PORTFOLIO
XENIA VON BUCHWALD Archtect cand. arch., MAA
SELECTED WORKS
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Xenia von Buchwald Archtect cand. arch., MAA SELECTED WORKS The Royal Danish Academy of Fine Arts School of Architecture M. Arch. 2009-2012 + B. Arch. 2006-2009 +45 40793901
xenia@vonbuchwald.dk www.xeniavonbuchwald.com
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Selected projects 2007-2012:
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Film Institute. Master thesis, 2012
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A framework for film- and photo production. Bachelor project, 2009
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Prosthesis between space and body, 2007
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Drawings, 2007-2013
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THESIS PROJECT - Authenticity in the Artificial - Film Institute 2012
“The distinctive time running through the shots makes the rhythm of the picture; and rhythm is determined not by the length of the edited pieces, but by the pressure of the time that runs through them.” - Andrei Tarkovsky, Sculpting in Time: Reflections on the Cinema
(kig lidt på indledningen...)The polution and spændingsfelt that emerges in the field between architecture and cinema. Between the cinematic representation and the actual space, as states between the stapled, articulated and staged. This study explores a number of considerations about the cinematic impact on the perception of space and the problems and potentials associated with it.
I. Architecture/space in cinema The cinematic space provides an understanding of the world between structure and event, between present time and narrative time, between the real and the artificial. Cinematic space created through a modulation of light, space and movement that in a sequence of blurring and time forms the narrative of the space.
Defamilarization of space Space becomes defamilarized through the filmic representation, between the real and the imagined. By cutting the space’s physical structure, the cinematic space examines spaces as temporary and porous states; between the real and the artificial, body/ material/ technology; virtual space / time, perception of intensities, durations and modulations, staging and interactions that make up a movement of the visual field of the observer.
II. Cinema in space With an awareness of the cinematic eliciting of space and the cinematic representation, a series of architectural/cinematic modes is elicited between the static framework, the rhythmic structure and the sensible; phenomena and atmospheric elements.
A modulation through the reading of the construction of cinematic space; movement and volatility in the meeting with the architectural permanence; framing of special views / cuts, relationships, alternating between blur and screen, light and dark, atmosphere. 6
The interaction between light, framing and movement defines the individual architectural conception of space; a temporality, staging and interaction with space.
III. Time and space In Sculpting in Time: Reflections on the Cinema, film director Andrei Tarkovsky introduces us to his term time sculptures. A cinematic sculpture, where layers of time, the past, present and future, memory and openness? is tilstede wihtin the single cinematic frame, existing simultanously, and your perception and mind differentierr imellem dem - (as a foil) Redigering repræsenterer intervaller af tid, og har at gøre med temporale udvidelser og graden af intensitet (time-thrusts eller time-pressures). Tiden eksponeres direkte ved bevidst sammenføjning af billeder af ujævn time-pressure. Rytme eksisterer i objektets liv, visuelt indfanget i rammen, mens den temporale bevægelse er transporteret af flowet af processen i klippet.
These time-sculptures udgør og definerer forskellige skala, dregrees of complxity as a plastisk model mellem virtuel og reel, Observing time / layer occurs in the elicitation. The cinematic frame creates an awareness of the prevalence of a specific time that occurs as a result of the intervals.
The study discusses time and space i forhold til det cinematiske.. en vekslen mellem elicitation and representaion, an alternation between the recognizable and the abstract.. It is in the displacement between the space as it is and a sense of space between representational and reality the specific emerges.
overlapping activities which makes use of the existing functions of the context and creates a larger movement in the field. A series of light experiments makes a conceptual approach to the project and offers a restistance to the stretched
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AUTHENTICITY IN THE ARTFICIAL fFilm institute at Carlsberg, Copenhagen
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The cinematic space exchanges with the site and the architectural frame (stills used: Andrei Tarkovsky, Stalker, Sergei Parajanov, The Color of Pomegranates, Shadows of Forgotten Ancestors and Cindy Sherman.)
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section studies - the laminated facade
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THE TACTILE/ SENSORY MEETING / close-up Alternation between the recognizable and the abstract. DEFAMILARISATION OF SPACE Space becomes defamilized through the filmic representation, between the real and the imagined. By cutting the space’s physical structure, the cinematic space examines as temporary and porous states; body / material, a perception of intensities, durations and modulations, staging and interactions that make up a movement of the visual field of the observer. There is a displacement between the space as it is and a sense of space between representational and reality.
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DISSOLVE /cinematic transitions/ demarcation, porosity, space/action patterns that merge into each other /filling the gap /exposure/viewing/ - observing time / layer occurs in the elicitation. Compression of time An abstraction that modulate the static frame displaces the architectural frame The structure of the space is dissolved and there is a space between the space and the transformation of the space. The duration of dissolve/fade constitutes a narrative element, and creates a special mood in the narration.
