fredrik odĂŠnius portfolio, 2017
TABLE OF CONTENTS
ABOUT ME...........................................................
OUTSIDE SCHOOL PINO, Malaga.......................................... Sauna, Umeå........................................... Painting....................................................
ACADEMIC WORK UMA3 Palimpsest, Ahmedabadh.......... Diagonal House, Ahmedabadh. Negotiation, Ahmedabadh........
UMA2 Human Tracks, Vännäs................ Bouquet, Umeå............................ UMA1 Bathouse at Bölesholmarna, Um Chapel on Ice, Sweden..............
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.............................................................................................................................................p.13 .............................................................................................................................................p.25 .............................................................................................................................................p.31
.............................................................................................................................................p.33 .............................................................................................................................................p.43
meĂĽ........................................................................................................................................p.45 ..............................................................................................................................................p.55
watercolor on paper, 2016
FREDRIK ODÉNIUS fredrik.odenius@gmail.com (+46) 735 167850
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EDUCATION
WORK EXPERIENCE
Umeå school of Architecture UMA Bachelor in Fine Arts Bachelor in Architecture
Artist, represented in Lilla Galleriet, Umeå
2014Gymnasieskolan Spyken, Lund Natural Science Program 2008-2011
The North Face Store, London PoG Woody, constructionstore, Skåne
woodwork in Japan, photo, 2015
SKILLS Watercolor Photoshop InDesign Swedish English
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work outside school
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rendered watercolor collage, 2017
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PINO
year:
2015
location:
MALAGA, SPAIN
program:
GARDEN PAVILLION
duration:
10 DAYS
with: RINTALA EGGERTSSON ARCHITECTS 5
We were introduced to Sami Rintala, co founder of Rintala Eggertsson Architects, when they were visiting teachers in the master-program of our schools. They gave an open lecture and mentioned that they would be arranging a ten day workshop in Malaga the coming spring. Inspired by the lecture, we asked if we could join, and even though we were first year students he invited us to come, for that I will always be gratefull. The bigger part of the design was already completed by Rintala Eggertsson, so our main task was to build it. I did not emancipate how much I would learn about design, ethics, collaboration and the craftsmanship inherent in the role of the architect. Working with the PINO I realised, for the first time, the potential in the act of building and it remains as one of the most formative projects for me and my thoughts on architecture.
The Nordic archaic act of stacking together with the hard Spanish sun creates a play of geometry and contrast. What meet the eyes is as much shadow as material.
photos by Dagur Eggertsson, 2015
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SAUNA year:
2015
location:
UMEĂ…, SWEDEN
program:
4-6 PEOPLE SAUNA
I have known what a sauna is all my life, but has never been a fan of the experience, until we built our own. The projects intent was to replace two saunas that were kept outside the school, but were abducted by the municipality. To avoid ours of being abducted as well, we attached two small wheels in one of the corners, allowing it to be easily taken in and out of the school property. We recycled six pieces of old plywood, drove 135km to get a stove and bought a duct for chimney in the closest hardware store. The outer walls are inclined 8% to become a comfortable backrest on the inside and the stove is placed just below the two benches to save space and take full advantage of the thermal laws
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PAINTING
I treat my painting as a break and a complement the studies. A medium were I can do research and create on more personal terms. I mainly do abstract watercolours, experimenting with texture, fragility and space. At the moment I am collaborating with two galleries in Sweden, one in UmeĂĽ where I study, and one in Lund where I am from.
PAPER MACHINE 1 2016
PAPER MACHINE 2 2016
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KNIPPFRYLE
KLOCKLJUNG
2016
2016
LINGON 2016
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academic work
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PALIMPSEST year:
location:
2017
AHMEDABAD, INDIA
BACHELOR PROJECT
course:
CENTER FOR INTANGIBLE HERITAGE
program: duration:
10 WEEKS
the site is located right inbetween the old and new citis in Ahmedabadh, it is left empty so far because the old wall use to inhabit the strip.
