http://www.lukehayes.com Luke Hayes Photography Sat, 07 Jan 2012 21:13:18 +0000 http://www.lukehayes.com en http://www.lukehayes.com/Skytower-Auckland http://www.lukehayes.com/following/lukehayes.com/Skytower-Auckland Sat, 07 Jan 2012 21:13:18 +0000 Luke Hayes Photography 2563258 These are some images of the Skytower in Auckland, New Zealand. It was designed by Craig Craig Moller Ltd, and is the tallest freestanding structure in the southern Hemisphere. <img src="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-1_1000.jpg" border="0" width="1000" height="889" width_o="1042" height_o="927" src_o="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-1_o.jpg" align="left" /> <img src="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-2_1000.jpg" border="0" width="1000" height="889" width_o="1042" height_o="927" src_o="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-2_o.jpg" align="left" /> <img src="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-3_1000.jpg" border="0" width="1000" height="889" width_o="1042" height_o="927" src_o="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-3_o.jpg" align="left" /> <img src="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-4_1000.jpg" border="0" width="1000" height="889" width_o="1042" height_o="927" src_o="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-4_o.jpg" align="left" /> <img src="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-5_1000.jpg" border="0" width="1000" height="889" width_o="1042" height_o="927" src_o="http://payload13.cargocollective.com/1/4/136272/2563258/Skytower-5_o.jpg" align="left" /> http://www.lukehayes.com/Serpentine-Pavilions http://www.lukehayes.com/following/lukehayes.com/Serpentine-Pavilions Fri, 09 Dec 2011 18:55:26 +0000 Luke Hayes Photography 2434097 Here are a selection of my images of the Serpentine Pavilions over the last few years. Architects include: SANNA, Zaha Hadid, Frank Ghery, Olafur Eliason and Jean Nouvel. <img src="http://payload6.cargocollective.com/1/4/136272/2434097/2_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/2_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/4_1000.jpg" border="0" width="900" height="944" width_o="900" height_o="944" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/4_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Elliason-pavilion-2_1000.jpg" border="0" width="900" height="556" width_o="900" height_o="556" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Elliason-pavilion-2_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Luke-Hayes-9-a_1000.jpg" border="0" width="900" height="821" width_o="900" height_o="821" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Luke-Hayes-9-a_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/NOU-4_1000.jpg" border="0" width="900" height="800" width_o="900" height_o="800" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/NOU-4_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/NOU-8_1000.jpg" border="0" width="904" height="1192" width_o="904" height_o="1192" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/NOU-8_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/party-26_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/party-26_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-2_1000.jpg" border="0" width="900" height="593" width_o="900" height_o="593" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-2_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-33_1000.jpg" border="0" width="1000" height="666" width_o="1348" height_o="899" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-33_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-48_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Serp-48_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2434097/Serpentine-7_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2434097/Serpentine-7_o.jpg" align="left" /> http://www.lukehayes.com/Gwangju-Follies-2011 http://www.lukehayes.com/following/lukehayes.com/Gwangju-Follies-2011 Fri, 09 Dec 2011 16:36:52 +0000 Luke Hayes Photography 2433420 I travelled to Gwangju in South Korea to document the Follies which had been commissioned by the Gwangju Bienalle. Architects involved include: Juan Herreros, Florien Beigal and ARU, Nadar Tehrani, Alejandro Zaera-Polo, Peter Esienman, SH Jung and SJ Kim, Joh Sung-Yong, Dominique Perrault, Francisco Sanin and Yoshiharu Tsukamoto <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6763.jpg" border="0" width="600" height="900" width_o="600" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6763_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6774.jpg" border="0" width="600" height="900" width_o="600" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6774_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6783_1000.jpg" border="0" width="786" height="900" width_o="786" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6783_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6804.jpg" border="0" width="600" height="900" width_o="600" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6804_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6832_1000.jpg" border="0" width="900" height="887" width_o="900" height_o="887" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6832_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6879_1000.jpg" border="0" width="900" height="683" width_o="900" height_o="683" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6879_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6894.jpg" border="0" width="600" height="900" width_o="600" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6894_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6910_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6910_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6945_1000.jpg" border="0" width="900" height="600" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6945_o.jpg" align="left" /> <img