portfolio
n jonatan
ahlmark
portfolio 01 02 03 04 05
n jonatan
crash course
ahlmark
n the
clam instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
convexum vitrum n structural
modeling instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
trio
n what
is a house? instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
ashtanga
n ceremony
& ritual instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2008
crash course 2 n matrix
modeling instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
06 07 08 09 10
fittja idea store
n site-structure-programme instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
sticks
n material-room-detail instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009
nobelmuseum
n bachelor instructors: Stina Johansson & César Patín year 3 KTH architecture 2010
love arbén architects
n selected work internship at Love Arbén Architects Stockholm 2011/2012
painting
n selected paintings paintings from the solo exhibition ‘Pedestrian’ at Gallery Nils Åberg 2010
n the clam instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
crash course
01
crash course n the
clam
The material of the model is essential for the expression. How to read an object, it is solid, porous, light, heavy and so on? The material tells the characteristics of an object and the selection of materials to a model can contribute to the strength of its shape and feel. This course consisted of working out a series of model studies and served as an introduction to learning to treat form and to carry out different materials to achieve a result with the desired expression. The subject we were studying and started with were a clam. We had to start by examining the clam’s internal logic to then build an abstract model of it. We then started from the model and developed several models with different themes: the mass, gap, motion, structure and tactility.
internal logic- to construct a model that examines the mussel internal logic. “Inner Logic” may be seen as a concept where the focus is on order and structure. The model should be constructed of any board materials. The pieces may be of a single or a combination of various board materials. The pieces were to be machined and joined together to form a volume.
mass- constructing one or several massive volumes of either all or part of the “original” model. The volumes shall be designed in a single board material or a solid material (e.g. wood, wax, stearic, soap, Styrofoam, etc.). The material shall not be resilient.
soft parts
gap- the task was to use the model from the mass assignment, and with this construct a gap which forms part of a new solid volume. The model is constructed of plaster or the same materials as in the previous assignment.
the internal volume of the shell
motion- provide a new model motion by “cutting” away some of the mass and construct a shell. Choose a plane / cross-section of the model from the gap assignment which divides the model in two parts. Construct a new model of one of the parts, as a shell, twice as large. The cut should be open and no air is entrapped in the model. Select materials based on the shape to be built.
structure- ‘cut’ to remove a part of the motion model and build a rod structure. Proceed from the motion model and choose another plane cut through it. Construct the cut surface edges from the two planes cut (and their interconnecting structure). Material: sticks or poles. Think of how the pieces are connected.
tactility- construct a new version of any of the previous models in an optional material. Explore the concept by your choice of material. Adjust / transform the model’s shape, size or design by the material characteristics.
casting of mass model
shell
interpretation of the shell
shell from the gap model
part of the shell edge
model study- internal logic cardboard/paper/cell panel
model study- mass foam, filler
model study- gap reinforced plaster
model study- motion cardboard, spray paint
model study- structure laminated wood
model study- tactility cured skin
02 convexum vitrum n structural
developed structural model This model is a development from the first model. The meeting between the gaps has been developed in the aim of reaching a better stability and a more, not faceted spherical shape. This structure is also different from the first through its bracket structure. By a hinge structure it was also possible to open up the sphere from the ground. In order to maintain the tension from the previous model a stretchable, trans parent textile were chosen.
modeling
The first model is inspired and based on a glass ball. The structure aims to an emulation of the object existing trans parents, shape and relationship to the ground. The model is based on a shell structure consisting of a plurality of latched gaps. The stability of the structure is based on the attraction and the horizontally directed force towards the center of the sphere. The inner rings are attached to rods and ropes that constricts the gaps in the shell. The glass ball’s weight contributes to a vertical force that can weigh down the gaps at top and creates the sealed spherical shape.
shell of glass and wood panels plates forc
e to
wa
rds
ropes holding the glass ball
cen
ter
inner ring that narrows the shell struts connecting the shell with the inner ring
stretch textile material
internal skeleton
metal pipe
metal pipe glass ball
plan sketch
Select an object and makes a structure that houses it. The design shall be self-supporting (ie, not statically dependent on the subject), and either sunk in, stir or lift off the ground. Build a model at a scale of 1:200. The model should be of the entire structure and include the object and the ground. Optional materials, and any size. Through a shift of scale the finished object will perceived as two hundred times larger in the model. Observe how the finished object and the model size gives the structure a direction of gravity.
