portfolio by Arvid Andersson Gammelgaard

PORTFOLIO Arvid Andersson Gammelgaard BA. Aarhus School of Architecture

Table of contents

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Table of Contents CURRCULUM VITAE MINDET 6

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3 4 - 15

NORTHSIDE PROJECT

17 - 19

PREFABRICATED CONCRETE FACADES

20 - 29

SKYGGEMASKINEN

30 - 31

LABLAND

LOGBOOKS & SKE TCHES

APPENDIX

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CURRICULUM VITAE

Work Experience Student Assistant at Labland Architechts October 2016 - now Student Assistant at Aart Architechts November 2016 - February 2017 Teaching Architecture and Design at Aarhus Katedralskole August 2016 Intern at By- og Landskabsforvaltningen, City and Landscape management Aalborg Municipality June 2016

Aarhus Kunstakadami Semester course: Sculpturelle studies and work practice fall 2016 Aarhus School of Architecture Bachelor of Arts(BA) in Architechture 2013 - 2016 Skolen for Kunst og Design Preparation course for architechture school spring 2013 Aarhus University Molecular Biology 1. and 2. semester 2011 - 2012

Curator Assistant Aarhus School of Architecture / Karen Kjærsgaard May 2015 - now

Arvid Andersson Gammelgaard

Hermodsvej 12 8230 Åbyhøj Denmark Tel.: (+45) 60 68 05 89 Mail: Arvida.g@gmail.com

Technical Skills and Competencies

Leisure Activities

Adobe Illustrator Adobe Photoshop Adobe Indesign Rhinoceros 5 Vray til Rhino Basic knowledge of Premiere Pro, Autocad, Qgis and SketchUp

Rock Climbing

Pen and pencil Plaster casting and general model work Watercolour and linocut Photography

Urban Exploration

Experienced wood worker Restoration and other DIY projects in own house

Sailing Cultural events (art exhibitions, concerts, movies) Collective Housing

Scout leader Nature (scout and biology study)

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Curriculum Vitae

Project leader and Designer at NorthSide Festival and Martin by Harman June 2016

Education

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MINDET 6

Mindet 6 in its industrial surroundings at Aarhus southern harbour

Mindet 6 - New Media House

Bachelor project

TRANSFORMATION OF AN INDUSTRIAL BUILDING The intention of the project is to transform Mindet 6, an old corn warehouse, into a new Media House for the city of Aarhus. The organization of the transformed building into four departments, each with its distinct purpose, seeks to provide an alternative spatial constellation that can contribute to an optimal working culture for producing news and media. 00 4

00 5 10°22’20’’

10°21’31’’

56°15’33’’

56°14’80’’

56°14’80’’ 10°22’20’’

10°21’33’’

SKALA 0

1 : 2000 100 meter

Mindet 6 - New Media House

Map of the surrounding context

56°15’33’’

Contextual Buildings 1 Aarhus Portland 2 Filmbyen 3 Karlshamn Danmark A/S

THE ARGUMENT The working culture of our modern media houses is in a constant tension between the dynamic and the static situations of the work. It has to negotiate between the preparation, assemblage, research and performance of a constant flow of information. The phases of preparation and presentation of written media is defined by flux.

A space to house these phases should therefore also be loosely defined, open to changes of organization and thus ready for rapidly occurring possibilities. Furthermore, concerning the presentation, we see two modes of people meeting: One of physical action and anchoring, the other of limitless sharing and dispersal. 00 5

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The Sound Production

Fragmentet Sound Studio

The Theater of Debate

Reasearch First floor

Mindet 6 - New Media House

Space in Flux Ground floor

TRANSFORMATION OF THE INDUSTRIAL BULDING The former corn warehouse is situated in the vast area of the harbour. This area is a landscape of major, singular buildings, opposing each other in distinguished tension. Monumental forms connected by the lines of sight, each firmly nested in itself.

THE THEATER OF DEBATE This space is where the public can assemble; a physical gathering for collective action. By manifesting a ritual, the public debate, the Theatre will help to anchor the Media House in the city.

The action of transformation introduces a set of volumes, each with a functional purpose, into the existing grid of columns. Where the volumes and columns overlap, the columns are removed. The volume for the Theatre and for the Sound Production are, like the industrial volumes of the harbour, modelled for their specific purpose and their form reveals itself in the exteriors. Thus, this collection of specified, functional volumes carefully situated in the grid, mimics the overall nature of the built environment at the harbour. Distinct built forms on a vast, ordered surface.