src="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6952.jpg" border="0" width="600" height="900" width_o="600" height_o="900" src_o="http://payload6.cargocollective.com/1/4/136272/2433420/_MG_6952_o.jpg" align="left" /> http://www.lukehayes.com/Concrete-road-Calais http://www.lukehayes.com/following/lukehayes.com/Concrete-road-Calais Thu, 11 Aug 2011 23:53:32 +0000 Luke Hayes Photography 1848042 <img src="http://payload.cargocollective.com/1/4/136272/1848042/Concrete-Calais-1_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1848042/Concrete-Calais-1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1848042/Concrete-Calais-2_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1848042/Concrete-Calais-2_o.jpg" align="left" /> http://www.lukehayes.com/Sheike-Zayed-Bridge-construction-Abu-Dhabi http://www.lukehayes.com/following/lukehayes.com/Sheike-Zayed-Bridge-construction-Abu-Dhabi Tue, 09 Aug 2011 10:55:33 +0000 Luke Hayes Photography 1838432 <img src="http://payload.cargocollective.com/1/4/136272/1838432/concrete-zaha-21_1000.jpg" border="0" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/136272/1838432/concrete-zaha-21_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-31_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-31_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-4_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-13_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-13_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-18.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-18_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-25.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-25_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-19_1000.jpg" border="0" width="789" height="955" width_o="789" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-19_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-21_1000.jpg" border="0" width="802" height="955" width_o="802" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1838432/Abu-Dhabi-21_o.jpg" align="left" /> http://www.lukehayes.com/Chicago http://www.lukehayes.com/following/lukehayes.com/Chicago Wed, 03 Aug 2011 23:49:51 +0000 Luke Hayes Photography 1818067 <img src="http://payload.cargocollective.com/1/4/136272/1818067/Brit-private-view-139_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1818067/Brit-private-view-139_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/Brit-private-view-136_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1818067/Brit-private-view-136_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/LH-select-9_1000.jpg" border="0" width="1000" height="666" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/4/136272/1818067/LH-select-9_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/Chicago-6_1000.jpg" border="0" width="955" height="710" width_o="955" height_o="710" src_o="http://payload.cargocollective.com/1/4/136272/1818067/Chicago-6_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/Kedzie-test_1000.jpg" border="0" width="1000" height="492" width_o="1000" height_o="492" src_o="http://payload.cargocollective.com/1/4/136272/1818067/Kedzie-test_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-2_1000.jpg" border="0" width="955" height="658" width_o="955" height_o="658" src_o="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-3_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-1_1000.jpg" border="0" width="677" height="955" width_o="677" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-4_1000.jpg" border="0" width="676" height="955" width_o="676" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1818067/CHICAGO-4_o.jpg" align="left" /> http://www.lukehayes.com/MAXXI-by-Zaha-Hadid-Architects-Winner-of-the-2010-Stirling-prize http://www.lukehayes.com/following/lukehayes.com/MAXXI-by-Zaha-Hadid-Architects-Winner-of-the-2010-Stirling-prize Wed, 03 Aug 2011 23:22:36 +0000 Luke Hayes Photography 1817940 <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-1_1000.jpg" border="0" width="955" height="617" width_o="955" height_o="617" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-2_1000.jpg" border="0" width="955" height="764" width_o="955" height_o="764" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-5_1000.jpg" border="0" width="831" height="955" width_o="831" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-4_1000.jpg" border="0" width="955" height="665" width_o="955" height_o="665" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-3_1000.jpg" border="0" width="1000" height="502" width_o="1000" height_o="502" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-8.jpg" border="0" width="634" height="955" width_o="634" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-8_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-9.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-9_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-6.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817940/MAXXI-6_o.jpg" align="left" /> I was commissioned by Zaha Hadid Architects to go to Italy a week before the MAXXI opened. Words by Sarah Simpkin: MAXXI, Rome by Zaha Hadid Architects MAXXI was originally conceived as a modest extension of Rome’s National Gallery of Modern Art, but its scope grew as the city, inspired by the ‘Bilbao effect’ and the opening of Tate Modern in London, nurtured an ambition for its own major cultural centre. In 1998, with the support of the Italian Government, an international competition was held for its design. The original brief was for the rescue and enlargement of the former Montello military barracks in the north of the city. At this stage, Arte Povera, the Italian movement borne out of the economic hardship and instability of the 1960s, was a reference – not for its frugality but the radicalism of its approach, its openness to new materials and processes. In the same spirit, the city was open to the idea of a completely new building – Zaha Hadid responded with a painting showing a series of superimposed