KÅRK №35 by KÅRK

SECTION 1: BACHELOR NATURE, NATURAL PHENOMENON AND ITS NATURAL TRANSFORMATION TOYA CAUSSE + prof.CJ LIM BUILT METAPHORS JOHAN NEVE KLEJS HANS CHRISTIAN HANSEN AND THE POETICS OF CLASSISISM AIDA ESPANYOL + prof. CHRISTOFFER THORBORG DAGBOG FRA STUDIETUR TIL CUBA JOHANNE KIRKETERP NIELSEN WUNDERKAMMERET SEDIMENTS CLAUDIA CARBONE + KARI MOSENG MURVÆRKSOPGAVE prof. NINI LEIMAND ETIOPIEN ANNA IVERSEN SECTION 2: DISRUPTION HAIYANG GAO LYSETS AFBRYDELSE AMALIE LYKKE BAADSGAARD NOTES ON NEURAL NETWORKS, ARCHITECTURE, DISRUPTION CAROLINE HØGILD + KASPER M. RASMUSSEN ANYANA ZIMMERMANN MALLORY BUCKNER PATCHING THE URBAN FABRIC STIG FENGER + ANDREAS ANGELO THIIS JON MARTIN SELNES DISRUPTIONS THAT REVEAL THE ATMOSPHERE POLINA CHEBOTAREVA DIAGRAMS OF EXTERIORITY TOWARDS A FUTURE ARCHITECTURE’’ SURAMAYA KEDIA A HOUSE FOR A PSYCHOANALYST RUNE WRIEDT CWR: SILOS ON THE HILL SAMUEL HOLOHAN SAMTALE MED TEGNESTUEN FEM JOHAN NEVE KLEJS DISRUPTION OF LANDSCAPE EGIL KAHLBOM + JOEL ELIAS BRYNIELSSON EN SAMTALE OM ARKITEKTURENS ISOLATIONISME NOAH JANUAR DISRUPTIVE FIKTIONER ASGER HØJLUND OLSEN + LOVISA NORDLÖF LUICIANA FAUSTINI DISRUPTIONS: ARCHITECTURAL EDUCATION IN THE AGE OF NEOLIBERALISM prof. RUTH BAUMEISTER + BART DECROOS SECTION 3: MASTER ARISSARA REED TRANSMATERIA, STOF OG BETONG NORA ØDEGÅRD LÆRLINGENS HUS THOMAS KAMPMANN + HANNAH KRARUP AFGANG: ET ALTERNATIV TIL FREDERICIAS KANALBY PELLE JUUL CARLSEN CWR: ESCAPING THROUGH INFRA- ORDINARIES SOPHIE E. FLINDER

DISRUPTION

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The release of KÅRK´s last issue was curated as an exhibition at Kunsthal Aarhus. We did this to be able to exhibit the contributions beyond the printed matter. For KÅRK #35 we further implement the idea of the magazine as both two- and three-dimensional dialogue between the two institutions, Aarhus School of Architecture and the Royal Danish Academy of Fine Arts by including a biannual exhibition. This semester it will take place at ONSITE GALLERY, the location of NEW AARCH. Thus, KÅRK takes one of the first steps in disrupting the location’s current environment, hoping to inspire collaboration between the existing culture and the one to come. Each issue of KÅRK explores a different theme. Through the reflections of academics and students associated with our institutions, we gain and create knowledge and understanding of the chosen concept. In this issue, we contemplate the meaning of the term DISRUPTION and how it branches out into different disciplines. DISRUPTION can be defined as a disturbance which interrupts or radically changes an event, activity or process. A social disruption can be interpreted as intimidating and unwanted as it forces us to change ourselves and the way we perceive reality. But does this have to be a bad thing? A disruption almost always invites change and thereby progress. In KÅRK #35 we seek to delve into the wider definition of the term both within and outside our field of architecture.

On behalf of the editorial team, Selma Gulden + Jenny Bjerketvedt

Happy reading!

