Architects and photographers share a roving eye: they appropriate the world through the gaze, and this visual dimension of their activities prods us to explore their relationship by means of a storyboard, a sequence of images, drawn with words, that freeze in photograms the eventful film of their joint story, where episodes of everyday life are mixed with moments of high exaltation. This marriage of love and interest is maintained in such a wealth of concealments and ambiguities that the ‘school of suspicion’ has made it a favorite victim of its abuse, but neither the mercantile character of a good part of architectural photography nor the promotional nature of many of its shoots reduces the aesthetic excellence of its results. Like the Renaissance engraver, the professional photographer portrays a work by marrying his view of it with that of the architect, and the result in images of this visual rapport can reach as high a degree of pertinence, beauty and emotion as that achieved by photographers belonging to what the prematurely gone Juan Antonio Ramírez called the ‘ecosystem of the arts’...