City landscape Verticality of the blocks

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The success of the Media House relies on its ability to communicate with the public and its capacity for creating a critical, generous and inclusive discourse on present society. The concrete setting of the Theatre is therefore a key part, because it establishes a presence. Like a stepping stone, it can spur the transformation of words and ideas into action, and then into further engagement.

This space is the manifestation of the propagation of stories from the Media House into society. Sound has an inherent quality for telling and spreading stories, independent from physical and temporal limitations. In its recorded form, sound can convey original and direct messages for posterity. The Sound Production is a medium for unfolding and communicating all inhouse performances and productions. An interconnecting and networking device, reporting live debates, discussions, opinions, mediations and journalistic research.

Mindet 6 - New Media House

THE SOUND PRODUCTION

Picture form an alley near the site — a back entrance to the building known as “De Fem Søstre”

Composite Debate House

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Diagram showing how the vertical and horizontal elements of the building work together

75°

107°

180°

250°

265°

305°

Mindet 6 - New Media House

Panorama view form the roof of Mindet 6

SPACE FOR RESEARCH Research is an essential part of all critical media, as a crucial mediation of the contemporary torrent of information. The work done in the Space for Research consists of collecting, assembling and curating information in order to unfold, alter and construct perspectives, and ultimately placing them into the larger narratives of our modern society. VPRO, MDRDV 1997

The first encountered space inside Mindet 6

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35°

75°

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Axonometric dessection mass and void relation H53, Dorte Mandrup

This is a multivalent space for piecing together and sharing the ongoing flow of stories. The Space In Flux is designed to be susceptible of rapid changes in organization, with flexible partitions that divide it into smaller units. This space is open for multiple forms of occupation, in example for independent media firms in need of temporary work and production facilities.

Collage, remembering the forms of the harbour New juxtaposition

Reorganizing the volumes cast from the VPRO

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Mindet 6 - New Media House

SPACE IN FLUX

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Mindet 6 - New Media House

Inserting new objects

Ground floor

Atrium cut-outs

1 Theatre 2

Sound Studios

3 Reception

Compositional lines

Plan ground floor

East elevation

Office landscape

North elevation

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1 Theatre 2

Sound Studios

3 Library

Plan first floor

West elevation

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Mindet 6 - New Media House

First floor

Mindet 6 - New Media House

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SECTION B

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SECTION A

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Mindet 6 - New Media House

Section North: Perspective section rendering

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Mindet 6 - New Media House

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View of an ongoing debate inside the Theatre

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Transformation of the original windows of Mindet 6

Axonometric drawing of the building

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Mindet 6 - New Media House

Picture of the final model 1 : 200

Northside Festival Project

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NORTHSIDE FESTIVAL PROJECT Inventing and creating a common beacon The intention of the project was to create a tall structure, which could serve as both a visual trademark and a beacon for the festival-goers. To do this we built a 12 meter tall tower, using low-cost materials, handmade details and customized lighting effects. The design was inspired by the skyscraper Taipei 101. The execution of the project entailed design and construction as well as the management of 12 staff members.

Safety nets cut by hand and sewn together using a large scale sewing machine.

Plywood frames with motives cut out

The motive of the cut-outs around the base of the tower is from a photo serie by Eadweard Muybridge

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Northside Festival project

Scarffolding with LED lamps from Martin Lys

Northside Festival Project

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We created custom lighting schemes that alternated throughout the festival

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Northside Festival project

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PREFABRICATED CONCRETE FACADES

Prefabricated concrete facades

Burntwood School collage “How do you perceive depth through movement?”

5th semester

THE PROCESS ITSELF This project was an investigation into complex prefabricated concrete facades. Simultaneously, it was also concerned with how to navigate a creative process. By using a circular approach, a method for maneuvering between inspiration, reflection and creation was established.

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00 21 Depths

notification of angles, depths and surfaces

8 am

10 am

12 am

14 am

16 am Dissection

to distinguish and perceive the shapes in themselves

south

east

north

west Moving shadows Burntwood School

west

south

east

north

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Prefabricated concrete facades

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Analysis of the Burnwood School facade

FROM FICTION TO SPACE The intention of the project was to find a method for creating a new facade for the Burntwood School in Wandsworth, England. By looking for inspiration from other creative disciplines, we wanted to answer the question: “How can we create a fictive space for an imaginative narrative within a facade?” The main steps in the process that followed were as such: — Analyzing the existing facade of the Burntwood School and examining the architect’s intention.

