Book Review: Stanley Greenberg

On the photos he showed us in class:

In his book Architecture Under Construction, Stanley Greenberg photographs that which is scarcely photographed: skyscrapers and other buildings during the skeletal work of their construction phase. The book is composed of 71 large format images, all arranged either alone or with a complement on the opposing page. The book acts as a form of art that is itself captivated by another form of art: architecture. Furthermore, the book focuses on what is commonly believed to be the ugliest part of architecture’s creation, its construction. Whereas a painting or drawing may look beautiful at any phase through completion, structures being built are often associated with danger, dust, and loud, piercing noises. Greenberg points out the beauty he can find within this phase of art in the making.

Greenberg seems to be fascinated with the skeletal aspect of these structures. He never photographs barren, empty foundations, nor does he photograph the project as it nears completion. He instead focuses on the harmonious (but often sometimes extremely chaotic) intertwining of steel beams, the molding of concrete to encase the floors or “skin” of these buildings, and the scaffolding, which seems to fill up all empty space within.

Greenberg’s subject matter was well staked out ahead of time. Due to the nature of his medium, hundreds of snapshots of the sites were not practical. Timing was key, and this is where light comes in. The light in each of his photographs is well thought out. Greenberg estimated the optimal time for the sunlight he desired, and came back later on in the day. The extensive use and play of shadow is rare in his photographs, and the light from the sun is often straight on. His

photographs hint at this patiently planned out method of taking pictures.

The absence of people in his work hints at the fact that Greenberg was more interested in the aesthetics of these structures rather than the workers’ interactions with the architecture, the construction process as a whole, etc. This book is not a documentary, but rather an organized collection of aesthetic amazement.

Greenberg’s photographs are usually taken of a field of crisscrossing ironworks, or organized perpendicular lines. He loves to toggle between the two, between this organized sense of structural math and order, and chaos that contains great depth. None of his shots are taken at short-range distances, and are often taken of several components together from a large-scale point of view.

As a final note, I found Greenberg’s afterword very interesting and fitting for his book. It is structured exactly how I imagined his day would be like -- frantic, interrupted, and misunderstood. I found it to be a very appropriate ending.