SEKTION I:

CHELOR

Introduction by Toya Causse, 2/3E AARCH + Text by prof. C.J. Lim, AARC/AA

The method, the technique or definite way of carrying out a project, is a key element in the design process and also dictates its outcome. In the workshop held by professor C.J. Lim, a new approach to site analysis was introduced. By introducing new ways to approach and analyse a site, this workshop adds new understanding of some of the factors that defines how we perceive a place. By observing an element separated from its context, one gains deeper understanding of how it affects the whole. The design process also raises awareness of how the temporary and non-visual aspects of a place play an importance in our experience of it. A synthesis of the qualities and attributes of the space is established, and further used to create new architectural concepts. C. J. Lim introduces an abstract and poetic approach to understanding landscape and weather. While architecture is often described as static, his method contributes to an understanding of natureâ&#x20AC;&#x2122;s spatial and dynamic qualities and can therefore inspire us to create new architectural narratives and spaces.

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NATURE, NATURAL PHENOMENON AND ITS NARRATIVE OF TRANSFORMATION

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“You can’t but look at the countryside without getting an idea of the seasons and the lives that have flowed through the place. Nature is all about change, and fleetingness; and so I melted water to draw the landscape.” 1

demonstrating the changing directions of the wind, Toyo Ito’s opaque ‘Tower of Winds’ becomes magically insubstantial and ephemeral - a stunning display of ever-evolving light patterns, colour and transparencies, responding to the incidental ‘music’ of the city. Every so often, kinetic intelligent devices are incorporated into building facades for environmental control. The southern facade of the Institut du Monde Arabe in Paris is made entirely of cam-

Goldsworthy left a snowball, mixed with gathered ground rocks, berries and twigs, in his studio to melt on a large piece of paper. The resultant effect is a poetic drawing of watermarks, with bright rivulets of rock and elderberries. It reveals a close textural memory with the spot where the raw materials were gathered. The ephemeral qualities and abstract interpretation of nature unfolds a spatial narrative. Natural phenomenon and its narrative of transformation play significant roles in our understanding of spatial engagements. It may be sensed through different colors and odours, it may be heard through wind rustling in the leaves, and it may be seen through the modulation of light from the sun and moon throughout the day, the seasons and differing climatic conditions. In ‘The Englishness of English Art’, Nikolaus Pevsner explained the importance of climate for the development of our relationship to nature, expressed in English landscape paintings, gardens, and ultimately architecture. The climate is “too warm not to

want to be outdoors but too cool to be idle – hence English sports, hence English gardening, hence the Englishman building his own garden wall”.

In ‘Words and Buildings: A vocabulary of Modern Architecture’, Adrian Forty emphasises that “nature has been the main, if not the principal category for organising thoughts about what architecture is or might be”. There has been a long history of symbiosis between nature and the vocabulary of the built form. Not contented with just a simple weathercock

era aperture diaphragms which choreographs the metal irises depending on the intensity and level of daylight entering the building. The filtered light brings a decorative and distinctly Middle-Eastern atmosphere to what would otherwise be an elegant but soulless glass and steel edifice. Phenomenology of nature can provide a framework for an abstract understanding of the watershed of the Aarhus River. Students from the different Units will define different areas of focus – some might work with the dry, elevated land at a distance from the river itself, while others might work with wetland linked to the river or one of its tributaries. Rather than assuming and deducing, students are encouraged to treat the exercise first and foremost as a process of discovering nature’s ability to

1 Andy Goldsworthy, ‘Ice and Snow Drawings’, 1991

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Yad Vashem / ‫םֵׁשַו דָי‬,

Holocaust History Museum, World Holocaust Remembrance Centre

location architect year

Israel, West Jerusalem Moshe Safdie 2005

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The Holocaust History Museum is a 180-metre long underground concrete prism piercing through the hilly landscape of West Jerusalem. It is part of the 18-ha Yad Vashem complex that also contains memorial sites, sculptures, a synagogue, a research institute, a library, a publishing house, and an educational center. Visible from above by the long triangular skylight, the museum cuts through the

landscape like a laceration, comparable to the symbolic architectural scars of Daniel Libeskind’s Jewish Museum in Berlin. The wound becomes a central narrative to the design concept. However, as you thread through the chronological exhibition of the persecution of Jews and the horrible war crimes of World War II, it is as if you are stitching the wound back together, always zigzagging across the main space, creating an invisible thread behind you, which then gets tied up when you arrive to the dramatically cantilevering finish line overlooking Israel’s forested hills. The museum as a whole, piercing through a hill, acts in the same way as a needle that again sows the landscape back together. This metaphor is well known within especially second-generation holocaust literature2 and as previously mentioned other Jewish museum architecture, shaping the identity of post world war Jewish culture.