section sketch
plan sketch
hinge
Make a new model that develops the relationship between object, structures and land. Include a scale concept in the study by focusing on the size of parts and in the whole of the model. The model should be a section, sub-or a undivided model with a scale of 1:50 or 1:100 and include the structure and the ground. Strive for a solid construction, care about the details and how the parts are stuck together and joined.
section sketch
convexum vitrum
n structural modeling instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
03
trio
n what is a house? instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
trio
n what
is a house?
Architecture is often to add something to a site. This was the first project where we worked with a specific location and with a definite plot area. The site we were assigned has a square-like character and is directly connected to the School of Architecture in Östermalm, Stockholm. The task was to design a structure that could link together the activities of the school building with the city. The proposal originated from a flow analysis of the site and it showed clear patterns and directions of movement of pedestrians and other traffic. The analysis formed the input to the project and decided the built structure’s location and variability. The structure consists of three elements sculpted together enclose and shield a circular area. The idea was that with a relatively small engagement alter the character and function of the site.
trio
n what is a house? instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
assignment The background for this project is that the architecture school has moved into its new premises at KTH, designed by Japanese architect SANA. The school’s old premises, Kv. Domherren, are sold to a newly formed foundation that works for the revitalization of architecture. This foundation, financed by a Swedish industrial magnate, is now planning a major renovation with new showrooms, scholarship facilities, publishing, exchange programs, international collaborations, interactive server institutions, offices, restaurant, bar, movie salon and more. The rebuild is scheduled to be completed in just over two years and as a complement to the renovation, on the property’s southern portion, the site which flow into Karlavägen, will have some form of built structure that represents the business. Therefore, they have approached us and asked us to produce a number of proposals on this. Eva Rudbeck, Chairperson, together with the school’s Vice Dean set the following conditions for the project:
We in the foundation are looking for a built structure from the site and our combined activities can serve as an emotional, changeable connection to the city. This structure can stand, lie, sit, go into the ground, hung, glued on, hover, move or otherwise respond to the scene. But we also want it to be changeable. We intend to quietly explode or just rebuilt depending on what you decide that it will be used for. We believe that this variability (time) will be a key factor to how the architecture will work, interpreted and develop in the future and want to show just that. This variability, you can certainly look physically in materials, colors, smells, light, sound, lighting, vegetation, but also in terms of seasons, circadian rhythms, social groupings, gender linkages, integration issues, age segregation and so on. But it is you that propose solutions that completely determine the relationship between time, use and architectural look. We in the Foundation look forward to sharing your thoughts.
directive The exterior maximum dimensions of the base structure is 12 x 12 x 12m and the location should be within the plot area. Your survey should at least be represented as follows: - Hand Drawn site plan at a scale of 1:400 - Handrawed sections, elevations and planes base structure in the scale of 1:100 - Model of the base structure in scale 1:100 on the site - Burst showing variability from the base structure - Short explanatory text
analysis sketch situation 1 open structure that allows the most frequent flows on the site
analysis sketch situation 2 closed structure that forms a protected area and creates alternative streams
analysis The project was initiated by a flow analysis of the site. By placing barriers and blocking off certain areas on the site pedestrians was forced to find new ways and new pattern emerged. Two different formations of the barriers were used to compare and interpret the outcomes. The results were observed and documented in a series of photographs. The analysis showed clear diagonal flows that crossed each other’s center. The analysis was critical to the project’s changeable theme and structure placement on the site.
trio
n what is a house? instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
element #3 bar/ service area screen construction of wooden slats and steel brackets
element #2 scene / in situ concrete sole
ity
the screen is detachable and can be pushed apart
v acetia ar
element #1 concrete wall (free graffiti)
fasade element #1
The structure will primarily be used for small outdoor events that reflect the activities of the school building. It shall also serve as a natural gathering place for the public. The structure shield of the surrounding streets, and together with the existing trees creates a kind of oasis in the city. The panel’s enclosure design interacts with the roof of tree crows that exists in summertime on the site.
