From nuclear test sites to the childhood home of Steve Jobs and the toilet of a deceased Albanian dictator, Copenhagen-based British photographer Alastair Philip Wiper's hyper-realistic, cinematic imagery transports readers into a world where buildings take on distinct personalities, each with its own captivating story. Wiper’s latest book, Building Stories, published by the Danish Architectural Press, unveils the hidden narratives within the world of architecture. Over 13 years, Wiper’s lens captured the uncanny beauty of both overlooked structures and renowned architectural icons worldwide, creating a visual odyssey that goes beyond conventional and architectural photography. STIR delves into the compelling narrative woven by Wiper, exploring the intricate interplay between architecture, fantasy and the human experience.

The photographer’s exploration began with acclaimed works like Unintended Beauty (2020, Hatje Cantz), where he peeled back the curtain on hidden industrial interiors. In Building Stories, his focus shifts, unravelling the uncanny beauty found in structures that echo with untold tales. Wiper’s unique perspective is underscored by his profound understanding of lines, symmetry, colour and visual art. His exploration delves into machines, technology and infrastructure, using them as a lens to explore humanity's needs, desires, dreams, and inquiries about the universe. This collection, built over years of meticulous observation, transcends the conventional bounds of architectural photography.

Building Stories is not merely a documentation of structures; it is an endeavour to capture the soul of each building. When asked about architectural photography, Wiper diverges from the traditional mould and says, “I take pictures of architecture, but I think that architectural photography as a genre is, more generally, in service to architects. I have no intention of doing that. My starting point is more inside my own head than anybody else's."

Wiper’s approach involves seeing buildings through the lens of personal experiences or childhood memories, often infusing his images with a fantasy element. “I see something in a building that makes me think that if I got it from the right angle, with the right light, then I could capture the fantasy in a picture,” he explains. The title of the book encapsulates this approach, as the photographer crafts narratives about the emotions and mysteries evoked by the structures he captures. He aims to transport viewers into a realm where interpretations escape reality, inviting them to formulate their stories about the personalities of the buildings, their designers, and their users.

Delving into the motivation behind his lens, Wiper explains, “...It translates their [architect's] ideas of how the building should look into a picture that can be shown to the rest of the world. This is the building. This is it as its intended look." The photographer’s images are not frozen moments in time but rather portals into a world of perpetual possibility.

The book’s title is a testament to the narrative quality woven into each image. Wiper’s goal is not merely to present structures but to create a visual symphony where buildings become characters in a larger-than-life story. This deviation from traditional architectural photography does not go unnoticed and the photographer acknowledges it. He says, “I don’t want to do a disservice to architectural photographers, there are some great ones out there, but my motivation and my starting point for this project comes from a different place”.

In a world saturated with images, Wiper’s work stands out for its ability to evoke curiosity and wonder. His images do not serve a didactic purpose; they do not dictate how a building should be perceived or understood. Instead, they raise questions, leaving viewers to ponder the mysteries within each frame. Recognising the resonance with architectural objectives, Wiper reflects, “One could say I am on a quest to capture the spirit of the building, regardless of whether that aligns with the intended spirit. The aim is undeniably to reflect an atmosphere or a sense of wonder."

A recurring theme woven throughout Wiper’s body of work revolves around the notion of the “uncanny”. He articulates that during the discussions surrounding the book’s selection, the term emerged as a central theme. Rather than intending to convey an inherent sense of eeriness, he expresses an affinity for the idea that the buildings he visited weren’t particularly scary in most aspects. However, he finds success in his photography when he can transform these structures into something else, evoking an uncanny feeling in viewers.

The uncanny, a quality often associated with the strange or unsettling, finds a home in Wiper’s photographs. He takes spaces that are inherently public, such as swimming pools, generic supermarket car parks in Denmark or top-secret government laboratories in the United States and strips them of their usual human presence. This intentional absence generates a sense of mystery and, indeed, the uncanny. The familiar becomes unfamiliar, and the photographer’s lens captures the essence of these spaces in moments devoid of the usual bustle. Wiper’s inclination towards an empty space is intentional. He shares, “Something changes when there aren’t any people in an image. Sometimes people can add life to a picture and make it special, but it can very easily take away some of the gravity of a picture if it's not done in just the right way.” The absence of human figures allows the buildings to take centre stage, encouraging viewers to confront the architecture on its terms. In these spaces, devoid of the usual human activity, the photographs become a contemplative exploration of the unknown.

