Bureau ODYSSEY = FOR GREAT RISKS IN A HAZARDOUS ENVIRONMENT.
Bureau ODYSSEY = FOR THE TROPE OF PLAY
Bureau ODYSSEY = FOR ACTIVITIES DEADLY SERIOUS
Bureau ODYSSEY = FOR ALTERING THE PHYSICAL, POLITICAL AND IMAGINATIVE BODY
Bureau ODYSSEY = FOR AN EXOTIC FUTURE
BUREAU ODYSSEY 2012 IS:
Managing Director: James Cadogan
Conductor: Rafel Oliva
Director of Design: Kim Thorne
Director of Semi-Fictional Architecture: Nicholas Gardner
Director of Materials: Jungin Lee
Director of Communications: Diana Simpson Hernandez
Directors of Experience: Eirik Helgesen and James Shaw
Fashion Director: Imme van der Haak
Finance Manager: Ola Mirecka
A shamanic ritual costume using the remains of one of the genetically engineered chimeras believed to have been introduced to Iceland in the twenty first century and designed to provide the ultimate hunting experience. Evolutionary biologists speculate that the monster could have naturally adapted and evolved, developing new skills and reproductive capacities originally not intended in the design.
This skull has helped prove to skeptics the existence of the chimera, however, studies are underway to determine the biological details of it.
Half of the Icelandic population lives on another frequency, these creatures appear outside our field of vision. Invisible visible is a series of two masks that will give the wearer the oportunity to act like a creature of this other world, elfs, hidden people or other mythicical creatures. By distorting our physical and mental perception, the masks reconfigure a common belief. When worn the masks challenge our perception of appearance and identity and give an opportunity to integrate in the mythical world of the unknown.
The future leisure world will be one of manufactured environments and bio-domes.
No longer will the restrictions of the natural world inhibit our enjoyment. We will create vast interiors where leaving can only lead to dissapointment.
The earth will be moved and the sky changed.
Atmospheric chemists will become the tour guides, and have great tans.
There seems to be a heightened awareness of the invisible in Iceland, the stories of the huldefulk being the epitome of this. These elves have never been recorded in film or photography, so I would venture that these stories are an indirect way to see the elves. I am taking this invisible way of seeing into my project and trying to find a territory to make the elves visible. I have created different environments for tracing the conditions that they appear in, wind and rain, stones and trees.
Two prominent elements in Iceland provide the inspiration for this structure which brings the extreme leisure experience indoors; the un-settling landscape and the architecture set within. Embedded time lines in the rock formations are coincidently represented in the practical corrugated cladding material found in most buildings.
Tip of the Iceberg is a natural climbing form made of a prominent Icelandic building material set in the shape of the rugged glaziers. Its multifaceted structure hopes to challenge people to leisurely tackle the extremities of this artificial plastic corrugated iceberg.
Created from a single light source, these boundaries naturally appear when visibility is at its poorest. They can however be searched for, although only by night, by clapping with a chalk filled cotton sack between the palms. It’s best to search in teams, walking like the beaters at a game shoot, through the fjords of eastern Iceland.
Imagine that one early morning in Egilsstadir you wake up and feel that Spring has arrived and it is time to visit your Elf friends in the house on the rock.
This feeling is always sudden.
When you arrive, it turns out that the house is empty. The Elf family have left the house without notice. Can you move into the house while they are away to realize your dreams of becoming someone else? Will you find any people to invite there and play with?
1.) To hold a stick is to communicate violence, the threat it contains can be as primitive and animalistic as the policeman’s truncheon or ritualised and ornamental as a thrashing cane. This violence becomes a symbol of power, which soon sublimates its initial function, so we see government officials, popes and royalty who carry delicate and heavily ornamented sticks.
2.) It seems that appreciating the visual aspect of landscape is closely linked to feeling some sort of power/submission relationship with nature, frequently this is expressed in the language we use, to climb to the top of a mountain is to conquer it.
A range of Hula-hoopla formed by leftovers from aluminium production; celebrate the Alcoa aluminum smelter at Reydarfjordur in Eastern Iceland.
Exploring the potential for integrating the raw material from the Alcoa smelter with the traditional Icelandic woodcarving.
Contributing to rural population growth by stimulating sexual attraction. A tool to administer the aphrodisiac qualities of powdered reindeer bone.
Iceland is a land of extremes, where juxtapositions coexist to modulate an amazing conjuncture. Artificially warmed beaches at the end of prehistoric glaciers, black sand covered by snow and ice blocks, ice ships, thick water, frozen rocks that expose huge valleys traces of time. Extreme environments are breeding grounds for tourism and leisure activities.
Contamination, desertification, extreme temperatures, earthquakes, tsunamis, WAR and conflicts give rise to new possibilities for exploration and leisure. Blue Beach is an artificial and ephemeral space, a drastic impact on the visual landscape that creates a strong contraposition with the surrounding.
You can enjoy this artificial space at these coordinates:
11’ 57.05” 14° 37’ 20.06”
Risk assessment for future leisure activities.
While experiencing the extreme Icelandic landscape with its geological properties and its subpolar oceanic, Bureau ODYSSEY reassess notion of risk and tourism in order to speculate on future wonders, parallel worlds, extrapolated tangents and cautionary tales.
Bureau ODYSSEY designs and performs various ‘promenades’ ranging from meeting with Ulysses and the Cyclops, or looking for moon dust and auroras through the lunettes of an aluminium whale. At the Bureau, we explore the extreme and thrill-propulsion. We perform series of attractions/experiences/activities to question the horizon and its limits. We test and assess the impossible and propose visions of new leisure activities.
Aim to meet with fantasy and imaginative Icelandic tales.
Our production is integrated against or with the environment,
Bureau ODYSSEY = For great risks in a hazardous environment.
Bureau ODYSSEY = For the trope of play
Bureau ODYSSEY = For activities deadly serious
Bureau ODYSSEY = For altering the physical, political and imaginative body
Brief by Nelly Benhayoun
- By Anna Barlik