fasade element #2
fasade element #3
bb
aa
section a-a
section b-b
04
ashtanga
n ceremony & ritual instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
ashtanga
n ceremony & ritual instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
ashtanga
n ceremony
& ritual
In this project, I chose to start from the Ashtanga yoga, which can be seen as both a ceremony and ritual. The connection between Ashtanga and architecture will be interesting in several aspects. Ashtanga is based on a flow of the dynamic motions and is the most demanding physical form of yoga. Yoga also includes meditation and requires a certain concentration. The aim was to design a structure describing the eight pillars of Ashtanga and describe its events. The structure can be seen as a walk through those parts where the different spatial limits helps to put the visitors / practitioners in the right attitude and moods. The location of the project was Riddarfjärden and the meeting between the waters, - yoga and structure have dominated and shaped the project.
background Ashtanga yoga is a flow of dynamic movements, a physical form of yoga whose therapeutic effect is to strengthen and purify the body. By synchronizing the breath with the movement, the internal fire of life evokes and purifies and strengthens the body physically and mentally. The Ashtanga yoga’s great strength is correct breathing. It oxygenates the blood, increases the circulation in the body and to the brain which leads to clear thinking and greater creativity. Ashtanga yoga is divided into eight parts as follows: Yama-restraint, Niyama-dicsiplin, Asana-postures, Pranayama-breathing exercises, Pratyahara-sense withdrawal, Dharna-concentration, Dhyana-meditation and Samadhi-deep meditation.
ground floor You’ll reach the structure by walking on a footbridge on the water. The entrance leads the visitor futher to the dressing rooms and the yoga hall.
assignment The project is to design a place for rituals or ceremonies at Riddarfjärden - the site of Sandell Sandberg’s lively debated cold bath, the so-called “Badringen”. The ritual / ceremony that your project is about is your choice - make it as an already established ritual / ceremony, or one that you define. It can be spiritual or secular, designed for large or small parties. The common denominator for rituals or ceremonies is a specific sequence of events. The ritual / ceremony can formalize shifts in people’s lives, for example - marriage and / or partnership ceremony, but can also manifest established festivals or general turning points in our environment over the years, months or days.
- Welcoming ceremony for the new family members - Newborn or adopted - Welcoming ceremony for new citizens - Naming ceremony - Funeral ceremony - Awards ceremonies - Graduation Ceremony for small and / or large
- Christmas, Ramadan, Hanukkah, New Year, Easter, Lucia - Midsummer, midwinter - Spring equinox, autumnal equinox - Thaw - Full moon, new moon - Spring, summer, autumn or winter - Arrivals
ana
tya har a
asa
ma
aya
pra
a
am
niy
n pra
a
arn
dh
yam
dhy
i
adh
sam
method A simple graphical representation of the eight parts of Ashtanga yoga decided the structure’s basic shape. The various parts were represented in a circle divided into eight equal “wedges”. The parts were pulled apart and arranged for a more dynamic composition to create a movement in relation to the water. The different parts are programmed for an imaginary walk for the visitor, and each “wedge” has a specific function. A walk through the structure should contain play between light, - space and cramped, dark. The movement of the structure was also strengthened by tilting the different roof parts.
a
level 2 by a staircase from the entrance you’ll reach the second floor. At this level you’ll find relaxion and meditation. You can also reach the outside wooden deck from this level.
na
yama niyama asana pranayama pratyahara dharna dhyana samadhi
restraint dicsiplin postures breathing exercises sense withdrawal concentration meditation deep meditation
structure The basic structure strong idiom alludes to the internal logic of Ashtanga yoga. The yoga is a lot about meditation and finding an inner peace and harmony. The symbolism of the structure’s composition “apart floated wedges” creates will diminish the desire for inner rings at a hub that can recall the visitor of the yoga’s essence. To preserve the room’s characteristic “wedge shape” but still offer good communication between the rooms a separate corridor was anchored next to the building. The corridor is a proprietary liquid part that creates a transition between inside and outside with a light façade of wood and glass. The entire structure is a floating structure which is composed of polished concrete block and concrete glass.
