Poetics of necessity – Unit’s 2+3 E journey in search of environmental imagination. Vol. I

Poetics of necessity – Vol. 1 Unit’s 2+3 E journey in search of environmental imagination.

Aarhus School of Architecture

“Sand is annoying when being in a small scale, but it is nice in a bigger scale.”

Anna Elin Friedrich, student UNIT 2+3E

”Poetics of necessity – Vol. 1. Unit’s 2+3 E journey in search of environmental imagination.” contains a collection of student works conducted during the Fall semester of 2016 at the Aarhus School of Architecture.

Introduction, general descriptions and assignments are written by: Claudia Carbone Teaching Associate Professor, Master of Arts (MA) in Architecture.

Izabela Wieczorek (at AAA until 01.02.2017) Teaching Associate Professor, Architect, M.Sc., Ph.D. Acknowledgements Guest reviewers: Angus Hardwick, Eva Rosborg Aagaard, Heidi Merrild, Karen Kjærgaard, Rasmus Grønbæk Hansen, Tine Nørgaard, Walter Unterrainer, Guest lecturers: Nicolas Ibaceta, Villy K. Hansen Lantern workshop: Colin Eccleston, Eilidh Bryan, Rob Hill

Unless otherwise stated, material shown in this publication has been created by individuals connected to Unit 2+3E. In case of not obtained rights, please contact The Aarhus School of Architecture.

Aarhus School of Architecture Nørreport 20 8000 Aarhus C Denmark a@aarch.dk Published in Aarhus June 2017

Robotic workshop: Dana Maier, Ryan Hughes

ISBN 978-87-90979-67-6

03 04 Thematic and team work * Light-up workshop Edited by: [Nikolaj Uldum Heede Noe, Nichlas Horne, Malene Jørs Nielsen, Karl Henrik Kobbeltvedt, Mischa, Josefine Stæhr]

* Atlas Edited by: [Anna Opitz, Simon Rode Gregersen, Frederik Valdemar Ravn Andersen, Hanna Solfridsdotter Klepp, Caroline Løvenbalk Kold]

* Robotic lab Edited by: [Anne Staun Christiansen, Thorbjørn Riis Hammel, Josef Eichler, Amanda Elvira Fleischer Vinther, Hans Gerrit Kristian Maria Steinebach Nielsen]

* Drawing of the year Edited by: [Mai Blichfeld-Grosen, Agnes Alvilde Esther Schelde, Nete Virkelyst Olesen, Toan Manh Nguyen]

* Methods and techniques Edited by: [Laura Høgh Jensen, Christopher Germann Bæhring, Line Leth Kristensen, Nick Cole, Anna Maja Sigsgaard Juul]

Content Introduction & Programme P#0-P#5 Individual work

10 16 32 48 62 74 88 104 114 126 140 154 172 178 200 212 226 242 260 268 280 300 312 326 246 356 376 392 404 414 430

3rd semester students

Amanda Elvira Fleischer Vinther Anna Elin Friedrich Anna Maja Sigsgaard Juul Caroline Løvenbalk Kold Frederik Valdemar Ravn Andersen 3rd semester students

Hanna Solfridsdotter Klepp Hans Gerrit Kristian Maria Steinebach Nielsen Mai Blichfeld-Grosen Marie Engelhardt Sjögreen Mischa Josefine Stæhr 3rd semester students

Nete Virkelyst Olesen Nichlas Horne Nick Cole Thorbjørn Riis Hammel Toan Manh Nguyen 5th semester students

Agnes Alvilde Esther Schelde Anne Staun Christiansen Christopher Germann Bæhring Ida Fonslet Juva Ofelia Britta Elvira Bergman 5th semester students

Laura Høgh Jensen Malene Jørs Nielsen Nikolaj Uldum Heede Noe Simon Rode Gregersen Anna Opitz Josef Eichler 6th semester student

* Pin-ups Edited by: [Juva Ofelia Britta Elvira Bergman, Ida Fonslet, Marie Engelhardt Sjögreen, Anna Elin Friedrich]

444 460

Line Leth Kristensen

”Surveying this anthology of sands, the eye initially takes in only the samples that stand out most, the rust-coloured sand from a dry river­bed in Morocco, the carboniferous black and white grains from the Aran Islands, or the shifting kaleidoscope of reds, whites, blacks and greys that has on its label a name that is even more polychromatic: Parrot Island, Mexico. After this, the minimal differences between one kind of sand and another demand a level of attention that becomes more and more absorbing, so much so that one enters into another dimension, into a world that has no other horizons except these miniature dunes, where one beach of tiny pink pebbles is never the same as another beach of tiny pink pebbles (…) That is why she does not take her eyes off those sands, her gaze penetrates one of the phials, she burrows into it, identifies with it, extracts the myriads of pieces of information that are packed into a little pile of sand.

Each bit of grey, once it has been de constructed into its light and dark, shiny and opaque, spherical, polyhedral and flat granules, is no longer seen as a grey or only at that point begins to let you understand the meaning of grey.”

Calvino, Italo “Collection of Sand”. In Collection of Sand. Essays by Italo Calvino. Boston, New York: Mariner Books, Houghton, Mifflin, Harcourt, 2013, 5-9: 5, 6, 9

4

Introduction This publication is complied and constructed as a narrative derived from collective and individual investigations and explorations undertaken throughout the autumn semester in UNIT 2+3E (Bachelor programme 2nd and 3rd year) at the Aarhus School of Architecture - edited by the students.

Not only is it meant to be a tool for relating and communicating the outcomes of the performed experiments and development processes, but, most importantly, a tool for the further studies in the UNIT 2+3E for the spring semester.

Methodologically, in the Bachelor programme, the curriculum in the autumn semester addresses research by making (that is, research by or through design), followed by the spring semester that focuses on the development of a project – an architectural proposition understood as a continuation and application of the knowledge gained in the autumn semester. Structured around a series of sequential exercises (P#0-P#5)— of different scales and duration — the research and project development are framed by analytical and creative thinking through experimentation (creative exploration) with both manual and digital techniques, combining both collective and individual works.

The study method practiced in the unit 2+3E emphasises experimental approach and exchange of ideas/projects that are formulated by the students. The unit operates within the Programme 3 – Sustainability – one of the three programmes that constitute the school’s main agenda. The education is a general bachelor education “toned” by the programme. In this context, the unit is conceived as an intensive and vibrant workspace in which different disciplines and methodologies interact, stimulating and supporting alternative ways of thinking and making environmentally and socially engaged architecture.

The programme for the studies is formulated by the tutors and approved by the study board.

Claudia Carbone, Izabela Wieczorek

Poetics of Necessity - A journey in search of environmental imagination

“What we have been accustomed to calling ‘the environment’ might, then, be better envisaged as a domain of entanglement. It is within such a tangle of interlaced trails, continually ravelling here and unravelling there, that beings grow or ‘issue forth’ along the lines of their relationships.”

Tim Ingold, ‘Rethinking the animate, re-animating thought.’ Ethos: Journal of Anthropology, no. 71 (2006): 9-20, 14.

Taking environment as a subject explored through the dynamics of the landscape and operating in a boundary between the knowable and unexpected or uncertain, the unit’s interest lies in unravelling relationships, (ex)tensions, and blurring polarities between: the natural<->the artificial climate<->weather the material<->the immaterial body<->environment ;their co-existence/hybridisation and manifestation/materialisation in spatial propositions.

Autumn semester: Performative Art(e)-facts/Environmental Devices By reframing of the understanding of environment beyond technocratic terms through embodied practices, unit’s 2+3E objective in the autumn semester was to focus on speculative material/ spatial/phenomenological analysis derived from specific human/non-human interaction, social requirements as well as environmental conditions/challenges.

6

> P#0. Light UP! Start-up Workshop [05.09.16-16.09.16] A workshop including all six BA units, in partnership with the Aarhus European Capital of Culture, Opening Ceremony organisers, engaging in a hands-on investigations through prototyping and making/constructing (spatial/ wearable) devices (lanterns). > P#1. Atlas [19.09.16 - 27.09.16] Construction of a collective database constituting a point of departure for further investigations (Autumn: Råbjerg Mile/ Denmark) and design agendas (Spring: Ritoque/ Chile). > P#2 Sand research (off-site/on-site) laboratory I [27.09.16-25.10.16] Test modes of measuring (reading) of/ exploring (operating) with the landscape – in the dynamic exchange between the sand, the sea and the air.

P#2.1 Defining field of investigation [27.09.16 - 04.10.16] Programming on-site investigations of the physical and immaterial qualities of the environment through artefact(s)/tool(s)/device(s), testing/decoding/measuring/collecting material and immaterial traces, behavioural, performative and transformative possibilities of the Råbjerg Mile dune (during a field trip).

P#2.2. Collection of differences/ interpretive architectures [04.10.16 -25.10.16] Two weeks robotic workshop in collaboration with Dana Maier and Ryan Hughes focusing on testing/developing experimentation/ production methods of associative and generative modelling, within the area of digital fabrication and in close relation to the previously undertaken on-site investigations. > P#3. Archaeology of eco-technologies [25.10.16 – 8.11.16] Collective study and analysis of existing typologies of performative architecture (through drawing and making) with a particular attention to building processes and materials (low tech building components and strategies). > P#4. Collection of possible futures [8.11.16 - 6.12.16] A collection of spatial interventions – based on a Manifesto defining preliminary intentions and a set of parameters for a performative architecture (with a specific programme) – embodying/visualising specific relations between material processes, phenomena and human interaction. > P#5 Conclusive collection [6.12.16 - 22.12.16] The execution and production of a specific narrative derived from the undertaken throughout the semester collective and individual investigations and the produced material, relating and communicating the outcomes of the performed experiments and development process. The material is selected and edited by the students.

8

Light-up workshop

In the light-up workshop we were asked to construct a lantern that would play a part in the big opening ceremony of Aarhus European Capital of Culture 2017. In groups of two we created lanterns that all together would work as a parade of light walking down the streets of Aarhus on the opening day in January.

The structures of the lanterns would be built in 80% recycled material of willow and bamboo and later on covered in paper in order to hide the LED strip of light fastened inside the construction.

The lanterns had to collaborate with a theme of where in the parade they were to be placed.

Distributed to our Unit were the two themes ‘Natural world and the great wilderness’ and ‘The interdependence of all species, nature and life’.

Many interpretations took place and soon, with great help from The Lantern Company from Liverpool UK1, a whole collection of beautiful designs was created.

http://lanterncompany.co.uk

1

THE DEPENDUALITY

by Anna Friedrich and Nete Virkelyst Olesen We started by doing a classic brainstorm and sorted our random thoughts on mindmaps to be able to more clearly get an understanding of what was catching our interest.

The pen was burning when talking about the theme ’the independence of all spices, nature and life’. So we decided to work further on with this. The conclusion of the big mindmap was that independency for organisms is impossible reaching without cooperation and so the idea was born: the dependence of independency - ” the Dependency ”

MICROBE

by Amanda Elvira Fleischer Vinther and Laura Høgh Jensen We found the assignment as an opportunity to experiment with material potential and conditions. In our interpretation we found this close related to the keywords in the given headlines: “…Wilderness… Interdependence of all species..” On this basis we got inspired by the microorganism in every living thing, thereby the organic shapes, its internal shape and unpredictable development and growth. Our premisses for the process were then simple; let the material create its own shape.

TERRAARO

by Toan Nguyen & Ida Fonslet The inspiration for our project was how nature is an integrated part of the city of Aarhus, and how the city expands around its green areas, instead of destroying them. This was transformed into a shape that represented both the city and nature existing in symbiosis - a meeting between geometric and organic shapes.

PARASITE

by Elvira Bergman and Christopher Baehring The subject; interdependency of species let us to the theme of parastitic attatchment. How do we as a species depend on nature, how do we depend on each other and our structures for sustained living, and how do parasites depend on us and the ecosystem for survival?

T H E M I N D S P E R C E P T I O N O F S P A C E A N D L I G HT FEELING, SENSING, ISOLATING & INFLUENCING

16

Amanda Elvira Fleischer Vinther

RAA B J E R G M I L E

creating a limited view

excluding surroundings

creating a sense of being in another place

observing, sensing & feeling

CREATING AN ARTEFACT

Making a grid, to explore tiny bits of the landscape

Unpredictable landscape makes a more complex grid

Fragmented frame, complementing the landscape

Dark frame, with only one view

Horizontal view, to complement the huge landscape at Raabjerg Mile, while still eliminating a part of the whole picture.

THE AIM: The intention of making the horizontal binoculars, was to exclude a part of the landscape and make it possible to focus on only what was visible. When doing this, you can put your full attention on what you are seeing, without getting disturbed by all the impressions our brain normally has to process.

COMPILED RESULTS FROM RAABJERG MILE

What happens when stable material gives way to hybrid, mutable stuff as a material of signifying expression.

Any true machine architecture would have to be reflected not only in outwards appearance of a structure but also within the very function of the structure itself.

What the constructivist and Futurist movements did do, however, was to envision architectures that would enact rather than represent movement, letting it live and propagate and, if only on paper or the screen, release built space from the shackles of gravity and stasis.

MANIFESTO

P E R F O R M AT I V E A R C H IT E CT U R E Performative architecture is often related to something that moves, or engages in a direct performance. But the performance can also be hidden. The performance in the architecture can be an effect on how a user will sense and perceive a place.

Light and how light can be reflected, can affect people to see and sense places differently. How a person gets affected can vary a lot, as all people are different. Therefore, as an architect, we have the possibility to try make people see our architecture in a particular way. We can never be sure of how a person will feel and sense a space. But we can however, try to direct them towards our idea of how our architecture should be perceived.

Having an experimental approach of using these features, we can adress it in our achitecture. We can implement it in the construction, with the aim of directing people towards the idea of how architecture should be perceived. Creating and succeding with the use of these effects, is my perception of performative architecture.

IMPLEMENTATION OF MANIFESTO

THE

RIDDLE

My spatial experiment is placed in the centre of the city, and not in the borderline of two settings. The idea was that I would use this as a factor in shaping my intervention and also my approach with experimenting with lights.

I would use it to create a illusion of being somewhere you werenâ&#x20AC;&#x2122;t.

With both of my interventions, the idea and thoughts of making people feel a form of serenity and calmness when entering, was an extremely important factor. I decided to use the forest as a source of inspiration. The aim was to create the reflections that the sun makes when filtering through the trees. The intention was to implement the organic forms and shapes that the forest offers. I realised that it does not only consist of organic shapes, but also sharp lines, squares and triangles. Accordingly, following the laws of the forest, the design implements both sharp edges and soft lines.

W AT E R F R O N T For this spatial exploration, I used my previous investigations, from RĂĽbjerg Mile. I had there already experienced, how it was to have a limited view, and how this affected how you sense and feel about a place. I experienced a form of serenity when wearing the horizontal binoculars despite of the extreme weather conditions. This made me think about water, and how water has a capacity (on most people) to create calmness.

I experimented with light reflecting through water. The intention was to use the reflections from the water, inside my intervention. Making it in the roof, would lead the light to reflect down, a similar effect to being under water. It consists of small open lines and curves in the roof. Bringing the horizontal view back from the artefact, creating a connection between the dune and the ocean.

Sliding house, by dRMM Architects

Building properties: 20 ton mobile roof and wall define this building. Making the building a performance for the outside viewer, but also for the one being inside the house. The windows change while the structure of the outside building slides across the composition in only 6 minutes. This happens with a simple push of a button on a remote control.

Movement of the outer structure:

There is a possibility of having a swimming pool where the outside building can be moved to cover it, on warm days.

Building Agenda: PLAN 0+ 1:500

Ability to alter the overall building composition and character according to season, weather, or a remote controlled desire to delight.

PLAN 1+ 1:500

Details: Architect(s):

Alex de Rijke & Joana Pestana Lages Gonsalves

SECTION 1:500 Firm: Square meters: SECTION 1:500

Location:

dRMM 200 m2 Suffolk, US

Villa Vals, by SeARCH & CMA

Building properties: The building is made using local traditions and building materials.

Recovered from the site or found in the nearby thermal baths or rooftops. The house is build into the mountain, so it doesnâ&#x20AC;&#x2122;t disturb the natural surroundings.

An original barn is integrated in the design and is also the entrance. You have to walk through a 22-meter concrete tunnel to get to the house. The house is experienced as a welcoming light at the end of the tunnel.

Diagram showing Villa Vals, placement in the mountain:

House buildt into the mountain Tunnel leading to the house

Building Agenda:

Entrance from the barn

To give a feeling of belonging and fitting in with the natural surroundings - to be a part of the elements and not disturbing the surroundings, while still preserving the magnificent view.

Details: Architect(s):

Firm: Diagram, Villa Vals

Square meters: Location:

Bjarne Mastenbroek & Christian Muller SeARCH & CMA 160 m2 Vals, Switzerland

BOX

OF

W AT E R

an experiment with light passing through water

IDEA: Experimenting with light and its reflection through water. Creating an ideal solution for evoking a feeling of being near/in water.

increase the density by adding more water or decrease by removing water.

Each time water is added or removed, a photo is taken.

Photos are taken in a dark room, with light going through the water.

If everything goes wrong: DOCUMENT IT!

openings showing where the sun peeks through

lines making an illusion of branches in the forest

Spatial exploration

CONNECTING THE BORDERLINES

LIGHT

BOX TO EXPERIMENT WITH

WATER

RESULTS FROM THE EXPERIMENT

EXTRACTING PATTERNS FROM WATERâ&#x20AC;&#x2122;S REFLECTION

REFLECTIONS

USING THE PATTERN

REFLECTIONS OF PATTERN

Investigating Semester

32

Anna Elin Friedrich

Fieldtrip

RĂĽdbjerg Miele, Skagen 30/9 -16

Introduction My investigation is founded on a personal specualation regarding the relation of sand to the contexts it inhabits.

I chosed writing as a tool to process my strong personal feelings connected to the sand. This helped me to translate my memories and feelings into something more objective/tangible. The story ended up almost clarifying the given identity of the sand. By using these personal impressions of the sand, I got conscious of the logical motives and technical aspects of the function of the sand.

Such as natural forces provoking the movement of the sand, the driven force (wind) and opposite, the broken force (water, flora and fauna). I aimed to focus on tracking power (the strong personal will) of the sand. I promised myself to be experimental with the tools I brought, and by having the story and my already strong relation to sand in mind, see how that could develop during the day. Does it move differently? Is there any argument to find for the dance to be afraid of the sea? Can I track the beats in the dance? Does it still want to follow me home and slowly Method and Tools sink in my porridge the next morning?

By using the camera as a medium, I hope to document the effect of the sea, wind and rain upon the shifting sands and the landscape as a whole, as well as the consequences of human interaction (walking, digging, occupying etc.)

In addition to this, I will bring along a set of glass panes to conduct some experiments. Placing the panes in varying relations to the context I aimed to induce certain patterns and effects. I chose glass, sand melted into another state of being, simply because it is a visually nonintrusive rigid material, which makes the the sand so much easier to study with the camera.

Number of objects: 2, Angle: 150 ÂŞ W, Duration: 30 min (17.23 - 17.53), Placement: 150 cm apart.

Sandification Defining the personality of sand.

MICRO

Sand in your ear.

Sand in your eye.

Sand between your toes.

Sand in your bedsheets.

Sand under your nails.

Sand inside your clothes.

Sand sprinkling your icecream.

Sand as an unwanted spice in the ketchup of your sausage...

To be sandy...

Main interest: To dance to the tunes of wind.

Living: Preferably in larger groups. Will get anxious, irritating and attention-seeking when left to its own.

Likes: Hot sun and warm winds.

Fears: Water. It can handle rain, but the sea is perpetually harassing its fringes.

Qualities: Strong-willed, helpful and collaborative when treated on its own terms.

...”When the sand is moving it is dancing. The wind is the music. To a choreography made to uncountable beats. Different beats and different dances. But always certain, crossing everything in its way. Itching you on your legs, like to aggressively appeal you to leave the scene, or it will gently fondle you on your cheek, telling you to join the beats of the calmness.” ...

—from the specualtion on sand written by Anna Friedrich (original on swedish)

MACRO Sandy beaches.

Warm sand to lie down on.

Cool sand to support a bonfire.

Even cooler sand to support a beach party.

Sand to play with.

Sandcastles.

Soft sand to practice your handstand on.

Sand to hold in your hands.

Sand to run through your fingers.

5 cm dry

3 cm wet 2 cm dry 5 cm wet

About 18.30 it started to rain heavily. The sand ’froze’ during the downpour, and stayed inactive for quite some time thereafter.

Number of objects: 1, Angle: 150 ª W, Duraiton: 1h 22min (17.23 – 18.45) Wind: Strong S/W Weather: rain, cloudy and windy.

Theoretical Collage

Open work must leave arrangement of some of their

constituents to the public or to chance, hence giving these works a ’��eld of possible orders’ rather than a single ��xed one. The subject can move freely within this ��eld of possibilities. … (2) … the designer needs to provide a guiding directive that structures the ��eld of possibilities in some way for the subject.

_ Umberto Eco ’open work’ Harvard University Press, 1989. (Non-discrete Architecture, Chapter 2, Brief History of the Notion of performance in Architecture, Michael Hensel)

... Kuma advocated giving up ’paths that are determinated by their designers’, _ Kengo Kuma, Anti object (1)

Making architecture into an object means distigunishing between its inside and outside and erecting a mass called ”inside” in the midst of the ”outside” (of witch nature is one version) _ Kengo Kuma, Anti - object, the discussion and disintergation of architecture, AA publications (london) p. 120 (Non-discrete Architecture, Chapter 2, Brief History of the Notion of performance in Architecture, Michael Hensel) (1)

Spidernethewood, Nimes, France … dense greenery to mask the massing of the building together with its elevations, but maintains a spatial labyrinth by employing nets to limit the growth of the natural vegetation. _ Fransçois Roche and Stéphanie Lavaux, Spidernethewood, Nimes, France. (Non-discrete Architecture, Chapter 2, Brief History of the Notion of performance in Architecture, Michael Hensel)

_ Fransçois Roche and Stéphanie Lavaux, Spidernethewood, Nimes, France. sc. archdaily.com

B

y understanding the nature of contemporary circumstances and media processes that go with it, architects are in a position to construct conditions … that will create … new relationships between spaces and events” _ (Tschumi 1992, 27) Performative architecture, Chris Salter, The MIT Press Cambridge, Massachusetts, London, England, capter 3, Architectur and Event P.85

Architecture as practice explores the potential of space to unfold in ”indeterminate ways, in contrast to the ��xity of predetermined, programmed actions, events and effects” - a form in wich technical and social behaviors dynamically emerge through how users/inhabitants/participants use space. _ Kolarevic Performative architecture, Chris Salter, The MIT Press Cambridge, Massachusetts, London, England, capter 3, Architectur and Event P.84

To manifest ’Dynamic architecture’ ’Non-dictative architecture’ encourages the user (the actor) to become more aware of his or hers spatial context, seeking to activate them as conscious participants, shaping not only their own perceptions of a space but also, through their actions, the space itself. ’Open work must leave arrangement of some of their constituents to the public or to chance, hence giving these works a ’fields of possible orders’ rather than a single fixed one. The subject can move freely within this field of possibilities. …(2)… the designer needs to provide a guiding directive that structures the field of possibilities in some way for the subject.’ 1 A space that prohibits the user from taking an active role, can be called ’dictating architecture’. Such a state of limited and locked possibilities can occur both from an excess of complexity, but also from a lack of it. On the one hand, a space left empty, or without sufficient reference points, will in most cases leave the actor confused, and without direction, again, leading to inaction. As Umberto Eco pointed out, the architecture needs to provide certain orders so that the user can be encouraged to take initiative in exploring a space. 1 On the other hand when a situation, or space becomes

too complex, filled with choices, prohibitions, information, either wrong or contradictory, the actor can become confused, unable to find a meaningful order to act upon. In such cases, what can at first seem like a myriad of choices quickly dissolves into a handful of static courses of actions, simplifications and habitual patterns. ’Non-dictative architecture’ believes that there is a balance to be struck between these two antitheses— between total openness and saturated passivity. By ordering complexity, creating or removing guidelines or reference points, complementing existing orders or introducing new layers of possible actions, a level of dynamism can be induced. Done right, this will promote active participation in our surroundings, a heightened sense of ownership to architectural space and broader range of options for how we can inhabit our built environment.

1) Källa : Umberto Eco ’open work’, Open Work, Harvard University Press, 1989

The actors

Case studies

Collaborative work Anna Friedrich & Fredrik Ravn

Case 1

Engaging to activate the actor.

Encoraging to colaborate and also comunicating with fellow actors.

’Civic stage’ Frida Escobedo

An adaptive stage, exploring themes of participation and democracy. The idea is to highlight persons who performs. This is achived by the use of architecture that respond to the growing audience - the more audience the higher the performer rises (up to 1,5 m).

Scale: -

Framed ’empty spaces’ encourage the actor to fill it.

Case 2 ’Villa Verde’ Alvaro Araven / ELEMENTAL Constitución, Chile

The idea of Villa Verde is to let the architect dictate half of the house, and leave the other half open for the users themselves to be creative. Through our investigations we discovered that the idea in praxsis was not sucsessful as ’non-dictating’. Instead the ’freedom’ of fullfilling the frame becomes limiting and full of associations encouraging to actions that are already familiar to the owner of the house.

Anna Friedrich & Fredrik Ravn

1:100

Assosiative forms affects our freedom of individual interpretation with space

Case 3 ’Parc de la Vilette’ Bernad Tschumi Paris, France

As a work aiming for individual interpretation of such themes as order, hierachy, routes and urbanism/landscape, Parc de la Villette succeds through the use of superimpositioning three conzeptualized layers: the surfaces, the lines and the points. By making these layers alien to each other, but still co-exist in symbiotic relationships, they help creating a multilayered understanding of the park that influences every single visitor.

Integrated ’Layers’ in space gives various opptions of actions in space.

