Portfolio BA(Hons) Jonas Hamar by Jonas Østhagen Hamar

jonashamar@hotmail.com

Jonas Hamar

BA Architecture

The University of Edinburgh

. SELECTED WORKS .

Education BA(Hons) Architectural Design The University of Edinburgh 2009-2012 Work Lorentz Kielland Arkitekter, Oslo 2011 (Summer)

Intern

MAD Arkitekter, Oslo 2012 - 2013 Skills

Intern

Adobe Photoshop / Indesign / Illustrator Vectorworks / AutoCAD / ArchiCAD / Sketch-up / Rhino V-Ray Good drawing, model making and photography skills

Concept Drawing AD Elements, 1st year

References:

Features

The University of Edinburgh MAD Arkitekter

Chris Lowry 00441316515782 Trond Elverum Kurt Singstad Nicolai Riise

41501003 91803727 91713909

Lorentz Kieland Arkitekter

Lorentz Kielland

21680049

Exhibited at the13th Architecture Venice Biennale British Pavilion - Venice Takeaway | 29 August - 25 November 2012 Exhibited at the Edinburgh College of Art Permanent Exhibition

YEAR 1

ARCHITECTURAL DESIGN: Elements ARCHITECTURAL DESIGN: Assembly ART AND DESIGN TECHNOLOGY AND ENVIRONMENT: Principles ARCHITECTURAL HISTORY: Introduction to World Architecture ARCHITECTURAL HISTORY: Revivalism to Modernism

YEAR 2

ARCHITECTURAL DESIGN: [In]Place ARCHITECTURAL DESIGN: [Any]Place ARCHITECTURAL HISTORY: Culture and the City TECHNOLOGY AND ENVIRONMENT: Applications HUMAN GEOGRAPHY

YEAR 3

ARCHITECTURAL DESIGN: Explorations ARCHITECTURAL DESIGN: Tectonics ARCHITECTURAL THEORY PROFESSIONAL STUDIES PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 1

PROVOCATION OF THE SENSES - PECHA KUCHA - EXPLORING WEIGHTLESSNESS AND MANIPULATION OF THE VIEWERS PERCEPTION

DIARY ENTRIES

GROUP WORK

METAPHOR - COYNE

CLOUD GATE, ANISH KAPOOR While an object’s actual weight is a result of the materials density, the idea of manipulating the viewer’s perception of an object or buildings’ weight is more complex. It is interesting to look at the features that make a heavy object appear light. For Cloud Gate, one of the techniques Kapoor applied was its the minimal contact with ground, playing on the idea that heavy objects will need a solid foundation or anchoring to stay up. This play on associations in the viewer make can be powerful; Cloud Gate can resemble the light feel of a giant drop of water. The material quality of stainless steel is also exploited to create lightness; the mirror-like metal reflects the lightness of the sky,

INDIVIDUAL WORK

power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection” (Foucault, 1977, p. 203).

The lecture presented the role of metaphor in language, both linguistic and architectural. INITIAL ESSENCE Aristotle defined metaphor as “giving the thing a name that belongs to something else,” (Coyne, Materials used are metal, brick and cotton. wasthe taken from the of stripping objects, 2012, p. 25) The in hisinspiration Rhetoric from 4th century BC.surrealist A modernidea definition reads: “A figure ofor in this case also materials, of their normal significance and position them outside of their comfort Thea brick which is is generally seen as a or symbol supported instead of supporting; the cotton string is structural. speechzone. in which word or phrase applied to an object actionof to structure which it isisnotbeing literally The brick has an aestheticapplicable” presence, andDictionaries is a representative of lecture architectural qualities such as structure and unification. My object turns these (Oxford Online, 2012). The took several approaches to the qualities upside down and word, the seeing cottonit in string-supported brick becomes a symbol relation to mattersfragmented such as misclassification, transgression, negation of and the opposite, within a surrealistic composition with a spiky metal rim framing the andsenses, imprisoning A Metaphor structuralandessence emerges, thattension is about the boundaries of the materials` characteristics. to mentionit.some. misclassification presents between pushing the IS and the IS NOT, illustrating the point with Le Corbusier’s famous metaphorical quote: “The house is a machine for living in.” Even though the sentence is metaphorically correct, it does not state a literal fact. Similarly, tension between the IS and the IS NOT is created in terms of negation, illustrated with Magritte’s painting ‘this is not a pipe’. Although the message may be PECHA KUCHA ADD-ON obvious, interesting questions may be raised in terms of what the painting then is illustrating. Two main views on metaphor were presented: The literalist view, and the interactionist view. The literalists translate metaphorical language into literal language; a very straightforward list-system of two categories is set up to calculate the interaction. The interactionist view does not acknowledge such a rational straightforward system. It states that a metaphor contains the relations between two subject terms, which together contain a meaning that they individually could not achieve.