ashtanga
o
45
W
N
o
45
E
S
n ceremony & ritual instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
The structure floats on water and is anchored at the bottom with sinkers. A long floating footbridge links the structure to land. The position should help the visitor to feel that he / she walks away from city life and the stress to a quiet and relaxing oasis. The structure faces Långholmen and turnes away from the city’s buildings. The structure faces south for maximum light and the structure’s south side consists entirely of concrete glass. Concrete glass has been used for its property to let in daylight but without the direct insight. The structure shall also, by its shape and material form a smooth transition between the water and Långholmen seen from the City Centre. Participants shall stay put in an inward calm. The environment and its architecture is stealing as little as possible of the participants’ awareness and experience. The atmosphere and the inner well-being should instead be the focus for the participants.
entrance
dressing room
wc
wc dressing room
aa
yoga hall
plan
ashtanga
n ceremony & ritual instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007
fasade southeast
section a-a
n matrix modeling instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
crash course II
05
crash course II n matrix
modeling
Working from a strict exclusion method can often speed up the process and the result can be both unexpected and exciting. In this task we produced a number of physical structure models by working from a matrix. Through the matrix a reference, a geometric concept, materials and a way to merge were chosen. The results of the different outcomes were studied and discussed. Finally a compiling of the single structural models were designed. The last model would then be able to serve as a pavilion and get a scale and relationship to its surrounding. I chose in this task to work with the floor of the St. Petri Church, Klippan, 1966 Sigurd Lewerentz. I focused on how the floor was programmed and took advantage of the directions and divisions that existed. I chose to work with cross-laminated wood and used glue for the merging.
Model 1 This model describes the number of anticipated visitors divided by the total floor area.
Model 2 This model describes the planned area for seating, gathered in the middle of the total surface
Model 3 This model describes the proposed seating area, spread all over the total area
Model 4 The last model is an extension of model 3. The structure serves here as an pavilion
06
fittja idea store
n site-structure-programme l채rare: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
fittja idea store
n site-structure-programme
During the fall semester of 2008 98 students in the School of Architecture (KTH) designed 98 proposals on how ‘Fittja Idea Store’ could look like. The course was an academic project during the second year at KTH, called location structure - programme. The theme of this year was ‘Fittja Idea Store’. A building that combines library, cafés, civic offices, schools and other functions with a direct link to the site’s needs, a building that provides and helps developing the area through its program and adaptation to the site conditions and local needs. This in an innovative way to combine and shape to the program and function. A building marked by architectural ethics in which the aim is to give rather than take. The location and program to the building was developed in collaboration with Botkyrka and Fittjas civic offices. Through various meetings a program and building profile were polished which is assumed to be useful and appropriate for the area. Libraries, civic offices, job coach and banquet halls where priority in a program that we believe can become the engine and catalyst for further development of the area and creator of wealth.
the concept idea store The idea behind the Idea Store origins from London where they successfully built a number of buildings that combine library, cafés, civic offices, schools and other functions with a direct link to the site’s needs. These buildings have been built in areas defined by a distinct social and cultural diversity and has left its mark with a high architectural quality that often is served as a catalyst for the areas’ future development.
STHLM CITY
fittja idea store Left: Idea Store, Canary Wharf Churchill Place, London E14 5RB
the structure The structure is embedded in the ground with respect to the surrounding existing buildings on the location. The building is essentially divided into two levels. The entrance is at ground level with an exhibition and information about what is happening in the building to create an inviting atmosphere. Libraries, workshops, auditorium, civic offices and a cafés and more are at the bottom floor, under the ground. The structure’s verticality and open floor plan contributes and lead to a clarification of the various aspects of the program and its communication in between. The vertical relationships also remind from an interior - exterior view. The structure’s “roof” shall include a new urban park that will create new flows and patterns of movement at the site.
about fittja Fittja is a municipal district in northern Botkyrka and the name of the metro station in the area. The area Fittja earlier belonged to the church, but during the reformation estates went to the state and farmers became Crown peasants. During the 1600s, Fittja flourished and it was during this time that the inn on the isthmus between Albysjön and Mälaren opened. The modern Fittja emerged during the 1970s. The buildings consist mainly of large blocks of rental apartment buildings grouped around the subway station. In the outer parts of the districts there are groups of adjoining singlefamily houses and the proportion of these housing are more than 15 percent. The rest of the buildings are apartment buildings. Approximately 7200 people lives in Fittja out of these there are barely 3000 under the age of 25. In consultation with Botkyrka city planning office and on the basis of the document “Future Fittja” the site for this project was chosen. The northern part of Fittjahöjdens park, directly connected to the new Köpingsgatan was the most suitable location for the project, partly for its proximity to commercial areas, to nature and land availability.
