Per­spec­tives

It’s all about how you see things­— and how you don’t.

Esquire (Singapore) - - PHOTO ESSAY - WORDS BY BILL POOR MAN PHO­TO­GRAPHS BY FRAN­CISCO MARIN

Have you ever looked at the world upside down?

Maybe as a lit­tle kid you hung your head over the side of the sofa or the bed and pic­tured your­self as Spi­der­Man, walk­ing on the ceil­ing. Maybe you’re flex­i­ble enough to­day to bend over and look through your legs thanks to those yoga classes. Ei­ther way, once you are upside down—and you’ve got­ten past the sen­sa­tion of the blood rush­ing to your head—you see a whole new world. I re­mem­ber do­ing this as a child and be­ing fas­ci­nated by how ev­ery­thing could change so much in such an easy way. What was so fa­mil­iar was now sur­pris­ingly and in­stantly sur­real. It was strange, un­set­tling, ex­cit­ing and de­light­ful all at the same time. All with a sim­ple change of per­spec­tive.

Look­ing at the world upside down is just one of the dif­fer­ent an­gles ar­chi­tec­tural pho­tog­ra­pher Fran­cisco Marin chose in his lat­est se­ries of im­ages. We’re all ac­cus­tomed to see­ing build­ings from afar and from our daily point of view. But Marin got close, pointed his lens to­ward the sky or ceil­ing or at a cer­tain part of a struc­ture and fo­cused in—bring­ing out new forms and ex­pe­ri­ences. And while you are look­ing up or in a dif­fer­ent di­rec­tion, you can’t nec­es­sar­ily tell which way is up. Marin’s pho­tos can be ap­proached from any an­gle, cre­at­ing new ab­stract de­signs while toy­ing with your sense of ori­en­ta­tion and fa­mil­iar­ity.

Hav­ing trained as an ar­chi­tect in his na­tive Mex­ico, Marin un­der­stands how de­sign is sup­posed to work from the usual an­gles. And that’s pre­cisely what pushed him to go fur­ther.

“Pieces of ar­chi­tec­ture of­fer me the chal­lenge of find­ing dif­fer­ent ways to ap­pre­ci­ate it,” says Marin. “Ar­chi­tec­ture is so much more than what is found in daily life. Not ev­ery­thing needs to be at eye level and look­ing in the same di­rec­tion. I try to find ways to look at the ge­om­e­try and the or­ganic parts of ar­chi­tec­ture and bring those out in new ways that peo­ple don’t usu­ally see, not even the ar­chi­tect.”

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Ky­oto, Ja­pan.

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