I come from a family of musicians, and I grew up in Rome, surrounded by its extraordinary architecture and ruins. The visual world pulled at me from an early age, with our home full of books and black-and-white photographs. Yet, as a young girl, I had no idea where life would lead. Then chance intervened: a friend said she was going to photography school and suggested I join her. The moment I walked through those doors, everything clicked. All the things I loved seemed to come together at once.

After graduating, I worked as an assistant in an advertising agency, but photographing products never satisfied me. I then became the stage photographer at the Opera House in Geneva, capturing dancers, musicians, and performances. That experience fed my passion for music and movement. But even then, I knew I wanted to become an “author” and make my own art, rather than remain a commercial photographer.

I started to become involved in architecture and space through Raoul Bunschoten, who later became my husband. He was teaching at the Architectural Association (AA) in London in the 1980s. That’s where I got this sudden exposure to architecture and space. Alvin Boyarsky was Director, and Zaha Hadid, Daniel Libeskind, Peter Cook, and all the great architects were there. I encountered architecture not as everyday buildings but as the ideas behind it, and this really excited me. I realised quickly that I felt very comfortable photographing it. Every stone, every window, every place was this amazing space of thinking and investigation. Until then, I hadn’t realised such a world existed.

One of my earliest defining moments came when I photographed Daniel Libeskind’s installation The House Without Walls — a kind of constructivist nest of sticks and planes. I went alone with my Hasselblad, that beautiful 6×6 format, and as I began photographing, it felt as if my heart were singing. I knew I wanted to create something meaningful, something that made people question who we are and what we do. I still feel that deeply today.

Daniel Libeskind, photograph from The House Without Walls, by Hélène Binet.

Since then, I’ve had the privilege of photographing projects for remarkable architects who have shaped me profoundly. John Hejduk was among the first; his work felt poetic, spiritual. He taught me that looking is never about the surface — you must always go deeper. Zaha Hadid was formidable, fearless, and constantly pushing forward. She pushed me too. And the Swiss architect Peter Zumthor remains a great influence; his work taught me a lot about the environment in which a building is placed. I photographed one of his projects for his first photographic book.

     

1. Peter Zumthor, photograph from 1997 – 2011, by Hélène Binet
2: Zaha Hadid, photograph from 1993 – 2012, by Hélène Binet
3: John Hejduk, photograph from 1986 – 1990, by Hélène Binet

I love what I do just as much as when I began. I may no longer have the freshness of a young mind, but I still ask myself: can I create something truly significant? There is still a sense of stress, which keeps the work alive.

For me, architectural photography is about telling you one thing, rather than showing you everything. My work is like a tapestry of many little fragments, where each one tells a story. One project that stays with me is photographing Pikionis’s footpath leading to the Acropolis in Athens — a collage of marble stones woven together like a carpet. It’s extraordinarily beautiful. That experience taught me the importance of the ground itself, its relationship to the earth and to the building, and the emotions that arise from where we stand.

A Sentimental Topography, Dimitris Pikionis, Landscaping of the Acropolis, Athens, 1989, by Hélène Binet.

I chose “Architecture and Emotion” as the theme for the Circle Square photography competition, as I wanted people to think about what they feel when they see a space, and how they can express that emotion.

There are different ways to do this.

First, there is the tactile aspect. People like the idea of touching; it comes from childhood, where we understand things through touch. So, emphasising the materiality of a place that you cannot touch is very emotive.

Light is also incredibly powerful in expressing emotions. Light doesn’t mean only the big beam. It can be very subtle, foggy or gentle. Light is everything.

The composition is also very evocative. If you are feeling disturbed or unsettled, you can place something dark, like a corner rather than a window at the centre of your image. If you are photographing a contemporary building and feeling peaceful, then you could use clean geometry and orderly lines to express calm.

So when you look at a building, pause. Take it in. Notice what you feel. Then use light, material, and composition to tell that story.

My own projects can be inspired by something that I see or read. I start by photographing freely and seeing what I notice, and that interests me, and then I start to think about how I can develop this. Sometimes I reach what I think is the end, only to realise I am just beginning, and that I need to remove frames to focus on the essence of what I want to communicate.

My advice for enthusiasts, amateurs and beginners is not to worry too much about mastering techniques. In the end, the most precious part of a photograph is what you want to express. That is what truly matters.”

Circle Square Member Quick Fire Q&A

What 3 words best describe you? To think with my hands. To take my time. To be honest.

If you could offer your younger self one piece of advice, what would that be? To trust myself more and be honest.

What do you consider to be your greatest achievement? Continuing to be an analogue photographer, rather than going into the digital world.

Which person (dead or alive) would you most like to invite to dinner? Federico Fellini. I like his imagination and the way he describes how he creates his work. The way he articulates this, really emphasises that AI could never replicate an artist’s mind.

How has age strengthened your advantage? At 66 years old, I feel empowered and trust myself. It’s a beautiful age.

To enter the Circle Square x Helene Binet competition and be in for a chance to receive a signed book by Hélène, click here for the details.