From Mexican Architectural Visions to Swiss Reinvention

Hello Paulina, you are from Mexico, a tropical country. What prompted you to move to the distant land of Switzerland?

Paulina Ojeda: It was a combination of reasons, I think. I came to Switzerland partly for personal matters. For the past five years, I had dedicated myself entirely to architectural photography. I truly love this work and feel fortunate to have collaborated with talented people while documenting diverse projects and places. But at the same time, I felt caught in a cycle of continuous assignments, leaving little room for my own projects. I wanted to carve out the time, space, and clarity to complete unfinished ideas and to explore my personal development as a photographer.

It was at this moment that I discovered an interesting Master’s program in Basel, which became a turning point and motivated me to leave Mexico. Today, I am pursuing this degree while continuing projects back home and gradually finding my footing in a new country.

I am very curious about what drew you into the field of architecture. Can you share a bit about that?

Paulina Ojeda: I was born and raised in a family deeply connected to architecture. My father, my brother, and especially my aunt, a remarkably intelligent and gentle woman were all architects. My aunt in particular had a strong desire to pass her knowledge on to me. As a child, I often accompanied her to visit construction sites in the city, and those experiences always fascinated me.

Whenever we stopped in front of a church or building, she would say: “Observe the subtle details of the space, my dear. They exist as they do because of specific elements and perspectives. Everything has a reason and is connected to its context.” To me, that was her own unique form of storytelling.

From there, everything I absorbed was inseparable from architecture. Growing up in an architectural family meant my curiosity reached beyond the visible complexity of a building, it extended to how spaces affect people. I became fascinated by the stories of architectural creativity, and by the way architecture interweaves with other fields of life and culture.

I understand that architectural photography often focuses on two main areas: commercial photography and documentary photography. Which direction are you currently pursuing?

Paulina Ojeda: At the moment, because of my Master’s program, I lean more toward the commercial side of architectural photography. But I don’t want to define myself solely within that category. For me, it’s not only about presenting spaces or projects, it’s about capturing the essence and the story of each place I photograph.

I value the capacity of photography to carry narratives and to stir emotions. While the commercial aspect matters, it isn’t my sole focus.

Each architectural project has its own backstory or unique qualities. How do you approach these through photography?

Paulina Ojeda: The projects I document are quite varied. My approach always begins with immersion, spending time in the space, walking through it slowly, observing its qualities, whether the site is small or expansive. I love seeing how spaces transform with the seasons, how materials weather, how light shifts. Even when I’m not on assignment, visiting a site and witnessing those changes feels rewarding.

One aspect I’ve always found limiting in architectural education is the tendency to prioritize presentation and promotion, while overlooking the true purpose of buildings: to serve their users. Architecture is inseparable from the people who inhabit it. That’s why I encourage clients to embrace a photographic approach that portrays spaces in ways that are accessible, lived-in, and human.

Through photography, one can convey atmosphere, light, landscape, and the subtle dialogue between nature and the built environment. Of course, not every architectural photographer works this way, each of us has our own vision and approach. That diversity is what makes architectural photography so rich. The most rewarding moment is when an image not only documents a structure, but communicates a message or evokes a genuine emotion.

With technological advancements, the photography industry now benefits from new equipment and better shooting conditions. Between natural light and artificial light, which do you prefer, and why?

Paulina Ojeda: Overall, I find working with natural light easier and more engaging. It often creates unexpected contrasts and textures that lend character to an image. Of course, nighttime photographs have their own qualities and appeal, and artificial lighting can be effective in meeting commercial requirements, illuminating every detail of a project. But personally, I gravitate toward natural light, because it offers a more authentic representation of architectural space.

Every architectural work contains layers of content, sections, elevations, plans, compositions, structures. How do you approach a building through photography?

Paulina Ojeda: I experiment with different lenses and focal lengths to capture a variety of perspectives, from sweeping views to intimate details. At times, I deliberately allow certain elements to blur, inviting curiosity and encouraging viewers to imagine the unseen. For me, this approach adds depth to the narrative and has become one of my signature ways of expressing architecture through images.

In practice, the work of an architectural photographer is always shaped by the needs and expectations of clients. Each project reflects their vision, and I value how they articulate that through design. I listen carefully to their input, while also creating images that tell the story of the space in my own voice. Later, I curate a selection and present it to the client. Sometimes they choose images that surprise me, revealing their own nuanced ways of communicating architecture.

