Althaf AR is an Indian architectural photographer and co-founder of Studio IKSHA, a Kerala-based practice dedicated to spatial narratives through visual media. A graduate of KMEA College of Architecture, Althaf brings an architectural mindset to his photographic work, constructing a visual language that is introspective, analytical, and grounded in the material and atmospheric conditions of the built environment. His images register architecture as a continuum of lived experience, rather than as isolated form.
Studio IKSHA’s body of work frequently engages with emerging and regionally embedded architectural practices across India. Under Althaf AR’s direction, the studio approaches photography as an interpretive act—one that reveals structure, traces occupation, and reflects process. His compositions often privilege the temporal and situational over the iconic, giving precedence to buildings as responsive systems shaped by use, culture, and environment.
Althaf’s practice was shaped in part through mentorship with architect and photographer Prasanth Mohan and collaborations with figures such as Syam Sreesylam, both of whom informed his approach to architectural storytelling. Through Studio IKSHA, Althaf AR continues to articulate a calibrated mode of architectural photography—research-driven, spatially literate, and oriented toward architecture’s evolving relation to people and place.
Studio IKSHA’s expertise in architectural photography is evident in their work featured in prominent publications. Their images of “Infinite Rise” appeared in the 003 Stone Architecture Lab Magazine, and their photographs of “Into The Wild,” designed by Earthscape Studio, were featured inside and on the cover of the 009 Earth Architecture Lab Magazin, showcasing their skill in capturing the nuanced interplay between architecture and its surroundings.
What inspires you as an architectural photographer?
I remember a boy in first grade, sitting in the middle row, tucked between classmates so no one would notice him. When the teacher suddenly called his name to write something on the blackboard, he stood up, started shaking, and fainted. That’s how I got my first stitches.
Words have always been my struggle. Expressing myself through them is one of the hardest things I do.
Photography, on the other hand, allows me to narrate half the story and capture the rest—it’s much easier this way.
More than a photographer or another photograph, my struggles as a person inspire me to be a better photographer.
What led you to specialize in architectural photography?
The works of Raghu Rai inspired me to become a photographer, particularly his series on the 1984 Union Carbide disaster in Bhopal.
When I was in 8th or 9th standard, Facebook was just becoming popular in my school. Photographers were in high demand to capture profile pictures, and until then, I had never given photography much thought — I saw it as something purely practical. To me, anyone with a DSLR was a photographer, and any image that made my friends or family look like movie stars was a great photograph.
One day, I came across a newspaper feature marking the anniversary of the Bhopal Gas Tragedy. The photographs alongside the article struck me in a way no image ever had before. That was when I realized photography was more than just pictures—it could speak without uttering a single word. That idea truly fascinated me.
Initially, I was drawn to photojournalism and documentary photography. But when I joined my undergraduate architecture program, I developed a deep respect for the profession. Even though I never wanted to design anything myself, the foundation I received as an architect led me down a new path — one that ultimately shaped me into an architectural photographer.
How would you describe your photographic philosophy when capturing architecture?
I think my philosophy comes from that same kid—the one who loved listening to stories. I remember one in particular, something I read a long time ago.
In the story, a soldier returns to his village after a long time. As he walks the familiar, narrow path home, he steps into his childhood room and notices spiderwebs in an abandoned corner—delicate networks of threads woven over time.
That’s the beauty of a space. It’s where stories are born and where they continue to unfold. Through my photography, I try to discover, create, and narrate stories.
At its core, my philosophy is about respecting and admiring the stories a space holds—or was created to hold.
Can you tell us about your favorite architectural project and what makes it stand out to you?
I connect with architecture in a deeply personal way. For me, it’s not just about the building itself but the journey I take with it—the lessons I learn and the memories I create along the way. That’s what makes a project special.
As a photographer, one project that remains close to my heart is Infinite Rise by Earthscape Studio. I captured it a few years ago, at a time when I was struggling to find my voice—not just as a photographer but as a person. I felt lost in the crowded world of photography, trying everything but never quite finding my direction.