(Illustrating the body within the Panopticon) ‘Plan for a penitentiary’ (Harou-Romain, used in Foucault, 1977, p. 172)

(Illustrating the body in cyberspace) ‘The Body in Cyberspace’ (Hamar, 2012)

Cyberspace is defined as the notional environment in which communication over computer networks occur (Oxford Dictionaries Online, 2012). Cyberspace is a nonphysical, virtual sense of space, or even architecture. Because of its position as a nonphysical arena where people can interact, cyberspace raise an interesting ‘discussion’ in terms of how the space is categorized; this gets consequences for how we see it in The Imperial War Museum by Liebeskind represents metaphoric architecture. The relation to the body. Network users’ “minds enter cyberspace - a real place in which main metaphor of a globe shattered by war is obvious, as well as harsh geometries and they can exchange ideas or emotions, but in which no physical presence or face-toMEMORY, ANISH KAPOOR This precedence was considered forTHROUGH the Pecha Kucha for its portrayal spaces made to OBJECT affect our emotions (Worsley, 2002). The presence of difference senses face contact is necessary” (Sullivan-Trainor, cited in Coyne, 1999, p. 64). DEVELOPED ESSENCE REVOLT OF THE of lightness. With the change of my project essence towards are spending their time in “static observation mode,” and an of brick war: On land, in the being air and at sea and are also in play. within “The power of metaphor liesprescense in its entrapment and retainment, it however becomes highly relevant. The object can be said to illustrate the as something trapped contained an interesting spatial - like in a spiders webb. Tied together with Increasingly, cotton, from anpeople alienation our “increasingly irrelevant bodies” occur (Dery, cited in Coyne, The piece is situated in its exhibition space in a way that only allows usemetal in a particular of understanding” (Coyne,and Snodgrass & feel Martin, 1994,contrasts p. 113). the primitive 1999,ofp.time. 66). Through interaction in cyberspace the mind can be liberated from interesting dialogue rim and thecontext brick. The metal has a modern intelligent to it that brick. The is trapped within a frame the viewer to experience appears a part of it at thebetween time; the role ofthe memory Upper: Magritte`s ´This Brick is not a Pipe´ (Used by Coyne, 2012). has to play in for the viewer to assemble a ‘complete’ experience. biological and social constraints related to the physical body. “The upside of Lower: The Imperial War Museum, Manchester (Simmons, 2009). incorporeal interaction: a technologically enabled, postmulticultural vision of identity «Our sensous connections with a building must respect the disengaged from gender, ethnicity, and other problematic constructions” (Dery, 1993, process of remembering.» - P. Zumthor p. 3). Because of the disembodiment that occurs in cyberspace, the question of whether cyberspace is really an arena that provides Cartesian dualism, the distinction between body and mind (Crane, T. & Patterson S., 2000, p. 1-2), can be raised. One could be led to believe that the mind is not restricted by its body, and that it breaks out 5 of the ‘cage’ the body represents. This would, however, be a radical understanding of Descartes, because it suggests that the condition of the mind is not grounded in the idea of having a body. If we view the body’s connection to cyberspace in relation to References Image References Coyne, R.D. Snodgrass, A.B. & Martin, D. 1994. Metaphors in the design studio, JAE (Journal of Architectural Education), Vol.48, Coyne, R. 2012. Lecture slides Metaphor, Architectural Theory. University of Edinburgh. Available from: https:// No.2. www.myed.ed.ac.uk/uPortal/tag.idempotent.render.userLayoutRootNode.uP?uP_fname=myWebCT. [Accessed 03 3 January 12].

INTERNSHIP AT MAD ARKITEKTER

ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

Coyne, R. (2012). Lecture slides Metaphor, Architectural Theory. University of Edinburgh. Available from: https://www.myed. ed.ac.uk/uPortal/tag.idempotent.render.userLayoutRootNode.uP?uP_fname=myWebCT. [Accessed 20 November 2012].

Oxford Dictionaries Online. 2012. Oxford Dictionaries Online. [Internet] Available at http://oxforddictionaries.com/. [Accessed 9 January 2012].

Simmons, M. 2009. Imperial War Museum North [Internet]. Available at: http://www.flickr.com/photos/iknowuk/3904428040/. [Accessed 03 January 12].

Worsley, G. 2002. A Globe ripped to pieces. The Telegraph, [Internet]. Available at: http://www.telegraph.co.uk/culture/ art/3579471/A-globe-ripped-to-pieces.html [Accessed 7 January 2012]. ARCHITECTURAL THEORY - JONAS HAMAR - S0969797

ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

. SELECTED WORKS .

GROUND AND SHELTER / MATERIAL WORLD / STRANGELY FAMILIAR MATERIAL WORLD - TIMBER Originally drawn at 1:100 Design for a small timber teahouse

STRANGELY FAMILIAR

GROUND AND SHELTER - SITE PLAN LOW TIDE Originally drawn at 1:500

Design for a house for a small family with one person who works from home in a bicycle workshop.

Project for constructing a Renga Platform. The place shelter s twelve people during the time of writing a renga - a japanese style of poetry. This invitation to inhabit is created through the disposition of ground, wall, frame, and canopy.

MODEL1:100

Jonas Hamar - University of Edinburgh - 2009/2010

YEAR 1

AD: Elements / AD: Assembly

SECTION Originally drawn at 1:100

BODY SURVEY, SEAT, CHAIR MUSEUM

BODY SURVEY - Exploring positions within locked parameters and different levels of comfort offered Group work - with Maria Esteban

SITE SURVEY - PEN ON BLOTTING PAPER -Tracking visitors movement through site and time spent at different areas Group work - with Maria Esteban

Movement is the main theme of these designs. The Parti illustrates one continuous wall travelling up the courtyard, framed by the Flooden Wall and the west-facing facade. A shift in space and level of comfort occur, interiorly and exteriorly. The concept evolved from the body survey and chair design.

CHAIR DESIGN - MODEL 1:200 Group work - with Maria Esteban

Jonas Hamar - University of Edinburgh - 2010

CONCEPT PARTI - MODEL 1:500

YEAR 2

Architectural Design:[In]Place

BODY SURVEY, SEAT, CHAIR MUSEUM

GR. FLOOR PLAN 1:500 (A3)

SECTION BB 1:500 (A3) Jonas Hamar - University of Edinburgh - 2010

YEAR 2

Architectural Design:[In]Place

TIMBER FRAME DESIGN - TIMBER JETTY

Group work design for a lightweight timber jetty through Duddinston lake to enhance bird-watching and the experience of the visitors.

