Dana Barale Burdman from Madrid; “My name is Dana Barale Burdman, I am an Architect with a degree from the European University of Madrid, where I have passed the undergraduate and Master's Degree studies. In addition, I have complemented my studies with two international stays at the University of Bath and at the Technical University of Delft. The development of projects I carried out is positioned in a framework that operates from multidisciplinary exploration through design, research and criticism. I have professional experience in various architecture studios, both in Rotterdam and Madrid. Throughout my academic training, I have implemented my studies along with incursions into the practice of editing, publications, curating, communication of projects. Some of my projects have been part of the Venice Architecture Biennale 2018 in the virtual Spanish Pavillion.”

Website: http://danabarale.wixsite.com/architecture

University: European University of Madrid

Professor(s): Carlos Arroyo

Instagram Username: @_danarch; @danabaraleburdman

Name of Project: The Net Blvd

Project Description: The Net Blvd studies a collection of situations that happen in the digital era - characterized by real-time communication, digital hyperstimulation, the infinite archive and the accessibility of information ...- that imply that cultural production happens on digital platforms, from where we structure our collections and archives. In these platforms that go beyond the physical limits, intangible contents imply a new form of production and transmission of culture, which is led by digital networks and new technologies, since they are transforming the way we have to understand what surrounds us. New scenarios of encounter between the physical and the virtual are proposed. Revealing these situations leads to the opening of new narratives and therefore to new architectural configurations, in order to understand the complex reality of our context, where dichotomies of reality coexist. The project is framed under the imposition of a 1000x1000 meters matrix. Setting up a collection of fragments of places, which portray an inventory of 10 situations.

The cabinet of wonders of the XXI century-From collectionism to hyperarchivism: (From the Soane Museum to my Pinterest) The first cabinets where exotic objects were found, collected and exhibited from different parts of the planet appeared in the XVI century. As an atlas, they composed the understanding of the world; a microcosm of all knowledge. Collecting is a tool that allows you to sort and catalog the objects that contain our desires, but nowadays it happens in different ways. We are constant collectors of an infinite and saturated flow of information. Due to the increasing technological incorporation, registration is no longer reserved for the extraordinary. Images are the object of consumption of our collections. How is reality archived? What are the effects of materiality transformations in the ways of collecting? How are the objects that previously helped us to build our worldview and build ourselves? Is Instagram a way of collectionism? Instagram is a collection of us, a network of hyperlinks that build an infrastructure of subjectivity. The contemporary collector opens tabs, archives links, add Watch-Later playlist and make folders. Social networks are the new iconic repositories that order and categorize the world. Where we expose our digital subjectivity. Instagram is a collection of us, a network of hyperlinks that build an infrastructure of subjectivity. Matter is no longer a specific set of materials, but a more complex system of languages, knowledge and technologies. It is a more fluid and remixed visual composition.

The culture of the archive was produced by memory and destined to remain eternal. Currently, culture is based on a mutable process: the virtual is made up of representations and artificial simulations of the real, in real time. Everything is replicable, editable and expandable. The virtual derive-The new flâneur: The spaces are multiplied to be experienced online. Social networks redefine and restructure the physical space in which we move, our relationship with objects and with others. Allowing the subjective construction of spaces, where we curate our identity. We project our image on social networks, designing and redefining our identity constantly, staging our subjectivity. Our subjectivity is built as the game of images experienced in virtuality. The self-portrait Factory-Broadcast of the self: Reflect on the concept of exhibition and specifically make reference to the practice of the selfie. Social networks are the new museum space. The body becomes a ready made. The individual becomes an image, exposes his subjectivity, self-collects, self-designs, self-advertises. The mediatic dresser-We render ourselves: It is proposed a speculation that reinterprets each of the filters of the social networks from where we reform our body, we render ourselves and self-design, exposing our ideal image on digital shop windows. We are Spam-The hyper-body reality: We identify ourselves with avatars that represent us in the virtual world and allow us to deploy new ways of being ourselves through a multiple identity. Avatars are our duplicated projection, as an overlap between the real and the simulated. A hyper-real body that like Spam, that canned synthetic meat, which gave name to unwanted emails, serve to define us from the hybrid.

The meta-corporeal and eternal avatar self-advertises. The Cat Bazaar-The fake memory: The authenticity has been replaced by the copy. Souvenirs that stigmatize, falsify, represent, impersonal and idealize the memory. How are the current imaginary constituted? A memory that is no longer formalized into physical singularities, but has been replaced by their virtual representation. It is intended to materialize and collect all the representations found in the city, in addition to waste and digital ready made. Composing a monument of monuments. From taxidermy to my Stories-The real in real time: The culture of the archive was produced by memory and destined to remain eternal. Currently, our culture is based on the mutable and unstable process: the virtual consists of artificial representations and simulations of the real, in real time. The digital medium has relegated the values of materiality and historical awareness to immediacy and connection. Siri´s Ritual-The knowledge at your fingertips: If the old collections allowed the order of knowledge. How is knowledge established today?

Google is the first machine that regulates our dialogue with the world. The dictionaries are replaced by these digital tools. They are the new knowledge repositories, the new libraries accessible to all. My bed is the world-The contemporary recluse: The degree of privacy in the traditional space and the degree of online exposure have been reversed. Privacy is public and published. Private spaces are accessible online.The bed links intimacy with the public sphere. It is the physical-virtual link. This intervention explores the production of domestic space through virtual situations in the XXIst century. Traditionally private spaces are now new media scenarios. From Colin Rowe to Google-Surveillance image of the self: This intervention examines surveillance procedures that infiltrate our contemporary environment. The daily landscape is monitored and recorded through urban control systems. The self is quantified in the dark transparency age, It is self-tracked. Subjectivity is modeled by the machine, by the digital pan-optic.