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Alvar Aalto: Riola Parish Church, Bologna photograph © Thomas Deckker 1981
Modern Architecture Series
2020

Luis Barragan: El Muro Rojo, Mexico City photo © Thomas Deckker 1997
Red Series
2020

Sand Fences, Blakeney photo © Thomas Deckker 1997
Beach Series
2020

Tractors, Norfolk Coast photo © Thomas Deckker 2018
Tractor Series
2020

Tenement Entrance, Dundee photo © Thomas Deckker 2007
Dundee
2012

Edzell photo © Thomas Deckker 2007
Edzell Castle
2012

Elcho photo © Thomas Deckker 2007
Elcho Castle
2012

Aerial Views, Northern Canada photo © Thomas Deckker 1997
Aerial Views, Northern Canada
1997

Luis Barragan: House and Studio photo © Thomas Deckker 1997
Barragan
1997

Xochicalco, Mexico photo © Thomas Deckker 1997
Mexico
1997

Elevator, Lamesa, Texas photo © Thomas Deckker 1995
Lamesa
1995
Rhodes Welding, Snyder, Texas photo © Thomas Deckker 1995
Rhodes Welding
1995

Chinati Foundation, Marfa Texas photo © Thomas Deckker 1995
Marfa
1995

Beckton Gasworks © Thomas Deckker 1988
Beckton Gasworks
1988

Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge
1980

Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge
photo © Thomas Deckker 1980

Kettles Yard

Kettles Yard was originally a small group of 4 derelict houses bought and renovated in 1958 by Jim and Helen Ede. Jim Ede had been a curator at the Tate Gallery and was a friend of important Modern English artists such as Ben Nicholson, Barbara Hepworth and Christoper Wood and others in their circle such as Alfred Wallis. The house was extended first in 1970, partly as living space and partly as gallery, by Sir Leslie Martin and David Owers, and again in 2018 by Jamie Fobert as major new gallery spaces.

The house combines 2 extraordinary aesthetic sensibilities: on one hand, of Jim and Helen Ede and on the other, Sir Leslie Martin and David Owers. The new house is a beautiful series of spaces, with an interplay of levels and light. There are almost no windows in the new house, with most light coming from hidden sources overhead. This serves to distance the spaces from the site, so strongly emphasised in the old house, and focus experience on the interior spaces. While the work of Leslie Martin is - quite rightly - characterised as Modern, in this house one can see the props of Modernism such as rationality and abstraction complemented by a new sensuousness and materiality.

Shot at 200 ASA on Agfa 100 ASA consumer slide film and push processed. This gave a slightly dreamy quality to the photographs that I thought complemented the abstract architecture and showed the true nature of the space.
Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge
photo © Thomas Deckker 1980

The Old House

Kettles Yard, Cambridge photo © Thomas Deckker 1980
Kettles Yard, Cambridge
photo © Thomas Deckker 1980