About
Boryana Ilieva was a co-founder of an architectural studio in Sofia, Bulgaria, under the name of 11AM, developing small design projects, mostly single-family houses and condo interiors. Today she has fully devoted to artistic investigations of film architecture.
A major shift in professional direction occurred after attending a week cycle of lectures with Juhani Pallasmaa in Sofia back in 2014, right after reading his masterpiece “The Architecture of Image”, where he explores lived space in five films by four iconic directors: Hitchcock, Tarkovsky, Antonioni, Kubrick. What influenced the most and opened the gates to future film/architecture adventures was Pallasmaa’s observation that in Antonioni’s “The Passenger” the presence of music is replaced by the ambient presence of… architecture.
Originally Boryana’s Floor Plan Croissant project was created to examine cinematic spaces and to take director’s spatial language to her own architectural understanding. Later these translations became more or less socially oriented – being an architect herself and a passionate film admirer Boryana senses a general gap between cinema and architecture, or in other words, a state where architects simply won’t watch enough film, at least not as phantasmal explorers. So her work is based on extracting floor plans of main character houses in notable films as she believes a film floor plan forms a ghost matrix around which directors not only build plots but place hidden messages.
A major shift in professional direction occurred after attending a week cycle of lectures with Juhani Pallasmaa in Sofia back in 2014, right after reading his masterpiece “The Architecture of Image”, where he explores lived space in five films by four iconic directors: Hitchcock, Tarkovsky, Antonioni, Kubrick. What influenced the most and opened the gates to future film/architecture adventures was Pallasmaa’s observation that in Antonioni’s “The Passenger” the presence of music is replaced by the ambient presence of… architecture.
Originally Boryana’s Floor Plan Croissant project was created to examine cinematic spaces and to take director’s spatial language to her own architectural understanding. Later these translations became more or less socially oriented – being an architect herself and a passionate film admirer Boryana senses a general gap between cinema and architecture, or in other words, a state where architects simply won’t watch enough film, at least not as phantasmal explorers. So her work is based on extracting floor plans of main character houses in notable films as she believes a film floor plan forms a ghost matrix around which directors not only build plots but place hidden messages.