portfolio by xenia von buchwald, the royal danish academy of fine arts, school of architecture
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XENIA VON BUCHWALDArchtect cand. arch., MAA
SELECTED WORKS
PORTFOLIO
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SELECTED WORKS
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Xenia von Buchwald
The Royal Danish Academy of Fine ArtsSchool of ArchitectureM. Arch. 2009-2012 + B. Arch. 2006-2009
Archtect cand. arch., MAA
SELECTED WORKS
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Selected projects 2007-2012:
I. Film Institute. Master thesis, 2012 6
II. A framework for film- and photo production. Bachelor project, 2009 59
III. Prosthesis between space and body, 2007 77
IV. Drawings, 2007-2013 89
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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 pres-
sure 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 artifi-
cial, 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 repre-
sentation, 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; move-
ment and volatility in the meeting with the architectural permanence; framing of
special views / cuts, relationships, alternating between blur and screen, light and
dark, atmosphere.
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The interaction between light, framing and movement defines the individual ar-
chitectural 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 dif-
ferentierr 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 complx-
ity 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 mel-
lem 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 ARTFICIALfFilm 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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1. section studies - the laminated facade
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FRAMINGephemera/transformation exchange; exclusion of the context
the frame dissolves its outer contour/internal displacements
projection/shadow elicitatation dissolves the sour-rounding space
FRAME/COMPOSITION/
frame /cut out
III.
THE TACTILE/ SENSORY MEETING /close-upAlternation between the recognizable and the abstract.
DEFAMILARISATION OF SPACESpace 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.
I.
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 timeAn abstraction that modulate the static frame displaces the architectural frameThe 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.
II.
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INTENSIVATION / COMPRESSIONforeground, middle ground, background, foil/mise en scène
reflection / deph of field
Illusion of time and space
framing/cropping- photo- audio- atmosphere
IV.
ASSEMBLAGE / CINEMATOGRAPHIC STRUCTURES /THE FILM STRIPcuttingmemory - timefragment - wholemovement - serialityrhythmstructure
V.
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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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1. The foil model dissolved into a filmic sequence between representation and abstraction, staging and the staged.
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ARTICULATIONSbetween the concrete and the abstract,fixed and volatile.
transition
composition
juxtapositions
exposure
The framed reality an the perspectivic representation in constant transformations.
CINEMATIC EXPOSURE + REPRESENTATION;
SPATIAL
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memory; the archive towards exposuredefamilarizationmirroring and dissolution of the space
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memory; the archive towards exposuredefamilarizationmirroring and dissolution of the space
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Bachelor project / Film-/photo studio 2009
An Architectural Module
This study provides insight regarding ways to combine programmes and inten-
tions 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 pos-
sibilities 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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SITUATIONSPLAN 1:100
FILM- AND PHOTO PRODUCTION- TWO WAYS OF EXPOSURE
MODELSTUDIER
ÉTIENNE-JULES MAREYDet indfangne lys over tid.
LICHT-RAUM MODULATOR LAZLO MOHOLY-NAGYLysprojektion som rumskabende og dimensiongivende element.
RÖMER ROTUNDE, 1903Fladens levendegørelse af billedet.
