Geoff Eberle - Part 1 Architecture Portfolio - Volume 1

- p o rt f o l i o i n a rc h i t e c t u r e Geoff Eberle Vo l u m e o n e M a r 2 0 1 6

Abstract The Condition of western architecture in the early 21st century, has become one of

turmoil and conflict. Fed by the engine of the capital market, and the rapid acceleration (as Zygmunt Bauman describes), ‘the liquid modern’, we no longer fight today by unified principles, but impose our personal contended manifestos. Architecture is at war. As cities become denser, as technology accelerates, as social and environmental constraints become greater, more than design response, we need design foresight. The era of precedents is over.

We are quickly being faced with the new social parameters of the emergence of AI, increasing globalization, and global economic shifts. How will urbanism evolve when society’s primary workforce becomes redundant? What is then new value in space, when our immediate social capacities are greater, global? Will static structures cause ideological and functional disruption in an accelerating tech-cultural revolution?

Through form we communicate, and through form, we impose. Territory, and by extension architecture, understood in character by both the sensory and rational impressions combined, is a complex network of diverse functional and perceptional encounters, which becomes the narrativesed background of our cultural orientation.

However cities more and more have become the resultant conglomerate of branded propganda of the economic interests in which they preside. That means the world that we have created for ourselves isn’t the realization of our highest aspirations; it is simply the excess of our primary socio-functional exchange.

Our Artificial habitat’s impedance isn’t a product of impure social ideology, but a shortcoming in its methodological realization; It is the fundamental construct of how we bridge A to B, The logic of now to that of our ideals. Because like our dreams, Architecture isn’t realized in a vacuum.

In response to this contextual analysis, my work follows the themes of systems, longevity, adaptation, semiotics and ideological re-appropriation. I am interested in structures which supersede there initial functional imperatives, with the intent, to immortalize content through narrative. I am less interested with forms as I am with the pieces that make the forms possible. Design must continue to evolve from the libertarian market driven paradigm, to one of a more stabilised anarchic driven model, whereby users can make quicker and more rational alterations upon the locality in which they inhabit, whilst adhering to loose parameters in which to make the social freedoms possible.

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CON TaCT

Additiona l Experience

Architectural Assistant | SherlockBoswell: 05.13 - 08.13 - 11 Projects - Romsey, UK Notable Projects: Abbey Woods, Merton Residential development.

Reference: Julian Boswell - Mail@ SherlockBoswell.com

ArcxSite | Art Centre 2015 Re-appropriating Historic Ruin - Team Collaboration Preserving Pyramiden | 120 hours 2015 Preservation concept design - Student collaboration with Bruce Armstrong Co-Founder | The Double Fullscreen Experimental Thought Society Oya festival | 120 hours 2014 Pavilion - Student collaboration Writing competition | Arch20 2014 - First Place Essay - Independent Project Future Sofa Design | DFS 2014 Furniture - Independent Project Observatory | SPUD 2013 Portable studio | Multidisciplinary Team Collaboration Walls project | UoP 2013 Installation - Student Collaboration Future Housing | UoP 2013 Residential Concept - Independent Courtyard Junction | UoP 2012 Installation - Large Student Team Future portable Studio | UoP 2012 Portable Studio - Small Student Team Society President | Article 25 07.12 - 06.13 - Portsmouth, UK Builder | Orchard Barn: 06:12 - 07.12 - Suffolk, UK Builder | Tree-house Life: 06.11 - 08.11 National, UK Spanish Primary School Teacher | Ecuador, GVI: 02.11 - 05.11 - Otavalo, Ecuador Office Assistant | Vector Foil Tech: 06.10 - 07.10 - London, UK

Softwa re abilities

Education

Tel: +4591417197 Email: Geoff_eberle@live.com Website: www.Geoffeberle.com

PR O FE SSI O N A L E X P E R I EN C E Architectural Internship | BIG 02.15 - Ongoing - Copenhagen, Denmark Architectural Internship | JA-JA Architects 07.14 - 02.15 - 5 Projects - Copenhagen, Denmark Notable Projects: Guggenheim Helsinki Museum, Trondheim City plan, KatrinHolm Model Reference: Jan Yoshiyuki Tanaka - Jan@ Ja-Ja.dk Director and Co-Founder | 37 Design 07.13 - 07.14 - 14 Projects - Portsmouth, UK Notable projects: Mill Farm Barn, Bar 33 Architectural Editorial Internship | Arch20: 02.14 -05.14 - 20 Articles - Online Networking Notable Articles: Meta-Material Fabrication, The Millennial Console Collection