Layer 1

Layer 2

Layer 3

Ground

Referent points providing information is needed to give the actor guidlines of opptional ways of acting.

Discovered points of meeting while comparing the various layers.

Anna Friedrich & Fredrik Ravn

Case 4 ’Incidental space’ Christian Kerez Venice Bienale, 2016

“We need to engage with the public and with all possible stakeholders in the decisions and actions whereby our living spaces are created, both as individuals and as communities. As Architecture is the most political of all the arts...”

Incidental space avoids using familiar forms to achive a spce open for each actor to interpretate and activate in space on individual level. The space encourages awearness and reflection up on actions.

Our focus was mainly to read about the work and discuss its conceptual framwork. Anna was also visting the space and experienced it herself.

_ Christian Kerez 2016, Incidental Space, Aarch+, 224

Unreferental architectural form forces the actor to interpretate individually with space. It leads to conscious actions.

"In this sense, we were much more interested in raising questions than in giving any statements on architecture.”

_ Christian Kerez 2016, Incidental Space, Aarch+, 224

Visiting Venice Bienale, oct 2016. Pic. Anna Friedrich, Unit E

Anna Friedrich & Fredrik Ravn

Investigating the form on Ida Fornslets, Unit E, model, Sand investigation Ph#2.

Backgroun illustration: Non-referental spaces do not need to be defined by scale.

How to achive balance in static spaces?

To investigate my manifesto on ’Dynamic Architecture’ I chose to conduct two theoretical analysis and a set of interventions in full scale, 1:1. As my hypothesis stated that a equilibrium between the pieces that constitute a given spatial environment would lead to dynamism, I needed to better understand how this balancing act manifested itself. I knew from my previous work and from my readings that I wanted to look at a natural context and an urban one. The urban environment would represent an overly complex situation, and the natural one an empty space. Both being static, but from opposite sides of the dynamic—static spectrum defined in the manifesto.

To start with, I explored downtown Aarhus looking for locations that seemed static. Using photography and sketching I carefully narrowed my focus to a main site, the St. Clemens Bridge. I documented the space trying to define what components were involved in offsetting its balance. It became evident that the transitional nature, as a windswept bridge in-between two major retail areas, kept it static and unappealing to interact with. Also, the unfamiliar wooden deck almost felt unwelcoming. Before I could follow up these findings I wanted to conduct an investigation on a smaller scale, in a more controlled environment. I chose a space at the school with similar characteristics as the bridge— a transitional hallway in-between the Paradisgade

studios and the rest of the school. Based on an idea of a toolbox with different categories of object that could be used to balance a spatial situation, I devised variations of object interventions. Among these categories were Prohibiting, Challenging, Obscuring and Interactive. The results can be seen in the accompanying material.

Lastly, I brought all the information from my collected work back to where it all started, Råbjerg Mile, as my natural context. Picking up on my experimentation with the glass plates, I developed it further, imagining how they could be used as the added objects creating balance and dynamism from the emptiness.

Looking at the glass as a ’multitool’, fulfilling all the above mentioned categories, I could shift my focus from asking what kind of object to use, to how to use it. The result of these thought experiments are yet to be seen, and would be the next step for a further enquiry into my theory.

---------

(Nothing)

Static / Passive U

Architecture Context User

DY

A

YNAMIC

COMPLEX

Active

Static / Passive

C

Urban Experiment 1:1 Hallway, Paradisgade Arkitekskolen Aarhus

Scale: Undefined

Obscuring

Challenging

Prohibiting

COMPLEX

Interactive

Urban St. Clemens bridge Aarhus

Scale: Undefined

COMPLEX

Nature Dune, RĂĽgbjerg Mile Skagen, Dk

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Nature Dune, RÃ¥gbjerg Mile Skagen, Dk

Rout of Nikolaj Heede

Rout of Hanna Solfridsdotter

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Scale: 1:6000

Poetics of Necessity - A journey in search of environmental imagination [FALL 2016] Performative Art(e)-facts/Environmental Devices * Body relation * Borderline * Material * Play * Use *

48

Anna Maja Sigsgaard Juul

RĂĽbjerg Mile, mapping.

The moving sand dune

Heather Sand dune Forest Beach

A tool to collect everything nature brings us: water, wind and sun.

After a three hours experiment, the tool shows how natural elements interact with my placed object.

Manifesto - Performative art(e)- facts How to do, buildings that make us feel? Is the use of materials, and the surroundings essential to make us feel comfortable and happy in the cities and the architecture we live in? And what is the power of architecture, really?

There are many different aspects that can apply. Throughout time, architects have been experimenting with the way of building. Ancient buildings like the Pyramid of Khufu, make us think of power. The ancient buildings were copied and neon colours, or bright blinking light were added. It has been a pendulum swinging back and forth from innovation to symbol.

According to science it is a fact: surrounding nature is boosting happiness. How being near, in, on or under the nature can make you happier, healthier, more connected, and better at what you do. Fresh air, the nature or ocean in sight. You already get emotions when thinking of nature. Memories enact, because of earlier experiences.

Through time we feel something about the spaces we occupy. Emotions are controlled by memories, and architects play important parts by their creations. We do not just create a box for a kitchen, a bed and so on. The anti-object architecture1 makes us curious, which creates life. Life in public spaces, which make us like the architecture and cities we live in.

It is the power of architecture. Architects therefore play important parts in other peoples lives. They have a big impact on how we think our lives and experience the cities we live in. How much time we spend on the streets as pedestrians, as cyclists or in cars.

RĂĽbjerg Mile. Fieldtrip October 1st 2016

Drawing of the year, Competition December 2016.

A collection of the studio, Unit E 2 + 3, drawings made in individual collages.

Following page theoretical collage.

“...making architecture into an object means destinguishing between its inside and outside and erecting a mass called “inside” in the midst of an “outside” (of which nature is one version).

Ibid, p. 77, Performance-Oriented Architecture

“Anti-Object that architects must shun the stability, unity and aggregation know as the object.”

K Kuma, Anti-Object: The Dissolution and Disintegration of Architecture, AA Publications (London), 2008, p. 120

...the object constitutes a dynamic climatic event that is affected by the climate around rather than a rigid material construct. The physicality of the building consists of the microclimate it creates and in this way engages an extreme version of non-discreteness. p. 6, section 2, Performance-Oriented Architecture

P#0. Light UP! Workshop [05.09.1616.09.16] Lantern workshop for Aarhus 2017 European Capital of Culture. Collective work.

P#1. Atlas [19.09.16 - 27.09.16] Illustrations of two schools/residents for poets of different crafts in Ritoque, Chile.

Collective work.

Groundwork of Chile.

The Town of Ritoque.

Tracks of the Prisoners.

Case studies

P#2. Defining Field of Investigation [27.09.16 - 04.10.16] Drawing Of The Year. Individual drawing, which is inspired from the collecting tool from the field trip to RĂĽbjerg Mile.

Robotic workshop [05.10.1624.10.16] Digital tools to draw in sand, which was baked, and drawing and sandprinting with glue.

P#3. Archaeology of Eco-Technologies [25.10.16 â&#x20AC;&#x201C; 8.11.16] Spatial works, one is related with sand.

The Great Pyramid of Khufu and The Mirror Cube (Tham & VidegĂĽrd Arkitekter, Sweden).

Investigation and experiments with casting and the mirror effect in the landscape, in the forest.

Natures importance and the architecture in it Nature is very important in our cities, because of one of life’s most important roles: how we feel. Nature makes us relax. It makes us creative, and it is boosting our happiness. We can get fresh air and avoid the very fast-growing infrastructure of bigger cities and more cars, busses and trains.

My investigations start with my manifesto’s most important statement: Nature and a human interaction to understand ourselves within the nature. Århus is a city with a typical beltway infrastructure and a landscape of concrete. The borderline between concrete and nature which surrounds the city is interesting to work with because of the big difference, not only in its material, but also in human scale. What if I could make Riiskov more interesting for its visitors? I created a worm. The idea is to make people interact with nature and connect in their surroundings. I work with lines, local materials, use what is already there, to make a playground for everyone who loves the forest and interaction.

Råbjerg Mile is a landscape of moving sand and a switching landscape. Sand dunes, forest, heather and ocean. The attention is to create an interaction, in a very special area of a forest, which is “eaten” by the sand. I make a borderline of robes, which are placed like a spider net, and will be a game for visitors: as a part of a team, get all members from one side to another. An interaction in human scale to understand the movement of the dune and its impact, but also to generate a discovery desire and to meet across territories.

The river of Yazd, Iran, October 2016

The Worm in relation to the body.

The City Aarhus is Denmarkâ&#x20AC;&#x2122;s second largest city and was established in the 8th centuries. It is on the East Coast of Jutland, which constitutes a borderline between the city and the ocean. This borderline of urban city and nature - the ocean. The interesting part in this relation is Riiskov. A small forest, which is in between the northern side of the city and the ocean.

The intention is to activate the visitors in Riiskov more by playing and using the forest materials and surroundings. The idea is to use local materials to make the project more suitable for the environment.

Mapping of Riiskov and The Worm.

P#4. Collection of Possible Futures [8.11.16 - 6.12.16] Two chosen sites and two interventions created in relation to my manifesto.

The City.

The following page, The Landscape.

The intention is to activate the visitors by using the gap between the forest and the moving sand dune. It also expresses the borderline further with the net of lines, which is a special area where sand “eats” the forest.

The Landscape Råbjerg Mile is a Denmark’s biggest migrating dune. It moves with the wind up to 15 m per year in East-nothern direction. The dune covers a two square kilometers area and is up to 35 m high.

The landscape itself is a combination of sand, forest, dunes and the specific area which is chosen, is the border between the forest and the dune.

BREATHING (EX)CHANGES N

FIELDTRIP TO RÅBJERG MILE When registrating the movement of the moving dune, Råbjerg Mile, it is usually done in meters from East to West. A horisontal registration.

But in the movement the sand flies up to the air before landing again.

A vertical movement. The aim of the investigation was to measure these upgoing sandcorns. How high do they fly? and where do they fly the highest? These answers furthermore helped providing a picture of the winds movement around the dunes.

Another experince appeared during the walk in the dune. The wind was stronger in the lower parts of the dune between two layers of sand.

30,29m

28,60m 27,12m

33,78m

Experienced section- wind accumulations

62

Caroline Løvenbalk Kold

S

Ø

W

THEORETICAL READINGS Performative architecture

“The modern building is now so universally conditioned by optimised technology that the possibility of creating significant urban form has become extremely limited... Today the practice of architecture seems so increasingly polarised between, on the one hand a so-called “high-tech” approach predicated exclusively upon production and, on the other, the provision of a “compensatory facade” to cover up the harsh realities of this universal system” - Kenneth Frampton Hensel, Michael. “Non-Discrete Architectures”. Op.Cit.s. 032-033

“The project constitutes a dynamic climatic event that is affected by the climate around it rather than a rigid material construct. The physicality of the building consists of the microclimate it creates and in this way engages an extreme version of non-discreteness.”

Hensel, Michael. Non-Discrete Architectures. Op.Cit.s. 035

“... Soane’s house increasingly became a kind of treasure trove of knick-knacks, artworks, sculptures, antiquities, mirrors, and countless other artifacts that would appear to move and change shape through shadows generated by the continual shifting of light in the house´s countless rooms.”

Salter, Chris. Entangled, Technology and the Transformation of Performance, The MIT Press. Op. Cit. s. 83

“An architecture that would perform by reacting to “our movements, feelings, moods, emotions, so that we want to live within it””

- Coop Himmelb(l)au, 2005 Salter, Chris. Entangled, Technology and the Transformation of Performance, The MIT Press. Op. Cit. s. 94-95

BREATHING (EX)CHANGES

“So-called signature architecture are principally exchangeable, irrespective of differences in location, culture and climate, and it is add-on technology that typically is employed to compensate” (1) Decades of pollution. A point is reached. We have to take responsibility for our environmental destruction. Global warming is here and sea levels rises. One reason for this tragedy is our desire for growth and optimizing that has resulted in development of new technologies. The development of new technologies has also affected architecture and the design process. It has brought an architectural tendency of interior and exterior being unrelated.

“Modern building is now so universally conditioned by optimized technology that the possibility of creating significant urban form has become extremely limited… Today the practice of architecture seems so increasingly polarized between, on the one hand, a so-called “high-tech” approach predicated exclusively upon production and, on the other, the provision of a “compensatory façade” to cover up the harsh realities of this universal system”.

- Kenneth Frampton (2) Despite polluting space and environment the Danish Asthma and Allergies Associated warn about the technical appliance, air-conditioner causing health problems. (3) Before the implementation of high-tech appliances architecture was designed and constructed for the specific site and its conditions to make it possible living there. This naturally related an interior with exterior. Local building materials with thermal advantages, such as earth blocks, sand etc. were furthermore used.

After decades, replacing traditional structures with high-tech appliances, it is time to stop, and investigate how we earlier invented buildings and get inspired of previous tested free-running architecture. We got to remember culture, location, climate and environment when we design, so we avoid interior being unrelated to exterior. Form should be generated by nature and we should design our buildings so that they, and we, can take advantage of local terms.

(1) Hensel, Michael. “Non-discrete Architectures.” Op.Cit. s. 032 (2) Hensel, Michael. “Non-discrete Architectures”. Op. Cit. s. 032-033 (3) http://politiken.dk/forbrugogliv/livsstil/ECE1016183/aircondition-kan-goere-dig-syg/

Windcatcher House, Denver Aluminium grate below Steel louvers

The house is located in the harsh desert with a climate characterized by tough winds and intense summer sun. The purpose of the house is to take advantage of these conditions. Why a windcatcher is placed in the center of the house, and functions as both cooling system and heating source?(6) To utilize thermal properties the house is build from compressed earthblocks.

Evap cooling frame

Exhaust Double wall flue pibe Steel armature Steel corner strut A_Plan - Evap cooling

Steel armature Stucco finish

Hot and dry air

2x4 framning Double wall flue pibe

Cooled basement

50mm rigid insulation B_Plan - Wood framning

Wood stove

Louvered vent Steel armature Single wall exhaust duct Hole cast in slab for flue

Qanat - with water floating Unidirectional windtower

C_Plan - Masonry heater

Steel louvers Evap frames & media

Hot winds drawn down the windcatcher - bringing cooling brezze trough the house.

A

Stucco finish 50mm rigid insulation

Windtower Wind (the higher tower, the colder air) B

Exhaust

Hot air drawn into qanat

Concrete bond beams

Section - Ventilation during summer

Cooled Basement

Optional air splitter Reinforced concrete slab Stove vents intakesupply C

Air getting cooled Wood stove

Compressed earthblocs

Wood stove as base of windcatcher - heats during the cold winter.

Multidirectional windtower Section - Windtower 1m

Section - heating during winter

Plan - windwindcatcher/woodstove placed central

Windtowers, Barjeel, Iran Windtowers, or Barjeels. Traditional iranian systems for a natural and cooling ventilation, in the buildings in the hot arid climate. They were often built with palm fronds, coral and sea stone around a frame of wooden poles and furthermore isolated with sand, mud and rock.

IMPLEMENTATION OF THE MANIFESTO - RĂ&#x2026;BJERG MILE AND AARHUS Ă&#x2DC;

The decision of where to locate the interventions is based on the introduction of the manifesto concerning climate changes. By mapping the rising sea levels it became clear they should be placed on the borderline between solid ground and open water. Since wind has been a continuous recurring factor in all earlier explorations, including the two case studies, this was a natural essential parameter to keep on working with. Common performative factors in both interventions are thus rising wind and water.

The intention for RĂĽbjerg Mile is an interior being shaped by the surrounding exterior. And the aim was a shape determined by the wind, why I experimented with shapes making it possible for the wind to move around, and affect, the sanddune behind a solid. Instead of protecting interior from the wind it is dependent on it for the space to occur. When the on-site dominant west wind makes the sand move east, the use of the intervention changes and a new space occurs while the imprint of the on-site past remains.

The aim of the intervention in the city is to focus on the on-site materials, and therby the sustainable conditions.

The form is to be strict so the materials will stand out clearer when eroded. It should furthermore be a free-running microclimate, which space regulating and changing with sea and wind, and will contain a measuring factor, to make it possible to observe the changing surroundings.

The intention is the interventions to be in constant change, moving horizontally and vertically, affected by on-site climate and to embrace it rather than prevent it so that interesting spaces and surfaces occur.

The model is to be seen as a section. Casting with rigid plaster in soft foam. The aim was to create a form determined by the surroundings and which could only occur because of an outer element.

THE LANDSCAPE - RÃ&#x2026;BJERG MILE

Testing the movement of the wind around diffrent shapes

1st use of the intervention - observation deck in the dune

Movement of the dune makes new space occur

New space takes form as the dune moves. Imprint of the past is still visible, and the new space is dependent on it.

THE URBAN - AARHUS Ã&#x2DC;

SANDBLASTED SURFACES

Brick

Asphalt

Metal

Plaster

Glazed pottery

Wood veneer

Mirror

MDF

Play as a parameter for design

Rules Parameters

Rules

Randomness Community Rules Rules ParaPa-

Randomness Rules Parame-

Randomness

Rules Rules Parameters Pa-

Rules Para-

Parame-

Exquisite Corpse Villa Verde Homo Ludens and the play element in culture

Borderline Conditions Sand Sand Sand Sand Sand Sand Sand Sand Sand Sand Sand Sand Sand Manual _ Christian Kerez

_ Layers Erosion Phases

Phases Non-dictative _ Deconstructivism

Erosi

Er

E Phases

1: Parc de la Vilette by Bernard Tschumi. For more information see http://www.archdaily.com/92321/ad-classics-parc-de-la-villette-bernard-tschumi 2: Incidental Space by Christian Kerez. For more information see http://www.designboom.com/architecture/venice-architecture-biennale-2016-swiss-pavilion-christian-kerez-05-26-2016/ 3: Villa Verde by ELEMENTAL. For more information see http://www.archdaily.com/447381/villa-verde-housing-elemental 4: Homo Ludens by Johan Huizinga. For more information see http://art.yale.edu/file_columns/0000/1474/homo_ludens_johan_huizinga_routledge_1949_.pdf

74

Frederik Valdemar Ravn Andersen

Making a manual

While visiting RĂĽbjerg Mile, one of the tasks given was to formulate a manual that would make possible for the undertaken investigations to be done by anyone going to the site. What was important from this was the understanding of the manual as a mixture of both a recipe in regard of how to construct the artefact used for the investigations - and a rulebook that specifies what can be done.

Collected in the manual is a stepto-step guide on construction, a checklist and a guide on using the device.

It is presumed that by reading this manual one would be able to undertake the same investigations and make results akin to my own.

Transformtion of data over form into drawing

In a project on gathering and transforming data for digital use, wind speeds were measured and through digital processes transformed to a casted 3d-model in sand, and baked sandmodels.

From the physical manifestations of the gathered data, drawings were produced with the aim of representing the undergone processes in the physical laboratory of the robotic workshop.

As a research in analogue/ditigal interplay.

“there can be no architecture without event, without action, without activities” Salter, Chris, Entangled: Tecnology and the Transformation of Performance, MIT press, 2010, p. 85

“every work of art ... if effectivel virtually unlimited range of poss each of which causes the work t vitality in terms of particular tas perspective, or personal perform

U. Eco, The Open Work, Harvard University Pres

“from the 60’s onwards, mechanical-electrical interior climate modulation redefined the architectural boundary as a quasi-hermetic flattened one that has progressively abandoned intermediary spaces as architectural means of environmental provision and potential for adaptive habitation” Hensel, Michael, “Non-discrete architecture”, John Wiley and Sons, 2013, p. 32

ly open to a sible readings, to acquire new ste, or mance.”

ss, 1989

“one of the most fundamental consequences of the dominance of objectness and discreteness in architecture is that it is thereby locked into the stringent dialectic of the natural versus the manmade” Hensel, Michael, “Non-discrete architecture,” John Wiley and Sons, 2013, p. 33

Case studies on performative a r c h i t e c u r e

The case studies were chosen because of their way of encouraging to an open interpretation of itself. Two of four case studies are shown here, based on their very different ways of The shown works are Villa Verde by ELEMENTAL2 Incidental Space by Christian Kerez3 In both cases they will only become architecture through the event, that is the use of the people i.e. an active engagement with the built. With Villa Verde this happens through the supposedly open interpretation of a facade, where examinations were done on how non-creativeness appears when to sharp a frame is cut out for us.

With Christian Kerez it is the experience of the space itself that makes for an open interpretation.

Villa Verde When examining Villa Verde, a problem became urgent, which had the uttermost importance to the further studies. Where the idea is to let half a house stay empty, and thereby letting people fill in the frame themselves, we found out how the shape in itself limited the users and their creativity.

Therefore we started examining different typologies of the facade with roots in ideas of the earliest deconstructivists such as Bernard Tschumi and his Parc de la Villette.1

The Inciden

ntial - Verde

Incidental Space The incidental space is a space that seems to be created totally by randomness and chance, which completely removes it from all premade presumtions and prejudices It is the clearest example of an open work of architecture that only gains meaning when people project their own meaning onto it.

The space is created from a random casting process, where a selection of the most interesting forms was chosen and rescaled into the Incidental Space. Kerez thereby uses the element of randomness actively in the design.

MANIFESTO ON IMPLEMENTING A PLAY CULTURE IN DESIGN When we architects plan we plan all too thoroughly, and way too strict.

We consider light and colors, we think of organization and circulation, we consider served spaces and servant spaces, climate conditions and ventilation systems etc. etc.

etc.

just so that we are sure that

what we do, has the effect

we want it to, and when taking final form, our spaces leaves

nothing to chance.

Therefore a good chance is that every time we build, the structures will become dictating and it will come with a predefined meaning. Thereby not saying that it is eventually BAD, because probably it is not.

But it neglects an important aspect the aspect of play.

So lets just consider the concept of play for a moment: Fantastically small amounts of resources are used for establishing a play, and yet

marvelous things appear at the front of our eyes;

creative solutions and unthought connections.

We define some rules, and then we PLAY with them, and everything can change, can re-shape, can evolve.

And unfortunately, unless we are looking at playgrounds, this element, the PLAY element is completely abandoned in architecture today.

And the fact that it is, is very odd. Because after all we, architects, should know the quality and power of play, and how it relates to creativity.

Because we play all the time, play with models, with elements, whether it is in our head or out there,

in the physical world, we constantly re-shape our thoughts and make creative designs by playing.

This is what makes us feel a certain ownership and pride of our designs.

And exactly therefore should it be the main factor of any of our designs. To make every single person feel the same ownership and pride and joy of the designs as we do ourselves. Everything we make must be revoking the urge for playing in child as well as adult, because then we will be able to pass on ownership and pride to the users, and make OUR design become EVERYONES design.

Manifesto 4.0 revisited How the implementation has physically manifested itself in the two settings.

As a main catalyst for the project was the writings of several manifestos, acting as sketch models throughout the process. With the formulation of manifesto 1.0, an aim was pointed at creating an architectural form/space that removed itself totally from predefined meanings and pre-established interpretations â&#x20AC;&#x201C; This is done from the idea that architecture can have a performative aspect embedded in itself; that is a curiosity-driven exploration and examination of a seemingly ambiguous form â&#x20AC;&#x201C; From two case studies Parc de la Villette1 and Incidental Space2 we brought knowledge to how we as architects could be auxiliary to enabling this performative aspect. It was also examined how moving further away from / repositioning ourselves in / the design process could make room for something unpredicted.

With Manifesto 2.0 the project mostly evolved onto ideas of processes of randomness, and developed more and more into directly involving a (-n imagined) community into the process of the design, to function as the factor of randomness.

Because pure change is never interesting, a set-up inspired by ideas of early surrealists was created to facilitate the interplay between the architect on one side, and the community on the other side, so that some rules would have to be followed.

Reading the text Homo Ludens3 by Johan Huizinga, sparked the formulation of manifesto 3.0, which changed focus into shaping a possibility of playing, rather than just applying rules. From being an interplay â&#x20AC;&#x201C; an exquisite corpse - between architect and community, the role for the architect now became to formulate a manual and establish rules, that would enable the aspect of play to evolve and thereby let the community be the element of randomness that makes for an open design.

Theoretical Explorations

Performative Architecture exploring non-dictative architecture

“Our aim is to make spaces for people to perform actively and playfully; to give them back what much of architecture has taken from them for too long: A sense of ownership of their built environments; a feeling of connection to the built, that stems from interaction with it, and interpretation of it.”

This is a deliberate invitation of a guest not normally greeted at the table of architectural design: the element of randomness.

But WE invite it, we open our arms and welcome it inside of our processes of design. Only we do not call it randomness, we call it a community.

“The factor that we are missing is the factor of play. When playing put fantastically small amount of resources into it, and yet marvellous things appear at the eyes before us.“

Manifesto 1.0

Manifesto 2.0

Manifesto 3.0

|| Anna Friedrich and Fredrik Ravn || || Aarhus Arkitektskole || || Unit 2+3E || || 2016 ||

As made for the first phase for undertaking experiments at Råbjerg Mile, yet another manual has been made, to act as guidelines for the play that is set up for a community at Råbjerg Mile and Aarhus Ø.

As stated before this will both act as checklist and law, as a recipe with ingredients and with rules for how to proceed.

“Play is distinct from “ordinary” life both as to locality and duration. This is the third main characteristic of play: its secludedness, its limitedness”4

Imagined installation at Aarhus Ø

The shown is an imagined installation that could appear as a result of the play described in the manual. The bordeline chosen at Råbjerg Mile is where the dune meets the still persisting nature of pine trees. It is a setting that inevitably will become destroyed by the ever-moving dune. The interesting part is how the borderline at Aarhus Ø between the ocean

1:200

and the concrete structures is telling the same story, but at a slower pace. We have the same elements: solid vertical structures and an unscalable mass; the ocean. Also here the inevitable truth is that the ocean will eventually flood Aarhus Ø, only to leave it for erosion. That is the story that the installation is emphasizing by being the same

Imagined installation at Aarhus Ø

placed in two conditions. At Råbjerg Mile the erosion will happen in a matter of months, but will be making awareness for the structure at Aarhus Ø, and thereby the eventual flooding due to the state of the environment and generally due to global warming.

