Architizer Award winner in the Architecture + Photography category 2016
Arcaid Images “Architectural Photographer of the Year 2015”
Plataforma Arquitetura Photography Prize “Obra del Año 2015 – Project of the year 2015”


Fernando Guerra

three days in Biarritz

Bags & Camera straps

Livros de imagem

Limited ditions

MoMa New York


Navel Magazine

Double Exposure – Fernando Guerra, the man and the work
by Fabrícia Valente

Traveling through the 20 years of the architect-photographer Fernando Guerra’s career is to know and revisit images, perceive new approaches in the act of photographing architecture, get involved in narratives that bodies create in the spaces studied, discover peculiarities that his sharp gaze brings us. It is also understanding a path full of moments of solitude, of objects that tell stories of those who manage to talk to us at the airports where they stop, it is to know the man who creates this work and transports us through it. It is in this double unveiling that curator Andreia Garcia wants to show us, in this exhibition, a path full of assertiveness, but also full of subtleties. In a reading as if we were unveiling a remarkable archive through several layers of information, the story of Fernando Guerra and his photographs is presented to us in four moments, through flight cases designed by Diogo Aguiar Studio. What better object could store and reveal such a story than the one that ensures its portability? And so we started a journey. In the first Antechamber moment of the following story, we discover Fernando Guerra, the architect, heading to Macau and Fernando, who begins to create an impressive digital archive of images of Portuguese architecture and opens doors to an international journey. His first machines, still analogue; references to his childhood with his brother Sérgio, companion on land on this great journey; his passion for cars; the first names to believe his eyes. The idea of the viral image did not yet exist in the world beyond the covers of reference magazines, but its record already stood out in works such as Aires Mateus or Ricardo Bak Gordon. Efables happen in the second moment already in full international projection, the way he captures the world, but also how the world marks him, changing; travel objects; awakening from dreams; the fascination with the tropical. At a time when architecture in Portugal was going through a moment of crisis, the way in which it had been disseminated across borders based on his images, brought him many invitations from various corners of the world; featured images in many publications; an ambition that could be translated into symbols yet to be unveiled, like the astronaut gloves shown here. In the third suitcase, Common Place arrives, unveiling a little of what consolidates his dialogues with Álvaro Siza, a path of constant discovery of the master’s work, the loyalty of the lens that tells a story of friendship and complicity also on the road. It’s the box that Fernando Guerra says there’s no need to talk about, it contains all the words that need to be said. Time after is the last moment of the exhibition and tells us stories of gestures, of actions that mark a certain time in a certain space, the fleetingness of the moment in the eternalization of the image. People gaining more and more prominence, no longer giving just the scale, but the soul of the image. A look of intimacy and boldness in her shyness. What are you looking for in the world beyond your own origin? Fernando Guerra, who doesn’t like to appear, now comes to us in a way that he had not seen in any other of his exhibitions until then. The inability to not know how to switch off brings you the certainty of a way of life. 20 years of photographing architecture cannot just be translated into the photographs themselves. Here, the work trip is confused with the innocence of the boy who wants to gain the world, the passion for a new light in an unknown angle and the passion for the look of who is being photographed; the man who holds the camera and uses it for its functionality and the man who is fascinated by design. The possibility that its Ultimas Reportagens platform opens up for getting to know contemporary architecture leads us to exhaustive narratives about hundreds and hundreds of works, in an archive that deserves to be studied and that has become a dissemination space par excellence. Double exposure opens up the possibility of understanding what moves those who create such an archive, the hours, times and non-places of those who live in transit, but choose the right time, with the right light, between a contained pleasure and an obsessive professionalism noticing exactly the story it has to tell. In this exhibition, the value of the images counts, but also the value of the relationships that are at the base of each image. Images don’t always reveal how special a session was, traveler’s life isn’t always glamorous, it’s not always worth getting to know the man behind the lens, here he deserves it and the story is well told to us, in a tasty balance between what what must be revealed and the sharpening of curiosity for what is not to be revealed.

The exhibition can be visited at Roca Lisboa Gallery, until the 18th of January

Full article

Residence at Polo da Ajuda © CVDB Arquitectos

“The new issue of ULisboa Magazine is now available in digital format. Contains an article on built heritage and in the process of building.”


“A university residence goes beyond the function of a dormitory. It is a home for all those who study tens, hundreds or thousands of kilometers from their residence of origin.”

1311 – CVDB with Rodolfo Reis + Joana Barrelas | University Residence Lisbon University, Ajuda – Lisbon, Pt


Far from the camera, the terrain and the routine of more than 100 annual trips, architectural photographer Fernando Guerra continues to go to his office every day. It is from the offices of FG+SG that he takes advantage of the period of “forced break” to revisit his extensive photographic archive, which gathers around 20 years of work.

The images you share on your Instagram account, since March 17th, are tagged with the hashtag #stayathome and show people inhabiting the architectural spaces that Guerra photographed over the years. “When all this started, I decided to use my voice to encourage people to stay at home”, he explained to P3. “At this point, it’s not selling something that motivates me, so I’m not interested in showing work in an organized way, as I’ve been doing over the last few years.” He prefers, yes, “to be calm” and to place “loose” images that allude to the theme of quarantine or isolation.

For Fernando Guerra, these are strange days. “I never took a vacation”, reveals the photographer. “A month ago I was in the United States”, he recalls. “And shortly before the flights ended, I managed to return from Morocco, the last trip I took before the start of the state of emergency period.” Now, the architectural photographer is looking forward to having freedom of movement again to add more projects to the list of 2500 that he has already portrayed throughout his career. “For now, I’ll have to content myself with traveling through my archive.”

GQ Daring Stories

From an early age, Fernando treats photography as you. He started as a hobby when he was 16, today it’s his profession. Fernando Guerra’s discerning eye has earned him a successful career, not only nationally but internationally.

At a time when no one wanted to put individuals in architectural photography, Fernando Guerra said enough and began to introduce human beings into his work – even though many told him not to. Without fears, Guerra has tried everything. His curiosity is so great that it is here that he finds much of his inspiration for the work he does on a daily basis.

Full interview

Últimas reportagens

recent work by Fernando Guerra

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1. last 2. latest, most recent; Latest is the superlative of late. adj You use latest to describe something that is the most recent thing of its kind. 3 adj You can use latest to describe something that is very new and modern and is better than older things of a similar kind.