portfolio by xenia von buchwald, the royal danish academy of fine arts, school of architecture

XENIA VON BUCHWALDArchtect cand. arch., MAA

SELECTED WORKS

PORTFOLIO

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SELECTED WORKS

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Xenia von Buchwald

+45 40793901xenia@vonbuchwald.dkwww.xeniavonbuchwald.com

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

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A AA

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A AA

B

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B

PLAN 0 PLAN 1 PLAN 0+1

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A AA

B

C

C

B

A AA

B

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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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