By making communities at Aarhus Ø / Råbjerg Mile play out the design of the structure they will gain a closer relation to the built, and following from

1:200

that, to the environmental challenges that are more urgent than ever before.

If we find that play is based on the manipulation of certain images, on a certain “imagination” of reality (i.e. its conversion into images), then our main concern will be to grasp the value and significance of these images and their “imagination”. 4

Atlas

44

For this phase there were made two collections, atlas, of informative mappings, one for each site of our planned field trips: Råbjerg Mile, Denmark and Open City, Ritoque, Chile.

The different about weather, [Image:chapters Francisco Méndez andgeology, Valparaíso School.

Sketches, ‘Wind Workshop’ (1957). In Drifts and derivations. Experiences, journeys and morphologies. ecology, history and infrastructure were all releEdited by Museo Nacional Reina Sofia (Madrid: Museo Nacional Reina Sofia, 2010), 146.] vant information for us to bring on our study trip to Råbjerg Mile in the end of September.

After finishingof theNecessity atlas we individually had to Poetics - A journey in search of environmental imagination create an instrument for measuring, researching [FALL 2016] or investigating what each found most interesting.

Here the book was a great resource for information, inspiration and preparing us for what to expect upon arrival. By making two atlas’ concerning the > P#1.

ATLAS [19.09.16 - 27.09.16] same themes, it became possible to compare the two sites, and finding similarities and differences.

Performative Art(e)-facts/Environmental Devices

The atlas for The Open City, Ritoque in Chile we imagine“[A] to use the same way geographical map,when evenleaving thoughfor it is a static object, presupposes an idea of narrative” our next study trip in March. As this location is Italo Calvino.

“The Traveller thebook Map”. In Collection of Sand. Essays by Italo Calvino. Boston, New York: Mariner Books, Houghton, Mifflin, even more unknown for us, inthe will be much 2013, 18-25; and 23. on-site work. neededHarcourt, for preparation The following chapter shows examples of how the atlas used in Mile. Theand mappings we of an Atlas – a collective database for the site(s) of this year The was objective is Råbjerg the construction the making selected for Chile are those we expect to beMile) used and Chile (Ritoque), focusing on environmental conditions; an investigations – both in Denmark (Råbjerg during the fieldtrip.

Ourlandscape experience was that there morphology, ecology – delving into dynamic processes underunderstanding of the through weather, was a general in thethrough mappings concerning lying Nature. interest Constructed collective and individual work archive will constitute a point of departure for the structure of sand, wind and flora in the dune. (Spring). further investigations (Fall) and design agendas

The collection of the documents that compose the ATLAS is to be represented in a range of scales and to include information that might be simultaneous or disjunctive, addressing material or immaterial aspects, yet existing on the same plane.

[1]

Mapping

What is sand and what is stone?

The simple difference between sand and stone i size. Are to particels between 0 and 4 mm, it is called sand.

Are they bigger, its called stone.

The stones are divided into catagories: · Pearls are stones between 4 and 8 mm · Peas are stones between 8 and 16 mm · Nuts are stones between 16 and 32 mm

Environmental classes

The gravelpits divides their material in classes, which fits the environmental classes. This means, that aggregate to the class P can be dug directly out of the ground, because it is used in constructions, which are not exposed to anything but ordenary wear. Everything can be used.

Both weak and strong plus chemically unstabil sand and stone are permitted.

In class M and clas A there are rules according to how many percent ’damedgeing og soft’ grains, which may be present in the aggregate.

These soft grains can course problems in the surface og a floor, if the floor is not furnished with a covering that has the abelity to distribute the weight og a concentrated load, e.g. a chair leg.

Far most floors are in a passive enviromental class.

For floors in wet areas one ought to use materials from class M. If one wants to avoid holes caused by ’soft’ grains, one can tighten the demands for the stone quality.

If a construction part e.g. is exposed to moisture, twaw/frost plus maybe de-icing salts, one ought to chose aggregate from class A.

Gravel/Casting mix

MATERIAL_SAND

Sand/stone/gravel

Sand and stone is often refered to as aggregate.

Sand and stone can be bought at the gravelsupplier or building material salesman.

500m n

Gravel is in this context a mixture of stone and sand. Casting mix is a trade name for the mixture of sand and stone, which is suitable for casting concrete.

For the DIY builder it is easiest to use casting mix, in this way one does not have to handle as many materials.

The supplier must in advance know, which quality casting mix he is to deliver, otherwise one risks to end up with the cheapest and not nessesarily best type.

For regular floors a casting mix consisting of minimum fifty percent stones, from the pea size stone catagory, is used. It is important with stones in the mixture, because sand and cement alone shrinkens more and does not end up in as durable a result.

The supplier must in advance know, which environment class casting mix and which sand/stone balance he is to deliver.

In a good concrete mixture it is important that the sand just barly fills out the gabs between the stones.

In casting mix one risks to much sand.

This leads, with en equal balance of cement, to a weaker concrete.

1:20000

Water

Water for production of concrete and mortar must be clean, e.g. corporation water.

Soil and mounld

Soil is sand, clay and gravel which contains plant residues. When soil contains plant residues it is not suitable for constructions.

The soil becomes unstabil as the plant residues degrade and shrink.

Soil with a large percentage of plant residues is called mould.

Soil i always to be removed below constructions, which are to hold a building.

It is a nessecity or at least a advanse to contact an expert and have the lots condition when it comes to soil conditions and groundwater level examend. This assistence is given by geotechnical ingeneers.

The soil conditions can demand a special arrangement when it comes to casting the base. This could be in the form of piling, a beam base or slab base etc.

Poor quiality soil conditions can result in subsidence damage and crack in the walls of the house.

typical dune sand

rounded - wellrounded 0,2 mm

Coarse sand

2.0 - 0.6 mm

Medium sand

0.6 - 0.2 mm 0.2 - 0.06 mm

Fine sand Stone > 20 mm

Edgy

Gravel 2 - 20 mm

Subedgy

Sand 0.06 - 2 mm

Subrounded

Silt 0.06 - 0.002 mm

Rounded

Clay < 0.002 mm

coarse sand require more powerful wind for movement then fine sand, just as the wind power, which is neede for initiate a movementder, is bigger then the one needed to maintain a transport of the same grain of sand, when its is in motion.

Wellrounded

Nikolaj Heede Noe This map is a part of the geography chapter and it deals with the condition of the sand grains that are present in Råbjerg Mile.

Investigations

Mai Kalaha Blichfeld

Investigation: Divide the heavy sand from the quartz sand

Needed Materials: - Measurement tool (so you get the same mass of the sand) - Neodymium magnets (or other very strong magnets) - A funnel (preferably of metal, so the magnets easily can be attach, if you donâ&#x20AC;&#x2122;t have a metal funnel use tape to attach the magnets) - Water - A piece of linen - Rubber bands - Containers for the sand (3 for each spot) Attach neodymium magnets to the funnel. Decide on a mass of sand (be sure to make the same for all the experiments that you do). Pour this mass into your 1st container, by running it through the funnel with the attached magnets (it can show a better results if the sand is running slowly down the sides to make sure that the magnets pick up the heavy sand). This can be repeated to make sure all the heavy sand is filtered from the quartz sand.

Pour the heavy sand into your 2nd container. At the same time, to make sure no quartz is in the heavy sand, pour water into the 2nd container, place magnets at the bottom of the container and when pour the water into your 1st container. Now to remove the water from your 1st container place a piece of linen over the opening tightened it with a rubber band and pour the water out.

Finally take the same amount of sand from the same place as the first sample, that you chose to divide. Pour this directly into your 3rd container this container is to have a mass to hold your other two container up against.

Ida Fonslet

Mapping

Simon Rode Gregersen

This map is a part of the vegetation chapter. The map traces what specific vegetations are are present in RĂĽbjerg Mile and the surrounding area.

Investigations

Hans Gerrit Kristian Steinebach Nielsen

Mapping

Migration of the dune 1:20000

Ida Fronslet

1954 1979 1995 2016 This map shows how the dune gradually moves to the East, and how the shape of the dune changes during the sand drift.

Mapping

Investigations

Anna Elin Friedrich Experiment

Map

Pre. : Wind direction : : Number of elements : : Placement angle : : Duration : : Weather : : Notes on placement :

...space for notations, sketches or placement drawings...

Post.

Rodbjerg, Mielen, Denmark. Google earth

: Wind direction :

Scale 1:10 000

: Weather : Heavy wind and clouds, the sand was moving faster. : Changes : Wind was moving faster : Notes :

Sandification

Method and toolset

Defining the personality of sand.

MICRO

Sand in your ear.

Sand in your eye.

Sand between your toes.

Sand in your bedsheets.

Sand under your nails.

Sand inside your clothes.

Sand sprinkling your icecream.

Sand as an unwanted spice in the ketchup of your sausage...

To be sandy...

Main interest: To dance to the tunes of wind.

Living: Preferably in larger groups.

Will get anxious, irritating and attention-seeking when left to its own.

Likes: Hot sun and warm winds.

Fears: Water. It can handle rain, but the sea is perpetually harassing its fringes.

Qualities: Strong-willed, helpful and collaborative when treated on its own terms.

”When the sand is moving it is dancing. The wind is the music. To a choreography made to uncountable beats. Different beats and different dances. But always certain, crossing everything in its way. Itching you on your legs, like to aggressively appeal you to leave the scene, or it will gently fondle you on your cheek, telling you to join the beats of the calmness.”

—from the specualtion on sand

MACRO

Sandy beaches.

Warm sand to lie down on.

Cool sand to support a bonfire.

Even cooler sand to support a beach party.

Sand to play with.

Sandcastles.

Soft sand to practice your handstand on.

Sand to hold in your hands.

Sand to run through your fingers.

350 x 500 mm 400 x 500 mm 400 x 500 mm

Pictures taken after the trip. One plate broke.

The investigation will try to answer two questions: 1: If sand has a will of its own, what shape and patterns does it form in its natural context?

What is its preferred mode of being?

2: Can the will of the sand be bent? Manipulated? Measured? Forced? Or reinforced?

To what extent can this be done, and what tools would you need to employ?

By using the camera as medium, I hope to document the effect of the sea, wind and rain upon the shifting sands and the landscape as a whole, as well as the consequences of human interaction (walking, digging, occupying etc.)

In addition to this, I will bring along a set of glass panes to conduct some experiments. Placing the panes in varying relations to the sand, the terrain, the wind and each others, I hope to induce certain patterns and effects, and thus expose the ’will the sand.’ The reason why I chose glass, sand melted into another state of being, is simply because it is a visually non-intrusive rigid material. Which makes the the sand so much easier to study with the camera.

Sand

Du vet,

En nyvaken kall sand en morgon. Sand som somnat och efter nattens styrda dans efter

vinden, vattnets koreografier. Hur lätt den smiter emellan tårna. Respekterande formar

den sig efter fotsula, efter fingrarna som du drar igenom den, efter kroppshyddan när du lägger dig på den.

Att sticka ned handen i sanden och krama om den, låta den skingras mellan fingrarna.

Men jag tänker också på eftermiddagen.

På handduken och sanden som faller platt och sprider ut sig över badrumsgolvet.

På obekväm sand som skaver mellan tårna, gnider sig in mellan sockarna och förföljer dig i drömmarna i kanten av lakanet.

Hur märkligt den beter sig när den försvinnner från sitt hem, när vi tar den med,

förflyttar den från den plats den trivs bäst i. På den smygande uppmärksamheten som

karakteriserar den som ensam. Hur den smiter in i springorna mellan träplankorna, i örat, näsborren och på avokado mackan morgonen därpå. Irriterande.

På en strand, på sand att ligga på, sand som är mjuk, formbar, sand som är mycket i en

mängd. Sand i sandlådan, sand till sandslott. Tillsammans är den stark och kan klara av tyngden av en kropp, tyngden av en fot, eller av att formas av en hand.

När sanden rör sig dansar den. Vinden är musiken. till en koreografi i oberäkningsbara

åttondelstakter. Olika takter och olika danser. Men alltid bestämt, plöjer ned allt i sin väg.

Sticker på benen, som för att argt förklara att du borde försvinna från scenen eller smeker dig på kinden och ber dig att följa takten av medvetet lugn.

Kanske finns det ett syfte mer än estetisk tillrättavisning av dans. Är det ett verktyg för att komma fram. Är det en flykt - mot frihet, från ett liv av förhinder, med en stark vilja.

Att fastna på ketchupranden av vår nygrillade korv och våra

apelsinkladdiga händer kanske är kopplat till succés. Eller så är vi bara ett förhinder i flykten mot ett medvetet mål. En stoppkloss för dansens harmoniska formgivning.

Anna Friedrich 2016 - 09 - 29 Collage: Memory 2016 - 09 - 28 AF

MANUAL Skagen

Investigations

30 - 09 – 2016

Anna Friedrich _unit E

Description. (written in swedish) The story is a personal exposition of my experience with sand.

Mapping

Max Landegren

This map shows how the wind conditions are in RĂĽbjerg Mile, both in relation to wind direction and wind strenght.

Investigations

Step 2 : Bring the propeller and a ladder

Line Leth Kristensen Step 2 : Bring the propeller and a ladder

stop 15:31

17.25 17:03

16:57

walk

Frederik Valdemar Ravn Andersen

15:55

17:20 16:30

16:48

R ĂĽ b j e r g W I N D

M i l e

I N T E N S I T Y

Anna Elin Friedrich

Frederik Valdemar Ravn Andersen

... Nearest land 12 750 km

Mischa Josefine Staehr

Pacific Ocean

_ 165 200 000 km²

North

The major northern part consists of mountain ranges and dessert. The Dessert, named Atacama is the dryest dessert excisting in the world.

The geograpic dispostition for this area very exposed according to extreme weather phenomenas. Earth quakes and volcanic eruptions can occur

South

Scale.

1: 20 000 000

The climate in the southern part of Chile is subpolar oceanic. The lowest mid-parts is covered of ice.

Anderns _ 7000m Costal Range _ 3100m

Pasific Ocean av.deep _ 4000m

Section.

Contour interval x 2000

Mappings showing Geology, History, Flora and Infrastructure of Ritoque, Chile.

The purpose of creating the atlas was to bring it and use it at the two mapped situations; Råbjerg Mile and The Open City.

THE DUNE VOLUME COLOURING EXERCISE (1:400) ARTICLE: Transformaciones Geomorfológicas Recientes y Degradación de las dunas de Ritoque

Generous Earth

The natural resources found in the sea and the mountains is very enriching for Chile and the water is of a great significant for Chile, more than one way. The sea for trade and the mountains and the rivers for generating energy.

ABSTRACT: Between the years 1955 and 1987, in the dunes of Ritoque some geomorphological changes are detected, linked mainly to the man‘s impact in the natural processes of landscape evolution.

INSTRUCTION: Go to the Dunes of Ritoque. Pick up your painting equipment. Colour each scope by your own action as per below scale.

䘀䤀匀䠀 䔀堀倀伀刀吀 倀 䌀伀

倀䔀

刀 䔀

堀倀

吀 伀刀 䘀䤀匀䠀 䔀堀倀伀刀吀 倀 䌀伀

倀䔀

刀 䔀

堀倀

吀 伀刀

─ ␀㐀⸀㈀㔀 ⸀ ⸀

␀㐀⸀㈀㔀 ⸀ ⸀

㐀

␀㌀㐀⸀㘀 ⸀ ⸀

㔀

㌀ 㐀

㌀

␀㌀㐀⸀㘀 ⸀ ⸀

㔀

─

㄀㤀⸀㐀 ⸀ ⸀ 䬀眀栀

㄀㤀⸀㐀 ⸀ ⸀ 䬀眀栀

Agnes Alvilde Esther Schelde

㈀ ㄀㌀

Juva Ofelia Britta Elvira Bergman ㈀ ㈀㐀

㈀ ㄀㌀

㈀ ㈀㐀

Light Studies // Preformativ Architecture

104

Hanna Solfridsdotter Klepp

Index // Field trip and on-site explorations // Theoretical collage // Matta-Clark & Holl // Natural sunlight setting our architecture alive // Case studies - Sunlight into architecture // Borderlines and sites for the spacial explorations // Developing the interventions

Keywords Sunlight // Incorporation // Reflection // Personal adjustments // Transformation //

Field trip and on-site explorations For our field trip to RĂĽbjerg Mile I prepared a manual for myself to follow, and a specific way of exploring the site. Using my own body and senses, I turned myself into a walking investigation-device for the on-site registrations.

The aim was to focus on the subconscious of the human brain and the impact different factors have on us. I planned to map how weather, differences in landscape, nature, social settings and other impressions or distractions could affect where I walked, how I experience a place, atmosphere or how I acted.

I also focused on mapping all the five human senses and how all this information to the brain played together, forming my impressions.

My manual described how I would proceed and how I would take time, notes and use different techniques along the way.

Here are a list of the elements I will be using/mapping

How to use my method

Time/alarm- I will set up a time schedule with 3/7min intervals for different actions and methods when doing our own work and walking in the dunes. This I will set an alarm for, to force myself to stop at the exact spot I am at when it goes of. I will then use the planed method for mapping my location and surroundings at the different stops.

Smell- And in the same matter I will stop and smell to see what I can register out of this area with this sense.

Collecting samples- At four different locations I will also bring a sample of sand, flora or other appealing elements.

Touching/tasting- The samples is also a part of the asssigned times for touching and possibly tasting my surroundings. Using this method for a new sense of mapping the environment.

Basic needs- I will keep track of the basic human needs affecting, interrupting and changing my route and concentration.

Notes- Everything will be registered, written down and taken notes of to create this intertwined analog (and partly digital) data tracking the activity of an investigating human brain and body.

Map- I will carry old fashion maps to mark my route and location at the assigned alarm time. Or at least the route I think I am going. I will also activate a digital gps upon arrival showing my exact movements throughout the day.

Photography- I will at each “photo spot” take a picture in each direction. (north, south, west, east) Other then this I will take photos as needed to complement the remaining research.

Time schedule

Paint- I will bring aquarel paint and (at the assigned alarm time) make a quick sketch within some pre made frames showing the instinctively focus point and interest at the current location.

Listening/Music- At some points I will stop and listen to the sounds around me, trying to notice what you normally don’t hear when walking and working. In some intervals I will even use music to see how this changes or effects my speed and mood while working.

1.0 Arrival

Weather- I will register how the weather affects my work, my comfort, feelings, speed, route and my surroundings. With assigned alarms I will take a stand to this even when it affects me unconsciously.

4.0 Independent work

Draw- I will do the same with a more free drawing and sketching method at other assigned points of the day.

Sight- These are exercises using my sight to gather information, but I will also take notes of just describing what I am seeing whit my bare eyes.

2.0 Guided tour 3.0 Lunch break to Skagen

5.0 Departure

2.18 11:17 #8 Touch/Feel/Taste // #6 Smell // #11 Weather plants, sun “Reinsdyrsmose” Reindeer moss Dry and peculiar. My hands are too cold to feel much Not much smell either Sun. Quite nice spot and weather 2.19 11:30 #5 Sight Vally, Contrast 2.20 11:40 #6 Smell // #11 Weather Smell of pine needles Green valley. Moss Cloudy, but okay temperature and some wind 2.21 11.41 #2 Map Completely out of my mental tracking of the route. Quite lost Guessing where we are 2.22 11:43 #11 Weather Sun again

2.25 11.55 #5 Sight Grassland, green surroundings Where the sand has been, and moved past

2.23 11:47 #8 Touch/Feel/Taste “Mosebellebær” & “Transebær” cranberrys Watery, not much taste in the first. The second as expected

2.26 11:59 #8 Touch/Feel/Taste Touching different objects found in the sand earlier (form the guide) Metal objects, clay and specially shaped stones.

All signs of previous human activities before the dune came and demolished

2.24 11:53 #11 Weather Quite, sun I can feel the heath. Good feeling

2.27 12:11 #10 Listening/Music I can hear the sound of water and ocean Seeing it in the distance

04

Theoretical collage

After reading ’Salter, Chris (2010) Entangled: Technology and the Transformation of Performance, 3rd chapter’ and ’Hensel, Michael (2013) Performance-Oriented Architecture: Rethinking Architectural Designed the built Environment, 3rd chapter’, the reference to Gordon Matta-Clark’s work ’Splitting’ from 1974 came to my interest. Matta-Clark is making something very special by simply cutting a house in half. By creating this void, filled by a single slice of sunlight, he sets not only the architecture and house itself in a new perspective. He also challenges our way of considering sunlight as an integrated part of architecture. Further I found the book ’ Plummer, Henry (2009) Monacelli Press. The Architecture of Natural Light’. Here I found interest in Steven Holl’s work’s on incorporating natural light to his architecture. His ’ Chapel of St. Ignatius’ from 1997, and Matta-Clark’’s ’Splitting’ became the main inspiration and base for my continued work with the case studies.

SKETCHES // Lightbox // Steven Holl Inspired

// Hanna Solfridsdotter Klepp

Natural sunlight setting our architecture alive

Natural lighting in architecture plays an important part of our comfort in an indoor environment and smooths the transition between interior and exterior. During daytime, sunlight is a free source of energy, lighting, and a positive factor on our health and mood.

In my opinion, the potential of natural sunlight and skylight is often neglected in the way we build and think today.

The sun’s position changes throughout the day, and as we struggle with accessing all of its angles, artificial light covering most of our needs.

Instead of building rooms and houses where natural light is only accessible from a window and incorporated as an outer shell, we should build around a core of light. The result would be a lot more vibrant and living housing. In the same way Steven Holl shapes his architecture, I think the access to natural light should shape and form our buildings in a much bigger scale.

For building on this theory, it´s crucial to make people aware of the potential in taking advantage of the value of natural sunlight in architecture. Not only is this relevant for architects and engineers, it’s just as crucial what everyone else thinks of the subject. By increasing awareness we build a foundation for more reflected future solutions.

The next step would then be to create adaptable architecture that could respond to people’s knowledge and be changeable after their needs. By inviting someone to take an active action to transform something after their own preferences, they question what they would actually prefer, and become more aware.

If we can create architecture where the inclusion and exclusion of sunlight can be adjusted after the inhabitants needs, we gain a transformable phenomenon as a coexisting part of the way people live their lives.

08

Case studies // Sunlight into architecture Inspired by Gordon Matta-Clark and Steven Holl I worked with voids of light, incorporating it into the core of the architecture. Experimenting with the different effects and changes of atmosphere the sunlight brought to a spacial exploration.

Hanna Solfridsdotter Klepp

10

Developing the interventions // My work has focused around different ways of making the intervention adaptable. On one hand developing techniques inviting people passing by to interact and change the reflections. On the other hand, finding mechanisms that could be set to life by the forces of nature. By combing the two, you have the element of surprise, but you can also take e stand and make it your own.

14

Revisiting Vernacular

Possible Futures Local Materials Connecting to the Environment

Performative Parametrics

A collection by Hans Steinebach Nielsen Unit 2+3 E

114

Hans Gerrit Kristian Maria Steinebach Nielsen

Field trip and on-site explorations On the field trip to RĂĽbjerg Mile I collected certain herbs and berries. The aim was to extract the flavours in alcohol to be able to revisit the site by tasting. In search for the particular habitats of the herbs and berries I explored the dune and its surroundings.

Theoretical Collage Based on the two texts, “Performance-oriented Architecture” by Michael Hensel and “Entangled, Technology and Transorfmation of Performance” by Chris Salter, theoretical collages were made.

Atmospheric Processes “Architecture can participate in the creation of heterogeneous microclimates.”

Exterior/Interior/Surrounding Connection “Architecture can be embedded in continuous landscape with gradual transition from exterior to interior.”

Biotic processes Local material Vernacular sustainable

Greenhouse climate Geothermic architecture Geodesic dome

Parametric Web “Performative architecture can respond to changing cultural, social and technological conditions.”

- Branko Kolarevic

Event “There can be no architecture without event, without action, without activity” - Bernard Tschumi

Log House A vernacular scandinavian log house with bare log walls appears as a response to ist context, the forest. While it is surrounded by vertical trees and made of horizontal logs, it is easy to understand its connection to the surroundings.

Manifesto Architecture connecting to understand

Performative architecture should connect to the context and environment.

Architecture has the power to engage. It should engage its users and inhabitants to make them aware of their presence on the conditions of the place and help them understand it.

To ignore the context should be avoided. Instead, each project should be a product of, or a response to, the context and environment within its location.

As each location differs, each location should call for its own architecture.

The skylines of the cities of the world are tending to become rather similar and disconnected to their location. When architecture around the world standardizes, there must be something wrong.

Different local styles should evolve. These differences should drag architecture away from monotonous uniformity and make each place its own.

Important lessons can be learned from looking into vernacular architecture.

Vernacular architecture uses local materials - a sustainable approach. Nowadays the accessibility of imported materials creates an anti-limitation of material choice, where an economical mindset replaces a rational one. This easily leads to an architecture disconnected from its surroundings.

Vernacular architecture tends to consider and respond to local climate conditions like weather, wind, humidity, snowfall etc.

The solutions are low-tech.

In modern buildings low-tech

solutions tend to be replaced by more high-technological ones, as example for heating, cooling and ventilation relying on electricity or computer systems exposed to failure. High-tech solutions should not replace the low-tech, if not needed.

Architecture should avoid unnecessary disconnection of the interior and the exterior.

Architecture can create space that provides for local eco-systems.

Architecture should perform to create a connection to the place and help people understand their surroundings so they can take care of it. Hopefully it could generate empathy so people also could take better care of each other.

Case Study Naturhuset, Gildeskål, Norway Location:

Architect: Year: Materials:

N 67° 8’ 37.8528” E 14° 6’ 41.799” Thomas Kristiansen Finished 2014 Glass, aluminium, cob,

timber.

