These are places that people barely notice in passing. I stop there and photograph them head-on. This frontal approach leaves all the room for their lines, their materials, and what they truly are.

The choice of moment matters as much as the technical decisions: at daybreak or at twilight, the softest light gives them a presence they do not have in broad daylight.

The streets are empty at those hours. This absence is no accident: a human presence would be enough to draw the eye away from the building itself, and to break the silence that is the true substance of these images.