Daniel Zamarbide BUREAU A
host institution
partners/sponsors
About: Founded in 2012, BUREAU A is the association of Leopold Banchini and Daniel Zamarbide. Architects by training BUREAU A is a multidisciplinary platform aiming to blur the boundaries of research and project making on architectural related subjects, whichever their nature and status. BUREAU A is profoundly rooted in architectural culture and history, understood as a vast field of exploration related to construction and installation of environments for specific purposes. The bureau expands its activities to a large diversity of programs ranging from architecture and landscape design to scenography, installations, or self-constructed initiatives. It has developed a specific interest in public spaces and political issues; how design and architecture can possibly confront them is at the heart of the interrogations cultivated by the bureau. BUREAU A invests widely in research, cultivating its partner’s interest in cultural exchanges and transmission through education. The bureau teached at the Geneva University of Art and Design (HEAD). It is now guest professor at the Polytechnical School of Architecture in Lausanne (EPFL) and head of the Studio for Imediate Spaces at the Sandberg Institute in Amsterdam. The bureau has conducted numerous workshops and lectures in Europe but also worldwide. BUREAU A has gained, in a short period of time, a wide recognition through a number of awards and publications. The bureau was, amongst other things, awarded with the Swiss Art Awards and first prize for the CEVA Champel public space competition and Ville et Champs competition. Its work has been presented at the Swiss Architecture Museum in Basel for the exhibition „Orientations: Young Swiss Architects“, at Art Basel for „Design at Large“ and at the MUDAC in Lausanne. The projects of the bureau have been published in the most important design blogs and a wide number of international paper publications.
Daniel Zamarbide (Bureau A) Christian Gansemer Elzbieta Bortkevic Jule-Mareike BĂźchle Alina Gold Gregor LĂśber Marina-Eva Majcan Dominic Plag Mascha Ritter Andrea Senni Laura Stepper
It seems quite odd that the history of architectural representation has not made a stop in what appears to be its best medium: film. Filmmaking has not been part of the architect’s agenda. Poor realistic three-dimensional renderings often accompanied by soft electro music have become part of the usual rendering landscape, but this is not filmmaking. No scenario, no suspense, no articulation of the views, no performance of the camera. Nothing that is rooted in the incredibly rich history of cinema. Strange. Cinema should have been architecture’s best companion. Isn’t project-making about imagining staged living before architecture is actually built? The means and resources of cinema have been proven to be extremely wide and varied. Animation films, underground movie-making or Hollywood dinosaurs. All this is called cinema and somehow part of the same multilayered culture. If we consider films like Andy Warhol’s 1960’s Sleep or Empire, Buñuel’s and Dali’s Chien Andalou, Victor Flemming’s Gone with the Wind, 1999’s Blair Witch Project, the recent Batman series, David Lynch’s atmospheric Inland Empire and hundreds of other cinematic experiences as filmmaking, we realise that the medium is extensively large. There is thus a lot to learn and borrow from this art form. When directly addressed to architecture, film seems to be made to discuss architecture in that it brings the dimension of time to the front row. Architecture is something to be experienced and not something to be simply looked at. Photography, still today the main tool to show architectural projects (whether built or not), provides still images to be uniquely consumed by our view. The purpose of this workshop is precisely to explore this medium as an experimental way of architectural project making. The idea behind this is to deal with main architectural topics like program, space, narrative and lived spaces and create a story which the architecture can support. In order to achieve this, we have taken what I consider one of the most interesting models for story telling in filmmaking: Chris Marker’s La Jetée (1962). A movie made out of a montage of still images and a voice over narrative. The workshop produces a movie out of material entirely fabricated by the students, avoiding web images and lazy copy paste techniques. Photographs were taken in the surrounding environment. Found pieces of all kinds are used (wood, earth, grass, stones, paper, metal meshes, etc., but also things found in the school like ventilation pipes or other abandoned materials) and rapidly made models. All material is produced and filmed through rudimentary photocopy techniques printed on A4 paper and filmed again. Sound and images tell a suggestive and intriguing story. The result is a fascinating incomplete or open story with magnificent spaces, or suggested spaces that are lived, experienced and give the viewer a strong atmospheric feeling. The intensity of the film transmits directly the intensity of the workshop.
TOOLS FOR SPACE MAKING
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‚I need 2mm.‘
‚Lunch at 1pm at the cafeteria?‘
‚Do you want to join us?‘
‚There’s a ringing in my ears.‘
‚I’m running.‘
‚1 Euro, please.‘
‚I have to fall asleep as soon as possible.‘
‚Please close the door.‘
‚Börsenplatz, doors will open on the left.‘
‚But I’m only human after all, I’m only human after all, don’t put your blame on me.’
‚Cool photo! Share it on Facebook and let’s get some likes!’
‚Please follow my channel and don’t forget to like this video!’
‚Thanks to Facebook I can share the music I make and get feedbacks to get better.’
‚Your favourite pasta-dish will reveal a desire of yours.’
‚I found my colleague’s girlfriend by chance on Facebook, than we met and now we are married with two children.’
‚Are we living in Nazi-Germany?’
‚Even if we live so far away from each other we can still be part of each other’s life.’
‚Once these reforms are in place, the next step is to change the architecture.‘
‚That is what is causing the flood.‘
‚Big day planned on national security tomorrow.‘
‚Logically, hope fades as time passes.‘
‚Is a functioning democracy an outrangeous demand?‘
‚Logically, hope fades as time passes.‘
‚Is a functioning democracy an outrangeous demand?‘
‚But they are caught up in court battles that could run for month and years.‘
‚Everything bad turned to be okay today.‘
‚These morons are doing everything, all type of corruption. But how much is the milk?’
‚There are places in the world that aren’t made out of stone.’
‚Of course, who could live without German cigarettes?’
‚This world has a room for everyone.’
‚My girlfriend is a vegetarian, which pretty much makes me a vegetarian.’
‚Cranberry juice - is a natural diuretic. My girlfriend drinks it when she’s got her period.’
‚Yes, of course, everything is good. ‘Good’ in this country never happens.’
‚There is a con like me in every prison in America.’
‚The sould of man is flying to the rainbow.’
‚The city had changed sharply. The parties were bigger. The liquor was cheaper.’
‚Three patrols in three hours. I don’t like it.’
‚Shock news! Look here what Trump just said.’
‚A young one - an athletic.’ - ‘He pushed them.’
‚Two onions and one garlic.’
‚I have to get out there.’
‚No respect.’
‚You are so surd.’
‚They want badly a man.’
‚The last time I was in Berlin...’
‚It’s always the same.’
‚Now is not time for hypothesis.‘
‚I know it didn’t look like a lot, but for us it was a lot.‘
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A Film by Chris Spencer
CRANBERRY AND CIGARETTES
a contribution of all workshop participants
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