Geodesic Dome The geodesic dome is often linked to Richard Buckminster Fuller. It is a complex geometric shape.

The Nature House dome acts like a shell providing for arctic greenhouse living. It encaptures maximal volume per surface. It can withstand the harsh arctic climate because of its triangle rigidity and it protects the interior cob walls from the elements.

Climatic performance Two 90 meter long underground tubes ventilates the house and provides for geothermic heating during winter and cooling in summer.

South East Facade 1:200

N

Ground Floor Plan 1:200

Implementation of interventions My experiments are focusing on materializing the core features of the contexts. At RĂĽbjerg Mile the core feature is movement.

The huge sand mass is moved by the wind towards north east.

At the steep leeward side of the dune I place a shelter that migrates with the dune, as it is pushed forward by the sand mass moving with a speed of 15 meters a year. The aim is to help the user to understand the surrounding, through highlighting the movement over time. The friction under the shelter is converted to rolling friction by using the pine trees on site as rollers and rails. To convert the standing trees to rollers by branching them of, could be an activity for the visitors. Thus, the user needs to engage with the migrating shelter to provide for movement.

In Aarhus Risskov forest appears in a planar view as a wooden wedge driven tightly between the city and the sea creating a border area. Core features of the setting are wood as material and the view from the forest out over the sea. Wooden frames are thus placed to frame those views over the sea. This should help the user to enjoy the view and appreciate the setting and make them notice the level difference between the forest and the sea.

Section AA

Front

Section BB

Migrating Shelter

A

Perspective

Top View

A

B

Plan

B

N

råbjerg mile When you are taking a walk in this bright desert in Northern Jutland, you might be able to see lines or spots of dark sand. This is sand, which is rich on heavy metals. This sand is called heavy sand or magnetic sand. The heavy sand weights much more than the quartz sand, and therefore lines or spot are appearing in the sand. The heavy sand thereby creates a unique landscape within the sand, which I chose to investigate in Råbjerg Mile. Further I made three plaster casts, to perpetuate this phenomenon.

01. Heavy sand observed and photographed in Råbjerg Mile at 8.15 a.m.

02. Heavy sand observed and photographed in Råbjerg Mile at 8.21 a.m.

03. Heavy sand observed and photographed in Råbjerg Mile at 8.26 a.m.

04. Heavy sand observed and photographed in Råbjerg Mile at 8.32 a.m.

05. Heavy sand observed and photographed in Råbjerg Mile at 8.35 a.m.

06. Heavy sand observed and photographed in Råbjerg Mile at 8.42 a.m.

126

Mai Blichfeld-Grosen

1 2 3 4 6

01

02

03

5

04

05

06

the simple and the complex Inspired by how constructions and creates complexity, and how within this complexity, the simple can be found again. Within complexity familiar form â&#x20AC;&#x201C; the cube, the cylinder, the pyramide and the sphere - can often been found, as in Vladimir Tatlinâ&#x20AC;&#x2122;s proposal for the Third International, around 1919.

the spiral building The faรงade of the Spiral Building (Fumihiko Maki, Japan) can at first seem complex, but within this complexity the simple geometric forms can be found. The simple within the complex. By breaking this complexity into to the simple and the familiar, the building can better be understood.

facade 1:500

Cappadocia dwellings These sections present in reality of the Cappadocia mountains, represent the basic needs of human for dwelling.

This raise a question of how, not only humans shape the nature by conquering it, but how the nature has shaped the human scale. What makes us able to understand the scale, without a human figure in these drawings, just by recognizing a known shape, such as, for instance, the doorframe.

construction windows

stair doorframe

1:500

1:500

storage room

1:500

borderline illusions scale less // scale limited, intruding elements, continues changes, illusion, reflection

the simple withing the complex We, as the audience, need to understand the simple, before we can understand the complex. It is how we, not only understand architecture, but how we understand its relation to the surroundings, and thereby scale. Through investigations I conclude, that simple geometric forms cannot alone set a scale. We need human scale figures, within a project to understand the scale of it. From this I conclude that simple forms, such as the doorframe, can substitute the human, since it is simply created to fit the human. Although geometric form is not limited to a certain scale, the dramatics of the forms do changes, if the scales are dramatically different. The geometric forms can therefor be understood in different scales, without us questioning it.

However the doorframe cannot. If the doorframe is placed in an abnormal scale, the project will appear surreal.

From this I worked with elements limited to scale - the forest and the urban area - and the scaleless - sand and water. Through further investigations I placed different scale of humans within a scene of only sand, where I read the scale only in relation to the human body. Subsequently, I worked with this abnormal scale, questioning how a project could appear surreal. I worked with creating illusions within the city and the landscape. I found inspiration in Carl-Viggo Hølmebakk, and Sou Fujimoto and M. C. Escher projects, since they all use illusions within their work. Where the illusions in this project appear as a familiar element â&#x20AC;&#x201C; the stair â&#x20AC;&#x201C; and the surrounding landscape, which is turned upside down.

borderline illusions – landscape Placed on the borderline between the scale-limited area – the forest – and the scaleless element – the sand. Between the sand dune, in Råbjerg Mile, and the forest that the dune slowly penetrates. Constructed in mirrors, this spatial exploration will reinforce, the already existing continuous scene of sand. Appearing as a simply squared mirrored box, this object will adapt by the material. Though one side, consisting of a parboiled spaced interior mirror it, creates an illusion in it surroundings, since a bended mirror will turn the image within the frame upside down.

This bended mirror will create an illusion where the familiar – the landscape – is turned up side down, the sand will appear in the sky and the sky in the sand.

1:100

1:100

1:100

borderline illusions – city Placed on the borderline between the scale-limited area – the urban area – and the scaleless element – water. Between the sea and the mouth of the river moving through Aarhus city. Built on top of the stairs, which are to be constructed at Dokk1. Creating an illusion where a familiar element – the stairs – are turned upside down, and placed so that the bottom now is the front. The reflection of the stairs, in the water, creates a continuum, with inspiration from M. C. Eschers relativity, 1953.

This spatial exploration is to be appearing in a context, which is still being investigated: where ice will disolve slowly affected by weather and water; where mirror will reflect everything that it surrounds. In this situation, the object will change by time, and become a per formative architecture.

Even if placed on the borderline between the sand dune in Råbjerg Mile and the forest that the dune slowly penetrates. Constructed in pressed, heated or clued sand, and thereby degradable in wind and weather, and thorugh time becoming part of the sand dune.

1:100

1:100

1:100

THE EXPANDING BORDERLINE P#5 CHANGE - EFFECT - AWARENESS - PASS ON

THE EXPERIENCE

On-site explorations in Råbjerg Mile

RAIN, WIND, SAND, big, desert, impressive, the skyes, hard to walk, soft SAND, drifting, SAND, sinking in, the COLOURFILTERS WORKS (gives me another experience) exciting, extreme weather, constantly CHANGING weather, SAND moving (creates different layers)

Råbjerg Mile is one of the biggest mowing dune in Europe, it moves about 15 m. per year. It consists of around 3,5 mil. m3 sand and at its higest point it measures almost 40 m.

140

Marie Engelhardt Sjögreen

COLD & WARM

On-site explorations in RÃ¥bjerg Mile

Cold

Warm

Warm Cold

Warm

PICTURES

On-site explorations in Råbjerg Mile

Light, fresh, ’’Danish’’, nice colours.

More like a warm place, dessert like.

Cold, darker, a feeling of being in a very cold place.

ATLAS

Inspiration for further investigation

I found it very interesting, the way the dune is in constant mowe. These conditions was very present on the site. You really became aware of it when you was standindg in the dune and the sand blew against you.

Therefore I re-visited the investgations and facts from the Atlas we had made earlier.

’’...NOT a TECHNOLOGICAL REVOLUTION but a SOCIAL ONE...’’

-s. 88 line 1 Entangled, Technology and the Transformation of Performance by Chris Salter, Foreword by Peter Sellers.

’’Do SMART MATERIALS catylyze the physical realization of the visionary structures and environments suggested in the sketchbooks, transitory events, and manifestos that exploded the twentieth-century ARCHITECTURAL

LANDSCAPE?’’

-s. 105, line 9-11.

Entangled, Technology and the Transformation of Performance by Chris Salter, Foreword by Peter Sellers.

’’The happenings within spaces in the city,’’ and ENVIRONMENT than built monuments’’

Quote by Cook 1999 s. 93 line 1-2 Entangled, Technology and the Transformation of Performance by Chris Salter, Foreword by Peter Sellers.

’’... an architecture that would

PERFORM BY REACTING TO our movement, FEELINGS, MOODS, EMOTIONS, so that we want to live within it’’

Quote by Coop Himmelb(l)au 2005 s. 94-95 line 40-1 Entangled, Technology and the Transformation of Performance by Chris Salter, Foreword by Peter Sellers.

AFFECT AND REFLECT

The way I see preformantive architecture is in a more SOCIAL WAY. Instead of seeing it as a technological revolution, I think it is very interesting to look at it as a social revolution. The social revolution can be about making people aware of the world they live in, REFLECT on what they surround themselves with and make them PERCEIVE IT IN A NEW WAY. Will it be possible to make architecture in a way that it would INTERACT WITH THE USER? Architecture should be able to AFFECT the users and make them act in a specific way.

Is it important to invent some smart material which can ADAPT to its surroundings? Or can we use something which ALREADY EXISTS? What if we use something from the environment where the architecture stands, that will be able to reflect its surroundings? -And if its is used right, you can make architecture that will breake down the boundaries between the INSIDE AND OUTSIDE, in a way that gives the architecture the perfect adaption, to its environment and the people who lives in it.

Let the users be affected by it.

Feelings, moods, EMOTIONS -all of this are affected by the surroundings, the weather, the sun ect.

When we create architecture which also stimulates the users act in a specific way, which makes the user see the meaning behind the architecture, as I see it, the performantive aspect starts to show.

’’...NOT a TECHNOLOGICAL REVOLUTION but a SOCIAL ONE...’’

-s. 88 line 1 Entangled, Technology and the Transformation of Performance by Chris Salter, Foreword by Peter Sellers.

THE TWO SETTINGS

the implementation of the manifesto in two settings

In RĂĽbjerg Mile my intentions were to make a design that allows the viewer to see the way the sand dune moves and devours the landscape it passes. Before the sand from the dune takes over the design, it will function as a protection from wind and weather. In my manifesto, I talk about how to use the right material, to breake down the boundaries between inside and outside. Since my design will be made out of the sand in the dune, the boundaries will literally break down and the design will become one with the environment. It will blend together with its surroundings and the users will become aware of the conditions that exist in RĂĽbjerg Mile.

In the city, my intentions were to make the users aware of their surroundings and of what they have experienced. They will be asked to find the place where they experience the boundaries between the city and the Nature. This will create an awareness of how the city takes over Nature while giving the users the opportunity to explore their surroundings and experience how to be affected by light, color, weather etc. throughout my design.

0

0

In both of my designs, there will be a focus on how you choose to treat your environment and how you wish to pass it on to the next user. Both of the designs are made to influence the visitor to behave in a certain way.

2015

2016

2017

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1300

YEAR 1500 2230

1800

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YEAR 2230

CASE STUDY

GUNNLĂ&#x2DC;GSSONS HOUSE

Making the entire model in the same material (plaster) to show how the material from the house reflects the landscape/environment it is built in and how it melts into the nature.

In the Gunnløgssons own House, the nature/ surroundings flows through the house, melting it all together. It reflects nature and landscape through the materials and the glass facades which allow the nature to flow through the house. The experience of the house changes according to the seasons and weather. The open house leads you to the garden, where the architecture seems more as a pavillion to protect against the weather, and lets you become one with nature. This house is a good example of an attempt to break down the boundaries between the inside and outside.

The house is built with two massive brick walls in each end caps, and the construction is made from large wooden beams. The grid is in four equal size glass panels, which lets the sun and surrondings create the rooms and colours of the house. The roof extends over both the terraces and contributes to let the nature flow through the house and out in the landscape.

1: https://realdania.dk/samlet-projektliste/halldor-gunnloegssons-eget-hus# 2: http://arkfo.dk/da/blog/arkitektur-tv-i-samme-rille

CASE STUDY

JAPANESE SMALL HOUSE IN NADA The Japanese small house (Fujiwarramuro Architects, Nada, Japan) stands out and becomes a monument in a city that has not managed to evolve over time. The house is made for a family of four, who wanted a small, but spacious place for their daily life. Itâ&#x20AC;&#x2122;s a wooden house placed in a concrete urban environment. This way of bulding in the cityes, shows a new way of living and the need for a new and innovative ways to solve the housing porblems in the big cities of Japan.

Making the entire model in the same material (plaster) to show how the material from the house reflects the landscape/environment it is built in and how it melts into the nature.

Similarities and differences: Whereas the Gunnløgssons house adapts perfectly to the surroundings, by letting nature and architecture melt together, the Japanese house stands out from its context. However they both fit perfectly in thir plot, and using available area of the ground.

SPATIAL EXPLORATIONS RĂĽbjerg Mile

ERASE BOUNDARIES - CHANGE - EFFECT - ABSORB - GIVE BACK From my manifesto: Social revolution, affect the user, erase boundaries, reflect the environment, materials must adapt to its surroundings.

Let the dune change and affect my design over time. Place my design in front of the dune, to show how the dune is moving and consumes my design. By using SAND AS MATERIAL, the borderline will literally break down and desarpear. The dune will consume and engulf my design over time. The sand will be given back to the dune and continue in the cycle of the dune.

The time scale will depend on how the users treats the design and how long it will take the dune and the users to break down the design.

The design will be placed in the ever-changing BORDERLINE between the dune and the landscape the dune consumes.

The PERFORMATIVE ASPECTS will be to use a material that will adapt to its surrondings and erase the boundaries between the design and the landscape. The delicate material, will either force the user to be carefull around the design, or the user will destroy it.

There will be a focus on how you choose to treat your environment and how you wish to pass it on to the next.

SPATIAL EXPLORATIONS The expanding CITY

Through color filter you can frame a interresting view, and pass it on to the next.

PASS ON - CHANGE - EFFECT - ACT - SURROUNDINGS - DISCOVER From my manifesto: Affect the user, make the users act in a specific way.

The time scale will depend on how the users treats the design and how long it will take the weather and the users to break down the design.

The design will be placed in the ever-expanding BORDERLINE between the city and the nature the city consumes. Where do you think the bourderline between the city and the nature begins? Place the device where you think the borderline is. Maybe you will become aware of how the city takes over Nature, and discover your environment in a new way?

While giving the users the opportunity to explore their surroundings and experience how to be affected by light, color, weather etc. throughout my design.

The PERFORMATIVE ASPECTS will be to make the user act in another way and become aware of the surroundings they find themselves in. The frame will be in colored glass, one frame in cold colors and one in a warm color. The warm and cold glass will give the user a different experience, and make them explore the effect the colours have.

The simple and easily recognizable design, will make it easy for the user to use the device without further explanation.

There will be a focus on how you choose to treat your environment and how you wish to pass it on to the next.

154

Mischa Josefine StĂŚhr

A N I M P A C T O F H U M A N P L AY F U L N E S S

Light-up workshop

P#0

We were asked to create lantern as an interpretation of the theme â&#x20AC;&#x2DC;The independence of all species, nature and lifeâ&#x20AC;&#x2122;. Our objective was to capture the forces of nature itself and the human aspiration to imitate the beauty of it. Inspired by the continuity of how waves create a crest in the sand, we created an interpretation that was meant to show the same kind of pattern but with an aspect of structure taken from the art of origami.

Field trip

Before going on a field trip to visit our future site Raabjerg mile we had to do some preparations. Low-tech devices were to help us investigate the dunes and its movement by natural forces. Fortunately things donâ&#x20AC;&#x2122;t always go as planned and my device broke half way through the trip. By doing so I discovered something new that showed to be very helpful for my further investigations.

P#2

Robotic lab

The feather in my device turned itself into a pencil drawing patterns in the sand by the force of the strong wind. This pattern was then turned into vectors and later investigated into further interpretations of that exact pattern and the movement that made it.

P#2

Drawing of the year

P#3

The investigations where then used as a participation for the annual Drawing of the year competition. The many different investigations were translated as individual interpretations and turned into vector drawings That could be gathered in one big entry for the competition.

Theoretical collage

In order to express my understanding of performative architecture I tried to make a collage that would encourage the reader to touch and interact with it. In this case you would have to turn the gears in order to read the quotes written on them.

Co of t rresp ond he wit relatio ing re c hin n on betw oncep a sp ee tu tem atia n arc alizati por l ma hite on c al l eve terial turesâ&#x20AC;&#x2122; and l

P#3

Space and structure perform and respond based on the spectatorâ&#x20AC;&#x2122;s actions

e tur nd ec spo t i e h r l, arc an ra . ve ich c cultu ions i t t a , rm wh ial ndi rfo that soc l co e A p d be ging ogica ul han ol wo to c techn d an

he is t a nce hich s t ma for by w ls i n Per thod revea actio me ing es for d l bui ibiliti s pos

Case studies

P#3

Kežmarská Hut (Atelier 8000) at High Tatras, Slovakia, Is a submission for a competition to build a combined skiing hut, hostel and emergency hospital in the mountains. The competition wasn’t won and the proposal therefore never built. To me this building appears in a performative way because it makes you want to mentally interact with it in the terms of wanting to see what is on the inside, how it holds and so forth.

In my interpretation of the building, I casted a cube that was meant to appear heavy on the outside but light on the inside in order to create the same kind of spatial atmosphere around it.

Case Studies

P#3

Vestled is an intervention created by the Danish landscape architecture company Schønherr Architects. It is meant to create a soft borderline between the harbor life of the city and the calm environment by the beach. The performative aspect of this intervention comes from the static material and the way it is fitted into the curves and becoming organic in it meeting with nature. In comparison to the previous case study, this construction invites to a physical interaction and a wanting to be playful in the way we experience it.

In my interpretation I intended to recreate the same organic expression that the actual construction has with the sand.

Manifesto

P#3

Performative playfulness

Inspired by Steen Elier Rasmussen and his philosophy about experiencing architecture, I have always been drawn to the idea of having to interact with architecture - see, feel, smell, hear, perhaps even taste – in order to truly understand it.

But what is performative architecture? Is the architecture supposed to perform for us? What role does humans play in architecture? I can tell you, that for me play is the keyword for how we are made to experience architecture. Imagine that you could see the world through the eyes of a child; all the curiosity and the possibilities you would be able to experience. You wouldn’t just see a wall you would see a space where a game could be created, playing your ball up against it to see how the two materials would meet in differ to speed and height. You wouldn’t just see a fence you would see an instrument that you could play on while you run past it with your stick.

For what is architecture if not a thing that responds to our actions? A way to look at this is to picture yourself standing on a trampoline. You are standing there but the trampoline does not move until you start moving your legs. You cannot expect the trampoline to move you by itself; it needs some action in and some energy in order to bounce back. In the same way you cannot expect architecture to speak to you and perform for you if you do not try to perform with it.

Materialised manifesto

From the collage made to express my perception of performative architecture, I decided to work further with the function of gears and how a simple concept can encourage into an act of playing.

P#4

Materialised manifesto

P#4

Playing with gears gave a quick association to the harmonographic drawing machines I was playing with as a child. The movement suddenly gave life to the gears as it encouraged the urge to play and create. The gears started working as a physical rule of how to play the game of creating through movement. In the same way the law of gravity works on a top that has not yet been put into spin.

Materialized manifesto

By adjusting simple variables in the concept of a top, also it would be able to create in a play of movement. This concept was tested in real life as an investigation to see if a known object could encourage people to interact and be part of a game that many people could be playing together.

P#4

Materialized manifesto

P#4

The top turned out to be successful as a concept, but was nearly impossible to create in a larger scale. Physical restrictions are part of the play and the idea had to be taken to a new level. A piece of string would hold the top and suddenly it was turned into a pendulum. Pendulums are known to be very calming and almost hypnotic in the way their movement draws in the sand. The creation of patterns in the sand seem clear as a feature to take advantage of, and in collaboration with the act of play, a larger scale pendulum could easily be turned into a swing and a playful element of structure.

Intervention - dunes

P#4

The effect of the pendulum swinging in the dunes would not only be creating beautiful patterns in the sand but also invite people into play and conversation about the intention and the effect of the creation. The strong wind on the site would over time have its natural impact on the patterns created by humans and slowly wash them away in a constant process of creation and decay.

P#4

Intervention - city

P#4

On the other site at Aarhus ø, a different appearance would take place. As the strong wind is still present the decay of the sand pattern will still happen. Suddenly the ground floor of sand is no longer present. The objective of this intervention was to change the structure of the pendulum slightly so as it no longer draws in and but now disposes sand, like an hourglass, and leaves a trail of sand in a pattern similar to the one at Rübjerg Mile.

P#4

ROBOTIC LAB

TOOLS

We were asked to create tools for the workshop.These tools should be used to draw in sand with. Most of the tools were made using acrylic. With the idea/aim that the tools would have a specific effect on the sand when drawing in it. People experimented with all kinds of shapes. This could be squares, triangles, circles and even a representation of the plan of RĂĽbjerg Mile. Some people experimented with using other kinds of materials, like a feather and, among others, wire shaped in different forms.The tools gave, of course, different results. But as a conclusion, it was experienced that the tools didnâ&#x20AC;&#x2122;t make the biggest changes depending on which one you chose to use. The mayor change was whether the tool was wide or narrow, soft or hard.

Sandshifting_p2.3dm Sandprinting_p2.3dm These tiles are produced from expanded glass granules. The surface/patterns have been formed via grasshopper programmed scripts inserted into the ABB Six-Axis Robot equipped with the aforementioned tools. Afterwards the tiles were baked for 12 hours which resulted in solid sandprints.

The 3D prints to the right were produced with the same robot but with a wood glue injector attached instead. A 200x400x200 box was filled with sand, and the glue manually pressed into the sand while the robot followed a 3D vector path.

NOMAD

Nete Virkelyst Olesen Nete Virkelyst Olesen

Nete Virkelyst Olesen

178

INVESTIGATION

RĂĽbjerg Mile is an unstoppable natural force that is moving with the wind. The sand dunes move 15, 30 meter a year. In the past the moving dunes was a problem for the residents of the west coast. The sand erased their farms and fields and they were in need to abandoned their homes. RĂĽbjerg Mile is a place that is always

moving

and

changing.

My

aim by my devices was to capture the movement of the sand on time.

My the it the

Investigation moving took

for

nature

sand a to

was and

human

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in

disappear/appear.

- videos https://netevirkelyst.tumblr.

THEORETICAL COLLAGE

Performativ architecture Reading session with two texts Performance

oriented

tecture

Michael

and

by

Entangled

by

Chris

ArchiHensen Salter.

ilitys’ Performa n c e ossib Orie of p n t eld e dA is fi r th ch i want to live within it’

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CASESTYDY

Tomas Saraceno ’Do you know that most spiders are blind? They percievethe world through vibration. They also do something called balloning. They hang from a tree and when the wind is strong enough they take off.

They can travel very long distances and cross entire continents. it must be amazing, to be blind and fly above the sea on a balloon’ interview with tomas sareceno by filipa Ramos, Domus 2012 Tomas Saraceno is an art, architecture, natural science and engineering from Argentina (1973). He is known from making walk-in-enviroments, kinetic sculptures, floating gardens and solar- powered balloons. Throughtout the past decade, he has explored the possibility of a flying sustainable city in the sky. The dream of human habitation moving freely above the clouds. ’I love to make buildings that fly’ Tomas saraceno. The cloud city project is a project that challenge the way we live today with nationhood, landownership and borderlines. The project ’ lighter than air’ show an utopia tat saraceno create with sustainable cities in the sky. A serie of bubbl- like-cells, fuled by solar energy.

Depending movement

CASESTYDY

60x60x60 1:100, Acrylic, Rope, Nylon monofilament, Tillandsia plants, Air pressure Regulator system. Hydration system , Hydration system overall installed dimensions variable.

Tomas sareceno The inspiration of the structure are found in Saracenos big interest for spiderwebs, bubbles, clouds and other natural structures. ’biosphere’ 2009 by the national Gallery of Denmark( 2000m2). Material: PVC, rope, nylon, monofilament , acrylic, plants ( Tillandsia) air pressure reulator system, hydration system. Saracenos work is intented to allow ones imagination to float free, if not one body ’ He’s going for utopia’ Curator Yasmil Raymond. ’ Biosphere is a serie og Saracenos clouds cities. ’ biosphere show

Sarecenos

idea for floating

plant-based enviromets and the ’float free’ feeling. Sarecenos interest for spiderwebs is showed be weaving rope around the transparent bubbles.

Biosphere lookes like a big spidernet combining diferent atmosphere in one. Biosphere acting like a metaphore for the interconnectedness of ecosystems. Tomas Saraceno is telling in an interview for the creators project ’ the web itself is like an musical instrument , if i touch this string, how many strings will be connected , and will start to move?

There is always a kind of connection’ Saraceno

CASESTYDY

Bedouins Habitation The sun rises from the east and sets on the west ’says salem Al kabi, a 60-year-old Emirato who travelled the desert a couple of decades ago. ’ it helps to guide us during the day and God made the stars available for us to navigate at night ’ Bedouins has lived and travelled for decades around in the harsh conditions of the desert. They prefer the freedom with their portables tents and shelters. Bedouins have traditionally eschewed permanent homes, an live the utopian life with freedom.

All bedouins have a common culture of herding camels and goats. Without the camels it wouldnt be possible to habitate in the desert.

The camels are their food, transport and ’plankets’.

Therefor it is very important for the bedouins to travel with the nature and be close to grass areas.

They stay in a certain area, as long as there is food and water, and then moving on and habitate another place where there is food and water.

Befo-

re bedouins are moving to another area, they roll up their tents and possessions on their camels.