W=5.5kN/m L=4m

EXPLODED AXONOMETRIC, Originally drawn at 1:400 Group work - with Maria Esteban, Cathy Yarwood, Honey Leander

1:10 COLUMN-PRIMARY BEAM CONNECTION

Selected extracts from the final 1:10 structural design - relevant calculations and details BALUSTRADE CONNECTION DETAIL AT PLATRORMS Group work - with Maria Esteban,VIEWING Cathy Yarwood, Honey Leander

Jonas Hamar - University of Edinburgh - 2011

YEAR 2

CIRTEMONOXA DEDOLPXE 002:1

T&E Applications

BUILDING FABRIC - CASE STUDY

Individual case study for a church community centre in Germany. Axonometric drawing generated from 2d details of the timber frame structure

EXPLODED AXONOMETRIC, Originally drawn at 1:100

Jonas Hamar - University of Edinburgh - 2011

YEAR 2

T&E Applications

PERFORMANCE AND PERFORMATIVITY Dance Centre

PERMANENT GROUND - TEMPORARY USE

DANCE CENT R E

Piccadilly Gardens is a highly public and busy public square; an odd site for a permanent dance center. It is characterized by an extensive change in use. Although its ground is permanent, its use is temporary.

P E RMA N E N T G RO U N D - T E MP O RA RY U S E

C A

The sollution for the dance centre design became to create a light temporary skin that sits on top of a permanent constructed plinth. This way, the permanence of the ground is dressed in the temporariness of Piccadilly Gardens . A seasonal dance centre is created, where the temporary timber and polycarbonate multiwall skin is raised to enclose the building in the summer months.

1 P R I M A RY DANCE STU D I O 1 Primary Studio 2 S E CDance O N D A RY D ANCE STU D I O 3 I N FO R M A L PERF ORMANCE/ SOCI AL 2 Secondary Dance Studio S PA C E 4 R E S E P TI O N 5 C A FÉPerformance 3 Informal 6 C A N G I N G ROOM/ CL OAK ROOM 7 S TO R A G E 4 Reception 8 P O P U P S HOP (SEASONAL THEMES) 5 Café 6 Changing Room 7 Storage 8 Pop-up Shop

In summer season – a place for dance, in winter season – a place for site events, after five years: a place for completely new use and purpose. The dance centre is a response to the ever-changing notion of Piccadilly Gardens.

DANCE CENTRE:

Design a Dance Centre at Piccadilly Gardens, Manchester, that responds to the patterns of movements and environmental phenomena that cut across its site, and to the dynamic character of the programme it accomodates.

G R O UND FLO O R PLAN 1:2 0 0

GROUND FLOOR PLAN Originally drawn at 1:200

SUMMER - DANCE CENTRE

Jonas Hamar - University of Edinburgh - 2011

DECEMBER - ICE RINK

YEAR 2

Architectural Design:[Any]Place

FEBRUARY - BUSKING STAGE

PERFORMANCE AND PERFORMATIVITY Dance Centre

MODEL OF DANCE CENTRE ON SITE 1.100

Jonas Hamar - University of Edinburgh - 2011

PERMANENT GROUND - TEMPORARY USE

A cavity in between the multiwall is employed with spotlights that illuminate the facades at night time. The idea is to add to Piccadilly Gardensâ&#x20AC;&#x2122; changing environment, as well as emphasizing the lightness of the temporary facade.

YEAR 2

SECONDARY DANCE STUDIO - DAY/NIGHT

Architectural Design:[Any]Place

PERFORMANCE AND PERFORMATIVITY Dance Centre

PERMANENT GROUND - TEMPORARY USE

EXPLODED AXONOMETRIC, Originally drawn at 1.500

PRIMARY DANCE STUDIO EXPLODED AXONOMETRIC, Originally drawn at 1.200

Jonas Hamar - University of Edinburgh - 2011

YEAR 2

Architectural Design:[Any]Place

PERFORMANCE AND PERFORMATIVITY Dance Centre

PERMANENT GROUND - TEMPORARY USE

SECTION CC Originally drawn at 1:50

Jonas Hamar - University of Edinburgh - 2011

YEAR 2

Architectural Design:[Any]Place

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 1

INDIVIDUAL WORK

INITIAL ESSENCE Materials used are metal, brick and cotton. The inspiration was taken from the surrealist idea of stripping objects, or in this case also materials, of their normal significance and position them outside of their comfort zone. The brick which is generally seen as a symbol of structure is being supported instead of supporting; the cotton string is structural. The brick has an aesthetic presence, and is a representative of architectural qualities such as structure and unification. My object turns these qualities upside down and the cotton string-supported fragmented brick becomes a symbol of the opposite, within a surrealistic composition with a spiky metal rim framing and imprisoning it. A structural essence emerges, that is about pushing the boundaries of the materials` characteristics.

PROVOCATION OF THE SENSES Revolt of the object pt1

CONDUCTED BY THE SENSES POST PHOTOGRAPHY BRAINSTOR PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT

DEVELOPED ESSENCE THROUGH REVOLT OF THE OBJECT The object can be said to illustrate the brick as something being trapped and contained within an interesting spatial prescense - like in a spiders webb. Tied together with cotton, an interesting dialogue appears between the metal rim and the brick. The metal has a modern and intelligent feel to it that contrasts the primitive brick. The Brick is trapped within a frame of time.