fittja idea store
n site-structure-programme instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
structure The structure is embedded in the ground, considering the existing buildings that surrounds the site. The building is essentially divided into two levels. The entrance is located on the ground floor with an exhibition and a display area that informs what’s happening in the building. This space i supposed to create an inviting relation to the underground level. Libraries, workshops, auditorium, civic offices and a café etc. is situated underground. The structure’s verticality and the open floor plan contributes to a clarification of the programmatic titles and its communication in between. The vertical relations aims to remind the visitor from an interior - exterior point of view. The structure’s “roof” includes a new urban ‘sculpture park’ that creates new flows and movement patterns on the site.
The eastern part of the structure is integrated with the planned mall. The east entrance, facing Fittja center have services including shopping etc. view of the structure in relation to the existing buildings on the site from east
South of the structure there’s a park area. The structure flows into the park and brings the day-light down to the underground level. view of the structure from the south in relation to the existing buildings on the site.
In the western part of the structure there’s a funnel, providing the lower level with daylight. The funnel also serves as an entrance with a cafe. view of the structure in relation to the existing buildings on the site from west.
fittja idea store
n site-structure-programme instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
funnel supplying lower floor with daylight
admission of light above library square
sculptures similar richard serra
entrance/expo info area
planned mall directly adjacent to the structure
plan
0
cafe/cuisine entrance/expo info area
children’s library
ramp down to the library
office
i
library square
i
adult library
i juvenile library workshops studie sites auditorium
depots/technology areas
plan
-1
0m
5m
10m
15m
fittja idea store
n site-structure-programme instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008
detail- gridshell joint 16213
7838
+4509
+4509
3712
Acrylic plates methacrylate 20mm Gridshell construction of glulam beams 250 x 250 mm
-+1200
1133
Polished concrete plates 50 mm Plastic film Step absorbing membran 50 mm Reinforced concrete slab 300 mm Sound isolation 150 mm Parquet 20 mm
_0 +
groundlevel
+796
796
+1133 groundlevel
_0 +
_0 + 796
-20
-605
-605
2753 -2753
-5975
4370
Rubber flooring Altro Nuvola Stratus Plastic film Step absorbing membran 50 mm Reinforced concrete slab 500 mm Moisture barrier Isolation 200 mm
1414
Draining Isolation 130 mm Moisture barrier Reinforced in situ concrete Vapor barrier
-3641
-4167
-4975 1521
4457
250
3315
250
768 1122
130
-6097 6108
3815
12209
13851
37943
1830
130
n material-room-detail
The project was to present a proposal for a series of houses in the category of land near the accommodation. The plot that was given is located in Nacka, Tollare, about 10 kilometers southeast of Stockholm city center. The plot is situated in an up market area and is beautifully situated overlooking Duvnäs Bay and has a direct proximity to nature areas. The proposal consists of six separate houses that are placed after the site topography and arranged on the spot based on a grid. The project has been based on an analysis of Jørn Utzon’s basic principle of terraced houses, which he worked out in 1953 (Skånska house types). A selection of interesting points from this analysis have been picked out, revised and further developed to accommodate the project. To create meaning by organizing, distributing, systematize and structure the objects and give them a definite place in a space where some of the inputs in this proposal. The project was partly about learning how to develop a particular method to work with in order to effectively be able to rush the process. Three different types have been developed with different qualities and different living areas. The houses shield themselves from each other, creating private spaces. The house formation forms a courtyard protected from insight and weather conditions at the site. The structures are wood-based and stand on a concrete foundation to minimize the encroachment in the ground.
sticks
sticks
n material-room-detail instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009
07
sticks
n material-room-detail instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009
Den yttre fasadens pinnstruktur och vertikalitet haryttre hämtats från pinnstruktur och vertikalitet har hämtats från Den fasadens platsens snårskog och inspirerade till utformningen av snårskog avskärmninplatsens och inspirerade till utformningen av avskärmningen. Den omringande strukturen relaterar till husets program genomstrukturen relaterar till husets program genom gen. Den omringande intensitet och rytm. intensitet och rytm. Pinnfasaden skärmar av enheterna ifrån varandra men tillåter samti-av enheterna ifrån varandra men tillåter samtiPinnfasaden skärmar digt en viss transparents som kamoflerar husen omgivning. digttillensin viss transparents som kamoflerar husen till sin omgivning.
