摄影师Alejandro Ramirez Orozco镜头下的建筑精神

摘要：Casa del Atrio位于墨西哥城的San Ángel区，是墨西哥建筑师Antonio Attolini Lack于1990年设计的一座私宅。如今成为一处“背景”，展示着集合13位设计师的25件原创作品，影像由墨西哥摄影师Alejandro Ramire

Casa del Atrio位于墨西哥城的San Ángel区，是墨西哥建筑师Antonio Attolini Lack于1990年设计的一座私宅。如今成为一处“背景”，展示着集合13位设计师的25件原创作品，影像由墨西哥摄影师Alejandro Ramirez Orozco负责，其极具情感张力的摄影风格，呈现了一个关于材料、光影与精神的美学实验，为当代设计带来一种全新叙述方式。

Casa del Atrio is located in the San Angel district of Mexico City. It is a private residence designed by Mexican architect Antonio Attolini Lack in 1990. Nowadays, it has become a "backdrop", showcasing 25 original works by 13 designers. The images are handled by Mexican photographer Alejandro Ramirez Orozco. His highly emotionally charged photographic style presents an aesthetic experiment on materials, light and shadow, and spirit, bringing a brand-new narrative approach to contemporary design.

作为一位才华横溢的现代主义建筑师，Antonio Attolini Lack曾提出“建筑是一种生活姿态，一种存在方式”的观念，并强调情感在建筑中所扮演的角色——“就像诗歌一样。”他在20世纪中叶将现代主义建筑语言本地化，形成极具个人风格的思想体系。

As a brilliant modernist architect, Antonio Attolini Lack once put forward the concept that "architecture is a posture of life, a way of being", and emphasized the role that emotions play in architecture - "just like poetry." In the middle of the 20th century, he localized modernist architectural language and formed an ideological system with a highly personal style.

毛茸长椅来自Fernando Laposse，丰富的“鬃毛”由天然染成电光粉色的龙舌兰纤维制成；RRRES的羊毛地毯，曲线造型和鲜艳色彩充满了趣味的语言，为房屋增添了活力。

手捧的雕塑图腾作品来自设计师兼艺术家 Laura Estela Huerta

座椅来自Eduardo Altamirano

吊灯和边桌由Manu Bañó手工锤制（分别采用由铝和铜制成）

Antonio Attolini Lack的建筑生涯可分为两个阶段：早期以轻盈通透的钢与玻璃构造主材，在Pedregal火山岩地貌上描绘现代生活的理想图景；他成熟期的作品，则转向更具厚重感的体块结构、干净的几何语言与修道院式的空灵表达，追溯本土传统工艺与建筑遗产的精神线索。

Antonio Attolini Lack's architectural career can be divided into two stages: In the early stage, he constructed the main materials with light and transparent steel and glass, depicting the ideal picture of modern life on the volcanic rock landform of Pedregal; His mature works, however, shift towards more weighty volume structures, clean geometric language and monastery-like ethereal expressions, tracing the spiritual threads of local traditional craftsmanship and architectural heritage.

来自Héctor Esrawe的网格状金属烛台

Casa del Atrio 正是其后期美学的代表作，建筑由多个高挑空间、内庭与花园交错构成，处处充满自然光。Antonio Attolini Lack对细节的极致控制体现在每一个角落——从手工定制的松木家具，到如同雕刻般嵌入白墙的壁炉与书架。他亲自设计的门把手，反映了他追求整体艺术的理念，使整座建筑成为一个统一、完整的情感载体。

Casa del Atrio is precisely the representative work of its later aesthetics. The building is composed of multiple tall Spaces, interlaced inner courtyards and gardens, and is filled with natural light everywhere. Antonio Attolini Lack's ultimate control over details is reflected in every corner - from the handcrafted pine furniture to the fireplace and bookshelf that are carved into the white walls. The door handles designed by him personally reflect his pursuit of the concept of overall art, making the entire building a unified and complete emotional carrier.