JONAS HAMAR

DEVELOPED CONCEPT THROUGH «REVOLT OF THE OBJECT» POST PHOTOGRAPHY BRAINSTORM SESSION: Main associations that Inspiration was taken from the surrealist concept of stripping obPROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 2 - PERCEPTION - ALTERING TH jects, or in this case also materials, of their normal significance and position them outside of their comfort zone. BRIEF:

The task is to present found objects in combination. Ideal are slightly unusual objects and materials which in combination and potentially manipulation, might emotionally vibrate or have friction or tension between them.

THROUGH REVOLT OF THE being OBJECT The object can be said toDEVELOPED illustrateESSENCE the brick as something SELECTED The object can be said to illustrate the brick as something being trapped and contained within an interesting spatial prescense - like in a spiders webb. Tied together with cotton, an trapped and contained within an interesting spatial prescense interesting dialogue appears between the metal rim and the brick. The metal has a modern and intelligent feel to it that contrasts the primitive brick. The Brick is trapped within a frame of time. like in a spiders webb. The metal has a modern and intelligent feel to it that contrasts the primitive brick. The overlaid frames of the photograph adds the element of time.

POST PHOTOGRAPHY BRAINSTORM SESSION: Main associations that came up was that the object had an

Through photography explore sides of the object that can begin generate a concept for an architectural intervention. With the object and photographs as an outset, produce six or more descriptive drawings that begin to suggest possible uses for a building.

SELECTED

ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

SELECTED

INSPIRATIONAL

DESIGN PROPOSAL: MUSEUM OF WEATHER

Jonas Hamar - University of Edinburgh - 2011

INSPIRATIONAL

YEAR 3

Architectural Design: Explorations

SELECTED PHOTOGRAPHS OF CREATED OBJECT PHOTOGRAPHS

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 2 - PERCEPTION - ALTERING THE ESSENCE OF THE OBJECT

INDIVIDUAL WORK

PROVOCATION OF THE SENSES Revolt of the object pt2/3

CONDUCTED BY THE SENSES

THE had SENSES - REVOLT OF THE OBJECT pt 2 - PERCEPTION THE THE POST PHOTOGRAPHY BRAINSTORM SESSION: Main associations that camePROVOCATION up was that theOF object an essence of something being caught, like in a spiders- ALTERING webb. What alsoESSENCE fascinatedOF me, at OBJECT this stage, was how the overlay images had added an element of time.

POST PHOTOGRAPHY BRAINSTORM SESSION: Main associations that came up was that the object had an essence of something being caught, like in a spiders webb. What also fascinated me, at this stage

SELECTED

INSPIRATIONAL

OF THE OBJECT

ENCAPSULATED VOLUMES

PHOTOGRAPHS

INDIVIDUAL WORK

SELECTED

INSPIRATIONAL

PHOTOGRAPHS

ENCAPSULATED VOLUMES

A DIALOGUE BETWEEN MATERIALS AND SEASONS

EXPLORING PLANES AND MATERIALITY

LAYERED ENTRAPMENT

EXPLORING PLANES AND MATERIALITY

LAYERED ENTRAPMENT

PRE-DRAWING STUDY 1:100

ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

Through the drawing exploration, the idea of building materialsÂ´ ability to trap, or capture weather came to mind. I was intrigued by experiences A DIALOGUE MATERIALS SEASONS such as weathered BETWEEN material, shadowplay on a wall,AND heat-retainment within materials and how this could create space that is interesting forEXPLORING PLANS AND MATERIALITY ARCHITECTURAL DESIGN - EXPLORATIONS JONAS HAMAR the senses. The architectural intervention chosen to represent this expression is a museum of weather. In terms of capturing weather in the materials, I also wanted time to play in to add the element of weather retainment. This retainment allows the visitor to experience pre-occured weather conditions; the shifty weather of scotland will keep the materials busy. Memory and play on the visitors assosiations becomes important. The three main building materials chosen are corten steel, for its weather retaining characteristics; concrete panels for its ability to capture shadowplay and a plinth of red rock that barrows a dominating element from the site, naturally weathered by local conditions.

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

LAYERED ENTRAPMENT

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM of WEATHER: CONDUCTED BY THE SENSES

INDIVIDUAL

BRIEF:

Choose a place of your choice in a given area of Edinburgh and create designs for an architectural intervention of your choice. The material and ideas collected so far in Projects 1 and 2 should be used in your creation.

PREVAILING WIND DIRECTIONS THROUGHOUT THE YEAR

SITE 1:5000 SURVEY 1:5000 SITE SURVEY (A3)

ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

HER: CONDUCTEDED BY THE SENSES

INDIVIDUAL WORK

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OFWORK WEATHER: CONDUCTEDED BY THE SENSES INDIVIDUAL

INDIVIDUAL WORK

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

MEASURED LOCAL DIFFERENCES IN WIND SPEED AT A GIVEN DAY WITH PREVAILING WIND DIRECTION: FROM WSW (m/s). FROM THIS AN AXIS OF EXPOSED/UNEXPOSED WAS GENERATED. LOCAL AXIS OF EXPOSED/UNEXPOSED

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

Local axis of wind exposure/shelter INDIVIDUAL WORK

OSEN MUSEUM SITE; THE AREA CAPTURES SUN THROUGHOUT MOST THE SUN`S OF THE DANCE DAY. AROUND THE ARTHUR`S SEAT AREA RECORDED. HIGHLIGHTED IS THE CHOSEN MUSEUM SITE; THE AREA CAPTURES SUN THROUGHOUT MOST OF THE DAY.