Rhinoceros 5.0 Autodesk Revit 2014 Sketchup 2013 Autodesk Autocad 2013 Adobe Photoshop CC Adobe InDesign CC Adobe Illustrator CC Adobe Bridge CC Cinema 4D Office suite 2013 V-ray (Rhino + Sketchup)

Portsmouth University Bachelor of Arts - Architecture Part 1 Degree (Project leader for final studio exhibition, Studio Representative, Article 25 Society President) Ashcombe Sixth Form College 5 A levels in, Maths, Further Maths, Physics, General Studies and Chemistry East Surrey College Engineering operations - NVQ Level 2

The Stochastic archive

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feb 2015 || Student collaboration || surveillance network || Pyramiden, Svalbard

S q u at t e r S a n c t u a ry

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Dec 2014 || Independent Project || Food Bank || Portsmouth, England

A brief journey

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Feb 2014 || 120 competition 2014 || Experimental Transportation || Oslo, Norway

Th e p r e - Fa b Co m m u n e

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June 2014 || Independent project || Crowd sourced City || Chichester, England

The Island

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Jun 2013 || Independent project || Urban Separation || Portsmouth, England

The Density Network Nov 2014 || Ja-Ja || transport/actvity network || Trondheim, Norway

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The Stochastic Archive Type: Preservation Project Client: 120 hours Competition Users: Festival Customers Program: CCTV Grid, Urban Screens Project Size: Global Location: Pyramiden, Svalbard - Global

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Svalbard, marks the furtherest most edge of established human habitation, and with the current global population migrating to the city, it’s numbers decline anually. The very peripheries of civilization are in the process of shifting. What value has preservation, in a place, which is so inhospitable it has been rejected by those who have called it home?

History situated in the peripheries of habitat, is subject to being visited by a limited palette of society. Ironically, since the site is unique

directly because it has been abandoned, yet in study requires people to visit, the site looses what made it of interest in its pursuit.

Contemporary modes of preservation have remained rigid and inflexible despite the ever accelerating flux of ideals and emergent media.

The current techniques of preservation have tended towards a dogmatic classification of the built environment. Narrowing perspective and framing perception down to a rigorous, often elitist hierarchy of built experience. Prioritizing experience has

meant the inevitable censorship of history, losing what is deemed mundane or non-participatory in social ideology.

Current techniques deny the intimate aspects of life due to an elitist delegation of historical importance.

In embracing abandonment through surveillance the redundent mining town, Pyramiden is functionally reappropriated to perform as the protagonist in relieving the pressure of the ever increasing hyper-density of city’s world-wide.

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Formal preservation sanitizes the authenticity of habitat tempered to the author’s ideals.

Denying built mortality often submits heritage to a suspended status where it is neither history nor functional architecture, incapacitating its ability to form intimate narratives with people.

Historical elitism - The existing form of preservation is thus a form cultural authoritarianism. We need to embrace an anarchic form of recording history through preservation, to rule out any forms of authoritarian memory.

By subjectively choosing what to preserve and how we preserve it, we enter an Epistemological paradox, whereby we have already made assumptions about what we currently know and it’s relevancy. Current methods do not respect the nature of society as a continually developing and changing entity due to an inflexible approach for new ideals.

Studying is done instead through the medium of live surveillance over an in determined amount of time. An impartial 10 x 10 matrix of surveillance cameras meticulously monitors all aspects of the site at all points in time for as long as it is deemed necessary. The perfect autonomous laboratory for an abandoned territory.

Through the process of stochastic archiving, one whose state is randomly determined, having a random probability of distribution or pattern, a data format of equality is possible.

An equality that adds new relevance to the profession through rejecting the now, archaic forms of preservation and querying its initial answers to how to best protect and improve the cultural relevance of architecture for upcoming generations. Providing an objective pragmatic method which acknowledges new social dynamics in the recording of history.

The data is archived, then globally relayed to multiple cities, through live permanent screens within the city’s environment, redefining the islands heritage from a singular tourist destination to a globalized devolving locality. A vast geo-spatial tapestry, stitched into multiple host city’s urban fabric. As well as bringing back a presence of the passing of time in a centre of urban modernity it also allows for further illustration in the form of climatic change. The environmental research that profits from this stochastic approach is also brought before the people on this new urban stage. As people begin to form an intimate narrative with each window to another realm the more they will scene the slow moving effect of climate change as it happens in real time. The sober objectivity of the live feed which when released globally, democratizes historical opinion providing an intimate perspective. The urban resident becomes an audience to all the idiosyncratic changes of the site. After all the various authorships over the progressing transient communities that dwelled here makes this a wide audience to reach. Heritage ownership is tenuous at best.