Johan Neve Klejs, 2/3 E AARCH

John Onians revealed to us in his legendary paper, Architecture, metaphor and the mind1 that often metaphors in our language are architecturally rooted concepts. In the same way, architecture can have a deeply metaphorical language. This article will dive into the metaphorical language of Israeli-Canadian architect Moshe Safdie’s Holocaust History Museum in Yad Vashem, West Jerusalem.

D I S R U P T I O N

BUILT METAPHORS

In the Hall of Names, a deep hole has been dug in the ground. At the bottom, it is painted black and filled with a shallow bed of water so as to make it seem endless. The installation is a metaphor for the names that were lost and the stories that never got told. Situated outside is a children’s memorial also designed by Safdie. Again subterranean, this installation leads one down into a pitch-black space with an infinitely mirrored candlelight and a low voice that speaks out the names of the children that got lost during the war. The architect has not been afraid to use the most powerful of means to evoke a solemn and grievous experience in the visitor. The concrete serves not only to retain the pressure of the heavy earth above. With a raw, unpolished finish, it underlines a gritty atmosphere and utilizes its associated symbol of the petrified to induce a sense of death to the visitor. There is a calculated strictness to the concrete alluding to the Nazi regime and its methods. That, together with the claustrophobically leaning walls and different levels of familiarity makes for an effectively uncanny space.

Moshe Safdie’s architecture is strong and uncompromising. It delivers an emotional and symbolic narrative capable of supporting the unparalleled dark history it seeks to communicate, yet it offers an element of reconciliation in its panoramic, open-ended narration. The funnelling effect in the walls is backed by a slight horizontal curvature in the floor. The visitor is literally led down and into the moun-

1. Architectural History, Vol. 35, John Onians (1992), pp. 192-207 2. Second-generation Holocaust Literature: Legacies of Survival and Perpetration, Erin Heather McGlothlin (2006), Introduction p. 11 3. Yad Vashem: Moshe Safdie – The Architecture of °Memory, Joan Ockman (2006), p. 99

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tain and through the halls of history before ascending to the breathtaking viewpoint, in an analogy to dramatic storytelling. Throughout the museum, architectural memorials add to Safdie’s metaphorical vocabulary.

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The task offered Moshe Safdie a rare chance to explore darkness as an aesthetic narrating tool, creating an architectural language infused with symbolic and metaphorical meaning. The darkness, however, is rivalled only by Safdie’s budding, powerful optimism of light in the narrative:

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“…Designing the Children’s Memorial had given me an inkling of the power of emerging into light. It meant that life prevailed. For the new museum, cutting through the mountains and bursting northward ... to provide views of the hills beyond this life-affirming experience to another level. To stand on the extended terrace ... is to understand that, indeed life prevailed. We prevailed.”3

“Is there any thing whereof it may be said, See, this is new? It hath been already of old time, which was before us” – Ecclesiastes 1:10

Aida Espanyol, MArch AARCH + Christoffer Thorborg, Cand.arch., PhDAARCHt

The standard narrative of the 20th century has been that modernism represented a radical breach with tradition that rendered the classical language of architecture obsolete. Though being a historical style, modernism has been hailed as modern architecture per se even though western culture has been modern since the age of enlightenment. The question, however, is how often architects invent anything new. Could it be that architects still deals with the same fundamental aesthetic and tectonic problems that has been dealt with since classical antiquity? In a time where schools of architecture are giving increasingly more focus to immanent socio-political and eco-cultural problems we endeavored to focus on the age-old fundamentals of architecture in a recent course. The course investigated the relationship between Danish architect Hans Christian Hansen (1901–1978) and the poetics of classicism. By reading the modernist oeuvre of Hans Christian Hansen through the apparently obsolete poetics of classicism and vice versa by reading the classical legacy through Hans Christian Hansen’s apparent break with tradition, the course endeavored to shred light on and discuss the topicality of historical architecture and the historicity of contemporary architecture. The course’s theoretical foundation consisted of a lecture on the oeuvre of Hans Christian Hansen and a lecture series on the poetics of classicism. In addition to this, a carefully edited curriculum was studied and discussed in relation to each lecture. This served to give the students rudimentary skills to looking at and analyzing classical architecture. The course’s practical exercise consisted of building analysis of twelve carefully selected buildings, six of which were canonical classical and six of which were by H. Chr. Hansen. These buildings were studied in models and drawings. Our course endeavored to reflect on and discuss the possible relevance of the classical in contemporary architectural education in an age where political problems claim increasingly more attention and historical knowledge potentially is diminished.