volumes, untroubled by the demands of use or gravity. Even as MAXXI was being built, its collection was still in the early stages of development. The building then, had primacy over the art – a reflection¬, perhaps, of architecture’s role in what Umberto Eco calls the “prestige game”, in which countries compete to present the same thing in the best way. The game is won, says Eco, “by the country that best tells what it does, independently of what it actually does.” The architects say the intention was never to fill MAXXI, but to create “a place of experimentation, of production and distribution.” There is a range of ancillary spaces, along with provision for artists’ residences and studios, as well as libraries for students and researchers. The architects worked unusually closely with the curators in the acquisition of art: instigating competitions, purchasing pieces, and setting in place a policy of exchange with major institutions, such as the Pompidou and MoMA. There was also a certain freedom in the museum’s location in the district of Flaminio, outside the Aurelian walls and beyond the reach of Rome’s more rigid building constraints. The area has a history of reinvention: it was the location of a military base, 30s housing projects, the 1960 Olympic Games, which produced some of the city’s finest modern architecture – Pier Luigi Nervi’s Stadio Flaminio and the magnificent concrete dome of his Palazzetto dello Sport – and Renzo Piano’s 2002 concert hall, the Parco della Musica. MAXXI’s arrival seals Flaminio’s cultural renaissance. For a building of such drama, MAXXI demonstrates an impressive sensitivity to place. The building’s modest two-storeys do not overwhelm their surroundings; in fact the residential block to the rear is taller. Transposing some of the vertical elements explored in the practice’s early work into a fluid, horizontal form, MAXXI weaves through the semi-circular grid of Flamino’s wide boulevards. The building assumes a surprisingly discreet presence as you approach on Via Guido Reni. Only when you enter the grounds do you fully appreciate the scale of the concrete structure as it rolls out onto the plaza. There is no main elevation and no obvious direct approach. Instead, you slide along its edges before disappearing under the entrance canopy, a thick swathe of concrete propped up by slender columns. The museum is in two parts: one specialising in art, another in contemporary architecture, with a canyon-like space between the two volumes. The walls, bent by force of will and imagination, belie their structural complexity. When stacked on top of one another, the floor plates do not match, as dense concrete walls appear to be supported by empty voids. To achieve this, the structural solution makes use of innovative self-compacting concrete, 8,000 square metres of which is glass-reinforced. A concrete factory was installed on an adjacent lot for six years, as the quantity and quality required meant that fresh concrete was essential – at one point, it could only be cast at night, when the temperature could create the desired mixture. Although this process must have been trying for local residents, they have been rewarded with a generous new public plaza, reclaimed from the previously fenced-off barracks, as well as a significant increase in the value of their homes, now boasting the ‘MAXXI view’. The roof plan can be traced directly from Hadid’s first painting of the museum, and the natural light that drifts through into the atrium gives a Mediterranean feel to the interior. The contrast between the narrow rails on the roof and the broad galleries echoes the relationship between Flaminio’s wide avenues and the denser network of narrow streets in between. The atrium walls rise up through the first and second floors, swallowing the existing building, leaving only arches as a reminder of what once stood on the site. Narrow tiers of black staircases converge above and the solid mass of exposed concrete, colliding with white walls and under-lit walkways, offers an analogous experience of the city. You could compare it to the stark futurism of Fritz Lang’s Metropolis, but it is ill fitting of MAXXI’s glamorous internal world, which has more in common with the surprise of Gregory Peck’s playful ad-lib by the Bocca della Verita in Roman Holiday. Certainly, looking down, seeing the black web of paths weave between the gallery suites, the effect is pure cinema. The space is so sleek and refined that the public milling about are transformed, choreographed and uplifted. The café spills out into the plaza, there is space for temporary exhibitions and an auditorium, as well as a shop and the ticket office. Open to the public throughout the day and at night, it is a place for Rome to meet. In MAXXI, every space is a gallery. Pieces can be hung from the beams that run through the lobby into the exhibition areas and partitions can be suspended from the roof. The building is highly flexible – the fluid commissioning process and uncertainty over the type of work that would fill the five main galleries means that every space is designed to the highest acoustic, lighting and technical specifications. The ground floor gallery is the largest: its L-shaped plan curves around what is left of the military installation and its form is mirrored in two long spaces on the floor above. MAXXI’s big sculptural piece is found in gallery number five, which is cantilevered 15 metres from the building to form its highest point and a window over Rome. Though it appears to project, the gallery floor is suspended from the side walls, which function as two long beams. In fact, the entire building is minimally supported by vertical loads – the great column-free expanse of gallery three on the first floor, for example, is a bridging point. Like a work of art, MAXXI can seem bewildering: it can make you feel small, then offer up a commanding view of the entire plaza; a glass strip on the second