the organic warmth of the sculpture. Its Brutalist influence is softened by natural light filtering through clerestory windows just beneath the peak, and by the surrounding garden that adds a splash of color and wildness to the structured setting.
This juxtaposition of materials—concrete, stone, and grass—creates a visually arresting composition, especially in early morning or late afternoon light. The sculpture’s placement within a fenced patch of lawn and winter-bare trees enhances its sense of solitude and reflection. A squirrel perched atop the figure’s head lends an unexpected moment of delight, grounding this symbol of humanity firmly in the present.
Part of the Unitarian Universalist Church at 1187 Franklin Street, this scene is quietly emblematic of the institution’s values: inclusion, compassion, and community. Whether you’re photographing modern religious architecture or moments of human connection rendered in stone, this corner of Cathedral Hill offers both.
Rudolf Steiners anthroposophic center Goetheanum in Dornach/Switzerland
photographed by
Frank Dinger
BECOMING - office for visual communication
facebook: Becoming office for visual communication
Anglia Square aerial pic - Norwich. Controversial redevelopment plans, brutalist architecture and a slice of the city’s dismal post-war history.
Photographed in full-frame detail using a Nikon D850, this is a high-resolution aerial photo
There beyond it, a large round performing arts center imposes itself. Does it ever!
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In downtown Albany, New York, on August 28th, 2016, at the southwest corner of Lancaster Street and Eagle Street. There is The Egg performing arts center, built from 1966 to 1978, designed by Harrison & Abramovitz.
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Getty Thesaurus of Geographic Names terms:
• Albany (7013266)
• Albany (county) (1002139)
Art & Architecture Thesaurus terms:
• chain link fences (300002002)
• concrete (300010737)
• curved (300010305)
• performing arts centers (300007113)
• sidewalks (300003893)
Wikidata items:
• 28 August 2016 (Q25707302)
• 1960s architecture (Q7160120)
• August 28 (Q2817)
• August 2016 (Q19249499)
• Buildings and structures completed in 1978 (Q8318768)
• Capital District (Q3320597)
• The Egg (Q7731627)
• Empire State Plaza (Q5374148)
• trespass (Q3153728)
Union List of Artist Names IDs:
• Harrison and Abramovitz (American architectural firm, 1945-1976) (500213294)
Anglia Square aerial image - Norwich. Controversial redevelopment plans, brutalist architecture and a slice of the city’s dismal post-war history.
Photographed in full-frame detail using a Nikon D850, this is a high-resolution aerial photograph
Photographed in the wake of the Bosnian War, this image captures the haunting state of the Holiday Inn Sarajevo’s twin towers — once a landmark of Olympic optimism, later transformed into a battered icon of conflict. Designed by architect Ivan Štraus and completed in 1983 for the XIV Winter Olympic Games, the hotel exemplified Yugoslavia’s embrace of bold, modernist architecture. Just a decade later, those same geometric forms and mirrored glass became the canvas of war.
Situated on Sarajevo’s infamous “Sniper Alley,” the Holiday Inn served not only as shelter for international journalists during the longest siege of a capital city in modern history, but also as an inadvertent participant in what would later be termed warchitecture — a movement examining how built environments are transformed, scarred, and reinterpreted through conflict. The aesthetic of bullet holes, blown-out windows, and exposed structural systems embodies a raw, involuntary art form: architecture altered by violence.
The left tower’s signature rooftop penthouse and the right tower’s shattered curtain wall façade are no longer mere design features — they are historic artifacts, visible markers of a city under siege. The damaged façade, with its scorched symmetry and skeletal floors, unintentionally exemplifies the principles of warchitecture: destruction as form, trauma as texture, and resilience embedded in material memory.
The Holiday Inn became a visual and symbolic threshold between civilian life and frontline danger. Its vibrant yellow exterior — once a bold color choice against the gray Yugoslav skyline — faded and darkened, not just by time but by war. Its structural endurance despite the surrounding chaos became a metaphor for Sarajevo itself: battered but not broken.
Architecturally, Štraus’s work is a case study in late socialist modernism, combining prefab concrete and mirrored glass to project internationalism and modern identity. Ironically, the very openness these materials suggested became liabilities during war — reflective surfaces shattered, exposed floor plans became targets. But through the lens of warchitecture, these scars now speak volumes. They chronicle a city’s suffering and survival, capturing the interplay of design, politics, and human cost.
Today, parts of the Holiday Inn have been restored and repurposed, but the legacy of its war-scarred form remains visible and vital. This image, stark and silent, stands as more than a record of physical damage. It’s a document of how architecture lives through war — how buildings not only shelter but witness, endure, and remember.
Appartment and commercial building in Karlsruhe 2013 by LRO Lederer Ragnardsdottir Oei architects Stuttgart
photographed by
Frank Dinger
BECOMING - office for visual communication
facebook: Becoming office for visual communication
août 2019
Zürich, Landesmuseum Zürich (Musée national suisse) - extension (Christ & Gantenbein, 2002-2016) - Batîment ancien de Gustav Gull
[Rundfunk-Fm, 25. Juli - 6. September 2019
Vista general de la escuela Manuel Belgrano, con un lenguaje de clara adscripción a los postulados del Movimiento Moderno y adaptación al entorno climático propio de Córdoba (Argentina).
Arqs Bidinost, Chute, Gassó, Lapacó y Meyer (1960/68)
Detail of the Sheraton Downtown Denver Hotel, originally the Denver Hilton Hotel, by I.M. Pei, 1960.
contract dated 1965; I haven't tracked down the name of the architect(s)
© Stephanie Fysh 2004; all rights reserved
Hoenheim-Nord (Strasbourg) Terminus and Car Park by Zaha Hadid architects
1998-2001
photographed by
Frank Dinger
BECOMING - office for visual communication
Looking out through the door from the Diego Rivera Gallery at the SFAI into what could easily be a Spanish Colonial cloister/courtyard in Rivera's Mexico.