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HANS CHRISTIAN HANSEN AND THE POETICS OF CLASSICISM

Florentyna Pichlet + Trine Olesen + Polina Torge, AARCH

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DAGBOG FRA STUDIETUR TIL CUBA

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Johanne kirketerp Nielsen, 2/3F AARCH

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“Du - så er jeg i cuba, her virker charmerende og slidt, vi er hos vores casa mamma nu, byen er lummer, gadelygterne er varmt gulige, klokken er to om natten her, om lidt er det morgen hos dig, det smiler jeg over, før jeg falder i søvn.”

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Vores toilet er en lyserød drøm, det ligger mellem de to soverværelser, når jeg sidder i min seng, kan jeg se Ilse gennem spejlet i sin seng, dagene er gode, bliver kun bedre, smelter sammen i varmen. Vi lægger vasketøj på værelset, det lugter af sved og solcreme og minder mig om sommeren med dig, folk har solmærker efter sandalerne og vi er efterhånden kategorisk begyndt at komme femten minutter for sent, - jeg sluger det som en dårlig mojito - siger Ilse, jeg kigger hende i øjnene og flækker i et smil. Jeg har det klamt, af sved og bussens aircondition. Jeg er dårlig til at være turist. Dårlig til busser, som sætter os af ved sluser af boder. De hvide due var smukke i vinden og skar i solen. Det hele skabte en procession op mod tårnet som engang blev brugt til at overvåge slaver i sukkermarkerne, som nu bliver brugt til turister med kameraer, vi står der også. Trine snakker om at lave et stort ironisk projekt sustainability tager til cuba. Jeg kan ikke se det sjove i det lige nu, har det bare klamt af sved og aircondiotion og den måde jeg er på i verden. Vi skraber lodder, med wifi koder, køber internetadgang på timebasis, Niklas tjekker hvad der er sket i verden, jeg ringer bare hjem til dig. Prøver at fortælle dig om Giron, og den nordøstlige passatvind og fregnerne. Jeg er begyndt at tage screenshots af beskederne, skrive svarerne derhjemme i note form, tænker at det er en dejlig måde at være online på, at jeg vil gøre det i Århus engang, jeg lyver for mig selv, men smiler over wifi kortet. Internettet er bedre når det doseres. Vi bliver syge, og de har lukket for vandet, så folk render til poolen og fylder spande til at skylde ud med, eller løber fordi vagten og ned på stranden, vi får ikke sovet meget i nat, men karlsvognen vender på hovedet og det er jo også en ting at prøve og forstå.

Vi kan ikke printe kort, eller bruge maps, så jeg tegner det i hånden. Det er lige linjer som krydser hinanden i 90 grader, det ligner en abstraktion, men det er virkeligheden. Gaderne løber 45 graders retning på kysten så passat vinden som altid kommer fra den øst/nordøst kan løbe langs dem, jeg smiler taknemmeligt, ellers ville jeg smelte som smør.

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Vi spiser frysepizza og guavafrugter, bliver spist med øjnene af de lokale. jeg er allerede fyldt, der er to uger mere. Intet samler sig til et bachelorprojekt alt spreder sig, i indtryk, alt eksploderer i farver og intentioner om undersøgelser som aldrig er metodiske nok.

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Aflejringer i samlingen og arkivet - Et projekt der peger frem ved at skue tilbage.