LOCAL SITESITE SURVEY 1:1000 1:1000 (A3)

WEATHER OVERVIEW FROM THE TOP OF ARTHUR`S SEAT

THE SUN`S DANCE AROUND THE ARTHUR`S SEAT AREA RECORDED. HIGHLIGHTED IS THE CHOSEN MUSEUM SITE; THE AREA CAPTURES SUN THROUGHOUT MOST OF THE DAY.

ARCHITECTURAL DESIGN - EXPLORATIONS

Jonas Hamar - University of Edinburgh - 2011 ARCHITECTURAL DESIGN - EXPLORATIONS

JONAS HAMAR

RAVINE CREATED BY RAINFALL. LATER BECAME A PATH FOR WALKING

YEAR 3

Architectural Design: Explorations WEATHER OVERVIEW FROM SITE

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES 1 - The Visual Waterfall 2,3,4 - The Billowing Axis of Shelter 5 - The Sundial 6 - The Trombe 7 - The Auditory Waterfall 8 - The Wind Tremors 9 - The Sun Dance 10 - The Wall of Shadow Shift

[Lobby] [Cloakroom, Reception, CafĂŠ] [Restrooms]

5 4 1 2 3

ROOF PLAN

1:300 (A3)

PLAN 3

1:300 (A3)

Through a face of drawing and photography exploration, the idea of building materials Ě ability to trap, or capture weather came to mind. I was intrigued by experiences such as weathered materials, heat-retainment within materials and shadow-play, and how this can create space that is interesting for the senses. The architectural intervention I have chosen to represent this expression is a museum of weather. In terms of capturing weather in the materials, I also wanted time to play in to add the element of weather retainment. This retainment allows the visitor to experience pre-occured weather conditions; the shifty weather of Scotland will keep the materials busy. Memory and play on the visitors assosiations becomes important. The museum is an architecturally amplified experience of weather, where the main weather elements are taken from the larger Arthur`s Seat area, and concentrated into a site that can portray aspects of all of them. The three main building materials chosen are corten steel, for its weather retaining characteristics; concrete panels for its ability to capture shadowplay and a plinth of red rock that barrows a dominating element from the site, naturally weathered by local conditions.

PLAN 2 1:300 (A3)

Jonas Hamar - University of Edinburgh - 2011

PLAN 1 1:300 (A3)

YEAR 3

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

INDIVIDUAL WORK

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

2,3,4

INDIVIDUAL WORK

Diagram illustrating the museums respond to prevailing wind through the mechanical louvers and into the billowing sails ARCHITECTURAL DESIGN - EXPLORATIONS

SECTION AA 1:100

SECTION AA 1:100 (A3) 22

JONAS HAMAR

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

The south-facing «Trombe» experience gives an indication of the sunrelated experiences on plan 1

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

DIAGRAM Originally drawn at 1:500 The wire cage brings the elements of weather into the museum though ratteling, water conductance and penetration. The sails are connected to the cage, and lets the sense of space shift with the wind.

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

Architectural Design: Explorations

:200

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

2,3,4

INDIVIDUAL WORK

Diagram illustrating the museums respond to prevailing wind through the mechanical louvers and into the billowing sails

INDIVIDUAL WORK

The south-facing «Trombe» experience gives an indication of the sunrelated experiences on plan 1

«The Pure Sundial» is the only space that takes in direct light free from shadows of the «Weather Amplifier». At noon, the bottom of the direct illuminated area hits a line indicating the current month; it becomes possible to imagine what the experience of the room will be like in other parts of the year.

5 ARCHITECTURAL DESIGN - EXPLORATIONS

MID-JUNE

JONAS HAMAR

Jonas Hamar - University of Edinburgh - 2011

MID-OCT

YEAR 3

MID-DEC

SECTION BB 1:100 (A3) 20

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

INDIVIDUAL WORK

PHYSICAL 1:200 MODEL ON MODEL SITE 1:200

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

Architectural Design: Explorations

PROVOCATION OF THE SENSES Revolt of the object pt4 MUSEUM OF WEATHER

CONDUCTED BY THE SENSES

LT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

INDIVIDUAL WORK

PROVOCATION OF THE SENSES - REVOLT OF THE OBJECT pt 3 - MUSEUM OF WEATHER: CONDUCTEDED BY THE SENSES

INDIVIDUAL WORK Sun penetrates into «The Sun Dance» where the pond and the time of year decide how light behaves; times relevant to the room are recorded.

MID-JUNE - 58 DEG MAX

MID-DEC - 12 DEG MAX

MID-JUNE 1600

MID-JUNE 1100

MUSEUM ON SITE

MID-DEC 1540

MID-JUNE 1330

MID-DEC 0900

MID-JUNE 1100

MID-JUNE 1545

MID-DEC 1030

MID-DEC 1230

MID-DEC 1500

10 ARCHITECTURAL DESIGN - EXPLORATIONS

MUSEUM ON SITE

JONAS HAMAR

ONAS HAMAR

Jonas Hamar - University of Edinburgh - 2011

YEAR 3

Architectural Design: Explorations

ESSAY (Illustrating the body within the Panopticon) ‘Plan for a penitentiary’ (Harou-Romain, used in Foucault, 1977, p. 172)

(Illustrating the body in cyberspace) ‘The Body in Cyberspace’ (Hamar, 2012)