Intro, bakgrund
a, Att skapa mening genom att ordna, fördela, mt ge systematisera och strukturera föremål samt ge a avdem en bestämd plats i en rymd var några av andlade ingångarna i det här förslaget. Projektet handlade till att börja jobba och vertikalitet inspirerade till att börja jobba Platsens täta snårskog d attom att lära sig utveckla en bestämd metod att Platsens täta snårskog och vertikalitet inspirerade med någon slags vertikal pinnstruktur som framhävde speglade med någon slags vertikal pinnstruktur som framhävde speglade a forcera jobba efter för att på ett effektivt sätt kunna forcera platsens . platsens . en process. rn Projektet har baserats på en analys av Jørn rbetade Utzons grundprincip för radhus som han arbetade v fram 1953 (Skånska hustyper). Ett urval av katsintressanta ut, punkter från analysen har plockats ut, passas omarbetats och vidareutvecklats för att anpassas till projektet. Avskärmning
Avskärmning
En viktig frågeställning, fråga var hur de separerade En viktig frågeställning, fråga var hur de separerade enheterna skulle skärmas av från varandra utan att enheterna skulle skärmas av från varandra utan att avskärmningen skulle bli för solid och utestänga den avskärmningen skulle bli för solid och utestänga den omkringliggande naturen, miljön. omkringliggande naturen, miljön. Fasaden skapar, bidrar till att sudda ut gränsen Fasaden skapar, bidrar till att sudda ut gränsen mellan ute och inne och skapar rumsligheter. mellan ute och inne och skapar rumsligheter. (och skymma platsen kvalitativa vyer)
(och skymma platsen kvalitativa vyer)
structure The structure is based on an outer bearing façade, which allows great freedom for the interior but also creates the possibility to use glass walls from floor to ceiling. The structure’s load-bearing system is divided into a hierarchy where the main load-bearing pillars are made of steel and are located slightly farther the- other The round mouldings help to charter the structure - - in - - -than - - - - - round mouldings. -----and reduce the diameter of the pillars. The structure is otherwise an entirely wooden construction. Wood as a raw material was chosen to reflect the site and the fact that the construction period is relatively short but also because the blocks can be delivered to locations with limited accessibility. typ 1
privat - offentligt
Enheterna skärmas av och programmeras in i privata och semi privata ytor.
typ 2
typ 3
Avskärmning
Avskärmning
Avskärmning
Semi privat yta
Semi privat yta
Semi privat yta
Privat yta
Privat yta
Privat yta
7800 15000 3600
background The basic principle, Skånska house types in 1953, Jørn Utzon. basicconsists principleof The basic principle 2 a 15 x 15 m (GFA 225 m ) squared plot that allows a screening varied housing around a plot area 64 m2 courtyard. The site is shielded 30 % of GFA from the surroundedca:buildings by a wall that partly FAR seves 161 as m2 facade. ca: 70% of GFA
the analysis describes the divisions of the plot through an added grid based on the basic principle distributed area from the ground principle. screening The plan is reduced in size and plotarranged area 64 m2 to scale in ca: 30 %to of the GFA grid and relation creates new patterns FAR 161three m2 and outcomes. ca: 70% of GFA
the analysis describes the divisions of the plot through an added grid based on the distributed area from the ground principle. 1 in size The plan is type reduced and arranged to scale plot 89 in m2 ca:and 40% of GFA relation to the grid creates three newFAR patterns 136 m2 and outcomes. ca: 60% of GFA
type type 2 1
type 3type 2
type 3
plot 102plot m2 89 m2 ca: 45%ca: of 40% GFA of GFA
plot 115 plot m2 102 m2 ca: 50% ca: of GFA 45% of GFA
plot 115 m2 ca: 50% of GFA
FAR 123FAR m2 136 m2 ca: 55%ca: of 60% GFA of GFA
FAR 110 FAR m2 123 m2 ca: 50% ca: of GFA 55% of GFA
FAR 110 m2 ca: 50% of GFA
screening An important issue was how the separate entities would be shielded from each other without the shield being too strong and excluding the surrounding countryside. The exterior façade’s wooden structure and verticality is taken from the site’s dense forest and inspired the design of the shield. The encircling structure is related to the housing program by the intensity and rhythm. Sticks façade screens of the devices from each other but at the same time allowing some trans parent who camouflages the buildings to their surroundings. The façade also helps blur the line between indoors and outdoors and creates exciting spaces.