In this opportunity, the full potential of information requires maximum distribution.

locality exodus Screens are distributed pragmatically to region. bespoke to their own single camera angle in Svalbard, creating distinct links between city and Island. In an age were we have become reliant on digital media to quantify the world, a fixed camera angle can become more real, than the world outside it’s frame.

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The screen as architecture reduces the image to the sublime. The screen performs as an extension to the street creating a form of geo-spatial ambiguity. Incorporating the sublime into the everyday city. Application of permanent urban screens, is pragmatic, openly dispersed forming integral part of urban morphology. The Screen has the power in preservation to normalize the extreme and radicalise the mundane; A simple chair, which has been filmed for decades standing proud, becomes a critical social event when one day it falls to the ground, and hence forther changes the very nature of the screens host street.

Digital archiving produces relative immortality to information. The sites ownership is historically multi-national and its community, transient therefore its cultural valuation, poly-ideological. In recognition, preservation is unbound by a specific narrative and is free to reach a greater potential. Authenticity requires no intervention due to abandonment nature of place. The Greater human perspective, brought through the contrast of hyper density and desolation, diverges from prior elitist control of preservation to an anarchic, crowd sourced model.

The genius loci of both Pyramadian and the citys street, become entwined, and thus through greater variables, becomes more volatile. The nature of place, of familiarity and history, is challenged by decay events, of either nature or the built environment, throughout the history of the surveillance.

The blithe abandonment of this site has become it’s intrinsic nature and the absence of people does not result in an absence of cultural relevance. To preserve in its purist form and somehow capture its abandonment is the key to reaching this projects maximum potential.

The surveillance matrix captures the authentic nature of the site and respects the various authorships and transient nature of the communities that went into the making of the site.

The matrix serves as a sober approach to achieving a brutal realism which challenges a cities notions of structural permanence. The screens invariably show society as a construct predetermined by resource.

Without the notion of civilizations mortality, social virtue reaches crisis.

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Squatter Sanctuary

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Type: Public build Client: National Lottery Users: Low Income & Homeless citizens Program: Food bank, soup kitchen, teaching spaces etc.

Project Size: 1000 sqm approx Location: Portsmouth, UK

The financial crisis in 2007 placed a huge

burden upon a large proportion of UK residents, as such greater disparities between socio-economic groups have widened. Food banks for English lower income citizens are required to fulfil the edifice in which our government will not.

Poverty exists within a paradox, it is the material deficit to an ideology that demands excess, and attempts of redemption only serve to perpetrate it’s existence.

The very requirement of philanthropy for individual sustenance highlights the weaknesses of the British economy. It is the duty of architecture to give voice to those unheard. It became evident, that the project had to be more than just a food distribution centre, it had to be, in part, a sanctuary.

A sanctuary would provide a place for low income users and the homeless, to form a community together, working towards personal sustainable lifestyles. The commune would provide education, food, social spaces and events in the heart of an

economically deprived area. Surrounding residents could also participate in the activities and events of the sanctuary, to help further integrate the primary users with the commune and help deteriorate the gap of empathy between the class’s. The centre would be run like an anarcho syndicalist commune, whereby all forms of unnecessary hierarchy would diminish, instead empowering the users of the commune to produce their won capital from work and products performed within the centre. The bottom up system would serve not only the users but act as a further social experiment, to test the potentials of variant forms of social and economic within the great whole of the current.

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MODULARIZED manifest The complex can be re-assembled in a large variety of form to be re-appropriated to different sites with different requirements and conditions. Assemblage is quick and intuitive and can be applied to a variety of sites

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Urban Morphology

The complex negotiates with the irregular site footprint, through distorting the grid, achieving a greater floor area for functions. By dividing the centres functional requirements into six volumes connected via programmatic external spaces, the fulfilment of the need for a home can to an extent be achieved. The Sanctuary, for users who experience externality of social integration, attempts to reconcile individuals within a separate smaller community, without the need for the omnipresent urban phenomena of a commercial institution. The Sanctuary goes beyond cold knowledge resonating with the harsh truths of those subject to an unjust system. As a mirror to society, the existence of the sanctuary portrays the contrast of both social rejection and philanthropy within the harsh economic context.