— Investigating perception as a term describing a subjects experience of architecture through movement in a fictive space. — An analysis of films to explore the combination of photography and movement. The analysis were based upon: Bernard Tschumi Pascal Schoning Frames from Tarkovsky’s Nostalghia — The formation of typologies

— An exploration of different spatial light scenarios, using photography. — An examination of the fictive space in photography.

— The implementation of these typologies in such a way that the movements of the films manifested themselves as movements in the final facade. 00 21

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DAYLIGHT STUDIES

Prefabricated concrete facades

Reflections and transparency creating a poetical uncertainty of the actual space, Silodam, Amsterdam The fictive space

There is a potential for the formation of a fictive spaceâ&#x20AC;&#x201D; a displaced, uncanny realityâ&#x20AC;&#x201D; to a reflective surface, only visually accessible. An imagined parallel space. The highly reflective surface allows images and space to reappear in another dimension.

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“

you are drawn to the interrelated nature of space and movement as movement defines and refines space and our perception of it” “the screenplay in the film begins to seem like an architectural program, describing a set of activities and their relationship.”

N O S TA L G H I A

- Bernard Tschumi, Architecture Concepts, Red is not a color

“Cinematic architecture reveals the illusiveness of the house as a reliable and constant factor, and shifts the focus instead to life and narrative processes. “ - Pascal Schoning, Manifesto for Cinematic Architecture

A F i l m b y A n d r e i Ta r k o v s k y

FROM FICTION TO SPACE Constructing a Brief Architectural fiction We define indeterminable space as a space carries an inherent uncertainty.. The architectural fiction gives an opportunity for the perceiver to imagine a space and project his or her own imaginations into the facade. Method Our intention was to develop a method for creating architecture from cinema. To do this we analyzed Andrei Tarkovsky’s “Nostalghia”, with a focus on movement, sound and lighting, referencing it to Tschumi’s “The Manhattan Transcripts”. We selected scenes that were to be transcribed into architectural elements and incorporated into a scaffolding grid system addded to the Burntwood School. 00 23

Selection of scenes We selected scenes where one or more of the main characters performed a movement that could be mapped according to the space on screen. Movement analysis We traced the movements of the three main characters: Andrei Gorchakov, Domenico and Eugenia A distinct signature was assigned to each of the three and their steps were then traced onto the grid of the facade. Discarding the duration of the movements, this left three continuous routes through the scaffolding.

Prefabricated concrete facades

“

the very essence of cinematic architecture is nothing less than the complete transformation of solid state materialistic architecture into an energised ever changing process of illuminated and enlightening event appearances where past, present and future activate a time spatiality defined by the dueation perceptible through our senses and structured by our mental ability where the effect of independent movement of matter in space which is the physical kinematic is illuminated by the often contradictory revelation of filmic cinematic sequenses of narrative memory procedures thus attaining the otherwise impossible simultaneity of space and time.

00 24 scene 13 1:08:50 - 1:13:33

scene 1 02:30 - 05:18

scene 14 1:17:43 - 1:18:33

scene 2 05:18 - 11:58

scene 15 1:19:15 - 1:25:14

scene 3 16:14 - 19:47

scene 16 1:19:15 - 1:25:14

scene 4 19:47 - 22:53

scene 17 1:25:55 - 1:28:28

scene 5 22:53 - 24:24

scene 18 1:28:28 - 1:30:17

Prefabricated concrete facades

scene 6 24:24 - 28:22

NOTATION

Notation of movement thorugh the scenes, made by the tree main characters. The starting and ending time of the scene is noted. (the duration of the scenes and the movements held the capacity for an additional dimension to control the design, but this potential was eventually left untouched.)

scene 7 30:53 - 39:24

scene 19 1:31:39 - 1:32:52

scene 20 1:34:38 - 1:35:41

scene 8 40:49 - 44:33

scene 9 44:33 - 45:00

scene 21 1:35:51 - 1:38:24

scene 10 58:03 - 59:47

scene 22 1:41:08 - 1:42:32

scene 11 1:03:10 - 1:03:27

Andrei Gorchakov

scene 23 1:47:34 - 1:47:34

scene 12 1:03:27 - 1:08:50

scene 24 1:47:20 - 1:57:04

Eugenia 12

Notation scheme for each character in every scene of the movie Domenico

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Prefabricated concrete facades

Elevation of the abstraction of each route mapped onto the facade. The mapping was carefully chosen to result in a compostition of preferred densities and shapes.