Sun

Heat

Wind

Cold

Sand

CASESTYDY

The size og the bedouins camps can vary between different numbers og tents. It depends on how big the familiy are.

Bedouins movement Before bedouins are moving to another area, they roll up their tents and possessions on their camels.

The size og the bedouins camps can vary between different numbers og tents. It depends on how big the familiy are.

They

have

the

freedom

and

fleksibili-

ty to built the tents after need of habitation.

The bedouins tents are made of goats and camels hair. It makes the tents light to walk with. ’Sand dunes form a 90 degrees to the prevailing wind’ mr. mcconnel says. ’ So if the prevailing wind is from the east, the dunes will run north to’ Bedouin Bedouins ted

are

navigators

the

most

through

the

desert

fit.

They are using the nature as navigator. Bedouins often travel at night to navigate under the stars.

They are also using the sand and wind to help them quide their way through the desert ’ for us the desert is neither fearsome nor mysterious’ a bedouin desert policeman ’ It is home. We know the barren hills, each bitter stretch between wells. We understand it signs and people ’

11

t MANIFEST OF ’NOMAD’ , Body /mind,Interaction / action Static/dynamic As human in the modern society we are living after traditional safety systems, which affects our freedom for movement. A nomadic lifestyle is the oldest form of society . A nomad is constantly changing by switching locations and form, depending on climate and season. A nomad cooperate respectfully with nature, and by constantly changing location they are more aware of the surroundings and interact after it. If architecture priorities safety, it reduces our performative potential and limits our cooperating with surroundings. When safety and nature are equivalently priorities a lost relationship between humans and nature will emerge. ’This tension between being safe and being free. I think we really have to look at how, are we willing to give up freedom for this redundant safety’? Robyn Davidson, interview on ’Tracks, Open Road Media

BALANCE

nature movement

City structure

RÃ¥bjerg Mile

Aarhus

Dynamic

Static

SURROUNDINGS

The relationship between nature and human should be like vibrations. Our senses are important when it comes to nature. Our senses are telling us how to interact with our sourroundings.

We are much happier being in nature, because the nature tells a story of free movement. Nature can not be controlled, even after building walls. My aim is to create this forgotten relationsship with nature, and the forgotten human instinct. Also to understand ourselve in nature, and built a movement after it. Human, architecture and nature should walk together

free

RĂĽbjerg Mile , Skagen 1:10000

movement

Bispetorvet Aarhus 1:1000

NOMAD

RĂĽbjerg Mile Do you know that most spiders are blind?

They percievethe world through vibration.

They also do something called balloning.

They hang from a tree and when the wind is strong enough they take off. They can travel very long distances and cross entire continents. it must be amazing, to be blind and fly above the sea on a balloonâ&#x20AC;&#x2122; interview with Tomas Sareceno by Filipa Ramos, Domus 2012

Human

Wind

Rain

Sun

Movement

NOMAD

Bispetorvet Aarhus â&#x20AC;&#x2122; Field of possiples order, rather that a fixed one,the subject can move freely within this field of possibilitys â&#x20AC;&#x2122; Eco- Performativ Oriented Architecture, Michal Hensel

Wind

Human

Possibilitys

Sun

Rain

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73 11

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0.0 2.8

2.1 -0.8

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10.8 6.5

14.3 9.9

15.6 11.5

15.7 11.3

12.7 9.9

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69

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196

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INVISIBILITY IN THE VISIBLE

1

-7

2

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4

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6

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7

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5

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200

Nichlas Horne

Invisibility in the visible Performative architecture is an architecture that encourages us to explore, make us perform in a psychological or physical manner and uses the environment as a stage for performance. The space in between visibility an invisibility is one of the main reasons for why architecture is performative, it makes us wonder and it gives us the opportunity of doing something we havenâ&#x20AC;&#x2122;t been able to do before, but now are capable of because of new technology.

We have always been fascinated by invisibility, it gives us the possibility for exploring without being explored, it is hiding what is behind but showing what is in front.

Another element that affects architecture in a performative fashion, is the way we are able to use one material for more than one purpose, the walls become a place to sit or a place to climb, the roof as an observation post or a place to ski on.

Performative architecture pushes our boundaries of understanding architecture and thereby we create architecture of the future.

Image of my case study of Tverrfjellhytta by Snøhetta

The pavilion by the harbor will become the centerpiece for the hole oasis, providing the visitors with the opportunity for a place to sit down and enjoy the food from the nearby food stalls, or just a place to relax and have a nice conversation and for the children a place to play around.

The pavilion is composed of a three-dimensional grid of 475X475X475mm cubes, each cube is made of 50 by 50mm wooden beams and poles.

Those cubes enclose spaces which create protection sfrom rain.

The exterior becomes the interior in a way that it provides the users with ledges and steps for social interaction. In other words, these grids structure and steps become an artificial topography. To create surfaces for seats and steps the gaps are installed with non-slip glass. At the end of the steps and at the top of the pavilion a mirror cube is placed which is invisible from the outside because of the mirrored glass. It reflects the wooden grid and the surroundings, but from inside it functions like an observation tower, providing you with 4 framed views, each view showing different qualities of the site, the old part of the harbor, the new part, the city and Aarhus Ø. In addition the pavilion includes a greenhouse for the food stalls to grow some herbs and vegetables.

The new public pavilion in Råbjerg Mile serves as both a place for encounter and as a public toilet. The pavilion is meant as a place for people to sit down and relax before or after their visit to the dune, and for some occasions as a place to listen to lectures about the dune. For children the grid can be used like a tree for climbing.

Roof and walls are made by the concept of the cubic grid system, which creates the enclosed volume that defines the space of the pavilion and the toilets. Walls become seats, the roof becomes a shelter from rain and the exterior becomes the interior. Poles and beams are made by local pine, the two toilet stalls are clad in mirrored glass, which therefore will always be reflecting the surroundings and the changes of the nature. The pavilion will replace the old and outdated toilet building. People will be offered a much more interactive experience providing more opportunities. A building which is non-discrete and always relates to the environment.

AN INVISIBLE MANIFESTATION IN THE VISIBLE

Image of my case study of Invisible treehouse by Tham & Videgård

The small scale grid interacts with the human body in a way where we can use it to sit and climb on. It has been chosen for this borderline because the importance of the borderline between the city and the forest is the social aspect. It is all about playing, having fun and enjoy each others company.

The combination of the large and the moving dune of RĂĽbjerg Mile a The aim of this combination is to be and at the same time to provide the over the dune and the alien

e small grid reflects the large scale and the human inhabitants. ecome a place for visitors to relax e visitors with an incredible view n landscape left behind.

The large scale grid reflects the industrial area which is often without the human scale. But in this case it tries to combine the human interaction with the surroundings of the harbor. In the top, a mirror cube is placed. It frames four views of the harbor, the old factories, the new harbour, the city and Aarhus ø.

SPATIAL EXPLORATIONS

212

Nick Cole

fluid spaces staged situations mysterious constructions recycled materials holy places destined movement

Nick Cole, 2+3 E

Field trip - RĂĽbjerg Mile The collage on the left is a visual representation of the explorations made on the field trip to RĂĽbjerg Mile. The manual for the artefact was as follows. Place the artefact on the lens of the camera. Record sequences of 1 minutes duration. Move the camera slowly during filming. Avoid using the screen to help. Note the exact location of every recording on a map.

Theoretical collage Board of ever changing opinion in relation to selected quotes from theoretical readings and discussions.

Fluid spaces In architecture, it is well thought to predict the way people act in the process of creating accomplished spaces that care about the user from a human perspective. From this perspective architectural space is created as a reflection of our organization - how a specific cultural society normally lives, interact with, and expect of our surroundings.

In public spaces, our preconceived expectation of the relationship between the building and the user affects how we inhabit the space.

There seems to be a synchronization of acts and movements when larger groups inhabit public space. This leaves limited space for individuality. Although one of the most important qualities of architecture is the ability to facilitate a group and create a collective experience, architecture should obsolete inspire people to act intuitively.

The art installation â&#x20AC;&#x2DC;Rivedbedâ&#x20AC;&#x2122; by artist Olafur Eliasson challenges the boundaries between the inside and the outside. It questions the conventional perception of the role of a museum visitor and a museum space. By eliminating any guidelines on the way to act within the installation, the visitor is left with its own intuition, granted the freedom to act. The body is forced to recalibrate and adjust to new conditions, creating space for reflections about how we perceive our surroundings.

The potential lies in the ability to create experiences both on a collective and individual level that inspires to reflection. Performative architecture should be able to facilitate uncertainty, destabilization or even discomfort if this is necessary in order to awake reflection and creativity. Architecture should focus less on predicting how people act by trusting people to use the facilitated space in any way they find appropriate, and thereby awake individual reflection, and the joy of acting by intuition and curiosity.

Case studies Nordvest Cultural Centre + Library, 2011 (COBE, Denmark) The main focus of these case studies is the relation between the interior and the exterior. The building is an extension of an existing culture house combined with a new library and concert hall in Copenhagen’s north-west area.

The new building is organised based on four clearly defined programmes, which each makes up a ‘book’ in the stack.

The facade material is obsolete used as the interior material, making the division between interior and exterior less clear. The facade also promotes the non-discreet approach the building has in its appearance in the area.

The programme is complex and is composed of several elements. It is a dynamic figure of open and closed areas, which are occupied by the library and at the same time used for both fixed functions and flexible areas. This gives a varied coherence between open and closed spaces. Open spaces marked by the immediate context and the closed areas as completely choreographed library spaces for, among others, children and youths.

The collage in th shows the comp between the inter rior and the mate both facades and rior material. The shows where the the collage is take collage on the the clear sections the inside and ou South section in

he left corner plex relation rior, the exteerials used on d as an intee plan below e picture from en. Exploded right shows s visible from utside. Below.

1:500.

Photos of concept model made with lego.

Case studies + comparative analysis Riverbed by Olafur Eliasson, 2014-15 The art installation â&#x20AC;&#x2DC;Rivedbedâ&#x20AC;&#x2122; by artist Olafur Eliasson challenges the boundaries between the inside and the outside in comparison to the Library and Culture House in Nordvest, Copenhagen. Both projects are situated in public spaces. Bringing outdoor environment inside (in term of exterior materials and the Icelandic landscape).

Challenging the traditional expectations of behaviour and thought associated with museums and libraries. Changing the nature of something existing and bringing new perspectives and qualities. Introduce landscape that is constantly shapable by the visitors (rocks and stones, furniture cubes).

Drawing of plan and directions.

Fluid spaces - the urban area and the port The fluid public spaces are created as a series of platforms constructed by recycled materials. The intention of these spatial explorations is to embody/visualize the relations between environmental conditions and human interaction in different speculative settings.

Examining the borderline between the urban area of Aarhus and the port, multiple variations of platforms floating through the Aarhus River were created. These fluid spaces work as temporary constructions produced by recycled wood, fishnets and bottles. The project contains a map of suggestions where to find the necessary recycled materials and two ways of how to construct the platform.

By showcasing various ways to build a floating platform by recycled materials, the intention is to encourage other citizens to be creative and create their own proposal.

Eventually creating a community of ways to build and inhabit public platforms. Sharing knowledge, experience and expanding the map of ways to reclaim recycled materials in the city of Aarhus The platforms are a new way of inhabiting public space in the urban area of Aarhus and aims to evoke reflection on body awareness.

The visualisation on the right shows the context at Aarhus River. The collage below shows the simple construction of the platform. The site is situated in the right corner, while the section collage below situates the context in the urban area of Aarhus.

Fluid spaces - the dune and the sea Investigating the borderline between the dune and the sea, the idea of a platform was translated into another setting. Creating a platform placed at the border between the dune and the sea only using recycled wood. The aim is to challenge the way we think of time and space. The platform will eventually move by time in relation to the dune - slowly moving towards north east every year. Labelled with a birth certificate of the exact position when placed - it becomes possible to register the movement of the platform and the dune.

226

Thorbjørn Riis Hammel

Phase2 PhaseTwo P#2 Excursion RĂĽbjerg Mile 30.09.16

Reflective surfaces act as a medium for displacement of images. This was experimented with in both collective and isolated assemblies. The observations gave birth to further research in the nature of sporadic systems.

4

Four experiments in total were conducted. Instead of premeditated thoughts on outcome curiosity was the ruling factor. An excercise in sporadic improvisation with a tool that can hardly be classified as one.

1_setup one_single mirrors and an assembled square 2_setup two_sun facing lineup on top of dune 3_setup three_sun facing scattered setup 4_setup four_sun facing lineup against sand saltation

1

2

3

(...) “The skin is free from formal and expressive obligations to the interior”. Whatever design process these projects follow, the reality of such schemes is that architects sculpt the exterior, while the interior tends to consist of unrelated and often quite normative solutions.

(HENSEL, Michael, p. 32 ch. 3)

in their effort to the heart and fly installations to e tor’s/participant

(SALTER, Chris, p. 95 ch. 3)

create new urban living environments that “beat like y like breath,” Coop Himmelb(l)au also turned to performative explore the relationship between the spehctat’s body and a responding, breathing, architectural surround(...)

)z

DEFINED SPACE “Man exists, turns up, appears on the scene, and only afterwards, defines himself” - Jean-Paul Sartre

This quote relates to the existentialist philosophy of french philosoph concept of EXISTENCE PRECEDING ESSENCE. The manifestation and before the essence as the ESSENCE IS WHATEVER MAN WISHES IT T cannot be directly applied to architecture, at least not the man-made associate with architecture. Does a warehouse not serve a speci c pur tion? However, as with any other ALIEN OBJECT IN A FAMILIAR SPAC achieve an effect not devised by the architect or creator, at least not t

I believe that THE LACK OF, OR AT THE VERY LEAST RESTRICTED, PREDEFINITION OF ESSENCE IS A PERFORMATIVE ARCHITECTURE. An architecture that engages and is engaged with. The lack of pred can be achieved through THE IMPLEMENTATION OF THE ALIEN. An object, volume, or situation whi duced or explained. Just as man has entered this world through a string of inexplicable events.

her Jean-Paul Sartre and his d presence of man come long TO BE. The same concept structures we commonly rpose before its materializaCE, architecture sometimes to its full extent.

PERFORMATIVE ARCHITECTURE IS AN ARCHITECTURE THAT BREATHES HOWEVER BREATHING IS INTERPRETED. IT IS SPACE BOTH FOR INHABITATION AND FOR THE SAKE OF SPACE. IT AFFECTS AS IT IS AFFECTED. IT IS CONNECTED WITH AS IT CONNECTS TO. IT CONTAINS AN AGENDA AS IT LACKS ONE. IT IS AS IT IS NOT.

IT IS AS IT IS NOT

A CATALYST FOR A determined essence ich is neither intro-

I seek to create SPACE WHICH STRIVES FOR ITS OWN EXISTENCE. SPACE THAT IS BOTH MALLEABLE AND DEMANDING

PHASE3 PHASETHREE P#3 Case studies and booklet The Pepsi Pavilion (E.A.T.), Osaka, Japan.

The Neurosciences Institute (Tod Williams and Billie Tsien), La Jolla, California, USA.

THE IMPLEMENTATION OF A SPACE TO BE DEFINED A DEFINED SPACE

The implementation of the manifesto has taken on the form of a MALLEABLE SYSTEM both obstructing and facilitating movement as well as habitation.

Thereby becoming a spatial system which is DEFINED and TO BE DEFINED.

In the urban environment we often exist in a constant transition between point A and point B. As the manifesto states, the performative aspects of the interventions originate from the lack of a predefined essence. Elastic elements rest on familiar surfaces of the city space we move in every day.Their tectonic values consist of the relation between the elasticity of the skin and the granule filling. The airtight skin creates an element capable of being shifted, moved and transformed with almost total freedom.The familiar materiality and alien form create a playful tension between the intervention and the pedestrian, inviting you to define and engage with the urban space, as well as be defined by the obstruction of your transitional trajectory.

In the dunes of RĂĽbjerg Mile, an intervention with many of the same values as the one in the city has been placed.

Thereâ&#x20AC;&#x2122;s a large plateau consisting of a granule filled linen container, with smaller elements of the same nature on top of it, ranging from the immovable to the movable.

These create a space which is largely transformable to the individual visitors liking, but at the same time, is helplessly fixed. In the RĂĽbjerg Mile an important factor is naturally the movement of the dune itself. With an average speed of 10 meters a year, the intervention will be more or less devoured within the span of a year. Gradually this consumption will create (or restrict) new possibilities of arrangement.

PHASE 4 PHASEFOUR P#4 DEFINED SPACE The City Interventions and borders

the balloons here are used as building material. The left most picture shows the carpet system.

to the left: illustrations depicting the pneumatic concept. to the right: diagram of singular systematic placement

The inter of palpab a synthe people b concept body of t filling an

rvention in the urban environment has its roots in the concept ble philosophy. Originally, pneumatic elements would form etic forest which would both be susceptible to the touch of but at the same time appear resillient to external forces. The evolved further and instead of a pneumatic composition the the elements is primarily a tectonic relation between granule nd an airtight elastic skin.

The intervention in the dunes is concerned with the implementation and installation of a habitational platform as seen in civilization. The bottom platform functions as a stationary plateau and the first building block. Some elements are immovable due to the sheer weight involved.

These elements both create and restrict possibilities of arrangement.

The smaller elements would be filled with a lighter material which would make them capable of transformation and translocalization. All material and filling involved should be transferable to nature with no impact, therefore the elements materiality cannot be akin to their urban cousins. In the dunes linen cloth would be the skin of the structure.

PHASE 4 PHASEFOUR P#4 DEFINED SPACE The Dune Interventions and borders

The model pictures are depicted alongside 1:20 scale entourage

The diagrams illustrate how the system can be changed and transformed according to the habitational as well as exploratory desires of the visitor.

The moveable elements can create cover from the harsh and at times unpredictable weather conditions as well as act social area.

Connected Lines

242

Toan Manh Nguyen

Various spaces Playful movement Intertwining construction Social structure Eventfull timespan

Field trip - RĂĽbjerg Mile The expectations of traveling to a specific distationation will never be completly as imagined. Nonetheless can these situations bring new perspectives and results. With short intervals the flags were placed at different heights measuring the wind, sun and movement of the sand.

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M/S 5 5 5 5 5 5 5 5

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Architectures may feature in box-in-box sections in which discrete pockets of space can be embedded within more continuous space, such as in Steven Holl’s Palazzao del Cinema or R&Sie(n)’s Spidernethewood project. This indicates that hard thresholds and spatial partitioning can exist in scemes that are at the same seamlessly embedded within their context and that feature different kinds and degrees of gradianets or extended threshold conditions.

There can be no architecture without event, without action, without activities,” writes Bernard Tschumi in his oft-cited “Architecture of the Event” (1992,25). Written at the height of architectural postmodernism, Tschumi proposed an architecture of ruptures and breaks in which “space,action and movement” would replace the modernist hierachy of form foloows function. Architevture, in Tschumi’s work, was a “stage set” in which radical choreographic ideas of space from dance and film could substitute for the power of structures of plans, sections, and elevations..

we must evolve an architecture which will adapt to continious and accelerating change,â&#x20AC;? wrote the architect William Zuk, â&#x20AC;&#x153;a kinetic architecture. Kinetic architecture would thus not only be an idea of transformation but an actual set of strategies that would require new conceptual and material notions of building to take precedent over older, fixed concepts of permanence and monumentality.

His appropriation of the psycoanalytic terms autoplastic (the enviroment affects the subject) and alloplastic(the subject affects changes to the the enviroment).

Theoretical collage

Moving processes of performance - Performance cannot isolate itself from its context as an unrelated object, but should engage in the specific situation either by attracting bypassing, guiding us in/around and follow us out.

- The direct link between exterior and interior is not relevant in this sense as long as people are willing to connect with the building.

- Spectacular proposition through media-facade is viewed as contemporary “performative” and will not last as phenomenal through a longer period of time.

- Evidently performative architecture should unfold the potential in its capacity ordered in complexity and auxiliary to numerous conditions and processes through movement.

- Movement can take different various forms but shouldn’t be strictly controlled by the architect and the environment in a sense that forces us to avoid our naturally instinct, but rather embracing the uncertainty.

- Free roaming is not directly linked to constructed movement, just like creating movement isn’t defined by walking along a wall. Some spaces should initiate movement and others areas for interacting closely with inhabitants or the environment itself. But the process can’t be linear, but can jump from one to another.

- What we build and shape is limited, things that have not been build has the benefit of freedom and expression. Furthermore the emptiness of a space is not always empty. Empty because nothing isn’t permanently there, but withholds the time and space between events to occur.

- Performance is a matter of perception, either by definition or by creation but it is thresholded between the subject and object. A meeting point between where, with and what can happened.

- Interacting while dwelling in the surrounding environment is also a part of performance.

Collage of Counter-construction / Maison Particulière, 1923, C. van Eesteren i.s.m Theo van Doesburg.

Endless house Friedrich Kiesler Year 1950

The Austrian-american Friedrick Kiesler who had multiple talents as an architect, theatre designer, sculpture and theoretician created the acknowledged “Endless House” in 1950.

Being influenced by surrealism and the collaborative work with surrealist artists such as Marcel Ducham, he was asked to design an installation for the Exhibition Internationale du Surréalisme in Paris. His installation Salle de Superstition was In that same trip, he drafted his manifest “Correalisme” which were key elements in the final creative process of creating the “Endless House”.

He wanted to create an elastic and spatial housing with ample light reaching every corner without being broken. Inspired by eggs shapes like previous work as “endless theater” and his own principles, he creates an amorphic spheroid from the materials of wiremesh, concrete, sand and pebbles. Needless to say it should function as a living organism where everything is connected to a natural cycle.

Drawing envisioning Kiesler’s idea of connectivity through abstraction in relation to the human body. In reach of the length of our limb, Everything is curved as such.

Santiago Calatrava Year 2001

Milwaukee Museum of Art, Wisconsin The acclaimed Spanish artist and architect Santiago Calatrava who also was a post-graduate in engineer envisioned to push architecture and kinetics. He created the addition the the Milwaukee museum of art with the Quaddracci Pavilion, Burke Brise-Soleil and Pedestrian Bridge which was finished in 2001. Calatrava was asked to provide a strong architectural statement in an exciting yet functional buildingâ&#x20AC;&#x201D;to set an architectural standard for the next millennium. Astonished to make a glowing lantern in downtown lake front, he would bring people from all over to his attraction. From a young age he was very interested in drawing and naturally enrolled in art school of Valencia.

Randomly one day he stumbled upon a book of work by Le Corbusier, which excited him to transfer to architecture school. Corbusierâ&#x20AC;&#x2122;s way of defying gravity, dynamic shapes and movement in forms would evidently be principles in Calatravas work, but seemingly he found something elemental missing in his repetoir - how things were constructed.With his childhood inspirations of dynamics and movement, he was determined to break the rigid rules of stationarity in architecture with actual movements. With a deeper knowledge in the field he would use steel, concrete and glass to create the three addition in a effortless lifted bridge, wing-like construction to regulate the lighting and a pavilion that altogether would express his ideals of movement and dynamics through his designs.

Drawing of the mechanical movement in technical details from screw to hydrallicpump. Morning and evening symbolic events where the transistion of the the wings are open and closed similar to sunrise rise and sunset.

Connected Lines The essential part of exploring the potential of performance through the manifesto, was the process of movement/dwelling in a presently state of awareness of the surroundings. Two settings of the sand/forest and water/the city has been explored, by testing environmental parameters, weather conditions as well as social, sustainability and materials to create a spatial intervention. The idea is to create a playful grid structure that conceives spatiality, â&#x20AC;&#x153;furnituresâ&#x20AC;? and new methods of constructing different proportions - from shielding and joints to tectonic use of the trees. In relation to the human body, the intervention should provoke people to think of new ways of interacting with the setting, evidently questioning modular and pre-determined sizes from an manufacturing point of view.

Implementation of intervention in the sand dune

Connecting the sand and forest The intervention should unfold in similar ways of moving through a forest. As Sami Rintala also described the experience of walking in a forest at his nordic lecture. â&#x20AC;&#x153;Being aware of the closest surroundings and not what lies aheadâ&#x20AC;?. That shifting conditions would emerge from being in motion and the constantly changing environment where numerous processes of spatiality, materials, scales, density and light are developed gradually through our path. Being placed in the sand dune and water, the intention of spatial complexity should connect the storylines of people being in a specific place interacting in whatever way they feel and like.

Site 2 - NNE from RĂĽbjerg Mile

The drawing to the right is an imagination of what a perceiver might experience. Entering the intervention should function the same way of walking through a forest. Sense of path direction would get blurred shortly until the urge to explore more terrain comes.

Connecting the open water with the urban area

Svanemøllestrand

Site 2 - SE from RĂĽbjerg Mile

The sand and water as the second protagonist and setting that constantly affects the intervention and consequently forms new scales and variations over time, will eventually erode the structure to become a relic of the past. At these dynamic landscapes where conditions are unreliable and where social events can occur, the purpose is to test different architectural qualities, creating new conditions, not by denying but accepting nature to prolong the human timespan and how these parameters could result in new ways of habitation.

Svanemøllestrand

Drawing of the year Through the on-going process of the robotic workshop explorations, we were to submit a collective drawing to the international competition, Drawing of the Year 2016. Each student was to develop two separate digital illustrations, deriving from their existing interpretive data. The collective drawing had two potential settings, one as a matrix with small-scaled drawings, and the second as a multi layered composition. With multiple proposals from several students, we were to discuss and find a common setting and from that point, four out of the twelve drawings was selected to a second round. Finally we chose one collective drawing, to represent our idea of habitation through the subject of sand visualised in digital platforms. This collective drawing was finally processed and now represents each student in the unit, by one drawing

final drawing

Individual drawings

1

3 first and second round

2

4

5

6 first and second round

7 first and second round

8

9

10 first and second round

11

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winner of election

6

Poetics of Necessity - A journey in search of environmental imagination - Performative Art(e)-facts/Environmental Devices

268

Experiencing the architecture T h e w o r d p e r fo r ma ti v e descr ibes som ething in m otion – mov e m e n t, a s o u n d o r s om ething unm easur able as a thought.

