There are several components and questions raised by the work. Fundamentally, it is observations of architectural elements: form, geometry, interaction of plains, surface, space and the lack of. Through these components, it explores the connection between meditative space and contemporary design. The architecture moves beyond mere structures, striving to enhance the human condition.

Within the images, there is a mêlée between its intentions; appearing as both objective and subjective. The integrity of the architecture is preserved, providing an accurate representation of the structures. However, the images are inescapably subjective. There are always choices made when framing a photograph. This ambiguity allows the work to stay active, with no definite answers, but only the viewers own interpretation. The input of the image-taker only suggests how the viewer approaches the work, and the light in which they see it. It can be read in contradictory terms, as personal preferences are inherent. The photographs enable viewers to become one step removed, providing them with an objective view of somewhat familiar spaces we inhabit, allowing them a sense of their place, both physically and mentally, in this contemporary moment.

This dichotomy challenges ideas of beauty and architecture’s psychological effects. Spaces evoke personal emotional responses. In the work, these are crafted by the authorial role adopted by the photographer, as opposed to the ‘objective’ traditional approach of the German School. Much emphasis is given to light and shadow, and its volume within a space.