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Inside the Studio: Koen Van Damme
- Art Dealer Street
- Mar 25
- 8 min read
Updated: Mar 26
Architectural photography is more than just capturing buildings—it’s about revealing their essence, atmosphere, and interaction with light and space. Koen Van Damme, a celebrated architectural photographer, has mastered this art, creating compositions that blend precision with emotion. From his early fascination with ruins in Italy to photographing some of the world's most iconic structures, Koen’s work has been featured in leading architectural magazines and exhibitions worldwide. In this exclusive interview, he shares his creative process, inspirations, and the meditative philosophy that shapes his photography.
Read on to learn more in an exclusive interview with Koen Van Damme :
1. Your architectural photography is described as intense and concentrated, involving much more than just taking pictures. Could you elaborate on your approach to capturing the essence of a building?
Capturing the essence of a building requires more than just documenting its form—it’s about conveying its atmosphere, purpose, and interaction with light, space, and time. My approach is deeply meditative, exploring abstraction, perception, and materiality.
How do I achieve that? It starts with understanding the architect’s vision. That’s why I always ask for plans and existing images when preparing for a shoot. Researching the building’s history, design philosophy, and materials is an important step before photographing it. In my early days, my framing and composition were mainly guided by Mies van der Rohe’s “less is more” principle.
Observing light and shadow is crucial. Light defines architecture. Besides that, I use symmetry, leading lines, and framing to create a balanced composition. Abstract details help reveal the essence of a building.
I’m always inclined toward minimalist compositions that enhance a building’s purity—a purity you also find in James Turrell’s light installations. Turrell’s projects and philosophy have always been a great source of inspiration for me.
Shooting at different times to capture the right mood can be very helpful. It’s time-consuming, but it ultimately leads to the best image. I also consider black-and-white photography to highlight form, structure, and contrast—similar to the work of Hiroshi Sugimoto, another important source of inspiration.
2. You've mentioned that your journey began with a Kodak camera at the age of 11, photographing ruins in Italy. How did these early experiences influence your passion for architectural photography?
Photographing ruins in Italy helped me learn the fundamentals of photography. Buildings don’t move, so I could take my time exploring composition and light. I was also fascinated by classical antiquity.
Ruins embody the passage of time. Perhaps this perspective influenced me to later see contemporary architecture not just as static structures but as evolving spaces shaped by light, decay, and human interaction.
I learned to observe light from an early age. Ancient ruins, especially in cities like Rome or Pompeii, interact with light in ways that create dramatic contrasts. I believe this heightened my sensitivity to the way shadows shift across carved reliefs. The aesthetic seeds were planted during that time.
It’s a stretch, but perhaps the interplay between solid architecture and ephemeral light reinforced my meditative approach later on. Who knows? Decayed forms also suggest minimalism, forcing you to distill a scene to its essence. Even though I wasn’t thinking that way as a kid, unspoken influences always surface later in life.
3. In your work, you aim to reveal essential beauty by cleverly combining fragments of the whole. How do you decide which elements to highlight or exclude in your compositions?
In a photographic composition, I always consider certain principles when deciding what to highlight or exclude.
What to highlight:
Leading lines, such as architectural structures, staircases, hallways, and shadows.
Architectural symmetry or asymmetry.
Natural light—estimating and controlling light is a photographer’s main task. I use light as a sculptural element.
Emphasizing negative space.
What to exclude:
Unnecessary clutter, unwanted people. Stillness is key.
It’s actually harder to decide what to include in a photograph than what to leave out. Every object in the frame must be there for a reason. If there’s no conceptual or aesthetic justification, it has to be excluded. So, every photograph starts with stripping down the area, room, or environment. This can be done physically or by framing.
For me, in architecture and architectural photography, it’s crucial how lines relate to each other. Essentially, it’s about achieving a balanced relationship between lines. Anything disturbing this balance needs to be removed.
4. Your photographs have been published in renowned international architectural magazines such as Architectural Digest, Domus, and a.mag. How has this exposure influenced your career and opportunities?
Being published in renowned international architectural magazines has significantly impacted my career in several ways.
In the early days, it helped establish me as a professional, particularly for commercial assignments. Step by step, it increased my authority in the industry, making architects more likely to trust me and my work.
Publications also introduced my work to new audiences, leading to greater recognition. As a result, I attracted new clients, collaborations, and potential job opportunities. My photographs being featured in Architectural Digest, Domus, and a.mag expanded my reach and visibility. Architectural publications served as my best applications for a long time.
Having my work published in renowned magazines also added prestige to my portfolio and CV, helping me stand out in a competitive market. Over time, this exposure led to more opportunities, collaborations with brands and agencies, and invitations to exhibitions, photography awards, and speaking engagements.
Additionally, it helped me build strong connections with editors and professionals in the photography industry.
Last but not least, seeing my work in print or online is a rewarding milestone. It has motivated me to keep pushing my creative boundaries and improving my craft.
5. You've been recognized in various photography competitions, including the Black & White Spider Awards, where you received the first prize in 2016. How have these accolades impacted your artistic journey?