Sheltering the inhabitants of the sanctuary and connecting the complex is a unique black brick wall. The immediate impression from the perspective of the city is one of brutality yet upon investigation is soon contradicted, through porous interventions of hit and miss walling, maintaining spatial division, but revealing the adjacency of hidden spaces. The exact point of entry becomes ambiguous. The walls adopt the quality of social insulation giving opportunity for those rejected, to feel isolated in dignity. The walls which form spatial conditions also in turn create an absence of spatiality through there adjacent ambiguity. This therefore requires the act of exploration to determine the full scope of the buildings itself, which is further made difficult through a maze like organization.

The building rejects the cosmetic pleasures of sharp detailing as a form of resistance to decadence of local architecture which iterates a cultural divergence. The divergence responds to the paradox of poverty, not by reconstructing the prevailing ideology of poverty from being a deficit to be resolved but to the destroying it’s preconceived detrimental nature.

Mortar-less, black, interlocking brick walls, through their properties of non-destructive reassembly allows the sanctuary to evolve performing in each stage as lineated temporal markers de-spite Ideological and functional re-appropriation. This maintains through the preservation of substance, familiarity and local narrative. Using the interlocking brick system creates possibilities for changes in plan, embracing geometric evolution to react to functional shifts. Whilst the project might be functionally re-appropriated, the core ideologies are in effect, immortalised despite formal reconstitution. The food bank in legacy forms a generational relationship with the community, as a central social hub.

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Soup Kitchen A large Canteen space whereby users may receive warm meals, gather as a community and share stories. In the evening, the space is transformed into a community cinema, promoting local artisans.

a cultural divergence Responding to an ideological disjunction between society and the homeless, requires a search beyond the normative architectural measures, it requires a counter cultural response. One in which that can establish a sub-communal identity external to the rejection of society. In doing so, the complex becomes a sanctuary, a commune, a home.

Food Bank A storage facility for donated food. food is redistributed to low income users, and the homeless.

Communal Space Contains laundry room, staff spaces, showers, bathrooms. To be open and in use 24/7

Teaching Space 1 Provides necessary education for careers, however may be allocated for other functions

Teaching Space 2 Connects to workshop, via shared garden opening up in summer for a larger space

workshop Connects to Teaching Space 2 via shared garden. Is used for teaching carpentry and arts.

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A Brief Journey Type: Installation Client: Oya Festival (120 Competition) Users: Festival Customers Program: Pedal Powered Coaster, Two Stations Project Size: 300 Sqm approx Location: Oslo, Norway

In order to engage the sustainable agenda with the public

one approach to consider are opportunities which take of advantage of existing infrastructure. Whilst a considerable pressure today in on bicycles in our urban environments some cities are unable to integrate the bike culture due to certain obstacles such as terrain and economy. The pedal coaster is an avant-garde Victorian solution finally realised due to long standing advances in lighter materials.

By combining the system with standardized scaffolding parts typically used in festival architecture, the pedal coaster challenges conventional forms of transportation in it’s experiential, health, efficiency and sustainable qualities.

The coaster liberates the user from the ground floor plane avoiding pedestrian traffic and providing a series broader festival views. The track structures emit a spectrum of colours at night, orientating the entire festival though a series of meeting points. When the festival finishes the entire installation is dissembled and pragmatically re-appropriated to other sites.

Supplementing the track are two stations. One acting is primary focal point, situated in direct view of the festivals entrance. The other simply a drop off point.

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Tra Stru

The sc plistic help carria malist neric

Station No..1 A generic cube made from scaffolding parts is pragmatically programmed to the specific site constraints and orientation through simple subtractions and tensile fabric units. Circulation is supported through enclosed rope netting.

Plug-in Infrastructure The standardized scaffolding structure supports conceptual pragmatic re-assembly in different contexts with unique requirements. The system becomes a universalized solution to the evolving urban realm.

ack Support ucture

caffolding is re-used in simc triangulated structures which support the pedal powered ages and tracks. The minit design is inspired from geelectricity support structures.

Pedal Powered track system The pedal powered track system uses human powered energy to push the carts between destinations.

Users experience a transportation system which is more efficient than conventional biking and offers incredible views of the festival.