FRAMING ephemera/transformation
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exchange; exclusion of the context the frame dissolves its outer contour /internal displacements projection/shadow elicitatation dissolves the sourrounding space FRAME/COMPOSITION/ frame / cut out
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INTENSIVATION / COMPRESSION foreground, middle ground, background, foil/mise en scène reflection / deph of field Illusion of time and space framing/cropping - photo - audio - atmosphere
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ASSEMBLAGE / CINEMATOGRAPHIC STRUCTURES /THE FILM STRIP cutting memory - time fragment - whole movement - seriality rhythm structure
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THE FOIL MODEL Framing, seriality, displacement. PROJECTION / absorption in the translucent. DEPTH OF FIELD; MISE EN SCENE between the building and its representation ATMOSPHERE, DIFFUSITY sense of space, light, scale and texture layers of temporality / atmospheres, the cinematic movement meets the architectural permanence in a series of framings/openings, light/dark, blurs and exposures.
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The foil model dissolved into a filmic sequence between representation and abstraction, staging and the staged.
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SPATIAL ARTICULATIONS between the concrete and the abstract,fixed and volatile.
CINEMATIC EXPOSURE + REPRESENTATION; The framed reality an the perspectivic representation in constant transformations.
transition composition juxtapositions exposure
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memory; the archive towards exposure defamilarization mirroring and dissolution of the space
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Bachelor project / 2009
Film-/photo studio
An Architectural Module This study provides insight regarding ways to combine programmes and intentions into built forms that show the architectural idea as a synthesis, i.e. as a complexity process of mutual relationships, and as an architectural field of possibilities containing specially developed proposials.
The project is a framework for film- and photo production , including instruction and exposure. Two impacts with each tectonical approaches to the context creates a field of overlapping activities which makes use of the existing functions of the context and creates a larger movement in the field. A series of light experiments makes a conceptual approach to the project and offers a restistance to the fixed frames.
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Site - Guldbergsgade 29, Copenhagen 62
FILM- AND PHOTO PRODUCTION
- TWO WAYS OF EXPOSURE
Two buildings/infills, which together create a field of overlapping activities and functions that make use of the complexity of the composite context and creates a larger movement in the area. The program represents tectonic in different ways to use the frame and the light in relation to the separate activities.
FILM STUDIO
FILM STUDIO EDITING ROOM EXPOSURE ROOM
VIDEPTHEQUE
PROGRAMME / CONCEPT
PHOTO STUDIO
PRODUCTION
PHOTOGRAPHY
INTERNAL RELATIONS PHOTOGRAPHIC PROCESSING EDUCATION
STUDIO IT-WORKSHOP DARK CHAMBER
EXPOSURE
EXTERNAL RELATIONS MEETING BETWEEN USER AND GUEST
GALLERY
CINEMA HALL
EMPIRE BIO
CONNECTION
TO THE SITE’S COMPLEX PROGRAM
PRINTING
CONCEPT BEAMNING OF LIGHT / ARTIFICIAL LIGHT DISTORTION OF THE SPACE
CAPTURE OF LIGHT/ DAYLIGHT
STAGING OF LIGHT / LIGHT AS MODULATING OPTICS
CAMERA
EXPOSURE
THE SELECTIVE SELECTION OF THE LENS LIGHT FILTERING
PROJECTOR
TRANSFORMER SPACE DISTRIBUTION
OPEN-/CLOSING MECHANISM
ROTATION/ TURN
FRONTALITY
MOVEMENT OF THE BODY
TECTONICS THE FRAME ENTRY IN THE EXISTING STRUCTURE
THE SURFACE AS RECEIVER AND CREATER
SCREEN SETUP SHIFT IN SCALE
THE SITE AS PERIPHERAL GRADUAL EXCLUSION OF THE SITE
RELATION TO THE SITE
THE BLURRED / DIFFUSE GUIDING
THE SURFACE
STAGING OF SPACE IN RELATION TO USE AND EXHIBITION
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THE OPEN-/CLOSING MECANISM OF THE GALLERY
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PLAN 0
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PLAN 1
PLAN 0+1
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Prosthesis 2007
Space and construction/body and prosthesis
In dualism between body and prosthesis, relations are built up that links objects, space and material. Observations of spatial correlations, rhythms and changing conditions are the starting point for the series.
The series discusses specific spatial characteristics, all of which relate to the point of departure of body and prosthesis.
This project works with light and movement that use animation to create a cinematic sequence.
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Prosthesis
between space and body
2007
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Drawings
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untitled (Glyptoteket), 2009, graphite on paper, 21 x 29 cm
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After Rodin (Glyptoteket), ca. 2007-2009. Graphite on paper, 21 x 29 cm.
Croquis, ca. 2007-2009. Graphite on paper, 21 x 29 cm.
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