From Marcela Grassi, I would like to start by talking about the sincerity of her work. When we chose as the cover image of Oscar Niemeyer‘s MAC Niteroi, one of those architect-characters who always evoke epic narrations of architecture, we called Marcela to tell her that the image was not perfect and had some noise, Marcela commented: Yes, that’s right, because I taked a scaning to digitized it and in process there had been some loss. She told us that the image was important because it was one of the first, before even moving to digital photography. As it happened with Banksy work a few days ago, we thought that this image increased its value and was even more interesting, to talk about Grassi.

The path of Marcela Grassi in photography is long. From her initial concerns printed by the passion of her grandfather, going through the analogical shots, until eleven years ago, when she switched to digital photography. A trajectory where photography, as she tells us, becomes something natural when it comes to looking at architecture.

I do not know if it is intentional or not that in many of her photographs a special, golden light is recognized, as in some images of the intervention of the Oliva Artés factory by BAAS Arquitectura, in others of the Vallvidrera house, or in some of the Bündner Kunstmuseum. her images, impeccable execution, show us a narrative about the buildings that tell the architect’s intentions, also adding images with her more personal vision, which allows to notably enrich the visual narration of the project.

Marcela Grassi is gradually becoming a classic, surely soon as one of her beloved references, Jordi Bernadó or the deceased Gabriele Basilico. Time to time.