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daniel_annenkov
Daniel Annenkov
Architectural & Interior photographer
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Play space “Below the grass” in GES - 2 I architectural bureau “Chekharda” and artist Irina Korina
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Paul-Gerhardt-Kirche (Berlin-Schöneberg), 1958-62 I Hermann Fehling, Daniel Gogel und Peter Pfankuch
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
Neue Nationalgalerie Berlin, 1963 - 68 I Ludwig Mies van der Rohe
Renovation, 2021 I David Chipperfield Architects
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
St. Joseph’s Church, Le Havre, 1951 - 57 I Auguste Perret, Raymond Audigier
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Playhouse + Cinema GES-2, House of Culture I Renzo Piano Building Workshop
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
Khadzar of Dreams
North Ossetia possesses a vibrant and unique cultural heritage: here, traditions are not merely preserved, but continue to evolve, adapting to changing circumstances. Collective practices have remained particularly significant to local residents for centuries. At this exhibition, these practices are embodied through the imagery of two urban spaces: the khadzar and the cinema.
The khadzar is a phenomenon exclusive to Ossetian culture—a dedicated structure built by residents in the courtyards of apartment blocks for gatherings and feasts to mark holidays and anniversaries. The cinema, by contrast, is a symbol of the twentieth century and an example of a former urban focal point; its visible decline across the post-Soviet landscape has come to signify the sunset of Modernist culture.
Architecture
Olga Rokal (UTRO bureau), Denis Gavrilin
Lighting
Ksenia Kosaya
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