Claudia Carbone, Cand.arch. AARCH + Kari Moseng, Cand.arch. AARCH

Om det at studere - som en del af studieplanen blev de studerende fra Unit 1B, studieåret 2018-19 i slutning af deres første semester bedt om at selektere og organisere deres arbejder. Dette for at skabe en sammenhængende læsning af forskelligartede repræsentationer, der udfordrede og udfoldede forestillede rum til ritualer, passager og vandrum. Formen var et Wunderkammer – et raritetskabinet, der med rødder 1600-tallets dannelsesidealer søger at favne hele verden i et skab. Om det at udstille - erindringens rum. De studerende blev bedt om gruppevis at påtage sig rollen som kuratorer for de enkelte øvelser og om at udvælge i andres materiale og dermed frembringe nye læsninger og refleksioner over læringen - kollektivt og individuelt. Det repræsentative format udfordredes af præsentationens krav i forhold til materialet, rummet og beskueren, for eksempel blev 2 gange 20 meter lange tegninger til et foldet dokument, der nu læstes i brudstukker akkompagneret af en filmisk gengivelse i loftets krumning. I Wunderkammerets særegne univers omsluttes beskueren af materiale hvor samlinger af modeller, tegninger og film sammenvæves til en krydslæsning på tværs af kategorier. Wunderkammerets kompakte form rummer en mangfoldighed der både udstiller samleren og de genstande, der udgør samlingen.

Foring af rummet med det som er - at aktivere rummets geometri og udstrækning blev en af de givne udfordringer, ligesom en del af opgaven blev at udforme kabinetter og andre rumlige anordninger, der muligjorde at materialet beboede rummet. Som i traditionelle Wunderkamre anvendtes loftsfladen i flere tilfælde ligesom undersiden af bibliotekets trappe fremstod som formidlingsflade for udviklingsmodeller og skitsemateriale - i sig selv en grundlæggende diskussion af kontekstrelationer. I mindre universer (små intense sammenhænge) udgør summen af de uendelig mange mulige læsninger et heterogent felt. Et heterogent felt som i det givne biblioteksrum i sig selv er gennemtrængt af passager.

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WUNDERKAMMERET SEDIMENTS

D I S R U P T I O N

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Uudstilling på Arkitektskolen Aarhus 25. januar 2018 – 8. februar 2019.

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Vandpassager væggen mellem tidskriftssamlingen+ Intermezzo #1 film af kirken + oversavet model af kirkerummet i 1:20 Agnes Krokene Jarmund, Johanna Sorgenfrei Mac Dalland, Oliver Skovdal Danielsen, Rasmus Gregor Jørgensen, Asta Wittrup Lindenborg, Julie Høj Jensen, Henrik Haram Frølich og Søren Munk Skovgaard. Intermezzo 2 # Vandspor – to foldede kollektive tegninger (150 cm x 2000 cm) vandprøver – vandspor fra byen. Sofie Jahn Worm, Kathrine Stampe Kristensen, Simon Florea Nøstvik, Peter Gröne Christensen, Clara Troldborg Ohmann, Mathilde Bang, Tobias Kallestrup Bogner og Fredrik Sletner. Vandritualer kabinet indeholdende gipsmodeller 1:50 Eiril Stensaker, Nanna Bonne Jensen, Frederik Bo Højbjerg, Alexander Ivanoff, Birta Fonn Sveinsdottir, Line Sams Troelsen, Thomas Brun Hansen og Luca Bilbo Rasmussen. Intermezzo # 3 betydningsmodeller (fri skala og materialer) + Vandlandskaber / landskabstegninger vandringer og model 1:5000 Emilie Braüner Bagger, Oda Johanne Hegge, Anders Høiberg Nielsen, Karl Berg Pedersen, Cathrine Guldborg Adamsen, Rikke Hankil Andersen, Jens Rudolf Ugelstad og Lasse Stenkjær Pedersen. Vandpodning skitsemodeller og tegninger under og på trappen. Procesmateriale i mellemrummet ved vareelevatoren overlejret med projektion af blæk i vand og blåtonet lys Ida Houmann Johansen, Selma Lindhardt Blomberg, Asbjørn Lien-Iversen, Marius Wold, Helene Marie Akselsen, Majken Haugaard Nielsen, Louis Anton Lindholm Levinsen og Kristian Pedersen.

Tak til biblioteket.