Pe r fo r m a n c e is a wa y of com m unicating. When ar chitectur e b e c o m e s p e r fo r ma ti v e it starts com m unicating with the inhabita n t a n d th e e nv ir o n m ent. The wor ld is in constant change a n d h u ma n s a r e in c o n s ta nt m otion. If the ar chitectur e dosen’ t fo llo w th e r hy th m o f o u r life and needs it becom es inhum an.

It s h o u ld n o t in c r e a s e the distance between the wor ld and inh a b ita n t b u t r a th e r b e lik e a thr eshold between the wor ld and u s . It is d e p e n d in g o n the hum an – it dosen’ t becom e per forma ti v e b e fo r e it is experienced and sensed.

It is a b o u t h o w y o u fe ll inside and beside it, what kind of opp o rtu n itie s it o ffe r s fo r a good exper ience and what m atter s le s s is th e c o mp o s itio n of the façade. A s Juhani Pallasm aa des c r ib e s in th e b o o k T h e ar chitectur e and the senses - ´instead o f b e in g s o m e th in g y o u fell on your body at a specific locatio n , th e a r ch ite c tu r e h a ve becom e the art of pictur es...instead o f e x p e r ie n c e o u r e x is te nce in the wor ld, we look at it fr om th e o u ts id e’. H e d e s c r ibes how our com m on under standing a n d p e r c e p tio n o n a r ch i tectur e have changed to som ething th a t ma tte r s o f v is u a l a e sthetic.The per for m ati ve ar chitectur e c a n n o t b e s e p a r a te d fr o m the hum an senses. It has to stim ula te u s , to m ov e u s , communicate with us.

A r ch ite c tu r e s h o u ld h a v e an agenda, to inr ichen the wor ld.The a r ch ite c tu r e s h a ll b e a n extension of the context it is set within . It mu s t b e a k in d o f i nstr um ent that exploits the envir onme n ta l q u a litie s a n t th e surr oundings m ust be a contr ibuting fa c to r fo r th e d e s ig n . L ik ea link between us and surroundings.

Ma te r ia l o r im m a te r ia l. We have to under stand what context w e a r e s ta rtin g fr o m. Ta bula r asa will newer do in this m atter.

T h e p e r fo r ma ti v e a r ch ite ctur e m ust act as an extension of the c o n te x t.

Agnes Alvilde Esther Schelde

Experiencing the surroundings T h is p r o je c t ta k e s its point of departur e in light. Light is n e c e s s a r y fo r life a n d it is affecting us m uch m or e then we c o m m o n ly n o tic e . It is closely connected to the hum an psych o lo g y. L ig h t c a n r e a s sur e us, and it can str ess us. A t our fie ld tr ip to th e d u n e , Råbjer g M ile, my inter est in the hum a n e x p e r ie n c e o f moving thr ough the changing landscape wa s a r o u s e d . In Rå b je rg M ile you ar e in the m iddle of the ch a n g e in th e la n d s c a pe. The dr ifting sand and the har d win d is a p h e n o me n o n that gi ves you a visual evidence that th e w o r ld is c o n s ta n tly changing. The per sonal exper ienced wo r ld b e c a me my fo c us -how we exper ience our being in tim e – a s a p a rt o f it. W hen the body is m oving in som ething th a t is mov in g – y o u ar e awar e of tim e. Ther efor e my fascin a tio n fo r a p r o je c t o n the hum an exper ience becam e light a n d h o w lig h t c a n p u t a focus on the featur es of the place.

- L ig h t - C olor s -Senses - tim e -

Site - Aarhus

I am proposing small changes in the existing site in Risskov, Aarhus. A tunnel in an area from the modernistic architectural period. An empty and desolate place, with not many people passing by through the day. I am interested in melting my interventions into the already existing context. Use the rhythm of the day and highlight the performance of the surroundings. With small interventions creating a more human and more pleasant experience of the place. Make the pedestrian feel connected to the surroundings and create a feeling of a flow â&#x20AC;&#x201C; through time and trough place. My intention is to give the human body a relation to the wide area and with the light, and some different aids like color and light reflection, give different experiences the same place.

Sun investigations

Investigation showing equinox in a model 1:50. 06.00 AM - 20.00 PM

Artificial light investigations

Investigations with reflecting material on the floor. No. 1 with yellow celling, no. 2 with no color and no. 3 pink celling. Made in a model.

Existing light conditions

Soft light in the floor

Light in the celling

Colour interventions

Model photos of tunnel with a combination of colours that react differently to the sunlight through the day. The morning sun is reflected and reaches the yellow surface, the pink midday and the evening sun reaches an orrange surface.

Investigation with the light reflection on white walls with a pink and reflecting surface.

Unfolded tunnel

Path

Thoughts about integrating the whole path to create a connection between the two sides of the tunnel by using the same strategies as in the tunnel - to make a connection.

Thoughts about making a connection between the path and the tunnel by using artificial light in the ground.

The path

The light

Interation with cars

Car passes above the tunnel. In a model.

Site RĂĽbjerg Mile

Drifting sand

Drawing the landscape in RĂĽbjerg Mile, as experienced through my eyes.

Investigations in sand

Investigaton in reflection in natural colours. Material reflecting light in sand.

An intervention with artificial light to highlight the changes in the dune over time.

Casa Barrรกgan

1m

Reproduction of Casa Barragรกn (Luis Barragรกn) section and model.

Paimio sanatorium

1m

Axonometric drawing showing coloured surfaces and natural light in the reception of the Paimio sanatorrium (Alvar Aalto).

P E R F O M AT IV E A R C H IT E CT U R E

CHANGE IN PERCEPTION - SUBJECT & ENVIRONMENT

280

Anne Staun Christiansen

Change in perception Light and health Optimising light Subject and environment Boarderline between day and night Natural and artificial light

// F I E L D T R I P E X P L O R A T I O N S

BACK

SIDE

FRONT

The nothern area of Denmark where RĂĽbjerg Mile is situated supposeably got a special light that painters through history have tried to capture in their art work. As an attempt to capture only the light intensity and its shifts, I have made a box with a semi transparent filter where only light gets through. On the backside of the box there is a hole for the camera lense while the sides of the box are fully closed of with carton. The camera with the filter box is pointed at the same spot of the sky. A picture is taken every 30th second.

// L I G H T A S P E R F O R M I N G P H E N O M E N O N

Performative architecture can be understood in multiple ways. Architecture performing and moving is mostly manifested in the physical world. We can all agree that moving architecture which is responding to the surroundings is performing - therefore can be considered performative architecture. But does this response and movability need to be a physical act? Can performative architecture affect the mind too?

Just like body (the physical) and mind (the psychological) are connected.

One room/space can be read in multiple ways and change according to perception. The architecture (built) might stay the same, but a phenomenon such as light can change the way space is perceived. A physical change in light can occur, but the change is also manifested in the mind as a change in perception. It can be as simple as a change in light intensity or the change from daylight to moonlight (-or no light at all).

There are two terms in relation to the subject and the environment: Autoplastic (the environment affects the subject) and Alloplastic (The subject affects changes to the environment)*.

The subject and environment are in a reciprocal relation. The subject affecting the environment, and the changed environment affecting the subject.

This notion of constant interaction between subject and environment is what creates performative architecture in its basic sense. It is based on perception and interaction.

In my research I am trying to explore performative architecture in both ways. Physical and mental change. But also the constant interaction between these two with light as the phenomenon for the studies of change in space and change in perception.

Light can change a structure. Light can change space. Light can change the perception. We can change the light. *Goulthorpe â&#x20AC;&#x153;Entangledâ&#x20AC;&#x153;, chapter 3 p 103

//ONE SPACE CASE STUIDE MODEL

BLOOM

// CASESTUDIES

The changing structure - Thermobimetal Collage diagram

Thermobimetal has different thermal properties on each side of the sheet. The bottom therefore expand faster than the top. This makes the metal curve when heated by the sun. When curved it is possible to have a natural ventilation through the structure.

The sheets are placed in a certain way that allows them to curve to create the natural ventilation while still maintaining the shading effect from the sun.

MILKRUN III

CASA LUIS BARRÁGAN

SOANE’S MUSEUM

RED LIGHT

WHITE LIGHT

Model inspired by Milkrun III

PLAN 1:200 WHITE FLOORING

BLACK FLOORING

Parts of model and possible change of box.

In Milkrun III, James Turrell transforms the coloured light to sculptural, geometric shapes and challenges the onlooker’s experience of the relationship between light and space. Simply by using diffuse light in red, yellow and blue colours, Turrell creates walls which do not really exist. In this way, he gives us the experience of light as a methaphysical symbol.

// E X T E N D I N G T H E D A Y

Why light? Light changes space, changes how we feel - light is a performing phenomenon in itself. It is essential to our very being. Especially when we take a look at northern countries and their long dark winter hours. Light and health are therefore also connected and is a crucial way of understanding how light can affect us mentally and physiologically.

Daylight is an example of light we cannot control but we try to replace with artificial light.

My interventions in Aarhus center and Råbjerg Mile are trying to catch and optimise daylight and create awareness of how light affects us. In the daytime the reflective material of the intervention - a series of open, slightly tilted boxes - will reflect and cast light into their own space and in the environment, depending on what time of day it is. This is creating a movement from one “group” to another. When the sun sets, the intervention will shift to artificial light - working as a therapy lamp, extending the day and making the sites more “accessible”/inviting in the evening.

The intervention can be assembled, disassembled and transportet to any other location. Creating a shift in the environment that changes the light and changes the perception of the place.

The natural light is coming and going, day turns into night - creating a change in space and how we perceive it. Natural light is replaced by artificial light. Recreating space, manifested in the mental and physical world.

AARHUS

// C I T Y

The site Choosing the location, there were two options. A great open space with few people or in a more enclosed cityscape with a lot of people.

With a focus on light and health it required to be a place people would get affected by the light from the intervention. The site became â&#x20AC;&#x153;Storetorvâ&#x20AC;? in Aarhus.

The obstruction Optimising light between tall buildings. When the light has trouble getting all the way to the ground in winter times where the path of the sun is low in the sky, it is difficult to benefit from natural light.

Rjukan, Norway

THE LIGHT WALK. In the city of Aarhus light is limited between the buildings The arrangement in the city center is following the path of the light throughout the day. At the end of the â&#x20AC;&#x153;walkâ&#x20AC;? the open boxes are placed enclosing around a strong light above 1000 lux, working as a therapy lamp.

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RÃ&#x2026;BJERG MILE

// L A N D S C A P E

THE LIGHT WALK. In contrast to the city, RĂĽbjerg Mile has the advantage of the open space. The natural light at day and the artificial light at night is transported, lighting up the space and creating a walk in the landscape.

Plan 1:200

1:200

1:10

1:10

A Collection of

_Voids

300

Christopher Germann Bæhring

_Voids

Field trip

_RĂĽbjerg Mile Measuring Tool: a USER_MANUAL For time and distance Thinking simultaneoulsy of the scale of the landscape and the scale of the body, an artefact for investigations of RĂĽbjerg Mile in Northern Jutland was created.

Focusing on the discovery of the site through an empty programmatic approach and on-the-go documentation, a manual for both assembly of the artefact, and the registration of data was made.

Measuring Tool: a USER_MANUAL For time and distance contains a description of how you are expected to walk around mindlessly, and come up with tasks as you go along. It also contains a page for mapping the percieved landscape in relation to your body and memory and a section for writing down your objectives as well as distance measured by counting as well as time spent measured by either wristwatch or timer.

The discoveries gave birth to later techniques for mapping and a controlled way of walking without any specific purpose in both the urban and landscape setting.

To the right: The result of the walk and mapping Below: Excerpts from the USER_MANUAL

Theoretical Collage

_Emptiness as a Catalyst for

Performance A reading and understanding of the texts “Non-Discrete Architectures1” and “Performative Architectures2” The focus derived from the reading on the performance of space, not from a technical standpoint, but rather by allowing space itself to exist and in it let unplanned and uncontrollable event and actions take place. The notions that a work is never completed and always open to interpretations and a “virtually unlimited range of possible readings” gave birth to the thought that architecture is practically uncontrollable as soon as it leaves the hands of its creators and therefore shouldn’t seek to be static in its extenuation to its audience.

1:Hensel, Michael: Performance-Oriented Architecture - Rethinking Architectural Design and the Built Environment, p31-43.

2:Salter, Chris: Entangled - Technology and the Transformation of Performance, p81-112.

Siempre _Fiesta Andres Carretero & Carolina Klocker unbuilt 2014 670m2

Research model - Siempre Fiesta, concrete and sand

“We will fill this closed street with SAND and open with the arrival of the warm weather.”

Located in an alley, that used to be an old access road, that has long since been abandoned. Siempre Fiesta (always party in spanish) is a reimagination of what the architects call “A secret street running being occupied by vegetation and debris. A clearing in the most private inner city.”The project is “non-objectual construction of a large urban playground by converting it into a lively and festive atmospheric space. ” A space that will be opened up through play.

Sections - Siempre Fiesta, moving sands

Endless _House Frederick Kiesler unbuilt 1950 approximately 400m2

This infinite surface structure is a hybrid of biomorphic and modernist tendancies. Inspired by the human body, Kiesler sought for the bounday between the man and the architectural object and seemed to find none.

It is distinct from the function understood by modern style and Kiesler insisted that his work was more sensual. The process of creation was a lifelong interest for him, as he didn’t see it as a problem, but THE problem.

The belief that humans and nature were not seperated guided his oeuvre.

Working model - Endless House, steel mesh

“All ends meet in the “Endless” as they meet in life.

Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime.”

Light study - Endless House

Light study - Endless House

A Collection of _Voids

Emptiness is not complete nothingness; it doesn’t mean that nothing exists at all. What it does mean is that things do not exist the way our grasping self supposes they do.

Emptiness is the true nature of things and events, but avoid the misapprehension that emptiness is an absolute reality or an independent truth.

All phenomena in their own-being are empty – the reality in its own separates independent existence requires action and thereby performance to be.

Nothing stands alone, as reality is woven through action and reaction to general existence.

Thereby emptiness in itself is a catalyst for performance, for without action, emptiness could not exist, as it would have nothing to be compared to, and reality would be non-existent. Everything is a tentative expression of one seamless, ever-changing landscape. Allow this understanding of emptiness to guide you in creation, and fear not the emptiness of space, but reach out and grab it.

“Horror Vacui” is no more, for the emptiness is not a void but a state of existence that correlates with action.

Performance does not replace emptiness, it simply change our understanding of it. And without it, performance could not take place, for without emptiness in space and time, nothing could exist, as reality would have to exist without time and space.

Let emptiness exist for action to take place Define the boundaries for emptiness Emptiness holds a limitless potential, let those potentials unfold without interference.

A Collection of _Voids

The voids are created by installing a series of interventions throughout the urban grid. Not created in the sense that nothing was there before, but created in the sense that the void already existed and simply needed frames to highlight its numerous existences throughout the city.

Building these interventions from scaffolding gives us the opportunity to bring in the citizens in both the creation of the framework and in activating the later defined voids.

The performance of the void is proposed through stuctures that highlight given preconditions through creating opposites or drawing attention by creating spaces that aim to activate visitors through participation in defining the programme of the void. Some voids aim to adapt to the social needs of super users through creating voids for them to inhabit, while others highlight a given situation in the urban fabric, some even create voids of urbanism within the city allowing people to find a moments of solitude.

A construction system of scaffolding was created to give correlation between the different sites, and not leave the framework empty by definition. Like a Shinto shrine a jinja the basic principle is to define an empty space, a void, in an open structure, like the shrine which consists of four pillars with a rope bound between them, creating an empty space in the middle, the scaffolding simply creates a structural framework for action and intervention as it is needed throughout the period in which it is erected.

A Collection of

_Voids Through techniques developed for the project Measuring Tool: a USER_MANUAL For time and distance a mapping of voids in the center of Aarhus was made.

User implementation through the cards Defining urban voids _fill in the blanks instigated a collection of voids defined by numerous questionees who each had his/her own perception of what the city both contained and lacked.

The collective construction system created by defining parameters for connecting scaffolding in space. Such a system is made to ensure that the individual interventions correlate with each other as they are spread around the city and as well as time allows for user-implemented change.

The perception of the situations will change completely.

Below: concept collage of archive and collective scaffold- ing system.

Rules of construction First rule: Two horizontal, two vertical

Second rule: Two horizontal, three vertical, in opposite direction

Third rule: One diagonal, two vertical

Defined _Voids A collection of five voids was defined by the _fill in the gaps exercise and constructed according to the collection of rules created.

Each void is intended to either highlight given preconditions or react to social or spatial needs. The voids are not complete nor defined, but a framework for participation has been established.

_5 Void of _Purpose1 This system is created as a direct translation of the existing conditions and does not aim to engage the bystander. The void here, is the purpose of the construction, as it is hidden and unreachable by the general public. It remains empty and purposeless.

Void of _Light2 This system is created as a response to the “tunnel” running next to the city hall as the tunnel has no roof. The void, through naming, invites the public to participate in creating a void of light within the provided framework.

Void of _Control3 The void in front of the cinema Øst For Paradis is a social anchorpoint during weekends. This intervention aims to create a framework for a social construction and responds to the void of control the visitors most often suffer from when taking part in the festivities.

_2

_4

Void of _Sound4 Situated in front of the train station, one of the noisiest places in Aarhus, the void of sound seeks to indulge the citizens in creating a place for solitude in the midst of an otherwise chaotic existence. This by installing anti-sound speakers and sound proof the booth - the existing and the installed.

Void of _Temperature5 As an answer to a social need at Klostertorv in Aarhus, where a number of social outkasts hang around in the bussheds, the installation aims to engage the homeless to partake in the creation of a temporary shelter for themselves.

_1

_3

A Collection of _Voids

Constructing

An archive o created to hi the investiag The archive a a mix of bot layer consist for intervent derneath it t situated. Und built accordi the base, com sites within A specific void

Let emptiness exist for action to take place Define the boundaries for emptiness Emptiness holds a limitless potential, let those potentials unfold without interference.

The performance of the void is shown through installing interventions that highlight given preconditions through creating opposites or drawing attention by creating spaces that aim to activate visitors through participation in defining the program of the void. Some voids aim to adapt to social need of super users (homeless people) through creating voids for them to inhabit.

In the changing landscape, the goal is to create temporary (2 days to several weeks) shelter for either visitors, nature or people who work in the given area.

g a Collection

of collected investigations and proposals was ighlight the ideas and principles derived from gtive exercises. aims to inform the reader of the ideas through th drawings and spatial explorations. The top ts of a collective investigation and proposals tions at five sites throughout Aarhus, while unthe layer of mapping and conceptual ideas is derneath the drawings, a system of scaffolding ing to the systematic rules lifts the drawings. At mbined map and model highlight the specified Aarhus, and give way for spatial reading of the d.

unveiling unseen movements // using resonance to expose the unnoticed and to give voice to a landscape.

312

Ida Fonslet

1954 1979 1995 2016

field trip and on-site exporations For the explorations in RĂĽbjerg Mile, my focus was on the movement of sand and how this movement was represented in different patterns and expressions.

Several on-site castings of various formations were made directly in the sand, resulting in a 1:1 negative print.

exploring sound and sand After noting the sound of my flapping rain cover, heard as a steady pulse or frequency, a thought came to mind: could there be a correlation between the frequency of the wind and the patterns that emerge in the sand?

This initiated the exploration of sound and frequency and how it could create different formation in sand.

The experiments started out by stretching plastic wrap over a loud speaker, placing sand on top of the plastic membrane and playing sine wave tones of different frequencies (A) as well as audio from RĂĽbjerg Mile (B).

A

B

A

A

1:100

Tom Na H-iu II Mariko Mori A mesmerizing and poetic sculpture, displaying hidden processes otherwise out of our reach. Alone in a black room, it seems almost scaleless, standing there pulsating as it translates the data it receives from the Super Kamiokande observatory in Tokyo. Soft flickers of light every time a neutrino is detected and explosions whenever a star dies.

Bru ove Rintala Eggerts

A most simple performanc The acoustic chamber au river beneath you, and With its static appearance to its dynam

v1:500

er Høse sson Architects

ce: helping people across. ugments the sound of the activates your senses. e it stands in stark contrast mic context

1:80000

Roden Crater James Turrell A naked eye observatory on the border between art and architecture. Exhibiting celestial events and using light as the primary material, focusing on its many aspects and expressions defined by time.

MANIFESTO

INTERVENTIONS

Technological advances have always influencedarchitecture and its character, both in form and function. However, during the 21st century we have witnessed the entry of performative materials, which will come to have an impact on architecture in a way that we have not seen alike since steel and concrete were introduced to the industry.

But this also demands a high level of alertness and criticality. One can easily loose sig ht of how to apply these materials without it becoming just that: an application, where the performance ends up being an empty and disjointed gimmick implemented only for the sake of the performance itself. This will be an important issue for many future architects: how to use modern technology thoughtfully and purposefully in a dialogue with culture, context and community.

And we must also remember, that the concept of performative architecture does not only belong to those who are prone to work with dynamic materialities. Performative architecture spans widely, and should not only be limited to the use of kinetic materials.

It can include small gestures which merely seek to enhance or emphasize aspects of our everyday life which otherwise go unnoticed.

We see this in one of the most universal elements of architecture: the window frame which stages a certain view and extracts something which might have been overlooked, had it not been for this simple intervention.

In my interventions I sought to combine the two opposites which I examined in my manifesto – the discreet and the kinetic performance – focusing on resonance and movement in the landscape. My previous investigations and case studies had explored the use of sound and frequency, framing certain aspects of the context and the release of information at a specific time of day. The idea was then to incorporate these concepts in the interventions.

We need to see performative architecture as something which spans far beyond dynamic elements, revisit and rethink the toolbox we already have, and not loose ourselves in the seductive ease which “Smart Materials” might very well become. Thinking that building with a performative material makes for good architecture is unacceptable. We must never fall into the trap of using materials as a detached ornament, it should always be rooted in a deeper understanding of the building’s context.

The overall structure of the pavilions is similar in Århus and Råbjerg Mile, but varying in scale. It consists of a series of strings suspended in a steel frame and tuned to the same frequency. The strings would then start vibrating as the wind moves through the open structure. But as the landscape changes, they will be covered partially or entirely by sand in Råbjerg Mile and water in Århus, creating an ever-changing collection of sounds. The soundscape created by the pavilion is both haunting and fascinating, as the many frequencies span widely on a spectrum of both harmony and dissonance.

In an attempt to enhance the intensity of sound and the uneasy feeling which it provokes, the strings are connected to a mechanism which only allows them to be tightened when the wind reaches a speed above 10 m/sec,.

In Råbjerg Mile, the pavilion would function as a reference point in a what seems like a scaleless landscape, displaying the slow but steady movements of the dune towards the East coast, whereas in Århus it works with the ebb and flow of the sea - a linear versus a circular temporal flow.

The intention is thus to create a pavilion which generates an audible context and allows for people to experience the landscape through listening to it. It is a dialogue between the context and the intervention, where the architecture gives the landscape a voice which reflects its perpetual movement.

the landscape The intervention in RĂĽbjerg Mile consists of a large, circular steel frame in which a series of strings are suspended in a single row.

The scale of the pavilion relates to the proportion of the dune. The height of the structure references the highest point of the dune - approximately 20 meters - so that as the dune advances towards the east, the pavilion will be almost completely covered.

This page Plan with intervention, on the edge of the dune Opposite: Mechanism, tightening the strings and locking Section of Ă&#x2026;rhus and RĂĽbjerg Mile - comparison of scale

A

Mechanism 1:2

1:1000

Section Ã&#x2026;rhus 1:1000

Section A 1:1000

pavilion århus

1:200

1:20

the urban In Århus, the structure consists of an array of steel frames with several suspended strings in each one. As in Råbjerg Mile, the pitch changes as the landscape moves, but instead of having sand as the dynamic element, the strings are mainly affected by the tides.

In Råbjerg Mile the scalelessness of the landscape immediately strikes you, whereas at the coastline of Århus, you feel shielded by the forest, even though you are facing open waters. The intent was then to create a pavilion which would influence people’s perception of shelter, emulating the experience of being in a closed off space, while in fact being no nearer shelter than outside the structure.

10:1

Space by subject and object A chapter on a materialised and non materialised jouney towards a personal perception of Performative Architecture, leading towards the development of interventions where both people and the forces of nature create the shape.

326

Juva Ofelia Britta Elvira Bergman

SOUNDTERPETER OF THE WIND OF THE DUNE

Ingredients Beer bottles Cardboard Angle measurment Glue Tape Plastic wrap Vehicle Map of Råbjerg Mile A sense of time Long piece of fake leather Thick needle Cotton yarn Sand dune Varying wind from

Do 1. Acquire beer bottles 2. Make cardboard boxes with a bottom of 6x6 cm 3. Suit the bottles up 4. Tilt the boxes, try to make it 10° more per box 5. Glue and tape them together 6. Wrap them weatherproof 7. Bring the instrument and yourself to Råbjerg Mile 8. Draw a straight line on your map 9. Make out the direction through vision points 10. Hold the equipment in your hands 11. Adjust the hight above ground to stomach hight 12. Listen to the sound of the wind through the bottles 13. Embrode a stitch according to perceived intensity of sound 14. Walk seven steps per your straight route 15. Stop and adjust the direction of the device according to the wind 16. Interpret the intensity of bottle sound relative to the previous point 17. Stitch another stich approximately 7 mm away from the last 18. Whenever the terrain tilts steeply, walk 14 steps instead of 7 19. Go on as per above steps 13-16 until you no longer walk on sand 20. Go home

THEORETICAL INPUT Reading the two texts p.81-112 C. Salter, Performative Architectures, Entangled, Technology and the transformation of performance, MIT press Cambridge MA 2010, and p. 31-43 M. Hensel, Performance oriented Architecture, John Wiley and sons, Sussex 2013 the collage was made on the impressions therefrom. Based upon the quote below along with what I took out as the key topics from respective text (in capital letters), the collage on the left would reflect the combination of the two texts, in order to find a point of special interest. Where the lines main topics meet each other, would be such a finding. Tilting it is a matter of not adding hierarchy of importance.