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According to AMO, 11% of earth’s surface is under some kind of protection law, regulating human intervention. The City of Ahmedabad advertise itself as yet another city striving to become a “heritage city”, implementing various restrictions on how to mediate and intervene in the old city fabric. Gustav Mahler wrote – “tradition is not the worship of ashes, but the preservation of fire”. From that point of view it is quite paradoxical how much effort we put into preserving objects and land masses, instead of the so called, intangible heritages, such as: rites, crafts, oral traditions, knowledges, performances etc. These forms of heritage does not only sustain cultural diversity but also have a lot to teach us about resource management, production chains and alternative social structures. Michelle Foucault describes history as “…an archive constantly rearranging its hierarchy”. In the air of him and Mahler, I am suggesting a “fora” and a kind of research center for intangible heritages, a complement to the ordinary museum. The idea is that the building will host a number hosts conducting some kind of intangible heritage, encouraging them to refine their own craft but also hoping for a cross-fertilized product that could be of relevance today. Each group will be hosted for approximate six months, then the spaces will be rearranged in order to fit the new practices that replace the former.
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stick dance
craft
chant
In order to understand what is required of a space that should be able to contain numerous activities, I decided to make closer observations on four very different kind of heritage practices. If one space can host them all, I hope that it can also adjust to others. Three are displayed here.
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Through video recordings and experience I traced the Intangibles spatial needs, motions and direction. Direction in this sense does not necessarily refer to the direction of the motion, but also to the direction of the act itself, chanting for example are motionless, but have direction on all axis.
In model I tried to lure out the nature of the intangibles practices, especially how the act relate to a third party, a voyeur. This is of course a highly subjective reading but hopefully it can provide a good starting point when working with the intangible spatial aspects, responding to each intangible cultural heritage.
The next step will be to decipher the models and movement tracings into spatial and material configurations, knowledge that can be put into use in cooperation with the groups and communities that are invited to stay at the centre.
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As seen in the section and on the previous page, I wanted the main space to be as mobile as possible. The four meter deep truss contains stage settings, so that the main space can be manouvered as a theatre; with walls, drapes and other objects that can be hoist up, let down and rearranged easily to fit many different practices. 17
groundplan 1:200
section: W-E 1:200
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third floor 1:300
second floor 1:300
first floor 1:300
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The volumetric massing of the building consists of four major parts: two brick bodies, a truss, a plinth and the main space for practice. The two brick volumes each follow a logic of its own, the left more abstract and monumental, facing the new city and hosting the idea of progress. The right one, more rational and modest, much like the everyday life of the community. The two support and are joined by the steel truss on the first floor, underneath the practices are conducted. Finally it is the plinth, elevating the central space of the building to the level of the back alley and shielding it slightly from the bigger road. Crevasse like cut-outs from the brick bodies brings in light and improve the airflow. The idea came from the narrow and tall street spaces in the old city that have proven to be an effective strategy to tackle the hot climate.
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tectonic detail
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samples from the sketchbook 1. 2. 3. 4. 5. 6. 7. 8. 9.
two cut-outs dividing the volume in three common circulation, hanging on facade seven apartments, one on the 1st floor common space on 1st floor, connected to main space circulation on south side, divided into two stair ways circulation move back to north side, double heigh over eating/social area angle of cantilever adjusted to auditorium, entrance follow the same angle outside path as rapid transport to commonarea in the east body. group rooms, library andcomputer lab on 2nd floor, above the auditorium
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DIAGONAL HOUSE year: location:
2016
AHMEDABAD, INDIA
course:
STUDIO
program:
HOUSING
duration:
3 WEEKS
The task was to design an urban house in India for a family of seven; two elderly, four grown-ups and a baby. At least 30% of the space should be dedicated to conduct a business of choice. I let the family in my house run a sugarcane-drink shop, a common refreshment in Ahmedabad. The plot was 14m x 3,5m, and the maximum height of the building was 6,8m. We were to follow the typology of urban India, having two long load-bearing walls, with a maximum of 20% openings. The Indians are masters of making use of space. If you have never been there, you wouldn't believe how creatively they manage to give even the smallest nook a purpose. With this in mind, it felt odd to rigorously box in activities into separate rooms. At times, the idea of planning at all, felt absurd. My response was to divide the floor plans diagonally to the outer walls, not only did it make it easier to overcome the longueur of the building, it also created moments of speed and repose in space, imagining the house's spacetime continuum as a stream, with rapids and backwaters. Instead of rooms with a set program, you have wider spaces more appropriate for slower dwelling, and more narrow spaces appropriate for faster activities. 26
left: plan ground floor below: plan first floor
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section cut through model
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many indian familys prefer to dine on the floor, I placed the kitchen's workspace on the same level as the dining area in front. as you are seated, this allowe for close conversation with the one behind the stove.