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Det er anskuelsesundervisning af bedste slags sammen med de studerende at aflæse murværkets dele og overveje hvordan de indgår i helheden. Den afsluttende delopgave fokuserer på begrebet tektonik og beskæftiger sig med formgivning med udgangspunkt i et modulbaseret element i form af teglstenen. Murværk var dette skoleår allerede blevet introduceret som konstruktionsmateriale og særlig æstetik, da efterårssemesterets fælles kontekst for hele Bachelorprogrammet Arkitekturens Anatomi & Fabrikation var Sukkerfabrikken i Stege på Møn; et kraftfuldt anlæg i hovedsageligt røde mursten. I midten af anlægget lå et lille velbesøgt røgeri og til dette var opgaven at tegne en røgemesterbolig med tilhørende udsalg og spisested. Ergo var det oplagt at årets 1:1 murværksopgave skulle være en viderebearbejdning af et fragment fra den enkelte studerendes røgemesterbolig. Som skitseringsværktøj har vi på KADK mange års erfaring med allerførst at sætte de studerende til at skære 9mm MDF-plader op i skala 1:6 ’mursten’ 38x18x9 mm (lxbxh) og fordele en bunke til hver på bordene. Så sænker der sig en helt særlig fokuseret ro på tegnesalen, alt imens modelstenene stables, eksperimenterne intensiveres og strukturer falder sammen. Modellerne genrejses med nyvundne intuitive erkendelser af udfordringen med lodrette gennemgående fuger og manglende vederlag, dristige udkragninger mm. Efter 1½ dags skærpelse af modellerne limes MDF sten sammen med 1,5 mm pap som fuger.

Nini Leimand, Associate Professor PH.D. AAF KADK

1:1

På første semester er det godt at starte med en murværks-ekskursion den første arbejdsdag i januar. I år gik turen til Dronningegården, det nyeste Pakhus på Langelinie, Voldparken Skole, Tingbjerg, Islev Kirke, Grundtvigskirken og Forskerboligerne på Carlsberg.

D I S R U P T I O N

MURVÆRKSOPGAVE

Dzifa Bravie, AAF KADK

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Udvalgte af disse 1:6 modeller danner skabeloner for den efterfølgende 1:1 opmuring i grupper på NEXT BYG / Teknisk skole, Fabriksparken 31 i Glostrup. Her tager et par altid engagerede og tålmodige murerfaglærer imod kl. 8 om morgenen i deres hvide murerarbejdstøj, og så er der afsat 2½ dag til at mure et smukt og indlevet stykke murværk op. I salene ved siden af trænes murerlærlinge med millimeterpræcision i buestik og murede hvælv mm. Alskens andre håndværk øves på denne store tekniske skole og man kan kun drømme om at give de arkitektstuderende mulighed for at få berøring med andre tilsvarende håndværk. De murede fragmenter affotograferes og danner grundlag for optegning af kraftfulde 1:20 opstalter fra semesteropgaven på Møn. Der tegnes desuden et aksonometrisk detajleudsnit i 1:5 af et udvalgt sted, for eksempel ved en åbning i murværket. Tegningerne udføres med kul på råhvid Hammerpapir i A1 format med angivelse af skygger og perforeringer. Mange nystartede arkitektstuderende spørger med bekymring umiddelbart inden de skal vælge bachelorprogram, om vi udelukkende arbejder med fokus på det tekniske og om vi aldrig arbejder abstrakt på Arkitekturens Anatomi & Fabrikation? Denne murværksopgave er et eksempel på, hvordan arbejdet med arkitektfaget netop er en konstant vekselvirkning mellem i dette tilfælde murstenens intuitive, konkrete natur og den autoritet og skønhed de studerende overraskes over når kultegningerne konstrueres frem på papiret, som et rigt mønstret, håndvævet tæppe øjnene ikke kan slippe.

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Viktoria Daae, AAF KADK

D I S R U P T I O N

Justyna Sadowa, AAF KADK

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34 Tak til vejlederne på 1. år Johannes Schotanus, Sidse Hald, Kalle Jørgensen, Søren Johansen, Sebastian Skovsted, Boye Lippert og Thomas Kampmann. Tak til Jan Laursen og murerfaglærerne fra NEXT. Tak til Danske Tegl for at sponsorere dette undervisningsforløb på NEXT samt murværksturen.