type 1
private - public the units are shielded and programmed into private and semi private areas.
private - public
------
typetype 1 2
type 2
type 3
screening
screening screening
screening
semi private area
private semisemi private areaarea
semi private area semi private area
the units are shielded and programmed private area into private and semi private areas.
- -- -- -- -- -- -
private private areaarea
- - -- - - - - -
private area
type 3
screening
private area
screening semi private area
------
private area
sticks
n material-room-detail instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009
sticks
n material-room-detail instructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009
Gips, 13 L채kt, 22x95 Stomme, isole Board, 4 Luftspalt, min R책spont, 22x1 Underlagspapp Takpapp med s
08
nobelmuseum Nobelmuseum n bachelor
på Blasieholmen
Location: I have chosen to place the new Nobel Museum on Blasieholmen. The place is centrally located, not just the city rate, but also in view of the surrounding cultural institutions like the National Museum, Museum of Modern Art and East Plats: Museum. Jag har valtNobel att placera nya interdisciplinary Nobelmuseum påprofile, Blasieholmen. Asian Museum as both Platsen är and centralt belägen, inte institution bara stadsmässigt, utan också med museum administrative would work well and tanke på de omkringliggande kulturella instutionerna som Nationalenrich the site and creating a “bridge” between Blasieholmens museum, Moderna museet och Östasiatiska museet. Nobelmuseets administrative buildings and Skeppsholmens museums. The tvärvetenskapliga profil som både museum och administrativ instuidea is through the location to integrate the Nobel Museum’s tition skulle fungera bra och berika platsen samt skapa en “brygga” technical profile and enhancingbyggnader the area’s more mellan Blasiholmens administrativa ochotherwise Skeppsholmens traditional museums. museer. Ideén är att genom sin placering kunna integrera Nobelmu-
nobelmuseum
n bachelor instructors: Anna-Karin Edblom & César Patín Lapausa year 3 KTH architecture 2010
seums tekniska profil och berika områdets annars mer traditionella Structure: museum. The building extends and completes the existing block structure on the cape. The building is in relation to the other buildings on theförlänger site a low building. related Struktur: Byggnaden och avslutarThe denstructure befintligaiskvarto the quay and space horizonärpreserving lines of sight tersstrukturen påwater udden. Byggnaden i relation tillthe den övriga from Strandvägen and the cape silhouette. The lowförhåller building bebyggelsen på platsen en låg byggnad. Strukturen sigalso till kajen och vattenrummets horisontalitet bevarar siktlinjerna contributes to that the museum parkvilket in the southwest, where från Strandvägen och uddens siluett. Den låga byggnaden also the main entrance is located remain relatively light. bidrar också till att museiparken i sydväst, där också huvudentrén ligger, förblir relativt ljus. Internal Logic: The building is constructed and broken down Inrethe Logik: Byggnaden är utformad uppdelad efter programby program in different levels.och The ambition was to make met i olika plan. Ambitionen varfor attvisitors. göra en tydlig och lätt läsbar a clear and legible building The idea is that, right byggnad för besökarna. Tanken är att man redan när man närmar when approaching the building from the outside you can see all sig byggnaden utifrån kan se de olika skikten av programmet. Den the different layers of the program. The vertical communication vertikala kommunikationen mellan planen sker i de tre centralt between the levels is done in the three central shafts containing belägna schakten som innehåller trappor och hissar. Den censtairs and elevators. The central placement of the vertical trala placeringen av den vertikala kommunikationen bidrar till att communication helps visitoroch to easily getsig ani byggnaden. overview and besökaren lätt kan få enthe överblick orientera orientation The building gives anskall openvara expression, Byggnaden of fårthe ettbuilding. öppet uttryck och entréplanet en öpand the entry level should be an open / public space, asfritt part of pen/offentlig yta, som en del av staden där man kan vistas utan the city where one can live freely without having to pay. att behöva betala.
entré och foajé situation
03. 02. 01.