Recognition in photography competitions has had a profound impact on my artistic journey. Winning or even being shortlisted has helped build credibility and visibility, signaling to potential clients and industry professionals that my work meets a high artistic standard.
Some awards have provided exhibition opportunities, media coverage, and a platform to showcase my work to a wider audience, including galleries, collectors, and brands. Additionally, these accolades have validated my creative vision, fueling my confidence and encouraging me to explore new artistic directions.
Competitions like the European Prize of Architectural Photography have also allowed me to connect with industry professionals and fellow photographers, opening doors to collaborations and career opportunities. Ultimately, adding awards to my portfolio has helped me stand out when applying for assignments and commercial projects.
6. You have collaborated with notable architects and architecture firms worldwide. Can you share insights into how these collaborations have shaped your work?
Collaborating with architects has greatly influenced my approach to photography. Beyond simply admiring their buildings, I have embraced their mindset, creativity, and design principles. Over the years, I have learned to apply composition and balance in my work much like an architect would when designing a structure—whether it's a façade, a private home, or an industrial space.
Architects manipulate space, light, and volume to evoke emotions. This has inspired me to experiment with perspective, symmetry, and negative space in my photography. It has also led me to think more deeply about how I frame and interpret architectural spaces in my own work.
7. In a previous interview, you mentioned that shooting architecture is a process of meditation, always searching for the point where silent simplicity occurs. Could you delve deeper into this philosophy and how it manifests in your photography?
Photographing architecture is an immersive experience that requires patience, attention to detail, and an appreciation for light, form, and structure. When everything aligns—the light, the composition, the moment—it creates a meditative state, a sense of complete presence.
Framing a building involves observing how shadows shift, how lines converge, and how spaces interact with their surroundings. Waiting for the perfect light or capturing symmetry feels akin to mindfulness practice.
The work of Mies van der Rohe is a perfect example of meditative photography. His minimalist architecture—defined by clean lines, open spaces, and the interplay of glass and steel—evokes a sense of calm and precision. His famous “less is more” philosophy translates beautifully into photography, where reflections, geometric compositions, and light interactions invite a slow, intentional approach.
In 2013, I photographed The Golf Clubhouse in Krefeld, designed by Mies van der Rohe in 1930 but never built during his time. The reconstructed building is a masterpiece of modernist architecture, and capturing its long horizontal lines, seamless indoor-outdoor connection, and restrained material palette was a meditative experience. The natural light interacting with the open spaces and flat planes created a dynamic yet peaceful composition.
8. You have cited influences such as James Turrell, Hiroshi Sugimoto, and Gerhard Richter. How have these artists inspired or informed your photographic style?
James Turrell's work resonates deeply with me. His exploration of light, space, and perception mirrors the meditative nature of architectural photography. The way he sculpts environments using only light creates an almost spiritual experience—similar to how Mies van der Rohe’s buildings interact with their surroundings. I am drawn to spaces that emphasize light in the same way, observing how natural light transforms architectural forms throughout the day.
Hiroshi Sugimoto's mastery of time, light, and minimalism has also influenced my approach. His long exposure techniques and ability to abstract forms to their essence inspire me to experiment with stillness and contemplation in my own work. His blurred architectural images, in particular, feel like a dreamlike reinterpretation of space—something that aligns with my interest in Mies van der Rohe and James Turrell.
Gerhard Richter, too, has had an impact on my vision. His blurred photo-paintings and the interplay between realism and abstraction inspire me to capture buildings not just as static objects, but as shifting, ephemeral forms—whether through motion blur, reflections, or atmospheric conditions. This concept is a dormant idea in my work, one that I may explore further.
Music also plays a role in my creative process. Max Richter’s compositions, such as Tranquility Base, serve as a source of inspiration, reinforcing the meditative and atmospheric qualities I seek in my photography.
9. With the digital revolution significantly impacting architectural photography, how have you adapted to technological advancements in your work?
The digital revolution has transformed architectural photography in profound ways, redefining how we capture and process images. Modern digital cameras now offer exceptional clarity and dynamic range, allowing for the intricate capture of textures, light variations, and architectural details. Interestingly, even a smartphone can now achieve impressive results, making photography more immediate and accessible.
As a dedicated Photoshop user, I have embraced advancements in digital editing software, especially AI-driven tools that streamline tasks such as perspective correction, color grading, and retouching. These technologies have become an integral part of my workflow, enhancing both efficiency and creative possibilities.
While I value traditional photographic techniques, I also see digital tools as an exciting opportunity for artistic experimentation. The possibilities for creative manipulation are vast, and I am currently exploring new ways to integrate digital advancements into my work while maintaining the authenticity and essence of architectural photography.
Koen Van Damme’s ability to capture the silent simplicity of architecture transforms photography into an immersive, almost meditative experience. Through his lens, buildings become more than structures—they tell stories, evoke emotions, and celebrate the interplay of light and form. His journey, shaped by passion, patience, and a deep understanding of architectural space, continues to inspire and push creative boundaries.
You can learn more about Koen Van Damme’s and his work via these links: Website: https://koenvandamme.be/ Instagram: @koenvandamme Facebook: https://www.facebook.com/kvdworks/
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