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Anna Iversen, FS KADK

ETIOPIEN

61 kilometer til bahir dar Afrikansk savanne African time 61 minutter 122 minutter 244 minutter

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100 km i timen

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mangler billede

Hverdagskost bæres af en punkterede rytme De høje luftige opløste vores virkelighed Som tunge ting i dybe vande synker en helt tilfældig januar morgen Jordens ressourcer omsættes Toner vibrerer i et langstrakt blik

Langstrakt blik

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Hvordan er verden når der er langt til alt Er verden kun til udsigten af bjerget Vi løber igennem den Lære ikke at stoppe op

Mit blik følger månen som kysser ryggen af bjergenes top Den følger os på busturens fjortende time

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DIS

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SEKTION II:

RUPTION

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Haiyang Gao, S2B AARCH

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This project began with a scan of whiskey bottles. When studying the geometry of the scan results, I found that the scan results were affected by the reflection and refraction of the wine in the bottle and the bottle, creating a lot of space and wrinkles. The result of the scan is a comprehensive summary of the environment in which the bottle, wine and bottle are located. It is a description of the language that broke the previous language and formed a new language. However, the shape of the original bottle can still be felt from the scan results. I nested the original bottle and the scan results and tried to find interesting forms or spaces. I am attracted by the space they both make up. If I treat them as a cup, then the combination is a cup that is fused into two cups. The combined cup seems to combine two languages, and at the intersection is the end of one language is the beginning of another language, but they tell the story of the same whiskey bottle. This image shows the results of several different studies, by adjusting the percentage of scan results and the percentage of the original bottle to get different descriptions of the same story.

Thorvaldsens Museum, kunstmuseum i København, opført 1839-48 efter tegninger af Gottlieb Bindesbøll som en ombygning af den kongelige vogngård. Museets hvælvede rum, hvor skulpturerne får lys fra højtsiddentde vinduer, blev udsmykket efter antikke, især pompejanske forbilleder under ledelse af Bindesbøll. *

Amalie Lykke Baadsgaard, 2/3E AARCH

Den 24. februar 2019, kl. 12.50 stod lyset magisk skarpt ind fra de højtsiddende vinduer og brød den ellers fremherskende harmoni i rummenes form og farve. De farvede og ensartede overflader blev opdelt i lys og mørke. Lysets berøring pustede nyt liv i gips og marmor og fremkaldte en særlig tilstedeværelse hos de antikke stenskikkelser.

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Lysets afbrydelse

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”I København er der en bygning, der har en akustisk effekt beslægtet med den, man træffer paa i porte og tunneler. Det er Thorvaldsens Museum. Som bekendt er det bygget med benyttelse af murene fra en gammel vognremise fra det attende aarhundrede. Og endnu staar der en lyd i bygningen som i en samling af tøndehvælvede vognporte. Det er et hus for stenstøtter, og der er ikke nogen af de formildende omstændigheder, som man finder i byens andre huse. Gulvene er af sten, væggene af sten, lofterne af sten, og husets beboere er af gibs og marmor. Det giver rummene den haarde, længe lydende tone. Naar man træder her ind i statuernes bolig, er man kommet til en verden” **

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DISRUPTION UNCONSIDERED: on machine intelligence exceeding human architecture

Caroline Høgild, HD KADK + Kasper Munk Rasmussen, Datalogi DTU

Apart from letting oneself follow the imagination into dreams about blockchains for architecture, machine learning is the most immediate topic for any talk of ‘disruption.’ It would be easy to dismiss any such reflections merely on the grounds that conclusions are too easy to form. Digital intelligence substituting the organic intelligence of the human architect, leading to a total collapse of the economic function of architecture as a human profession. From a scientifically informed worldview, it becomes very improbable that such a phenomenon is not possible. Firstly, one would note a basic consensus in cognitive science; that the human brain is to be viewed as an information processing organ. Couple this with the results from theoretical computer science which makes

it unlikely for organic intelligence to contain any computational expressive power that digital computers do not. As for the realisation of this possibility of human-level machine intelligence, the first chapters of the book Superintelligence by Nick Bostrom, professor at Future of Humanity Institute at Oxford, contains a comprehensive argument for the inevitable realisation of human-level general artificial intelligence.2 Even considering the realisation of this potential for human-level AI, such reflections still belong to the imagination of the far future and do not necessarily involve disruption in the strict sense. This means that staying realistic requires the abandonment of generalised notions of artificial intelligence in favour of consider-

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NOTES ON NEURAL NETWORKS, ARCHITECTURE, DISRUPTION

realpolitik

Neural networks are adopted into the capitalist economy at the speed which companies can afford to invest in technology. Even apart from any discussion of architecture, it should be a general understanding in any discussion of the relation between machine learning and disruption, that the mere academic results and practical possibility of machine learning are not the only factors in the disruptive force of these networks. It is the failure of the imagination of a radically technologically altered society, that it not consider the way human beings, companies and states will prioritize investment in the application of technology in the grand scheme of their budgets. The fact is, that especially from the perspective of the state, there are more pressing issues than realising the dreams of the futurists.