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EXTENDED LIVING SPACE
CHILDREN PLAYING
CHARGING CELLPHONE
PAY
SAME CROSSROAD
GARLIC
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P E E L E R SR I K S H A
M A K E R S G R A I N
D E A L E R S
YING RENT
S PINEAPPLE VENDOR
NEGOTIATION
year:
2016
AHMEDABAD, INDIA
location:
course:
program:
MAPPING
duration:
4 WEEKS
STUDIO
In order to study another culture of urbanity, the fifth semester at UMA includes a study trip abroad, this year to Ahmedabad, India. We were dropped of in the old city in pairs, but each person making a mapping of his/her own. Me and my partner got acquainted with a community of garlic- peelers, squatting along one of the access roads into the city centre. The road was not wide but heavily trafficated from dusk to dawn. I was astounded of the share amount of people and all the different activities they could squeeze in to the same space, some occasional, others static. As if the amount of people was not enough, they were all from different religions, different classes and different ethnicities. After spending four weeks, sketching, talking to, dining and just hanging out with our new friends at Danapith Rd, I chose to focus my study on four different actors, and their attitude to the street and each other. Once back in UmeĂĽ, we were asked to produce a poster departing from our sketches and memories. What I wanted to convey with the poster was the actors impossibility to see each other as a equals, but still show tolerance and coexist in same space. As a starting point, I drew sections of the relation each actor had to the street and what kind of interaction patterns it created. Since my understanding of India is far from clear, I found the collage technique appropriate, bits and pieces put together, in a diffuse interrelation to each other. The result was a poster depicting prejudice, internal struggles, history, economy, collaboration and some characteristics I found relevant to explain the actors' view of their neighbours and Danapith Rd. 32
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HUMAN TRACKS year:
location:
course:
2016 VÄNNÄS, SWEDEN
STUDIO TRAINSTATION, MARKET ON WHEELS
program: duration:
12 WEEKS
In 2010, when the main northbound railroad in Sweden was redirected so that it no longer passed through the small municipality Vännäs, since, there has been a steady deterioration of the towns railway facilities. This is the situation of many of Norrland's small municipalities, but the case of Vännäs is especially dramatic. In the late 19th century, Vännäs was appointed as the main railway junction and was granted a huge ranger yard and facilities to maintain and repair freight trains. The job opportunities attracted people and the village grew from there. Today, not only has the facilities decreased in use as the railroad company's presence diminished, but they also create a barrier, dividing the city core in two.The three aims of my proposal, was firstly to use the inherent qualities of the railway as a connector, and introduce a mobile train-market, using freight wagons as stalls. Secondly, create a new passage for bikes and pedestrians. And third, to relocate the train station closer to the new city core, making it a presence and reminder of the town's history.
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The mobile market would be like caravan travelling the railways of Norrland. Norrland is the largest, but most scarcely populated province in Sweden. A continuing depopulation of the hinterland, in combination with the supermarket's wider and wider range of products, forces most local shop-owners to close down. A moveable market for small scale business, would offer an opportunity to bring your goods to the clientele, making your customer base infinitely larger than you could ever gain in a single village. Maybe this radical proposal that encourages stores with store-owners to share their passion with the rest of us, could bring back some of the sprawl of Norrlands villages.
top: abandoned and facilities Norrland.
railway yards throughout
bottom: as for right now, the railway acts as a connector on a larger scale but a divider on a local scale.