Diagram showing the combination of the analytical layers.

The movement diagram was projected onto the facade using a grid of rectangles in the same ratio as the movieâ&#x20AC;&#x2122;s frames. We had 24 scenes and space for 48 frames. The number of possible combinations were thus endless. Using differing compositions of size and placement order, we could create altering systems and routes.

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Prefabricated concrete facades

TRANSLATION

Architectural elements from the scenography of â&#x20AC;&#x153;Nostalghiaâ&#x20AC;? where chosen to be combined with the routes, as elements that could combine and juxtapose to create spaces. 00 26

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Prefabricated concrete facades

Stairway in Lyon An inspiration for the graphical expression of the project.

Testing the concept in physical models.

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Isometric drawing of the concept in use. People are moving around and thus becomes part of the film

Prefabricated concrete facades

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Prefabricated concrete facades

Illustration of the concept

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SKYGGEMASKINEN The shadow machine A transformation of “The Carnie” by Janet Cardiff and Georges Bures Millers We wanted to transform the experience of the art piece “The Carnie”. To do this we first analyzed the installation, focusing on the atmosphere, its sound and spatiality. We then wrote an analysis of “Perception, Affekt og Begreb” by Gilles and Guattari and found the concepts of instinct and presence to be invaluable for “The Carnie”. Based on this research we designed and built “Skyggemaskinen”.

Skyggemaskinen

With “Skyggemaskinen” we wanted to create an experience which played with figures and silhouettes. Furthermore, we wanted to move the observer from an interactive role in, and perception of the art piece and into an external perspective. To do this we distilled the experience, scaled it down and took it from 3 dimensional to 2 dimensional space. The result could be read as a backward Allegory of the Cave.

“The Carnie” installation in standby.

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Graphic translations of sound

Skyggemaskinen

The machine is controlled by the far right gear that allows to rows of silhouettes to move in opposite directions. The light projects their shadows onto the canvas, creating a playful display between foreground and background.

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Plan and axo of â&#x20AC;&#x153;Skyggemaskinenâ&#x20AC;?

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LABLAND

Logbooks and Sketches

Urban planning in thisted municipality

Through my employment at Labland I have gained experience on what it is like to work at architectâ&#x20AC;&#x2122;s studio. I have been working on many different projects and shifted between working in groups and working on my own. One of the reasons that i those to work at Labland was that they primarily works with landscape architecture. Landscape architecture is not my main interest, but working at Labland has given me a greater understanding on how broad, and diverse the field of architecture is.

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LOGBOOKS & SKETCHES

Sketches concerning the question of whether or not a village should incorporate wooden stoves.

Logbooks and Sketches

The sketches shown here, and throughout this portfolio, are an example of how my analogue expressions take part in my work.

Notations of activities around a building

My analogue work is an important part of my creative process. I highly value the use of analogue expressions to support and complement digital tools. I therefore strive to incorporate sketching and modelmaking into all my projects.

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APPENDIX

Mindet 6 - New Mediahouse

Northside Project

Project by

Line Rolf Moesgaard stud.ba.arch unit b

Emil Rasborg Laursen stud.ba.arch

Arvid Andersson Gammelgaard stud.ba.arch maa unit b Supervised by

Produced for Thomas Lillevang NorthSide Festival

Prefabricated Concrete Facades

Skyggemaskinen

Project by

Line Rolf Moesgaard stud.ba.arch unit b

Ann-Sofie Nielsen stud.ba.arch unit b

Arvid Andersson Gammelgaard stud.ba.arch maa unit b

Asger Skov Rasmussen stud.ba.arch maa unit a

Supervised by

Karina Galindo stud.ba.arch maa unit b

Naina Gupta cand.arch

Arvid Andersson Gammelgaard stud.ba.arch maa unit b

The End

Naina Gupta cand.arch

Arvid Andersson Gammelgaard stud.ba.arch maa