The Ulma Family Museum project creates a scene and a setting that re‑enact a warm and sad family story, in relation to which the visitors of the place are «a little» more than observers – effect also obtained through the use of spaces, volumes, shapes, textures, materiality, stage props, rhythms, perspectives and specific and suggestive relations.
The Bank Headquarters project conceives and organizes a setting on an almost neutral but fixed stage (a grid), nevertheless following the lines of the stage. It creates a story through the setting (quantity, quality, organization) and less so through the space in which it is situated. It gives the possibility for the actor to choose his own place on the scene. Being part of the slightly stereotypical trend of jovialisation of office spaces, the project negotiates the intersection of a series of complex situations which imply efficiency, representativity, mobility, collegiality, familiarity, intimacy and play.
The «House in House» project introduces curtains and sets and creates the identities and the stories of the parts from in between the curtains: the front part, the interior part, the part «from in between» or «the mediator», the part from the back.
The project of the Apartment in Poznan creates a setting in order to host and subtly (ex)pose collections of objects being careful that they do not compete with each other and at the same time that they do not dominate the complementary setting and stage prop. It is an egalitarian corroboration relationship between the exhibit and the setting. In a way the stage and the setting are another exhibit. This is obtained also through: a form of minimalism, the non discriminatory distribution of the objects, the partial masking of some of them, the role, sometimes utilitarian, participatory of the objects, the stressing of other important elements (like the view).
The Reframe project from Bonțida uses a set of stage drops (independent installations) in order to recuperate spatial qualities once belonging to the scene (the hosting site / the castle) without intervening onto the historic structure – result also attained through the suggestion of some lost elements by using light installations.
The Cultural Palace in Blaj project remakes a scene altered in / by time, conserving spatially and functionally the lines given by the original project, rendering, as well, visible the «tragic» history of the building, removing other elements that have appeared through time and that have modified the original project. The new scene becomes a place with multiple uses, flexible, adapted to the community it serves, hosting various cultural events.
Mihai Zachi & Dana Milea