MANIFESTO OF THE RELATIONSHIP BETWEEN DIFFERENT SUBJECTS If Architecture is the threshold between subject and object, the latter might become the former, too. “(…) a subject first perceives his or her environment and is then changed by that perception. (…) objects and subjects produces an architecture where referring to the two as distinct becomes irrelevant”.

– Alex Schweder 2014, As mentioned on his website, last visited 14.12.16 http://www.alexschweder.com/index.html “Does architecture lose its muscle, its power of lasting duration, when it becomes a flickering, ephemeral surface in order to scaffold itself (…)?“ – Chris Salter P. 111, Chapter 3 Performative Architectures, Entangled, Technology and the transformation of performance MIT press Cambridge MA 2010 Thus, Architecture can act as the object but should not be passive, as such One should build a framework that encourages the “incidental”, however planning for the unplanned seems contradictory An architectural frame should communicate to its audiences A concrete disharmony between life, its membrane and setting might also be equal to a phenomenal shield Space would be a passive location that can be activated A place consists of coexisting fixed elements, and spaces are created when the place is practiced upon Without time and activity architecture cease to exist The protagonist of any realm can change over time People are not the only subjects of the built [as well as unbuilt] world The notion of humaneness dosen’t need to be alien to that of nature, and vice versa The meeting point is the point of interest Architecture should be allowed ambiguity Sometimes efficiency and utilitarianism counteract the creation of opportunities for places The language of philosophy is enlightened through the imagery of architecture and architecture posing immaterial values is architecture made accessible to our emotions. One then might imagine architecture to be the object and philosophy the subject

Chosen case studies of Performative Architeture in relation to my personal understanding of the topic

‘Flatland’ - Art piece by Alex Schweder 2007 Various Construction Materials, Household Appliances, 5 People, 2’-0” x 32’-0” x 24’-0”, 3 Weeks “Flatland’s inclusion in the Happiness of Objects exhibition at New York’s SculptureCenter highlights a fundamental aspect of architecture: the reciprocal relationship between subject and object, between people and buildings. We choose and shape our buildings; then they shape us. This thin-sliced sculpture is a diagram of 5 people’s lifes over 3 weeks made completely visible. The rules are simple, if you go out you cannot come back in. The reduction of dimension and extension of duration in this building brings this imbricated flow of construction to the fore. Flatland was made in collaboration with Ward Shelley” - http://www.alexschweder.com/work/flatland.html

’Untitled (House)’ Art piece by Rachel Whiteread, 1993 Various construction materials, concrete, Victorian House and more. Commissioned by Artangel, sponsored by Becks

Kolmanskop, Namibia, 1908 – 1956 Sanded ’Ghost’ town, founded by German Diamond miners ”The sands that were once swept up every morning now gather unhindered. The desert encroaches into the buildings, gradually filling the empty rooms with smooth rolling drifts.

The houses still stand but it is the elements that are in control. The roofs are gradually being laid bare and the glass worked from the ornate frames”defying their desolate surroundings and exuding an air of quiet dignity.” natural parks in the world where access is severely restricted.”

- http://www.kolmanskop.net/

A concrete cast of the inside of an entire Victorian terraced house, exhibited at the location of the original house -193 Grove Road- in East London (all the houses in the street had earlier been knocked down by the council). Tower Hamlets London Borough Council demolished ‘House’ on 11 January 1994.

- https://en.wikipedia.org/wiki/House_(sculpture)

OUTPUT FROM CASE STUDIES Researching the case studies, the drawing on the opposite page as well as the next, are materialised thoughts on principles of the case studies from the previous page. The illustration on this page as well as the bottom model image of the next page, would refer to as The frame and the transition beyond, apropose ’Untitled (House)’ by R. Whiteread. The model photo accompanying the Manifesto two pages back, as well as the top drawing of the next page, would be illustrations of what is Facilitating the home of sand, wind and sun. As if the Kolmanskop situation was on purpose. The illustration and model photo of the next page, would mirror that We shape our realm, then it shapes us and on it goes. Referring to the ’Flatland’ art piece by A. Schweder.

NORTH

SOUTH 100 m

CONDITIONS AND TRANSITIONS A spot by the Aarhus harbour would reflect the transition between the urban area and the sea, and a site in Skagen would refer to the transition between the dune and the sea. This page contains an illustration of the first, where the physical border (see panorama) between the industrial area and the sea consists of a well defined line of stone. Equally abrupt as its creation in time (photo montage), as there in a short amount of time suddely there was new land. The site in Skagen on the other hand, is both in time and physical character always in transition (see timeline and site zoomed into below right).

MOVING MECHANIC The site by the Aarhus harbour is a borderline.

A human made artificial island -an active part of the city- meets the ocean.

Constructed flexible joints would travel along the harsh stone wave breakers.

Loose joints and light material enables transposition by limited force.

The character of the structure alters perpetually.

Wherever humans, the wind or water push the beams, spaces in between them are created.

The wave breaking stone-scape beneath would act as a parameter of the created spaces, a floor, if you like.

Framing the place with a structure might invite humans to stay and interact.

Structure with the site

Sequence of the structure moving (above+below)

SALT HOUSE The site in the sand - at Skagen - is ever-changing and fluid in its character.

The object would flirt with the square and solid forlorn bunkers often seen by the Danish coast.

It would act as a contrast to the landscape.

Ambiguously, it would become part of the nature by its material.

It would be built by compressed salt which melts the entire architecture away.

The shape would facilitate for the rain, sand and wind to erode the salt.

It would protect people inside from the outer climate.

The falling rain would create a wall to the outside, before the shelter melts away.

Structure with the site

Structure eroding

Current sandscape

Structure x2 in the landscape Salt stone masonry

Cracked structure in plaster

Methods and techniques The majority of digital methods and techniques during the semester has in many ways been given by working with the blog format as an everyday digital archive. The methods and techniques have in different ways been developed within the intersection between analogue and digital media. The experimental approach has created an inspiring environment where the limi-tations of traditional modelling techniques have been pushed and the choices of materials have been questioned. In many cases models have been produced as open works, meaning that they function as a catalyst for new explorations.

ANALOG

DIGITAL

MODEL

MODEL

FOTO

.GIF MOVIE

MODEL

3D MODELLING DRAWING

MODEL

INTERACTIVE INVESTIGATIONS

DRAWING

CASTING

3D SCAN

CASTING

3D PRINT

.GIF

3D PRINT

3D MODELLING

Alternative methods The following images are examples of interactive and dynamic methods used in the experiments. Some students have been investigating what happens when other people are invited into the process, and by that making the outcome unpredictable. The experimentation with alternative methods is a way of responding to the assignment theme focusing on Performative Architecture.

Frederik Ravn: Interactive line drawing on paper.

Line Leth: â&#x20AC;&#x153;What does the ocean mean to you?â&#x20AC;?, survey at Dokk1

Mischa Stæhr: Spinning top on paper.

Christopher Bæhring: “Fill in the blanks”, survey.

Ida Fonslet: Experiment with sand on speakers.

Alternative materials The following images is a collection of different projects, where students have used alternative materials in spatial explorations.

Both in terms of recycled materials and well known materials used in a new context.

Alternative solutions demand alternative materials and methods.

On-site photograph of concept model made by recycled fishnet, wood

Concept model made by plastic globes and leather cord, Nete Virkelyst Olesen.

Photo Malen

and bottles, Nick Cole.

Photographs of spatial model made with textile from reused tights, Malene Jørs Nielsen.

ographs of context model made with textile from reused tights, ne Jørs Nielsen.

Spatial explorations made by balloons filled with sand, Thorbjørn Hammel.

Dynamic models and visual representation Through the format of a blog, students were able to represent movement in ways they were unable to do so in the analogue media and print. This gave birth to the use of the .GIF format to show movement and highlight certain aspects of drawing at different times. Both video and series of photographs were translated into moving pictures to show the dynamics of the documented conditions.

Frederik Ravn Andersen: fjer-i-vind-venstre.gif

7 frames;

0,70 seconds

10fps

Frederik Ravn Andersen: animation-alm.gif

22 frames;

12,0 seconds

1,83fps

Laura Høgh Jensen:

Windstructure2.gif

7 frames;

5,6 seconds

1,25fps

Josef Matt Eichler:

Tensegrity-Gif2.gif

4 frames;

3,2 seconds

1,25fps

20 frames;

11,2 seconds

1,78fps

Elvira Bergman: mechanics-in-motion3.gif

Casting The following images are examples of different casting methods and experiments.

There are different ways to use casting in model making. The most used method is casting in a mould. It is easy to test, and you can add things in the mould, which can be removed when the form is dry. It is also possible to use digital tools to draw the model which gives very precise results.

Casting witht the use of digital tools by Laura Høgh

Casting witht the use of digital tools by Laura Høgh

Test of casting on top of balloons by Malene Jors and Laura Høgh

Casting in a mould by Nikolaj

Test of casting on top of foil by Anna Maja Juul

Wind as a catalyst for spatial exploration

A collection of processes and spatial explorations developed during the research semester, with a special focus on the performance between the environment, the subject and the architecture in two different settings:

Råbjerg Mile

356

Laura Høgh Jensen

Aarhus Ø.

The rotating archive

The sand screen

be choosed from an intresting point where the extent of the dune and its connection to the sourrounding landscape is visible.

Staballizing

Field trip and on-site explorations the tool is done by help from one hand and by reining the rope on the shoulders with safety pins.

Product For the field trip to RĂĽbjer Mile 30.09.16, we developed different tools of the investigation is an archive of impressions and for on--site explorations. The rotating archive was created from the indiscoveries drawed on site. terest in collecting a 360 degree representaion of the landscape drawn on site. This turned into a focus on the delimitaions of the view, how Wind is the main factor for the movement of the sand. If the scale is experienced, and how the dune meets the surrounding landwind is not strong enough, the screens are placed at a botton of a slope and then scape. the movement is provoked by a person walking down the slope.

Auxiliary materials:

The sand screens were developed from the interest in having a close up experience Placement of the movement of the sand in the everyday, in conThe screens are placed Masking tape for securing the drawing in the dune with 150 mm trast picture of the movement of the dune through time. covered down in the sand.

Rope for carrying the tool + safety pins for reining the rope on the shoulders to the greater During the dag the movearound, over or thRaincover The screen canment also seen as symbolization of the human impact on rough the screenbe are documented by camera.

Drawing tool, pen, water colors nature, and how the sand adapts to its sourroundings.

App Map My Walk for locating the positions of the screens Position The rotation archive requires a special format papir: 2x half circles with a diameter of 440 mm and a depth of 200 mm

of the rotating archive should be choosed from an intresting point where the extent of the dune and its connection to the sourrounding landscape is visible.

Product

of the investigation is partly an archive of the division of sand through the screen, what did not move through?

And partly pictures of the movement and patterns of the sand adapting to the screen

Staballizing

the tool is done by help from one hand and by reining the rope on the shoulders with safety pins.

Mapping of investigations

Product

of the investigation is an archive of impressions and discoveries drawed on site.

quires a special format papir: iameter of 440 mm and a depth of 200 mm

Position

of the rotating archive should be choosed from an intresting point where the extent of the dune and its connection to the sourrounding landscape is visible.

Staballizing

Auxiliary materials: Rope to keep screen in bow position Camera to document the movement during the day App Map My Walk for locating the positions of the screens

the tool is done by help from one hand and by reining the rope on the shoulders with safety pins.

Product

of the investigation is an archive of impressions and discoveries drawed on site.

ool + safety pins for reining the rope on the shoulders

Drawings from investigation manual

Glass for archive Magnifying glass

Board of investigations in robot lab

Robotic lab Working in the robotic lab gave an interesting experience of dealing with scipted parameters in Grasshopper in interaction with the natural material sand grains, as unpredictable and non-controllable paramters like pressure and gravity. My motivation for the explorations was to recreate patterns caused by the movement of the sand experienced in Rabjerg Mile.

The workshop raised questions about the design process. Working with sand meant that the 3d printing would have an unexpected form and not an exact 1:1 representation. This was an interestning contrast to other modelling methods, which are more products of thoughts, where these experiments opened up new perspectives on the form and processes.

3D print in sand

A collection of different studies In the excess of the late 1980’s and 1990’s architecture was tough to be completely reborn as digital computation... At one extreme, architecture was

Majority of today’s design is perceived and designed as discrete object, in order to stand out; so-called signatu-

reduced to an incessant readout of numbers, coordinates, lines, and points.

re architectures. The result is often that the architect sculpt the exterior,

Is it possible that these architectures of information re-

while the interior tends to consist of unrelated and often quite normative

main largly stuck in a remalm that co-opts the surface of

solutions.

the screen but forgets the scene ?

Action Event Inhabitation

1

Frame Space Architecture Environment

surface

3

Note: There is no architecture without event, witho

(Taut) believed that great architecture was a matter of creating relationships rather than designing beautiful objects... Nothing could be called an object, cause everthing was connected with its surroundings.

4

depth Performance-oriented architecture is based on the understanding that architectures unfold their performative capacity by being embedded in nested

...Its relationship to time is as challenging as its

orders of complexity and auxiliary to numerous conditions and processes:

Roger Connah wrote (2001) about the distinction bet-

relationship to movement and action...

such architecture are essentially don-discrete.

ween surface and depth, or... the screen and the scene.

“There can be no architecture without event, without

It requires a reconceptualization of the relation between

The flickering, flattened media image(the screen)

action, without activities.”

architectures and the environments they are set within,

The volumetric depth of space (the scene)

Understanding the difference between ‘scene’ and

Architects are in the position to construct condition

‘screen’ could produce differing, improbable, even per-

that will create new relationships between spaces and

formative, architectures...

1) 2) 3) 4)

2

events.

2

on a spatial, material, and temporal level, considering context- and time-specific exterior-to-interior relations, the associated question of extended threshold conditions and the interaction with a dynamic environment.

3

http://www.m-a-d.com/events/2004_11_loudpaper/mad_loudpaper.pdf Salter, Performative architecture Hensel, Rethinking Architecture Kengo Kuma, Anti object

Theoretical collage

Case studies Working with cases tudies was a way to reflect upon and investigate different aspects of performative architecture. Some cases were an example of a project reacting on specific human events other as a reaction on or interaction with environmental events.

Sou Fujimoto http://www.archdaily.com/8028/children%25e2%2580%2599s-center-for-psychiatric-rehabilitation-sou-fujimoto (02.11.16) Magnus Larsson https://www.ted.com/talks/magnus_larsson_turning_dunes_into_architecture#t-654346 (02.11.16) Ned Kahn http://www.bldgblog.com/2009/04/sandstone/ (02.11.16)

Casestudie of Children’s Cent

Casestudie of Magnus Larssons project Inhabiting the dune

Note: Use the environmental parameters as a catalyst fo Use the environment as a inseparable part of the design

out activities.

Note: Use intergrate the environmental event and the human event in the design process; continuous process, go back and change the added parameters Process collage

Note: Do not demand function of the entire space.

Leave some for individual interaction

ter for Psychiatric Rehabilitation by Sou Fujimoto

or the design.

Note: Respond and express the environmental parameters Casestudie of Wind Arbor by Ned Kahn

Addapting the human body to the environment Ned Kahn Wind Arbor

Inhabiting the Dune Magnus Larsson

An evironmental event Responding to and expressing environmental parameters

NT Constant influence

” THERE IS NO ARCHITECTURE WITHOUT NO EVENT

”

PERFORMATIVE ARCHITECTURE

Using the environment as a catalyst for designing

A human event action or interaction Atmospheric architecture providing a sensural experience appealling to the human body by example material and light Leaving space open for individual interpretation

Sou fujimoto Children Rehabilitation Center

Visuallising time ARCHITECTURE

Mindmap for manifesto in relation to casestudies

(Ex. Peter Zumthor)

T EC BJ SU

EN VIR ON M E

Addapting the environment to the human body

Manifesto

An expression of connection between the environment, the subject and the architecture In a time where modern architecture is characterised by standard prefabricated concrete modules and a tendency of creating landmarks or sculptural signatures1 competing for attention and publicity, it is time to rethink and challenge the future vision of architecture and the role of the architect.

The ambition for the architect should be to create non-discrete architecture2 in close relation and interaction with its environment and its user. It is important to see the architecture, the environment and the subject in a constant interaction and cohesion. The events of the environment and the events of the human should both be catalysts for the design of a building. As the architect Bernard Tschumi writes in Architecture of the event,1992:

“There can be no architecture without event.

3

”

By inviting the human and environmental event into a fusion with the architecture, the boundaries between the planned architecture, the human interaction and the touch of the environment should blur and continuously be an inseparable part of the architecture. Let these different parameters reshape and reinterpret the space and the individual experience. Let this become a way to create architecture that “tells a story about place and people, and be a pathway to understand ourselves within nature 4 and time in a ” greater perspective.

Rethink the great forces of the environment and not only fight and shield us from them.

Rethink the role of the human in the architecture and not only create a frame for living.

Challenge the static architecture, remember the human scale, stimulate the user by letting light, material and movement create an atmosphere.5 Thereby we can shape an architecture that can unfold as a stage set to perform with the environment and the human.

1) Michael Hensel, Performance-oriented architecture: rethinking architectural design and the built environment, 2013 p.31-32 2) Non-discrete architecture is in Michael Hensel, Performance-oriented architecture, (p. 32) described as where “the architect sculpt the exterior, while the interior tends to consist of unrelated and often quite normative solutions.” In other terms architecture with no relation to its environment or surroundings. Also Kingo Kuma writes about this missing connection in Anti Object: “Nothing could be called an object, cause everthing was connected with its surroundings. Taut believed that great architecture was a matter of creating relationships rather than designing beautiful objects.” Kengo Kuma, Anti-object: The Dissolution and Disintegration of Architecture, 2008 3) Bernard Tschumi, Architecture of the event, 1992, Chris Salter, Entangled: technology and the transformation of performance, 2010 p. 84-85 4) Sim Van Der Ryn, Design for Life: The Architecture of Sim Van Der Ryn, 2005 p. 102 5) Juhani Pallasmaa, The eyes of the skin, 1996

Line for 1.1000 section

Mapping of Norh-eastern cornor of RĂĽbjerg Mile

Implementation of the manifesto in the two settings The two spatial explorations in Råbjerg Mile and Aarhus are developed from studies of the environmental and the human events on each specific location. The landscape of moving sand, Råbjerg Mile and the landscape of concrete, Aarhus Ø can both be experienced as out of human scale, where the great forces of the wind play a big role. The pavilions work as a reaction to these parameters by capturing and framing the environmental event in an attempt to reinforce the individual experience of a place, while appealling to the individual perception of itself in a bigger context.

In Råbjerg Mile the wind is a prerequisite for the history of the place and the future aspect. Also in a smaller time aspect the wind can seem extreme in the open landscape.

In this context, the intention is to create a setting for this spatial understating and experience, by creating a reference point for understanding the movement of the dune and tell a story about the impact it has on the surrounding landscape over time, picturing the fact that the sand continuously will drown vegetation and homes in tons of sand. While at the same time let the movement of the sand interact with the structure and create a continuously changing spacious experience.

Aarhus Ø is currently dominated by building sites, where the wind has contributed to a negative reputation of the urban areas in-between the buildings. These areas appear as dead zones not inviting for human encounter. In this context, the intention is to create a shelter not only shielding and excluding the forces of the wind, but creating a setting using these extreme environmental parameters as a creative spatial exploration. At the same time this setting will invite people to meet across “territories”, interact and organize the space according to their own creativity and social interest.

SHELTER - REACTION TO SCALE - VISUALIZE THE UNVISIBLE FORCES - POSITIVE FROM NEGATIVE - REFERENCE POINT

Pavilion RĂĽbjerg Mile [process]

Sketches in 1:200

Plan of pavilion 1:200

Section af pavilion 1:200

Model of sand investigation

Pavilion RĂĽbjerg Mile

Model showing sequences of the dune adapting to the pavilion

Plan of pavilion 1:100

Section 1:1000 across the dune and the meadow

Perspective drawing of the dune adapting to the pavilion

Pavilion Aarhus Ø [process]

Bricks

Concrete

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Wood

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Mapping of Aarhus Ø

Structure modules 1:2

Draft on moveable structure Plan of arcade structure 1:50

Arcade structure

Moveable structure zoom in 1:10

Elevation of arcade structure 1:50

Moveable joint zoom in 1:5

Grid structure modules 1:5

Pavilion Aarhus Ă&#x2DC; [process]

Investigation of wind shaping space

Zoom in on joi

int of moveable structure

Moveable structure

Moveable structure

Pavilion of moveable structure

Pavilion Aarhus Ã&#x2DC;

Elevation 1:50

Plan 1:50

Elevation of the pavilion in relation to exsisting housing blocks

5m

Section showing the pavilion in relation to human scale 1m

Contextual Translation of Shelter The Four Cornerstones of Performative Architecture

376

Malene Jørs Nielsen

FIELD TRIP | RĂ&#x2026;BJERG MILE The two main experiments on-site varied in duration, location in the dune and time of the day. During these experiments, the location was found to be the most important factor for the artefacts to work properly. The reading of the wind and its impact on the landscape and topography was crucial for both experiments to suceed, and the search for exposure or protection from the wind and rain on site, either for the artefacts or myself, developed into an exploration of the landscape.

The search for a physical shelter in a violent environment became my unconscious focus.

ROBOTIC LAB During the workshop I sought to find some new inspiration and found it in the Dune project by Magnus Larsson.

The phrase â&#x20AC;&#x2122;shelter in a desert landscapeâ&#x20AC;&#x2122; from his TEDtalk stuck with me, and changed my perspective on my previous investigations. The phrase became a starting point for the analyses in Robotic Lab, where the human scale added another dimension to the investigations.

Performance-Oriented Architecture: A Four-Layered Manifesto Using the following four layers as categories to describe ‘performative architecture’, one may find it easier to fully understand the complexity of the term. The layers will always intertwine through differentiation.

Physics The most obvious performative architecture deals with the surface, where physical movement or visual change defines the performance. This layer is often translated materially, when structural change is related to technicalities, mechanics or material flexibility. This type of performance often corresponds to changing conditions in the surrounding environment. However, the experience varies; the perception of a physical change through a visual alteration (light and reflection) is characterized as immaterial.

Mind The subjective aspect of performative architecture focuses on the interaction with the subject. This type of architecture inspires curiosity, activates and stimulates the human both mentally and physically through the senses. The material and immaterial dimension of this layer cannot be separated. The physical is the action itself; opening, closing, rearranging, exploring etc.. The non-physical dimension is understood as the individual interpretation.

Context The contextual layer deals with architecture that interacts with dynamic contexts and impacts the local community and environment by changing something already existing. It may be negative, positive, temporary or permanent, but in general at a larger scale than previously mentioned. The impact is either physical – changing topography, vegetation, animal life, resources etc., or immaterial – changing the society socially, culturally or politically.

Moral The most abstract performative architecture deals with ethics, where the performance exists when architecture activates the conscience. It is closely related to the subjective and contextual layers, but the morality and reflection is what makes the performance. This obviously immaterial performance translates into a material one through the use of symbolism. Symbols affect people strongly because of preconceptions and expectations to what the object symbolises.

CASE STUDIES With the two case studies, Dune and Mall of the World, the aim was to investigate the architecture through the four layers of performance. What I extracted from the analyses was how both of the studies operated with the notion of shelter in more than one performative layer. Based on this observation, I started to dig deeper into the term â&#x20AC;&#x2122;shelterâ&#x20AC;&#x2122; because of its new found complexity. The idea of shelter being completely defined by its context was very interesting to me.

Contextual Translation of Shelter: A Product of Quartet Performance The thesis for implementing the manifesto in the two settings was to unfold one layer at a time ending up with investigations containing all four layers of performance. The strategy of distinguishing turned into differentiation and hierarchy. This led to a realisation of the necessity of a programmatic framework based on keywords: shelter, psychological-physical, social-antisocial, potentials of the site, adaptability, ever-changing structure.

In the urban setting the shelter is defined as psychological and evolves around the theme of ”antisocial”. Physics is translated into the mechanism that moves the shelter according to the changing tides, making it ever-changing.

Mind translates into the therapeutic effect of the beach, and physically how the subject designs and adapts the openings in relation to a desired view. In this way the structure will be unpredictable. Context is represented in the use of contextual potentials; the tides and the beach as a mental retreat, which reinforces the concept. Moral focuses on an abstract idea of the sanctuary translated into an individual confessional.

In the landscape setting the shelter is defined as physical because of the extreme environment in Råbjerg Mile.

Physics is translated into material quality, which allows the tensile structure to adapt in relation to the moving dune.

Mind is represented in the structure’s dependency on human interaction to change. Psychologically the experience of the shelter differentiates from the immediate perception, because the material is neither waterproof nor windproof. Context is about providing a different experience of the violent dune to the visitors. The layer is translated directly into the physical impact on the trunks that act as structural elements. However, as the tensile structure adapts to the fixed forest, it overlaps with Moral which operates with a strategy of preservation through reconfigurations.

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Nikolaj Uldum Heede Noe

Notion of place and time Context Materials Social interaction Human perspective

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Simon Rode Gregersen

Field trip investigations

3 m.

3 m.

Case studie 3 m.

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12,5 m.

es

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Manifesto of perform

Space, light and materials d ments of architecture, and it in relation to a context and t the performative aspect arise out of place if the performati does not relate to the materia the program by the architect becomes an element that is u envelope, it might still have but it is not part of the archite is just used as a canvas for th not performative itself.