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Bellevue Gård kindergarten

Sjøsiden stage area

Vika STage Area

stage 3

Food Cou

club area

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urt

Enga Stage Area

stage 1

stage 2

Munch-museum

Architecture Beyond mass The stations reflect the coaster support structures in

material construction. As an architectural object the large structure straddles the road, creating a porous junction, with shelter from the rain and swing seating for social interaction. Four tensile fabric volumes are suspend in the cube; an induction space, a station, a viewing deck and a tower. Each volume connects to the other through climbing netting forcing users to climb and interact with the structure. The floating forms become beacons at night illuminating a large public space.

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The restrained Apparition The diffusion of light corrupts the membrane form disguising the literal and holding the subjects in a state of indeterminacy. The phantom like, fabric units contradict their harsh scaffolding cage in which they’re held within. The units serve as beacons for people to gather and connect. In unsuspecting moments, the human propelled carriages are cut through the night, demonstrating unforeseen connections to other realms.

SUBTRACTED MASS Lower opening creates walkway/ social space.

Upper opening allows for pedal carriage clearance space

PROGRAMTIC VOLUMES Volumes: Induction space, station, viewing deck, tower

CIRCULATION Climbing Netting links volumes. The entrance to the right and exit to the left.

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The Pre-fab Commune Type: Public build Client: National Lottery, Council, Developers Users: Residents, Consumers Program: Sustainability Centre, Housing, Shops, Offices, Landscaping Project Size: 5000 sqm approx Location: Southern Chichester, Hampshire

By integrating the latest developments in BIM (building information modelling) process’s, CAD (computer aided design) techniques, CAM (computer aided manufacture) techniques, and CLT (cross laminated timber) construction, provides a holistically sustainable solution enabling open access user design and construction methods via crowd sourcing. These processes are nearly 100% waste free and will allow the public to have greater degrees of control over the environment, which has otherwise been reserved largely to the corporate sector. Timber, store’s large amounts of carbon dioxide, making carbon negative buildings and the product when redundant can be reused for other projects without damage or difficulty, The scheme consists of a Factory/Gallery, public workshops, a products library, 51 units of housing, office space and a sitooterie. Located in the peripheries of a historic city, Chichester, the development seeks to redefine a district, in a city shattered by divisions. The district is met with at the terminus of a canal, the basin, which is taken advantage by the scheme itself for both delivery and manufacture of the various products.

between the Physical & Virtual The Factory and by extension the workshops, liberate crowd-sourced CAD-CAM (Computer Aided Design - Computer Aided Manufacture) Process’s, to bridge the gap between the virtual architectural realm and the physical. CAD crowd-source techniques allow non specialist to design, whilst CAM techniques allow a designer to use simple tools to build. Full integration of the two concepts give potential for residents to have a significant input on environment and commodities rather than our contemporary paradigm of secluding such skills to specific industries.

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power is property The city of Chichester is divided into quadrants, via two perpendicular roads, originating from

the roman period. The site branches of from the North south access way and due to a prior modern industrial development disrupts the continuity of the terraced buildings running alongside the road. By placing the factory where original developments would have been situated the quadrant divisions are restored however, the form of the building performs as a large archway, directing traffic flow through the division and into the site with the basin. The cities identity is strengthened whilst the site is taken better advantage from.

The factory as an architectural object functions both as a gateway articulating a quadrant division and a temple by performing as an ideological vessel. In the situation of the concern for the environmental devastation, a sing tree is placed in fashion that mimics a deity. The message is clear: the new worship is shifted to an existential construct of other life. In relationship to the program of the factory, the substance is paralleled, yet is takes the form of tarred plywood panels.

A connection is drawn between nature and a necessity for habitation. Survival and environment are no longer independent of one another.

“Reason and Power are one and the same” – Michel Foucalt.

How we structure our architectural ideologies will either resonate or agrovate the social ideological context. Regardless of outcome, the instance will encourage the diteriating of poorly founded social assumptions and the strengthing of core values the will ultimatly be in favour of positive cultural evolution.

Architecture enslaves as much to its functional parameters, as it does to its ideological subversion.

Ideology is more than an immediate reaction to our environment, it is our environment. It encompasses both phenomena and reason, it is the structure to conciseness itself. The Process and parameters of architecture are ultimately enslaved by this, and so our designs become the victim and the protagonist to propagate the extension to our social paradigms. Architecture today seeks often to succeed in its social goals through the excess of activity, yet ignores in its presence it’s passive propaganda. Knowing this, is limited in liberation, for any result that differs from our ideologies, encompasses a newer liberal form of ideals in itself. Escape is not an option, but direction can be.