floor gives visitors a deceptive glimpse down into a double-height space at ground level. There is an element of continuous surprise – in the use of colour, materials, contrasts, exhibits, but most of all in the shape of the spaces, which are organic and free-flowing. As project architect, Gianluca Racana explains: “We didn’t want to end up with the building as an object, where you find the entrance and then room after room after room. Instead, it is a field of elements with the same formal language.” While MAXXI marks a change in outlook for Rome, it is equally significant for Zaha Hadid’s own studio. From the competition in 1998 to its opening in 2010, the project has coincided with Hadid’s transition from an avant-garde figure with few realised projects to an established international force. It also marks a shift in working practices, as at MAXXI’s inception, parametric modelling was a relatively new tool. Despite this period of intense change, the finished building is remarkably faithful to Hadid’s original painting. Racana believes there was a need for something new and fresh in a city that “for many years has had a block on its own past.” He ascribes the positive response from the Italian press to the building’s monumental qualities, which make it feel more conventionally Roman in its presence and in its vast scale. The hidden structure could be related to an ancient precedent: the Roman tradition eschewed the column in favour of the moulded arch and dome forms, subjugating it to mere decoration. It was the early development of concrete that made Rome’s great vaults possible – the inscrutability of MAXXI’s vast cantilevered rooms and playful slender pillars are their natural successor. But it could be that the success of the project, which beat David Chipperfield’s epic restoration of Berlin’s Neues Museum to win the 2010 Stirling Prize, is in resisting the weight of Rome’s architectural legacy – for once, the Museum speaks of the city’s desire for reinvention, rather than its past. © Sarah Simpkin http://www.lukehayes.com/Hotel-Icon-Hong-Kong http://www.lukehayes.com/following/lukehayes.com/Hotel-Icon-Hong-Kong Wed, 03 Aug 2011 23:18:32 +0000 Luke Hayes Photography 1817917 <img src="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-04_1000.jpg" border="0" width="955" height="846" width_o="955" height_o="846" src_o="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-04_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-13.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-13_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-07_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1817917/Hotel-Icon-07_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817917/HOTEL-ICON-POOL_1000.jpg" border="0" width="955" height="637" width_o="955" height_o="637" src_o="http://payload.cargocollective.com/1/4/136272/1817917/HOTEL-ICON-POOL_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817917/IMG_0786_1000.jpg" border="0" width="861" height="1000" width_o="861" height_o="1000" src_o="http://payload.cargocollective.com/1/4/136272/1817917/IMG_0786_o.jpg" align="left" /> Hotel Icon is one of the leading design hotels in Hong Kong. I was commissioned to go out and shoot marketing images for the hotel. Designers involved include Sir Terrance Conran, Rocco Yim and Dr Patrick Blanc. http://www.lukehayes.com/Tokyo http://www.lukehayes.com/following/lukehayes.com/Tokyo Wed, 03 Aug 2011 23:13:19 +0000 Luke Hayes Photography 1817896 <img src="http://payload.cargocollective.com/1/4/136272/1817896/tokyo-14_1000.jpg" border="0" width="955" height="728" width_o="955" height_o="728" src_o="http://payload.cargocollective.com/1/4/136272/1817896/tokyo-14_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-19_1000.jpg" border="0" width="955" height="621" width_o="955" height_o="621" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-19_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-29_1000.jpg" border="0" width="955" height="808" width_o="955" height_o="808" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-29_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-37_1000.jpg" border="0" width="900" height="955" width_o="900" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-37_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-61_1000.jpg" border="0" width="955" height="946" width_o="955" height_o="946" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-61_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-33.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-33_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/tokyo-18.jpg" border="0" width="637" height="955" width_o="637" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817896/tokyo-18_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-34.jpg" border="0" width="603" height="955" width_o="603" height_o="955" src_o="http://payload.cargocollective.com/1/4/136272/1817896/TOKYO-34_o.jpg" align="left" /> http://www.lukehayes.com/Harlow-Town http://www.lukehayes.com/following/lukehayes.com/Harlow-Town Wed, 03 Aug 2011 23:04:29 +0000 Luke Hayes Photography 1817816 <img src="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-9_1000.jpg" border="0" width="950" height="695" width_o="950" height_o="695" src_o="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-9_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-6_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-6_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-10_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-10_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-19_1000.jpg" border="0" width="840" height="950" width_o="840" height_o="950" src_o="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-19_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-1_1000.jpg" border="0" width="950" height="633" width_o="950" height_o="633" src_o="http://payload.cargocollective.com/1/4/136272/1817816/Harlow-1_o.jpg" align="left" />