THE ROLE OF THE BODY IN ARCHITECTURE The role of the body and its link to architecture has undergone radical changes throughout history. The classical relation was defined by Vitruvius in his ‘Ten Books on Architecture’, where he laid down the ground rules for how architecture should be based on the dimensions and proportions of the human body. Two interesting theories that rewrite this body-architecture relation are found in Michel Foucault’s 1977 publication ‘Discipline and Punish: The Birth of the Prison’, and more recently: With cyberspace and its relation to disembodiment, seen in light of Cartesian dualism, and Michael Dery’s thoughts on discorporation. Both Foucault and a disembodied cyberspace put focus on architecture, physical and virtual, as an apparatus that induce certain effects on the human body. In this essay I will address how the two apparatuses affect the body differently, but also how they might be seen to coincide through their interrelation with the body. Lastly, I would like to pose the question of whether Foucault’s philosophy regarding ‘docile bodies’ is relevant within the seemingly disembodied sense of space that is found in the apparatus of cyberspace. As architecture is no longer limited to being based on bodily proportions and geometry, it has become something that impacts our bodies: It manipulates and generates docility, and it can liberate us from bodily constraints. It takes physical and virtual form. Although disembodiment is undoubtedly evident in cyberspace, the apparatus can only be reached through an embodied experience, as we see through the philosophies of Merleau-Ponty and Foucault. Hence, computers in connection with cyberspace can be seen as a new apparatus to render the body, not just the mind,docile. The fundamental change we must recognize with seeing cyberspace as a modern-day descendant of the Panopticon, is that cyberspace covers the whole modern society; and that not everyone are aware that they might be monitored.Society increasingly relies on bodies to take part in cyberspace, which gradually substitutes interaction that previously required bodily contact (bank transactions, grocery shopping etc.) Avoiding involvement would mean to live in isolation from society and other bodies partaking in the apparatus. A challenge related to the virtual architecture that is cyberspace lies in limiting its Panopticism, because whereas the Panopticon was directed at the ‘unreasonable,’ we are now all being ‘watched’. EXTRACT FROM 2000 WORD ESSAY

Jonas Hamar - University of Edinburgh - 2012

(Illustrating the body within the Panopticon) ‘Plan for a penitentiary’ (Harou-Romain, used in Foucault, 1977, p. 172)

(Illustrating the body in cyberspace) ‘The Body in Cyberspace’ (Hamar, 2012)

YEAR 3

Architectural Theory

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

INVITATION & ESCAPE Dessin

ESCAPE Life preservation in the event of fire is an important social and architectural concern. Scottish Building Standard 2.9 requires that ‘every building be designed and constructed such that in the event of a fire, occupants are provided with opportunity to escape before being affected’. The technical standards include detailed prescriptions on building form, layout, construction, and

INVITATION & ESCAPE

Senior Honours Option | MA Architectural Design | University of Edinburgh | 2011/12

Restrictions on Maximum Lenght & Rise 1 in 12

166

2000

1 in 13 230 3000 1 in 14 280 4000 1 in 15 333

materiality, so as to ensure the possibility of safe egress.

5000 1 in 16 370

INVITATION Fire-escape regulations – focused on an exceptional condition of circulation – can distract us from, even prohibit, more everyday concerns; the staircase of a public building, for instance - once its central social and symbolic feature - is today typically separated and compartmentalised, reduced materially and socially. The architecture of fire-escape, then, can be less than inviting. This design scheme, however, will contend that there is something inviting about escape. Drawing on James Gibson’s ‘theory of affordances’, I explore the ‘invitation character’ of the built environment. It will contend that regulation inscribes specific affordances into building, thereby inviting occupants to act. The design studies escape, then, not to ensure life-preservation or legal compliance, but to develop an architecture of invitation.

6000 1 in 17 410 7000 1 in 18 440 8000 1 in 19 470

INITIAL PARTI FOR CIRCULATION/ESCAPE

9000

Wheelchair accessible ramps reach levels 1-3, stepped alternative routes create shortcuts

1 in 20 500

Ramps

10000

1 in 21 - 1 in 59

Pathways

Not Restricted to Certain Measurement

Width ≥ A

Level Floors

Not Restricted to Certain Measurement

≤1 in 60

DIAGRAM - RESTRICTIONS ON MAXIMUM LENGHT & RISE Scottish Building Standard 4.3.10 Pedestrian Ramps

SHORT PROJECT DESCRIPTION My design for Edinburgh’s Empire Palace Theatre is based on Scottish Building Standard 4.3.10 of pedestrian ramps. My proposal is originating around a ramp connected to all levels, providing regulated accessible pitch from level 3 and down. The large habitable ramp is eroded by the logic of a river to create invitation character. Fast and slow routes are formed, as the ramp is appropriated by the flow of people, and their journey and interference within the theatre. At points where streams of people meet, confluences occur. The confluence area is appropriated as the ramp carves to become an area for sitting, pausing and interference. In the event of fire the escape strategy of gravity is employed, leading people out of the building like water. On the ramp, all routes leads down and out. By acting like water and becoming a ‘slave to gravity’, visitors will be lead to safety. The tectonic strategy of the scheme is a folded ramping surface, suspended between solids. Poured concrete is employed for both ramp and supporting solids. Following the strategy of erosion, the structure of the auditorium is perceived as a ‘hard rock’, and is unaffected by the erosion of the ramp. Solid and Programmatic ‘soft rocks’ are carved, pierced and penetrated by the eroding ramp meandering around them.