Beyond the absence of people, certain visual motifs and symbols emerge in the photographer’s work. Doorways and hallways, recurring elements in his compositions, add a layer of depth to the photographs. Wiper acknowledges his starting point with pictures, emphasising the graphic element lines. According to him, these lines are the crucial building blocks, essential for initiating a picture and contemplating its essence. He highlights the graphic nature of doorways, considering them a strong and straight foundation that aids in the creative process.

The doorways and corridors in Wiper’s images transcend their utilitarian purposes. They become conduits to the unknown, stirring the imagination. The graphical elements combined with the deliberate play of light, contribute to the cinematic quality that defines the photographer’s work. “I am very happy with the description because I love the idea of either; what has just happened or what is about to happen. What is it that’s going on, or why am I looking at this picture? These are all questions I want to leave unanswered in my work,” he remarks.

This deliberate ambiguity is a hallmark of Wiper’s photographs. His images are not neatly packaged narratives but rather fragments of a larger story. Viewers are invited to fill in the gaps, to imagine the scenes that unfold beyond the edges of the frame. This fosters a sense of engagement, as viewers become active participants in the storytelling process. One term that captures the essence of the photographer’s work is “magic”. The play of light, and the purposeful framing collectively contribute to a sense of magic within his images. Wiper comments, “I really like the word ‘magic’ and I think that a photographer’s job is to show things that people often see with their own eyes but in a different way.”

For Wiper, magic is not just about creating visually striking images; it is about transforming the mundane into the extraordinary. His photographs breathe life into spaces typically considered sterile or functional. Machinery and infrastructure, devoid of human presence, become protagonists in a visual narrative that celebrates the human connection to the built environment. In discussing the artificiality within his images, the photographer clarifies his approach by saying, “I am doing a mixture of documentary and fine art photography. The things I am taking pictures of are real, I am not faking what they are. I am not creating a new building that didn’t exist. But at the same time, I am not trying to show it as if it is some kind of social realism project. I am trying to transform it into something that has come out of my mind."

This blending of documentary and fine art allows Wiper to navigate the realms of reality and imagination. While the subjects are real, his lens introduces an element of interpretation, inviting us to see beyond the surface. The dichotomy of reality and artifice coexist within each frame, encouraging contemplation on the nature of perception. Light, a crucial element in his work, takes on different roles in exterior and interior shots. In exterior shots, particularly those taken at night, Wiper leverages the drama of long exposures. The interplay of ambient colours in the night sky transforms even the most mundane buildings into captivating visual spectacles. The use of extended exposure captures details and colours beyond the human eye’s immediate perception, adding a layer of enchantment to the images.

In reflection on his dynamic process of photographing a building, the visual artist emphasises, “When engaged in photographing a building, whether for personal projects or commissioned work, the meticulous approach becomes evident. The process involves a significant investment of time; walking around, waiting for the light to change and examining the structure from various angles. I could spend at least a day capturing different lighting solutions.” This approach is apparent in the rich tapestry of Wiper’s images. Each photograph reflects a patient exploration of the building’s nuances, gradually revealing its personality. The photographer’s process goes beyond capturing mere visuals; it involves building a relationship with the structure and comprehending its interactions with light and space. The buildings, in his lens, cease to be inanimate objects; they transform into dynamic entities with moods that shift with the changing light.

Wiper’s work transcends the realm of a simple collection of photographs; it extends an invitation to reimagine the relationship with the built environment. His images challenge preconceived notions, presenting a fresh perspective on the architectural landscape. The essence of Building Stories goes beyond the confines of conventional books; it unfolds as a visual odyssey that transcends traditional boundaries, inviting us to embrace the magic woven into the fabric of the structures that surround us.