PRODUCTION
PROGRAMME / CONCEPT
EXPOSUREEXTERNAL RELATIONS
INTERNAL RELATIONS
FILM
STUDIOEDITING ROOMEXPOSURE ROOM
CINEMA HALL
VIDEPTHEQUE
EMPIRE BIO
FILM STUDIO PHOTO STUDIO
PHOTOGRAPHY
STUDIOIT-WORKSHOP
DARK CHAMBER
GALLERY
PRINTING
CONCEPT
STAGING OF LIGHT /LIGHT AS MODULATING
OPTICS
EXPOSURE
EDUCATIONPHOTOGRAPHIC PROCESSING
MEETING BETWEEN USER AND GUEST
CONNECTIONTO THE SITE’S COMPLEX PROGRAM
ROTATION/TURN
PROJECTOR
DISTORTION OF THE SPACE
BEAMNING OF LIGHT /ARTIFICIAL LIGHT
MOVEMENT OF THE BODY
TRANSFORMEROPEN-/CLOSING MECHANISM
CAPTURE OF LIGHT/DAYLIGHT
CAMERA
FRONTALITY
THE SELECTIVE SELECTION OF THE LENS
LIGHT FILTERING
SPACE DISTRIBUTION
ENTRY IN THE EXISTING STRUCTURE
THE SURFACE AS RECEIVER AND CREATER
SCREEN SETUPSHIFT IN SCALE
THE FRAME
TECTONICS
RELATION TO THE SITE
THE SURFACE
STAGING OF SPACE IN RELATION TO USE AND EXHIBITION THE OPEN-/CLOSING MECANISM OF THE GALLERY
THE BLURRED / DIFFUSEGUIDING
THE SITE AS PERIPHERALGRADUAL EXCLUSION OF THE SITE
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.
Site - Guldbergsgade 29, Copenhagen
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SITUATIONSPLAN 1:100
FILM- AND PHOTO PRODUCTION- TWO WAYS OF EXPOSURE
MODELSTUDIER
ÉTIENNE-JULES MAREYDet indfangne lys over tid.
LICHT-RAUM MODULATOR LAZLO MOHOLY-NAGYLysprojektion som rumskabende og dimensiongivende element.
RÖMER ROTUNDE, 1903Fladens levendegørelse af billedet.
PRODUCTION
PROGRAMME / CONCEPT
EXPOSUREEXTERNAL RELATIONS
INTERNAL RELATIONS
FILM
STUDIOEDITING ROOMEXPOSURE ROOM
CINEMA HALL
VIDEPTHEQUE
EMPIRE BIO
FILM STUDIO PHOTO STUDIO
PHOTOGRAPHY
STUDIOIT-WORKSHOP
DARK CHAMBER
GALLERY
PRINTING
CONCEPT
STAGING OF LIGHT /LIGHT AS MODULATING
OPTICS
EXPOSURE
EDUCATIONPHOTOGRAPHIC PROCESSING
MEETING BETWEEN USER AND GUEST
CONNECTIONTO THE SITE’S COMPLEX PROGRAM
ROTATION/TURN
PROJECTOR
DISTORTION OF THE SPACE
BEAMNING OF LIGHT /ARTIFICIAL LIGHT
MOVEMENT OF THE BODY
TRANSFORMEROPEN-/CLOSING MECHANISM
CAPTURE OF LIGHT/DAYLIGHT
CAMERA
FRONTALITY
THE SELECTIVE SELECTION OF THE LENS
LIGHT FILTERING
SPACE DISTRIBUTION
ENTRY IN THE EXISTING STRUCTURE
THE SURFACE AS RECEIVER AND CREATER
SCREEN SETUPSHIFT IN SCALE
THE FRAME
TECTONICS
RELATION TO THE SITE
THE SURFACE
STAGING OF SPACE IN RELATION TO USE AND EXHIBITION THE OPEN-/CLOSING MECANISM OF THE GALLERY
THE BLURRED / DIFFUSEGUIDING
THE SITE AS PERIPHERALGRADUAL EXCLUSION OF THE SITE
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.
Site - Guldbergsgade 29, Copenhagen
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A AA
B
C
C
B
A AA
B
C
C
B
A AA
B
C
C
B
PLAN 0 PLAN 1 PLAN 0+1
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A AA
B
C
C
B
A AA
B
C
C
B
A AA
B
C
C
B
PLAN 0 PLAN 1 PLAN 0+1
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P r o s t h e s i s 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 start-
ing 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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P r o
s t
h e
s i s
bet
wee
n sp
ace
and
body
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Drawings
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untitled (Glyptoteket), 2009, graphite on paper, 21 x 29 cm
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Croquis, ca. 2007-2009. Graphite on paper, 21 x 29 cm.
After Rodin (Glyptoteket), ca. 2007-2009. Graphite on paper, 21 x 29 cm.
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