Jonas Hamar - University of Edinburgh - 2012

PHYSICAL MODEL 1:200

YEAR 3

Architectural Design:Tectonics

INVITATION ESCAPE Etudes Senior Honours&Option | MA Architectural Design

SOURCES,& TRIBUTARIES, ESCAPE INVITATION

| University of Edinburgh | 2011/12

THE EMPirE PAlACE THEATrE {re-visited}

INVITATION & ESCAPE

Senior Honours Option | MA Architectural Design | University of Edinburgh | 2011/12

CONFLUENCES, MEANDERS, DISTRIBUTARIES, THE EMPirE PAlACE THEATrE DELTA {re-visited} SCOTTISH BUILDING STANDARDS: 4.3.10 Pedestrian ramps INITIAL STUDY OF INVITATION 4.3.12 Ramp landings

SCOTTISH BUILDING STANDARDS: 4.3.10 Pedestrian ramps A regular 4.3.12 Ramp landings

ramp is eroded like a river to create invitation. The different dispositions (ticket INITIAL STUDy Of INVITATION boot, cloakroom, social reception area, proINITIAL STUDy Of INVITATION A regular ramp is eroded like a river to create invitation. The difA regular ramp is eroded like a river to create ferent invitation. The dif- (ticket gram billboard and bar) create social the outset forarea, dispositions boot, cloakroom, reception ferent dispositions (ticket boot, cloakroom, social reception area, program billboard and bar)ramp createisthe outset for the to erosion, as the erosion, as the appropriated suit program billboard and bar) create the outset for the erosion, as the ramp is appropriated to suit them. Different slopes offer difthe ramp is appropriated to suit them. Different slopes offerDifferent difthem. slopes offer different invitaferent invitations, ferent invitations, also in relation to the affordances related to also in relation to the affordances related to tions, also in relation the affordances related body sizes. The rampto conducts fast and slow movement; various body sizes. The ramp conducts fast andvarious slow movement; to and various The ramp fast regulated ramps invites sizes. fast movement, whileconducts landings and irreguregulated ramps invites fast movement, while landings irregu- body become a place to pause. Shortcuts are employed lar ramps become a place to pause. Shortcuts lar areramps employed for movement; and slow regulated ramps invites for particular fast movement, cutting off areas that may be bypassed. particular movement, cutting off areas that may be bypassed. fast fast movement, while landings and irregular ramps become a place to pause. Shortcuts are employed for particular fast movement, cutting off areas that may be bypassed.

Invitations Offered

C C

B B

A A

1 2 3 4 5 6 7

BB AA

PLAN AND SECTIONS 1:200 (A3) Plan and Sections 1:200

ISOMETRIC STUDY OF RAMP EROSION 1:100

Inviting Pause Inviting Pause Non-Sensible Slope Non-Sensible Slope Regulated Circulation 3 2.6°- 4.74° Regulated Circulation 4 <6° Non-Visible Slope 4 <6° Non-Visible Slope 5 11.3°-34° Bypassing 5 11.3°-34° Bypassing 6 50° Maximum Walkable Slope EMPIRE PALACE THEATRE 6 50° Maximum Walkable Slope 7 90°-180° Sitting/Leaning SourCES, TribuTAriES, ConfluEnCES, 7 90°-180° Sitting/Leaning MEAndErS, diSTribuTAriES, dElTA

Isometric Study of Ramp Erosion, Model 1:100

YEAR 3

Jonas Hamar - University of Edinburgh - 2012

0° Inviting Pause <3° Non-Sensible Slope 2.6°- 4.74° Regulated Circulation <6° Non-Visible Slope 11.3°-34° Bypassing 1 0° 1 Slope 0° 50° Maximum Walkable 2 <3° 2 <3° 90°-180° Sitting/Leaning 3 2.6°- 4.74°

Architectural Design: Tectonics

EMPIRE PALACE THEATRE SourCES, TribuTAriES, ConfluEnCES, MEAndErS, diSTribuTAriES, dElTA

Plan and Sections 1:200

Hamar

Isometric Study of Ramp Erosion, Model 1:100

Hamar

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

INVITATION & ESCAPE Dessin

STUDY MODEL USED TO CREATE CONVERGING RAMP-SCAPE 1:50

Jonas Hamar - University of Edinburgh - 2012

YEAR 3

Architectural Design:Tectonics

THE EMPIRE PALACE THEATRE {re-visited}

NVITATION & ESCAPE

Parti Diagrams of Circulation and Escape Regulated ramped access reach levels 1-3 of the

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

A regular outset for erosion is created. INVITATIONauditorium. & ESCAPE Dessin

1 2 3 4 5 6 7 8 9 10

INITIAL PARTI FOR CIRCULATION/ESCAPE 1:1000 (A3) Axonometric Diagram

1:700

Wheelchair accessible ramps reach levels 1-3, stepped alternative routes create shortcuts. An outset for erosion due to flow of people is created.

EMPIRE PALACE THEATRE SouRCES, TRIbuTARIES, ConfLuEnCES, MEAndERS, dISTRIbuTARIES, dELTA

Hamar

From the source of the auditorium, water runs out from all openings on its journey towards lower ground. It is lead through tributaries, confluences, meanders, distributaries and a delta. The river is eroded and appropriated by the flow of water exiting the auditorium from different levels and the interference of different streams; this creates fast and slow routes. Different affordances in spatial quality is created as the stream shifts between steep and shallow, slender and wide, piercing and open. It is forced to take volume as it drained between rocks, before completely flattening out and becoming formless as it enters wider meanders. Behaviours of posture, locomotion, collission and manipulation is generated. All driven by one vice and obsession - to obey gravity. At meeting points for main streams, confluences occur. At these points of convergence, the erosion is stronger and the river carves into the ground, forming oxbows and irregularities in the surface or deep cuts into rocks; a space appropriated for interference emerge. Jonas Hamar - University of Edinburgh - 2012

2 3

PLAN LEVEL 1 SCALE 1:400 (A3) Ramps cascade out from the auditorium openings, filling the site.