Duty asks for the betrayal of desire in the name of utility.

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Architectural Dialectic As an edge condition the factory performs as a gateway granting access to a socio-industrial experiment, however the transitory space between the two districts contains within through common social technology a space of pure ideological and political adaptability.

The space performs as a contemporary temple, who’s contents are chaotic, and anarchically defined. The space becomes a vessel of infinite social possibility.

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Phenomenon as Language Utilising tracking software and headphones in tandem, the user with proximity to display items, is narrated their relevant information. In addition, the user senses the space audibly with proximity to walls is met with an audible feedback buzz, warning the user of a boundaries.

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The Island Type: Retail/Gallery, Offices Client: Boat-Builders, Property Developers, Council Users: Small Business's, Boat-Builders Program: Boatyard, Offices, Bridge(s), Landscaping Project Size: 7,000 sqm approx Location: South East Portsmouth

With minor modifications it is possible to transform a

large peninsula into an is-land, re-allocating space for boat circulation and dockland areas, strengthening local fishing economies. In doing so a large area of land becomes connected through a series of bridges, creating a unique urban identity.

The Island sits abstract to its surroundings, performing as a utopian visitor. Through pin wheel design and the harbours enclosure, the Island establishes itself as a new city centre, creating areas for parkland in the otherwise hard landscaped surroundings.

Buildings on the south side create a wind barrier, shielding the park areas to the north. Semi-external rooms create new places to relax unabated by rush of the city.

The island becomes the ultimate expression of public space and activity. Pontoons create circulation, traversing the flooded parkland's and transitioning into bridges creating a contrast in two experiences both equating to conquering the barriers of water.

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Plug-in Infrastructure The Boathouse’s geometry articulates the entrance creating a strong precense at the islands centre. A pontoon reacts to the users footsteps, and is continues as a path disecting the boatyard in two. The path finally concludes at the boats construction.

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Plan

Section cut

In rebellion to the context the peninsula is divorced from the land. In creating an area distinct

from its neighbour the island through pinwheel design seeks to redefine the cities centre from the current governmental buildings to the island itself. In doing so the cities ideological symbolic core is redefined to the urban farming district of the island, promoting a more environmentally friendly and healthier city.

A new boatyard is proposed whereby users are taught boatbuilding techniques, and how to manage a boat. The initiative is to re-promote an old industry of the city, thereby creating a connection to the past, and a stronger more specific metropolitan identity.

The new boatyard is designed to be constructed by the builders of the boats themselves through steam bent wood, and similar, methods of timber structural framing. In doing so, financial cuts in construction are made whilst the building serves to promote the trade through the buildings fabric, connecting the buildings function with its own conception.

The boats plan relates directly back to its own Section through the intersection of equal sized circles given a rotation that relates back to the sites spatial restrictions. This geometric manoeuvre allows for perfect spherical segments, which are easier to construct than their asymmetrical counterparts.

The boatyard connects a long spine to the centre of the island, and twist through the buildings form to finally project past the habitual space and out onwards the sea, as an expression ideological distribution associated to the island itself. The entrance is clearly articulated through the lesser side of the projection. The lower space allows for a greater sense of human scale, whilst reducing shade around the most populated areas.

The boatyard can be divide into four zones articulated by the buildings fragmented skin. The zones are divided by primary steel truss arches. Between the truss’s structure, light is invited inwards, accompanied by roof glazing which follows the buildings spine. A long path which starts externally as pontoons follows the spine underneath dividing the building further in half, with programme either side. The path leads through a sequence of events, from the induction space with the cafÊ, through to the workshops + gallery spaces and finally into the boat building area itself as a viewing platform. The path articulates public space, and serves as a simple navigational point throughout the building. Walking along the path, becomes in part a feeling or freedom, with certain moves towards light, height above others, and a progressive hierarchy to building programme. The path is stunted where the boat construction takes places, with the vast view of the sea onwards – the message; to go further requires a boat itself. The experience is therefore projected from the building to the vessel, as means to persuade ta new lifestyle.

The base of the buildings is conceived as a large thermal mass through a cast in situ concrete slab.

This allows for the morning sun to enter through the large glazing at the front of the building and later distribute heat in the cooler evening climate.

