In , photographer Adam Friedberg began documenting each remaining single-story building on the Lower East Side and East Village, having noticed how rapidly these structures were disappearing from the landscape. As a longtime resident of the area, and as an architectural and environmental photographer, Friedberg was compelled to document these vanishing structures, offering both an alternative geography and historical document through the logic of negative space. In recent history, the area has been subject to swift, large-scale real estate development and subsequent gentrification, yet it remains the vibrant home of innumerable galleries, cultural stalwarts, and local economies now caught in a perpetual cycle of transformation and erasure. Friedberg captured each building using an analog, large-format camera which he has used since becoming a photographer from a street-level view, unobstructed by vehicles or foot traffic, by visiting very early in the morning light.
Friedberg – 'Lizzy'
Adam Friedberg: Single Story | Internationalphotomag
Previously, buildings greater than six stories were less common between the Financial District and midtown. Today, it seems, tall buildings are sprouting everywhere, with little regard for existing fabric. As a twenty five-year resident of the East Village, I have witnessed these changes. They open the street to the sky, providing a vista that can be enjoyed by all of us. The photographs are made without people to allow the focus of the work to remain on the buildings and their surroundings. They are black-and-white images to emphasize the forms and negative space.
Friedberg share their wild new single, ‘Midi 8’ (Marathon Artists)
Since , the photographer Adam Friedberg has been documenting every single-story building in the East Village and the Lower East Side. A longtime East Village resident, he noticed how quickly these most humble structures were disappearing, a reflection of the rapid development and gentrification of the neighborhood. He completed the project this past fall, and over the course of the documentation many of the buildings have already disappeared or will soon be demolished. In order to capture the buildings unobstructed, Friedberg mostly shot very early in the morning before cars and trucks obstructed the street-level views.
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