YEAR 3

Architectural Design:Tectonics

Auditorium/Stage Foyer Reception Cloakroom WC Confluence w/ Bar Green Room Changing Rooms Hospitality Room Offices

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

5 5

6 5

PLAN LEVEL 2 SCALE 1:400 (A3)

Jonas Hamar - University of Edinburgh - 2012

PLAN LEVEL 4 SCALE 1:400 (A3)

YEAR 3

Architectural Design: Tectonics

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

LONGITUDINAL SECTION 1:400 (A3)

CROSS SECTION 1:400 (A3)

Jonas Hamar - University of Edinburgh - 2012

YEAR 3

Architectural Design: Tectonics

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

INVITATION & ESCAPE Dessin

YEAR 3

Architectural Design:Tectonics

INVITATION & ESCAPE Dessin

“Below me, always below me is water. “ “It is bright and brilliant, formless and fresh, passive yet persistent in its one vice, gravity; disposing of extraordinary means to satisfy that vice—twisting, piercing, eroding, filtering. This vice works from within as well: water collapses all the time, constantly sacrifices all form, tends only to humble itself, flattens itself on the ground, like a corpse, like the monks of certain orders. Always lower “ “One might almost say that water is mad, because of its hysterical need to obey gravity alone, a need that possesses it like an obsession. “ “Liquid, by definition, is that which chooses to obey gravity rather than maintain its form, which rejects all form in order to obey gravity—and which loses all dignity because of that obsession, that pathological anxiety. Because of that vice—which makes it fast, flowing, or stagnant, formless or fearsome, formless and fearsome, piercingly fearsome in cases; devious, filtering, winding—one can do anything one wants with it, even lead water through pipes to make it spout out vertically so as to enjoy the way it collapses in droplets: A REAL SLAVE. “ EXPLODED AXONOMETRIC, Originally drawn at 1:400

- Francis Ponge

Jonas Hamar - University of Edinburgh - 2012

YEAR 3

Architectural Design:Tectonics

THE EMPIRE PALACE THEATRE {re-visited}

INVITATION & ESCAPE

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

Worm’s Eye Eye Axonometric Axonometric Diagram Diagram Worm’s

Highligting Key Highlighting key Pile-Supported pile-supported Structural structural Element element

4 5

1 2 3 4 5 6

Steel Headband 300mm sq Precast Concrete Pile, Top Driven with Hydraulic Hammer 16mm Central Reinforcing Bar Standard Joint Spigot Socket Epoxy Joint

1:20 Detail

Pre-cast Concrete Pile, 3 x 1500mm Segments, Spaced 900mm Apart

Overlapping Diagrammatic SectionSection 1:200 Overlapping Diagrammatic Pile-supported Concrete Structure meeting Pile-supported Concrete Structure meeting slabs slabs Originally drawn at 1:200

Jonas Hamar - University of Edinburgh - 2012

Detail Pre-cast Concrete Pile, 3 x 1500mm Segments, Spaced 900mm Apart Originally drawn at 1:5

EMPIRE PALACE THEATRE

YEAR SouRCES, TRIbuTARIES, ConfLuEnCES, MEAndERS, dISTRIbuTARIES, dELTA Hamar

Architectural Design:Tectonics

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

ERODING THE SOFT ROCK LEVEL 1,5 Fast and slow streams converge within a landscape of hard and soft rocks; a shift between open and piercing space emerge

INTERIOR VIEWS

MAIN CONFLUENCE LEVEL 2 The confluences are accompanied by a bar, and become a place to pause and interfere with converging streams of people

Jonas Hamar - University of Edinburgh - 2012

Architectural Design: Tectonics

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA

INTERIOR VIEWS

SHIFTING SLOPES LEVEL 4/5 Fast and slow movement is invited as the variety in slope suggests activity at these irregular ramps of the upper levels.

WIDE REGULAR MEANDERS LEVEL 2,5 The wide regular ramps meanders towards the ground. The main staircase is eroded by people-count as it reach bottom level.

Jonas Hamar - University of Edinburgh - 2012

THE DELTA LEVEL 1 At bottom level, all streams flatten out in a wide field as the river journey comes to an end.

Architectural Design: Tectonics

INVITATION & ESCAPE Dessin

SOURCES, TRIBUTARIES, CONFLUENCES, MEANDERS, DISTRIBUTARIES, DELTA EXTERIOR NIGHT RENDER The ramped expression dominates the facade

LONGITUDINAL SECTION SCALE 1:300 (A3) A roof draining water; a ramp draining people Visual connection between the interior and exterior ramped landscape

Jonas Hamar - University of Edinburgh - 2012

Architectural Design: Tectonics

INTERNSHIP - MAD ARKITEKTER

Volume study for the new law faculty at TulinlĂ¸kka. I explored the play between solid and void within a cube for these studies. The aim is permitting light penetration while still obtaining continous floor plans. The studies tries to somehow respond to the height og surrounding roofscape.

Further volume explorations for the project at TullinlĂ¸kka

SOLID

Jonas Hamar - University of Edinburgh - 2013

VOID

Jonas Hamar

BA Architecture

The University of Edinburgh

. SELECTED WORKS .