Performative architecture is w a wall, but a black night sky away structure, and an extru on the outside, partly melting When the roof and walls wo ated in the center of a city, w man position in the urban la reduces the presence of the su becomes not just a facade en on how it once was used, bu the core element that through comes not only the facade bu

Whether the performative el with the physical conditions, joyment of the visitors both the spiritual emotions that it e the use of materials and the sp to the context and the human 1. Bruder Klaus Chapel - Peter Zumthor 2. Aros Sky Space - Diller + Scofidio 3. Rwanda drone airport - Foster + partners

mative architecture

define some of the core elet is these core elements that the human perspective make e. It often stands out as being ive aspect of the architecture al elements, the context, and t. When the performance just used to draw attention to the a performative aspect to it, ecture - then the architecture he giving performance, and is

when a wall becomes not just from the inside of a burned usion of the surrounding soil g together with the context1. ork as an optical illusion situwhere, depending on the huandscape either intensifies or urroundings2. Or when a brick nvelope that makes us aware ut instead the brick becomes h locally sourced material beut also the structure itself3.

lement has something to do the social conditions, the endeliberate and peripheral or evokes - it all comes down to pace that it created in relation n perspective.

Materialised manifesto The manifesto highlights the importance of being very context related, and therefore the first step of materialising the manifesto was to define where the interventions would be located. The context and the materials within the given area related to the overall scale were the factors that helped shaping the interventions. By having the same architectural programme the interventions materialise the conclusions of my manifesto. The interventions thereby work as an archive showcasing what role the context plays in shaping the visual form of the interventions while still preserving the programme and poetics of the projects.

In the landscape the “Tower of place and time” works as a vertical landmark that over time will measure how the landscape/sand dune changes while simultaneously provides a place for shelter and social interaction both for the professionals and tourists that are using the area. The tower offers both an option of either totally or partly enclosed space. Constructed from local wood the tower is approximately 20m tall with the possibility of further vertical expansion.

In the urban landscape “Plaza of place and time” works as a horizontal measuring tool that constantly changes due to the movement of the tide. As a place for social interaction the plaza will host different events during the day, depending on the movement of the tide, while still providing a protection form the hostile wind-conditions. The plaza will be constructed by reusing the materials of the close-by construction-sites and will by its human scale provide a counterpoint to many of the ongoing constructions in the harbour area.

Tower of place and time

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Pinus sylvestris (skovfyr), 41 % of trees in Bunken Klitplantage, approximately 200 trees

Plaza of place and time

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Movement Discreteness Threshold Reflection Transition

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Anna Opitz

A walk by natural forces Manual for on-site explorations Digital mapping of on-site investigation P#2. Field trip and on-site-explorations

Reading about performative architecture Theoretical collage P#3. Archaeology of eco-technologies

About the significance of the facade and its articulation Manifesto P#3.2 Performative Art(e)-facts/Environmental Devices

â&#x20AC;&#x17E;The Icebergâ&#x20AC;&#x153; Case Study P#3.2. Performative Art(e)-facts/Environmental Devices

Threshold Implemention of manifesto Spacial explorations P#4. Collection of possible futures

A walk by natural forces Manual for on-site exploration

_Context The biggest moving sand dune in Europe is working its way from the East coast to the West coast in the North of Denmark. This site is in permanent movement. The sand is constantly exposed to the conditions of the weather and is set in motion by wind.

In RĂĽbjerg Mile you will find yourself sourrounded by sand, disconnected from the outer world with no reception. You will enter a space free of technology. Your eyes will be able to rest, compared to the contfronting context you find yourself in, when being in the city and enclosed by buildings on your site. _Performance The thought is to move through the dune. Although not by your own choice of direction but moved by the factors that also set the dune into motion - the weather.

The movement of your body in the landscape should evoque reflection about the environment of the dune.

The idea is that this walk resolves into conclusions about the conditions out in RĂĽbjerg Mile and should lead not only to a special experiance in the way how ones find its way through an undiscovered area but further reflections about nature and its character.

Therefore look at nature with your eyes. Leave at some point on your feet. Let the impact of natural forces guide you. Be aware of it.

_Possible curiosities What evokes my attention?

What makes me sit down?

What spaces do i chose to get a rest?

What makes me move further?

Walking with the force of gravity.

Walking against the force of wind.

Lead by the power of wind.

Following the drift of the clouds.

Following the dawn of the sun. _Manual You start at the access to the dune. Get an overview.

What do you see? What do you feel? Is it curiousity?

When you have the feeling it is time to do the first step, leave! Wander around and explore the site.

Depending on the weather conditions, chose your guide and go on a exploration through the dune and return at some point to your starting point.

To document your journey - Take Notes, write about your experiance and scetch your discoveries. _references Richard Long, A Walk of Four Hours and Four Circles Richard Long, A cloudless walk, 1995

P#2. Field trip and on-site-explorations

Turning Point

End

1. against the wind

Start

Digital mapping of on-site investigation scale 1:500

2.with the support of the wind

Start 16 h End 19 h Distance ca. 12 km Time 3 hours Rabjerg Mile P#2.1. Mapping the data

Reading about performative architecture Theoretical Collage „Modern building is now so universally conditioned by optimised technology that the possibility of creating signifant urban form has become extremely limited…“ _ K. Framton, „Towards a Critical Regionalism: Six Points ofr an Architecture of REsistance“, in H. Foster (ed), The Anti-Aestehetic: Essays on Postmodern Culture, Bay Press (Port Townsend, WaA), 1983, pp. 16-30 (p.17)

“The skin is free from formal and expressive obligations to the interior…” _ S. Lavin, „Performing the Contemporary, or Towards an Even Newer Architecture“, in Y Grobman and E Neuman (eds), Performalism: Form and Performance in Digital Architecture, Routledge (London), 2012, pp 21-6 (p.25)

„Thus the problem may be restated not as one of blankness versus meaning, but … in the articulation of division, or more specifically the seams between elements and thresholds between spaces.“ _Michael Hensel, Non-Discrete Architectures, in: Performance-Oriented Architecture: Rethinking Architectural Design and the Built Environment, Wiley Publication, New York, 2013, p.41

„Every work of art ... is effectively open to a virtually unlimited range of possible readings, each of which causes the work to acquire new vitality in terms of particular taste, or perspective, or personal performance.“ _Umberto Eco, The Open Work, Harvard University Press (Cambridge, MA), 1989; originally published as U Eco, Opera Aperta, Gruppo Editoriale Fabbri, Bompiani, Sozogno, Etas (Milan), 1962

„...responsive environments - spaces that used the visitors‘ breat or bodily movement to control the behavior of light and sound in order to manifest the assertion that their architecture was not a physical one, but a „mental one“.“ _Coop Himmelb(l)au, C. Salter, „Entangled: Technology and the Tranformation of Performance“ in „Performative Architectures“,The MIT Press (London, England), pp. 81-112 (p. 96)

P#3. Archaeology of eco-technologies

About the significance of the facade and its articulation Manifesto

Architecture is a field of long tradition and architects try to find their own expression and place in the built environment of former architectural work and practice.

Modern building got conditioned by optimised technology and the possibility of creating characteristic form became extremely limited.

As a consequence, architects use the facade of the building in order to stand out and show their own expression. This goes hand in hand with a brutal disconnection from the environment and an exterior that is designed free from formal and expressive obligations towards the logic of the interior.

Therefore, architecture of modern times tends towards uniformity, since buildings became exchangeable as a consequence of the disconnection from their given context as the landscape or cultural environment.

It is the singularity of every context that can render architecture meaningful and special.

Architecture should not be designed as an independent object while the urban space fades into background.

In this duty, it is the facade of the building that has to be designed carefully, because it is the articulation of the seam that communicates between the inside and the environment. It is the threshold of the window that connects. Its placement, rhythm and depth is not only controlling the facial expression and statement of the building but creates also consequent and purposeful internal conditions.

Hence, architects have to find adequate formal expression of the facade in order to create logical interior space which is practical and attracative and through the influence of the context simply special.

P#3.2 Performative Art(e)-facts/Environmental Devices

“The Iceberg“ CEBRA, JDS, SeARCH, Louis Paillard Architects Mariane Thomsens Gade Aarhus C, Denmark, 2013 22000.0 sqm social housing with 208 apartements P#3.2. Performative Art(e)-facts/Environmental Devices

Building B

Building A

The sharp form at the corners of the buildings resolve into angles that hardly any furniture will fit into.

Aarhusa C

Taking a look at the project „Iceberg“ by CEBRA, JDS, SeARCH and Louis Paillard Architects in Aarhus, this problematic phenomena can be restated. Situated in the north of Aarhus Ø next to the seaside the building is visible already from distance when approaching Aarhus by ferry due to its white facade and its characteristic shape.

Zooming in on the interior of the „Iceberg“ i decovered that the characteristic design of the facade causes unattractive consequences at the interior of the dwelling.

Floor Plan Building A, B 1st floor

this could be you

Building C

Additionaly, the balconies coloured in shades of blue reinforce the desired character of the building as an iceberg and the glass is chosen to allow an undisturbed view on the sea.

As a consequence their colour is reflected into the rooms of the dwelling creating a frosty atmosphere.

Collage â&#x20AC;&#x17E;The Icebergâ&#x20AC;&#x153;

Facade Detail Scale 1:5

480 mm Sandwichelement 80 mm Outer Leaf 200 mm Insulation 200 mm Inner Leaf/Sonstruction Wall

Joiint Tape Illmod 600

Wood/aluminium window 5 mm intended from facade

Facade Study Casting Scale 1:20

The casting shows the openings of the facade in scale 1:20. In order to archieve succinct outlines of the opening I extracted basic geometries from styrofoam. Reflecting on the â&#x20AC;&#x17E;simpleâ&#x20AC;&#x153; procedure has underlined my critic on the facade of the Iceberg. The seam of the dwelling occurs lacking sensibility for the internal space. Their arrangement provides the common and individual spaces with a triangular-shaped view on the sea and further allows the neighbours to gain full insight.

Ă&#x2DC;stbanetorvet

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pedestrian cyclist car train

Threshold Implementation of the manifesto

My manifesto is about the facade as the seam between the exterior and the interior of the building and its openings as the threshold that enables the exchange between outside and inside.

To investigate my manifesto I started with reflections about the borderline as a threshold, a space that delineates areas through its own spatial character lying in between them.

At the same time it’s the borderline that needs to be crossed in order to get from the one to ‘the other’. It is the linking function that renders the space a transition zone. This transition can be translated into layers communicating a potential bridge between the two.

Situated in Aarhus C at Mejlgade, the first setting of the borderline between the urban and ‘the other‘ concentrates on the threshold as a transition zone.

I zoomed in on the spatial layers of such thresholds.

Interested in the spatial potential to evoke reflections about the actual transition and movement of your body, I focused on the actual transition through such space and therefore on visual connections, perception of the outside while being inside and how these parameters could alter your movement.

The second setting of my spatial intervention is the beach at the west coast of Denkmark, near Råbjerg Mile.

The beach is the space between the dune and the sea and is therefore the threshold between the two of them.

Through the changing conditions of the sea level the beach is constantly changing its form and capacity until it finally disappears.

The aim is to propose a space that communicates between both of them. I focused on the form of my spatial intervention that should underline the changing character of the borderline. By cutting the threshold into its layers I thought of sequences that should connect the passenger with the dune on the one side and the sea on the other side.

P#4. Collection of possible futures

Layers

Perception of the space from exterior and interior

Complexity of movement

Sketches showing reflections about possible settings

Riskov 4,8 km Trøjborg Aarhus N 1,2 km Aarhus C 1 km

Urban

Mejlgade, Aarhus C At the beginning of Mejlgade in the North of Aarhus the transition from the „outside“ of the urban city to the „inside“ is very sharp. With the stately Mejlborg building, which is situated on the site of the former city gate at the north end of the street, the passer-by finds himself suddenly surrounded by buildings and visually disconnected from the nature as the sea or the forest.

The objective of my spatial exploration is to translate the context of the threshold in its complexity.

Therefore, I examined parameters of the context of the site like the scale of the buildings, the presence of different speed by cars, cyclists and passerbys and the connection to nature in mappings and sketches.

Furthermore, I chose some characteristics for the urban area and the area outside the city which change at the borderline. The aforementioned shape the envelope and the internal space of the intervention.

I started by varying the number of layers of the facade and their solidity through different material, disconnecting the interior from the exterior and possible transparency allowing visual exchange through the shell.

Additionally, the question whether access and exit points should be visually connected, was relevant for my studies in both sketch and model.

To enhance reflections about the act of transition and about the space as a transitory space I thought about ways to incite curiosity and awareness when approaching the intervention and access it. Therefore the apearance of the outer shell could diverge from the space actually experianced in the inside.

I figured disconnecting them visually leads to a greater complexity of space which goes hand in hand with the layers of a threshold.

Mejlgade

Layers

View points

Sketches showing process and reflections about the arrangement

Landscape

Beach, West coast Denmark This spatial intervention forms a threshold - a space where you can sit and enjoy the environment during the whole day even through the hight tide of the sea.

The form of my spatial intervention maps to the constant change of the borderline in its form.

An important issue is to capture the presence of nature. This is develloped into spaces with a framed view at the dune or the sea which gives the visitor a direct connection with the nature element.

By walking through the space, the visual connection shifts from the one to the other side until reaching the sequence that forms a platform open to the sky, the dune and the sea.

430

Josef Eichler

CONTEXTUAL TACT Josef Eichler

Quantifying Site Identifying the Palpable and Intangible Contextualizing Materiality, Structure, and Site

QUANTIFYING THE MOVEMENT OF THE DUNE

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Identifying the Palpable and the Intangible Time is inescapable. It is present in every facet of this planet. It moves the weather, manipulates the environment, and controls the duration of life. And though this force is constant, it exists intangibly. The same is true for gravity. We can see a structure stand, bend, crack, or collapse, but we cannot physically see the forces exerted on it.

In architecture, every component of every building, from the site itself to the smallest fastener, is subjected to gravity and time. It is therefore the responsibility of the architect, who is trained to observe, record, and react, to not only acknowledge the existence of these persistent intangible forces, but to embrace them through palpable expression.

Study of Ink Ince by MAD Architects

CASE STUDIES Bruder Klaus Field Chapel Peter Zumthor Principle of Tensegrity

Contextualising Materiality, Structure, and Site With the intent of physically contextualizing impalpable forces; materiality, structure and site became interconnected.

Selecting a specific site for both interventions was the first step. However, as materiality entered the equation, each site broadened. A dance soon developed between materiality and site. The site didn’t exclusively influence the material and the material didn’t exclusively influence the site. They influenced each other. Materiality and site became interdependent.

The choice of material, however, was multidimensional.

While it danced with its site it also conversed with time. In the context of Råbjerg Mile, the movement of sand – a physical and metaphorical manifestation of time – was utilized as a structural response to the dynamic forces exerted by the migration of the dune. In the context of Aarhus Harbour, the aging of materials within the structural balancing act of tensegrity was utilised to visually reference the effects of time.

Concept for Fishing Hole

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PAPERCRETE MASONRY UNIT Each block has a hollow core, allowing sand to enter as the dune begins to cover it. This anchors the areas of the arch experiencing the dynamic lateral loads exerted by the migrating dune. To compensate for the water absorbent nature of papercrete, the hollow core of each block doubles as ventilation and is lined with a water barrier. This prevents the arches from collapsing before being completely consumed by the dune.

PAPERCRETE cement, paper, sand 80% lighter than concrete with comparable strength

Dune Mason Natural Intervention A site within the transitional zone of a migrating sand dune cannot be preconceived; it must be determined on-site â&#x20AC;&#x201C; materials in hand. These materials should be lightweight, intuitive, and easy to transport.

Bridging the Gap Running within the valley of two dunes, the arch, which is synonymous with strength, connects them even if only for a moment in time.

1. Compression

2. Tensegrity

3. Tension

STRUCTURAL DEPTH 1. Cmpressive Base - wooden post and beam fishing dock 2. Tensegrity Frame - wooden pilings in compression suspended in a continuous net of tension 3. Tensile Enclosure - sailcloth stretched between cables to create a tent-like exterior

FISHING HOLE With the principle of tensegrity, all of the individual observations made at the harbor refined themselves into a coherent configuration. The stained pilings were to be suspended by cables in tension â&#x20AC;&#x201C; appearing as random as the rubble that littered the harbor. Between these cables: sails, stretched tightly like the tarps that protected landlocked boats.

A

C o l l e c t i o n

of Proposals for

Inhabiting the Elusive Landscape

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Line Leth Kristensen

KEYWORDS

Holism Sustainability Democracy Participation Observation

FIELD TRIP AND ON-SITE EXPLORATIONS - CAPTURING THE WIND

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walking cities archigram, 1964

adapting

Sources:

Salter, Chris, Entangled, Technology and the Transformation of Perform Hensel, Micahel, Performance Oriented Architecture, Rethinking Arch

ANTI-

mance, The MIT Press, 2010, p. 93 hitectural Design and the Built Environment, Wiley, 2010, p.33 -40

OBJECT

Dymaxion House ARCHITECT: Richard Buckminster Fuller YEAR: 1928 LOCATION: The final prototype was situated in Wichita, USA. PROGRAMME: ‘Dymaxion House was Fuller’s solution to the need for a mass-produced, affordable, easily transportable and environmentally efficient house. The word “Dymaxion” was coined by combining parts of three of Bucky’s favorite words: DY (dynamic), MAX (maximum), and ION (tension). The house used tension suspension from a central column or mast, sold for the price of a Cadillac, and could be shipped worldwide in its own metal tube. Toward the end of WW II, Fuller attempted to create a new industry for mass-producing Dymaxion Houses. It was to be leased, or priced like an automobile, to be paid off in five years. All this would be possible now if houses were engineered, mass-produced, and sold like cars. $40,000.00 sounds about right. In1946, Fuller actually built a later design of the Dymaxion House (also known as the Wichita House). The Dymaxion only weighs about 3000 pounds versus the 150 tons of an average home.”1 SQUARE METERS: 500 MATERIALS: Aluminium, wood, transparent casein (plastic)

Plan & elevation 1:400

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Bath Bath Library

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1. Buckminster Fuller Institute, About Fuller, J. Baldwin, 10.11.2016, 20:30, https://www.bfi.org/about-fuller/big-ideas/dymaxion-world/dymaxionM-house 2. Lorance, Loretta . (2009) Becoming Bucky Fuller. Cambridge: The MIT press, p. 179

Dune ARCHITECT: Magnus Larsson YEAR: Thesis from 2008 LOCATION:Intended Sahel/Sokoto/Northern Nigeria PROGRAMME: â&#x20AC;&#x153;A 6,000km long stretch of solidified sand dunes is proposed, which will architecturally support the Green Wall Sahara initiative: 24 African countries coming together to plant a shelterbelt of trees right across the continent, from Mauritania in the west to Djibouti in the east, in order to mitigate against the encroaching desert.

A particular microorganism, Bacillus Pasteurii, is flushed through the dunescape (an analogy could be made to an oversized 3d printer), which causes a biological reaction that turns the sand into solid sandstone. The initial reactions finish within 24 hours; it would take about a week to saturate the sand enough to make the structure habitable. The bacteria are non-patogenic and die in the process of solidifying the sand.â&#x20AC;? 5 SQUARE METERS: Unknown MATERIALS: Sand and Bacteria

Plan & section 1:400

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5. Magnus Larsson, DUNE (AA Thesis 07-08) , 10.11.2016, 20:30, http://www.magnuslarsson.com/architecture/dune.asp 6. Magnus Larsson, DUNE (AA Thesis 07-08) , 10.11.2016, 20:30, http://www.magnuslarsson.com/architecture/dune.asp

MODELS PERFORMING TOGETHER Because of the adapting abilities of the 4D Dymaxion House, it could easily be placed in the desert beside the Dune architecture. The proportions would be different than the photo on the left and more like the collage below.

Democratic Approaches to Architecture Democracy is meaningful to me. I think it is the best way to organise a society. I also think architecture should be democratic if possible. One can say that architecture that is affordable for most people is democratic because it gives equal opportunities. But what if the people who are supposed to inhabit the architecture do not have any influence on the way the architecture is designed, the way it responds to their needs as individuals?

It might not make sense to talk about democratic architecture as a one fixed category, as the term could refer to different aspects of architecture from designing and building to inhabiting. For that reason I have come up with different propositions for what democratic architecture could be: A. Architecture made for the people.

B. Architecture made by the people.

C. Architecture where the use of materials and the structure supports democratic ideas, such as transparency, openness and access.

D. Architecture where the users shape or activate the exterior or/and the interior.

E. Architecture where people participate in the planning process.

F. Architecture that is sustainable, resilient and ecological, as this can protect vulnerable habitats, for instance by using local materials, not only in remote areas but also in the urban context.

I believe the existence of privileges like democracy and liberty depends on the ecological system. Therefore environmental insight and action are the keys for making resilient architecture.

Proposals for Inhabiting the Elusive Landscape using Ecological Democracy My experiments are focusing on Architecture that is sustainable, resilient and ecological, as this can protect vulnerable habitats for instance by using local materials, not only in remote areas, but also in the urban context. The way I have been implementing this approach in RĂĽbjerg Mile and Aarhus is first and foremost by using the theory of Ecological Democracy.1 The aim is to improve the sense of community by making sustainable interventions that are constructed with local materials (RĂĽbjerg Mile) and recycled materials (Aarhus). The interventions are erected by participatory forces which also become the performative aspect of the experiments. The spatial exploration in RĂĽbjerg Mile is a landscape observatory in the borderline between the dune and the forest in Bunken Klit Plantage. The intervention is made by seaweed harvested on the beach west of the dune. The seaweed is dried and made into plateaus or nests by using weaving technique. The nests are stretched out between the tree trunks creating a web that serves as observation plateaus for human as well as habitation for wild animals. In time the construction will be buried by the migrating sand dune, and at last it will decay and compost. The urban observatory is situated at the harbour at Dokk1 in Aarhus. The exploration focuses on the borderline between water and city, and the aim is to reinforce the connection to the water by making a floating wood construction fabricated by recycled timber. The material and labor is donated by volunteers from the community.

1Hester, Randolph. (2006) (Design for Ecological Democracy.) Cambridge: The MIT press

SPATIAL EXPLORATIONS - RÅBJERG MILE SETTING: The borderline between the migrating sand dune and the forest in North-east, Bunken Klitplantage.

400 m The performative aspects lie in the way that the community will create the observatory and, hopefully, this will also give some sort of community feeling. In a material way, the construction will be a parameter to orient yourself towards when the dune is moving, and what will be your favorite bird-observation-spot one day, will certainly be almost buried in sand when you come and visit some months later.

Drawing: “Nests”

CONSTRUCTION TECHNIQUE

SPATIAL EXPLORATIONS - AARHUS SETTING: The borderline between the city and the ocean: The habourfront around Dokk1, Urban Media Space facing the water.

1: 25.000 Collage: â&#x20AC;&#x153;Participationâ&#x20AC;?

The intervention is performative in an immaterial sense because of its social dimension, and in a material sense it reacts on the movements of the waves.

CONSTRUCTION TECHNIQUE The material used is restricted to be only recycled elements, mainly timber or other wooden elements. The amount of gathered materials will limit the size and the extent of the construction.

1. Exploded axonometric 1:50.

2. Orientation diagram from Dokk1, the harbour area and the floating construction on the water.

2. Bottom elevation 1:20.

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LIGHT-UP 05.09.16-16.09.16 During this phase the pin-ups were held almost daily in the centre of the studio, before it had been set up with all workstations, allowing for more space to assemble the lanterns. Initial pin-ups focused on design development and the lanternâ&#x20AC;&#x2122;s relation to the body, whereas the later once addressed structural challenges and different solutions for the covering of the lantern.

ATLAS 27.09.16 After all material for the atlas had been produced and assembled, a final pin-up was held where the entire book was laid out spread by spread. The atlas was then projected onto a big screen and each mapping was explained, discussed and commented on.

COLLECTION 25.10.16 The focus of this pin-up was to display the entire unit’s explorations from Råbjerg Mile, the robotic workshop and the making of the atlas. It was to be presented as a unified collection of material which was then subdivided into 6 categories, each projected onto a white screen in Gymnastiksalen. The categories were as follows: Landscape, Explorations, Videos, Mappings, Robotic Workshop and Atlas. The pin-up was followed by a lecture on the Open City by Nicolás Ibaceta.

ROBOTIC WORKSHOP 11.10.16 The aim of the robotic workshop was to familiarise ourselves with the robots and sand as a building material. At the pin-up, all explorations and produced material were gathered at the pin-up room in the studio. After the individual reviews, a common discussion was held about the outcome, important lessons learned, experiences with the new material and its potentials, and what â&#x20AC;&#x153;mistakesâ&#x20AC;? had been beneficial for the projects.

CASE STUDIES 15.11.16 A pin up where models referring to chosen case studies were on display. Further developments in form of spatial propositions deriving therefrom, was also part of the exhibition. The exhibition took the white podiums in use, which were placed on the floor. People walked around the exhibition and a discussion took place.

MATERIALISED MANIFESTO 05.12.16 The strategically arranged material produced throughout the semester was on display, taking both tables, boards and squares into use. The set-up was meant to support the communication of the produced material as well as to assist individual further development for the final presetnation.

DRAWING OF THE YEAR 01.11.16 Compiling drawings that each and every one made, inspired by their sand investigations, we participated in the Drawing of the year competition. This year with Habitation as a theme. We compiled our individual contributions into a superimposed composition. The final result was exhibited in the main exhibition building along with a selection of other competition entries.

FINAL PRESENTATIONS 19.-21.12.16 For the final pin-up, everybody displayed his/her collection of material from the semester. Using both tables, boards and the white podiums, we were able to fit in the entire unitâ&#x20AC;&#x2122;s work in the Gymnastiksalen.

The presentations worked in the same way as many of our previous pin-ups, with people moving between the different set-ups, both standing and sitting for the presentations.