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Jonatan Ahlmark KTH Arkitektur Åk 3 Kandidatexamen
Restaurangwith medroof takterass restaurant terrace Restauranghögastandard med restaurant with high standard fri utsikt över Nybroviken. and provides an open view over Nybroviken
Administration och administration andbibliotek library Biblioteket kan nyttjas både the library can be used bothavby besökarna och forskarna och visitors researchers and bildar enand naturlig mötespunkt provides a natural meeting point
exhibitions Utställningar Härthe ligger samtliga is utställningar all exhibitions located samt mindre at thistvå level and hörsalar. two smaller auditoriums
ground floor Entréplan Stor öppen med a large openentréhall entrance hallcafé, with a bokshop och introutställning. cafe, book shop and intro exhibition
design principle The building’s structural system is a geometric pattern that evolved from a division of the triangular shape of the plot. The supporting structure consists primarily of three shafts that run through the whole house and carrying a bar grate of IPE beams. The design allows for long span lengths and provides an internal open space that is well suited for exhibitions. konstruktionsprincip Byggnadens strukturella system är ett geometrisk mönster som sprungit ur en The idea is a general, constant building with an exciting changeable interior. indelning av den triangulära formen påtomten. Den bärande konstruktionen består av tre schakt som löper igenom hela och som bär The oldprimärt Customs House has been preserved and byggnaden used as a tourist center en balkrost av IPE-balkar. Konstruktionen möjliggör långa is spannvidder ochslats and conference center. The museum’s northern façade covered with gerform en innre öppenwall planlösning som välhighlight för utställningarna. Ideén to a feature behind the oldlämpar housesig and its character and an är en generell, beständig byggnad med exciting meeting between new and old.ett spännande föränderligt innre.
auditorium and verkstäder workshops Auditorium och På the nedre planfloor liggerthe auditoriuon lower auditorium met med en stor loungeyta is located and a large luonge area
Maj 2009
Nobelmuseum Blasieholmen
situationsplan skala 1:2000
Lärare: Anna Karin Edblom, César Patín Lapausa, ÅK ansvarig: Alexis Pontvik
Nobelmuseum
på Blasieholmen
inlastning
lager
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turistcenter bokshop
konferenscenter
reception
entré/foajé café
introutställning
entréplan
entré situation
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+24650
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+19800
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+18569
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+14680
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-7000
personal
arbetsyta
tillfälliga utställningar
01.
02.
forskaravdelning
sammanträde
web-gruppen
reception filmvisning permanent utställning kontor nobelmuseum
bibliotek
bokvård
repro
pantheon filmvisning
arkiv
Alfred Nobels laboratorium
utställningsplan
administration och bibliotek
sektion skala 1:800
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n selected selectedwork work n internship at Love Arbén Architects Stockholm 2011/2012 internshipÊatÊLoveÊArbénÊArchitectsÊStockholmÊ2011/2012
Fasad norr
Fasad väst
Fasad syd
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painting
about my art My work can mainly be described as a contemporary depiction of the society, focusing on the cities. What happens to the forgotten and abandoned sites in urban environments and how they evolve over time has always fascinated me. Are there places that possess a non-definable sense, architectural, functionally and aesthetically, ie. places with a zero-degree architecture? Public rooms that lack a given structure and program may not infrequently serve as a new function as places for expressions and opinions, which in turn may create a new meaning to the area/location. Many of the places that interest me are in their nature controversial and often imbued with a social criticism.
n selected paintings paintings from the solo ehibition ‘Pedestrian’ at Gallery Nils Åberg 2010
10
Coney Island watercolor on paper 155x102 cm 2010
painting
n selected paintings paintings from the solo exhibition ‘Pedestrian’ at Galleri Nils Ă…berg 2010
Madrid watercolor on paper 70x45 cm 2010
92 Crosby St. watercolor on paper 105x75 cm 2009