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On the eastern side, the building houses a recycling station, a small waiting room for passengers and an already existing iron locomotive in the middle of the square, acting as a centrepiece when you approach the building. On the western side you have a parking, the large market hall with its freight carts and an adjoining cafe ,with a garden and a rent-able space for meetings and other occasions.
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B
A
B
A
elevation: B-B
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A A
section: A-A
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structural diagram
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I work in model at all stages of the process. While a pen and paper is more precise and works well for creating volumetry, a mock-up model allows you to simultaneously work with more architectural components; volumetrics,
light, materiality composition.
and
As for putting together a final model, it feels very rewarding to get an actual object out of the hours and hours of work.
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BOUQUET year:
location:
course:
program:
duration:
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2015
UMEĂ…, SWEDEN TECHNOLOGY
PAVILLION
1 WEEK
As part of a technology workshop the primary focus in this assignment was on structural systems. We were each given a case study, and then asked to decipher the structural strategy of that building. I was designated the Cutty Sark Pavilion and recognised the use of fabric and rope to create multiple small umbrella-like components, that were then tied together into an oval dome. The idea was to let the students create a model showing the strategy they had found. But as I like to build, we decided to use our newly gained knowledge to make a 1:1 scale pavilion instead, using the same type of umbrella components, although slightly modified. We used wire and (instead of the flexible fabric) plywood rings to gain the tension needed to create a kind of slab. Three slabs could then be adjoined with additional cables, to make a tripod with the overhanging slabs as a cover.
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BATHHOUSE 2014
year: location:
UMEĂ…, SWEDEN
course: program: duration: 45
STUDIO
BATHHOUSE 8 WEEKS
In the second design project of first year's studio, we were asked to design a bathhouse suited for a particular kind of bathing style, I choose the sento. The characteristics of this Japanese style bath is firstly that you rinse your body sitting down, using a tap and bucket. Secondly you enter a room with the hot water pools and sink in. Unlike a western jacuzzi, that bubbles and makes noises, the sento is a quite place, with still warm-water baths of varying temperature. I felt that this quite intimate and calm kinf of bathing suited the assignments focus on atmosphere and materiality. Working with the narrative of the building in the back of the head, I tried to keep the light condition, material, temperature and views very dynamic. Each room with its specific function has an atmosphere accordingly. Since a sento bath should be performed naked, I choose to locate the bathhouse out on the river, an adapted strategy from the traditional Swedish bath houses (kallbadhus) to ensure privacy for the visitors as they are cooling down in the river.
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Men and women bathe separately in the two larger buildings that are open for dropin during the opening hours. If you would like to share a little more private experience with your family, partner or friends, you can rent one of the five smaller cubes for a couple of hours at the time. Both the larger and smaller bathhouses has got access to the river if you feel like cooling down. The larger ones have both a courtyard and a outside deck, the smaller just a deck. On your way out to you bathhouse of choice, you will pass through a floating garden. The walk through small courtyards with gateways, plants and water is supposed to put you in a calmer state of mind, but also offers some benches for resting or waiting for the cube to be free and your friends to arrive.
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plan and section: big cubicle
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plan and section: small cubicle
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CHAPEL ON ICE year:
location: course: program: duration
2014 SWEDEN STUDIO CHAPEL FOR REFLECTION 10 DAYS
In winter, the fog lies heavy on the farms and fields surrounding my home town in the south of Sweden. No crops grow in the winter so it is free to roam around if you do not mind some mud on your shoes. Not only do you loose your field of sight, the mist bestow a silence, a sense of infinity comes to me. In my Chapel on Ice , I tried to come up with a suitable piece to reflect this condition. In the north of Sweden the lakes freeze in winter, creating a similar landscape to that of my hometown. I choose to anchor the concrete walls of the chapel on the bottom of such a lake, making the Ice itself the floor as soon as the lake freezes over . The iron cross, standing in solitude out on the ice, becomes visible first when the visitor of the chapel reaches the main space for reflection. Just before entering that space, you pass the only roof in the chapel, just so that you can step out into the light again enhancing the vastness of the ice around you, and the sky above you.
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the walls and cross, anchored in the lakebed.
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fredrik odĂŠnius fredrik.odenius@gmail.com (+46) 735 167850