This collaborative exchange is what makes the process special. It allows the story of a project to be told through multiple viewpoints, those of the architect or client, and my own as an outsider. Together, they form a more layered and comprehensive portrait of the work. At the same time, there are clients who place full trust in me, granting freedom to interpret their architecture as I see it. Those moments are equally rewarding, as they allow me to capture what I feel is the true essence of the building. Yet, I always value feedback, it keeps me responsive, and ensures the images align with the project’s intentions.

Focusing on one profession for too long can sometimes feel monotonous.

Paulina Ojeda: I believe the key is to maintain a consistent attitude. This allows me to explore freely and tell the story of a building, even when it doesn’t align with my personal tastes or initial expectations. In fact, those moments often push me to expand my creative boundaries and challenge myself beyond familiar limits.

What I seek is to bring art and imagination into my work, to step out of my comfort zone and embrace the process, rather than rushing toward conclusions. Taking time to listen to what a building has to say is essential. Every small detail matters: the interplay of light and atmosphere, the rhythm of materials, and the way people inhabit the space. Together, these elements shape the essence of an image.

I draw inspiration from everything around me and keep myself open to any project. For me, that openness is what keeps architectural photography alive, dynamic, and endlessly rewarding.

How do you maintain creative inspiration in photography and continue to commit to the field of architectural photography?

Paulina Ojeda: At the moment, I see my Master’s program as a time to pause and breathe. It gives me the chance to seek out new sources of inspiration and to listen more carefully to myself. I’ve deliberately stepped back from personal projects in order to reflect on past experiences and to rediscover joy in the everyday.

Do you encounter any difficulties or advantages when working as a photographer in a different country?

Paulina Ojeda: Moving from Mexico to Europe has been both exciting and challenging. I’ve begun collaborating with partners in Germany and Switzerland, but here I’m still relatively unknown. In Mexico, I was recognized and trusted; in this new environment, very few people are familiar with my work. That lack of recognition can be unsettling, and it forces me to confront my own insecurities.

In Mexico, everything felt safe, perhaps too safe. That comfort sometimes prevented me from pushing past my own boundaries. Watching colleagues progress in their careers, I often questioned whether I was on the right path. A friend from Taiwan in my Master’s class once shared a perspective that stayed with me: in the West, emptiness is often seen as a void, but in the East, emptiness is understood as potential. I find that way of thinking encouraging, it gives me confidence to embrace uncertainty and welcome new possibilities.

At the same time, living and working here has also revealed the challenges of discrimination. In architectural photography, women remain underrepresented, and I often feel compelled to stress the need for greater diversity and equal opportunities, regardless of gender or nationality. These issues are real, and addressing them is part of my commitment to this field.

As a female photographer, do you face any difficulties or advantages?

Paulina Ojeda: What I value most about being a photographer is the endless potential for exploration. My work allows me to meet people from diverse backgrounds, take part in exciting projects, and discover remarkable places. At this stage of my life, I also have a certain freedom, I don’t carry heavy family responsibilities so I can organize my time with flexibility, according to my own rhythm and needs.

That said, working in a male-dominated market does present challenges, especially in client communication. While clients acknowledge my role and skills, at times I sense a lack of full trust in my abilities. There are also disparities in service fees on occasion, clients have compared my rates with those of male colleagues. Still, I wouldn’t say I’ve faced insurmountable obstacles. Rather, I see it as part of the responsibility women carry in this field: to continually prove our competence and assert our place within the profession.

Are there any photographers or artists who inspire your work? Do they influence how you photograph architecture?

Paulina Ojeda: One figure who has profoundly influenced me is the legendary Mexican photographer Graciela Iturbide. She is an icon in the history of Mexican photography. Her documentary work, particularly her portraits of indigenous communities, stands apart for its depth and authenticity. She doesn’t simply frame her subjects from a distance, she lives among them, becoming part of their world. That intimacy allows her to capture their essence and tell their stories in a way that feels both sincere and profound.

I deeply admire her ability to build trust and genuine human connection, resulting in images that resonate far beyond their immediate context. Her work reminds me of the importance of empathy and understanding, values I try to bring into architectural photography as well. For me, she embodies the idea that photography is not only about representation, but about forging relationships that give images their emotional power.

As a Vietnamese person, I’m curious have you ever visited our S-shaped country, or Asia in general?

Paulina Ojeda: I haven’t yet had the chance to visit Vietnam. But many of my friends have shared fascinating stories about their travels there, and their experiences have made me want to go, whether for a few months or even just a short stay. At the time, I was dedicating myself entirely to becoming a professional architectural photographer, so travel was limited.

I very much look forward to visiting Vietnam in the future. I’m eager to immerse myself in the country’s vibrant culture, daily life, and of course, its architecture.