正是这样一处精神性空间，唤起了摄影师Alejandro Ramirez Orozco的创作冲动。他将25件艺术作品分别陈设于建筑中的不同区域：从客厅、迷人的旋梯与花园走廊，到中庭那几面赭黄、石蓝与蛋黄色的墙体——产品与建筑、光与影、线与体，产生富有张力的对话。

It is precisely such a spiritual space that has aroused the creative impulse of the photographer Alejandro Ramirez Orozco. He placed 25 artworks respectively in different areas of the building: from the living room, the charming spiral staircase and the garden corridor, to the several walls of ochre, stone blue and egg yellow in the atrium - products and the building, light and shadow, lines and volumes, generating a tense dialogue.

设计这25件产品的设计师来自墨西哥多个地区，他们使用陶土、金属、木材、毛织、橡胶、火山土等各类材料，创作出有着不同功能与表现力的作品。有的粗粝，有的光滑，有的极具雕塑感，也有的细腻如画。部分作品甚至为这次拍摄而特别定制，或专为某个视角而量身打造。

The designers of these 25 products come from multiple regions of Mexico. They use various materials such as clay, metal, wood, wool, rubber, and volcanic soil to create works with different functions and expressiveness. Some are rough, some are smooth, some are highly sculptural, and some are as delicate as a painting. Some of the works were even specially customized for this shoot, or tailor-made for a certain perspective.

Alejandro Ramirez Orozco的拍摄手法同样体现出精致的叙事逻辑。他以远摄镜头压缩景深，消除透视消失点，使图像呈现一种接近绘画的扁平感与构图张力。影像后期也秉持严谨的构思策略，强调光线、结构与色彩的呼应，打造一种具有触感的视觉深度。

The shooting techniques of Alejandro Ramirez Orozco also demonstrate exquisite narrative logic. He uses a telephoto lens to compress the depth of field, eliminate perspective vanishing points, and make the image present a flat feeling and compositional tension close to that of a painting. The post-production of the images also adheres to a rigorous conception strategy, emphasizing the correspondence between light, structure and color, to create a visual depth with a tactile sensation.

不仅是物与空间的互文，摄影中也时常会出现一位穿扮极简服饰的人物。这种中性形象并非为了具象的叙事，而是在尺度与比例之间，引入一种静默的人类存在，让观者得以在理性与感性之间，自由游移。

Not only is there an intertextual interaction between objects and Spaces, but in photography, a figure dressed in minimalist clothing often appears. This neutral image is not for concrete narrative, but to introduce a silent human existence between scale and proportion, allowing viewers to freely move between rationality and sensibility.

最终的影像呈现犹如一组跨越材料、空间与情绪的视觉协奏曲。在这些作品中，设计不是对物的装饰，而是对空间的回应；建筑不再是沉默之器，而成为主动参与对话的主体。这种“容器与所容之物”的精神一致性，正是Antonio Attolini Lack和Alejandro Ramirez Orozco所共同追求的哲学。

The final visual presentation is like a set of visual concertos that transcend materials, space and emotions. In these works, design is not the decoration of objects, but the response to space. Architecture is no longer a silent vessel but has become the subject actively participating in the dialogue. This spiritual consistency of "the container and what it contains" is precisely the philosophy that Antonio Attolini Lack and Alejandro Ramirez Orozco have jointly pursued.

正如Alejandro Ramirez Orozco一直以来所探索的——如何用镜头捕捉空间的精神，在Casa del Atrio，他在拍摄建筑中的设计作品同时，还记录下了一个关于墨西哥当代设计表达的集体画像。这是一场静态展览的替代，更是一种空间诗学的再现。

Just as Alejandro Ramirez Orozco has been exploring all along - how to capture the spirit of space with the lens, at Casa del Atrio, while shooting the design works in architecture, he also recorded a collective portrait of contemporary design expression in Mexico. This is an alternative to a static exhibition, and even more so, a reproduction of spatial poetics.