Then, like in many stories, a single phone call changed everything. It was from a dear friend, Ar. Petchimuthu Kennedy. He simply said, “Come to Coimbatore”.
So I packed my bags and went. When I arrived, the project was still incomplete—it would take another six months of hard work to finish. But what mattered most was that he made me part of its story. By the time it was done, I had something to tell.
That project helped me find my voice.
An admirer of architecture, I would say Bharath Bhavan, Bhopal by Charles Correa is a project that has my heart. I visited it as part of a college case study for my 3rd-year academic project, and the way the building gradually revealed itself, combined with Correa’s thoughtful conceptualization of the entire project, truly fascinated me.
What is your favorite architectural detail, and why?
To me, the most fascinating architectural detail is the mark an architect leaves behind — the signature element that makes a project distinctly theirs. It’s one of the hardest things to master, not just technically, but in the challenge of expressing oneself through architecture.
I believe that every question has an answer, though finding it may not always be easy. And just as every person would answer the same question differently, every architect brings their own unique perspective to a design.
As a photographer, I seek out these differences and celebrate them through my work.
How do you balance artistic expression and accurately represent the architect’s vision in your photography?
It’s important for me to spend time with the architect — to understand their vision and see the project through their perspective. I allow myself to be influenced by their insights so that, when I look at the project, I can, at least to some extent, view it as they do.
But this is where I, as a photographer and filmmaker, take over. I keep it simple — I immerse myself in the space and express what feels right.
My answers may not always be right, but I stay true to my instincts. If something works, I reflect on why it did. If it doesn’t, I learn from it. I know I will never fully master my craft, but I don’t let my mistakes define me or stop me from continuing to search for my own answers.
What’s your favorite photo you’ve ever taken?
I always start finding flaws in my photographs almost immediately after capturing them — usually within a month or so. While there are a few images I’m proud of, I don’t think I’ve yet taken a photograph that truly embodies the kind of image I aspire to create.
My favorite image keeps changing, but right now, I hold my recent photographs of Into The Wild by Earthscape Studio closest.
What do you enjoy most about photography?
For me, photography is about disconnecting from everything else and being fully present in the moment, respecting what’s unfolding in front of me.
One of my mentors, artist Muhammed Ali Adam, once said to me, “You can look at a sunset and either talk about its beauty or complain that the yellowish tint wasn’t quite to your liking for the perfect capture.”
I try to see photography in this simple way. For me, it’s about appreciating what’s right in front of you. The imperfections, after all, are what make it human.
For me, photography is a way of accepting my flaws as a person.
Do you have any advice for young photographers who aspire to specialize in architectural photography?
I consider myself a young photographer. Instead of advice, I’d rather share a mistake and a lesson I learned from it.
Even though I began my journey as a photographer in 2019, in reality, it started in 2014 when I joined college. Those five years were incredibly special—I wish I could go back. That was when I truly found my place in the world, where I felt respected and valued.
There were many talented photographers in my batch, as well as in the senior and junior years, but I managed to establish myself quickly. I thought I could step outside those four walls and conquer it all. I started dismissing criticism, believing I didn’t need it. What I failed to understand was that while you don’t have to accept every critique, it’s important to reflect on it—you never know when something valuable might be hidden in someone’s words.
After college, this attitude led me into a downward spiral. The moment I graduated, I realized I wasn’t as good as I thought I was. On my own, trying to navigate the world, I lost all sense of direction. It took years of hard work, learning, and the support of many people—my friends Haritha Ranchith, Anson Babu, and Sivasankari Shyam (co-founder and partner at Studio IKSHA), as well as my mentor, Ar. Prasanth Mohan—to help me find my way back.
Looking back, I don’t see those struggles as failures, but as part of my journey. They humbled me, taught me resilience, and shaped the way I see my craft today. If there’s one thing I’ve truly learned, it’s that growth never stops. I will never be “good enough” or “better than” anyone else—but that’s exactly what keeps me moving forward.