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1 20mm boarding 0mm vapour control layer 200mm polystyrene rigid foam insulation 200mm plywood gridshell 0mm vapour control layer 20mm Battens 15mm cedar stained kebony shingles 2 20mm boarding 20mm vertical batons 0mm vapour control layer 120mm reinforced concrete wall 100mm Mineral bre 120mm reinforced concrete wall 3 90mm black cement-and-sand screed, sealed 30mm impact-sound insulation around heating pipes 98mm polystyrene insulation slab 16mm perlite lling; vapour barrier 250mm reinforced concrete reinforced concrete base slab 80mm expanded polystyrene insulation 4 100mm bed of gravel Primary Structure 5 180mm Steel I beam double galzing: 10mm oat glass + 15mm cavity + 15mm safety glass

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The Density Network Company Work: Ja-Ja Architects Type: Urban Redevelopment Client: Trondheim City Council Program: City Master-plan Location: Trondheim, Norway

Trondheim

suffers through a quasi parkland overdistribution, which lacks coherency and planning.

Subsequently the parkland contends with the urban realm, forcing a unilateral sub-urban condition. Green spaces have become reserved primarily as decoration, reflected by poor usage.

By connecting all unused urban and parkland areas, a new network, urban centres become connected and their identities strengthened. The green network is intended for pedestrians, cyclist’s skiers and other alternative forms of mobility to motor vehicles. The network will programmed along the network, with a variety of site specific programmes to work towards the neighbourhoods agendas.

By connecting city centres, educational facilities, cultural and health care facilities into an efficient and humanistic network the city becomes safer, more enjoyable and healthier than the mono-mobility system of automobile system of today. Urban densification shall be strategically located around the junctions between the existing car network and the proposed green network, to achieve maximum usage.

The city is transformed from a poorly connected and used mono-centric suburbia to, a revitalised, active poly-centric cityscape.

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Proposed inner ring for bus systems

Bullet train connecting to Oslo and other major national cities

Proposed Tram system

Redefined Primary automobile access

1970 Metropolitan footprint

2014 Metropolitan footprint Østmarkvegen Lade Brattøra Lademoen Nedre Elvehavn Leangen Ila Rosenborg

Midtbyen

Solsiden Valentinlyst

Elgseter Byåsen

Stavne

Ranheim

Charlottenlund

Nardo Moholt Tempe Dragvoll

Lian Sluppen Dalgård

Munkevoll

Risvollan Fossegrenda

Flatåsen Saupstad

Heimdal

Existing Primary Urban Centres

Existing plan for bikes lanes (Parallel to road’s systems)

Proposed Regional identity divisions.

Proposed primary connections to primary city centre and sea

Tiller

City Syd

Proposed identity reinforcement

Proposed secondary connections to green belt and urban district centres

Network Pragmatism

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N|

CO

The base of the buildings is conceived as a large thermal mass through a cast in situ concrete slab. This allows for the morning sun to enter through the large glazing at the front of the building and later distribute heat in the cooler evening climate.

MM

ER

US

TR

IAL

JU

NC

TIO

N

The base of the buildings is conceived as a large thermal mass through a cast in situ concrete slab. This allows for the morning sun to enter through the large glazing at the front of the building and later distribute heat in the cooler evening climate.

CIA

LT OL

AN

DS

CA

PE

JU

NC

TIO

N

53

Lade Sp or t

n jo p

Utdannelse

ka ss

Rekreasjon

lle

se

Fe

Lerkendal

el

Pedestrian , bicycle and public transport should be prioritized , so car dependence is reduced. Urban and residential densification be concentrated around collective interchanges, so residents can easily move around the city without a car.

Dragvoll

H

Identitet

Mobilitet

Trondheim has a stunning natural landscape, with both coastal, river , land and cultivated agricultural land to be protected, used and brought into the city. A coherent nature network will create new attractive connections for pedestrians and cyclists

Tiller

Tetthet

s uk od pr at

Identitet

M

Fellesskap

Kollektiv traďŹ kk

A total urban and natural network will improve the city’s mobility, environmental profile and public health, as well as pay attention to soil conservation and by fortetting.

We propose a distinct green border surrounding the city with a continuous recreational connection to the surrounding natural and cultural landscape.

The city will be bound together by a new collective network with regional and local connections. The network is planned on the basis of existing regional hubs and local centres.

A new nature network is situated at maximum distance from major roads to establish new and safer compounds for cyclists and pedestrians, as well as new recreational opportunities.

55

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