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Perhaps, there is also a point here in relation to aesthetics. When discussing disruption, we need not fall into abstract speculation on the meaning of a machinic aesthetics. The question is not really whether machine learning models can possibly creatively produce new music. As we already noted, there is nothing which theoretically and scientifically excludes this. Rather, if one, for example, does online research on computer work with music, one will find the field undeveloped. This is because of the lack of safe financial gains, thus limiting the activity to eccentric, low-funded academic work and use by artists who will present themselves as â&#x20AC;?live coders of musicâ&#x20AC;?, or specifically experimenters of artificial intelligence and music. Neural networks are not yet an integral part of the music industry. The production of keyboards, synthesizers, DAWs etc., has a certain limit in terms of investment opportunity. This determines the extent to which neural networks actually disrupt such fields as synthesizers, drum machines or automatic generation of melodic and harmonic structures. There is one more point to make in relation to music or actual art. The dedication of intelligence and productive activity put into art is currently limited by the capitalist political economy. In a political structure with universal basic income, perhaps a greater number of intelligent and creative people would have the possibility of investing time in learning both the art of music and the technical knowledge of statistical digital technology. Analyzing the economic structure and the investment potentials of future architecture industry is non-trivial. Though not directly architecture, urban planning would be an obvious beginning point of such an inquiry. It is already the case that advanced computational simulations are applied to complex networks such as cities for

example in for modelling the relationship between urban designs and the traffic capacities of roads. The UN estimates that the world urban population will rise to 68% in 2050,5 but this does not mean that the potential of machine learning will necessarily be exploited for a disruption of urban architecture. It seems equally likely that this urbanisation process will proceed in an extremely expensive matter: Disruption will only happen if there is capital available to exploit this urbanisation process. Urbanisation is a complex process including the state, companies, and the stock exchange as actors, which are themselves extremely complex systems. In the United States, for example, investment in free colleges and health care is probably a massive financial opportunity, but that money is spent on maintaining the military-industrial complex instead. In the same way, gains from investing in intelligence to deal with urbanisation are not guaranteed to be identified by states, thus arguing against disruption on that front.

disruption as creative action

It could then be the case that architecture does not contain the necessary financial opportunities which would introduce machine intelligence into the industry. In such a case it would become even more meaningful to flee from the unengaged sentiment which asks merely speculatively how neural networks could disrupt architecture and instead embrace disruption as a creative action. From this view, disruption is not something to be analysed and prepared for, nor something to be exploited for simple economical gain by the capitalist system. Disruption can instead be viewed as both an ethical and artistic force. In this way, capacities for machine intelligence to alter human modes of existence are realised by creative activities which enhance the potential of individuals and the complex networks with which they are engaging. With disruption viewed in this way, the tasks become cartographic: What are some of the pathways for disruption of architecture? What are some ideas which may need to be explored and picked up in some way by those who have both the material capacities, intelligence and creativity needed to expand the frontiers of aesthetics? When noting once again that machine learning is not to be conceptualised as a separate technology but as an integrated part of all coming digital technology, it is not outside the scope of the discussion to reflect on virtual reality. Any disruptive architectural force which is truly ethical will have to view architecture fundamentally as operations on space and of the way human beings can exploit, build and interact with space and larger structures in space. Virtual reality will both allow architects to be immersed in their ideas and test the usability of architectural creations. These experiments by human beings can produce extreme quantities of data, both at the level of sensors and trackers but also on the data produced after algorithmic statistical analysis. Such developments would open up the possibility of strong, statistically validated, psychological models of how human beings interact with architecture. At the mathematical level, machine learning is mathematical optimization. This means that the obvious use case for this data, namely prediction of optimal

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ations on whether the capacities of machine learning and neural networks, as they appear now and in the near future, will or can disrupt architecture. Nothing seems more futile than attempting to argue from one side: Our method should be one of surveying possibilities.

We will shortly return to prognosis. It seems much more likely, not that the human architect will be made redundant within the near future, but that the activities of an architect will change as new intelligent solutions disrupt the architect’s established modes of thinking, experimenting and solving problems. But this also means that if architects are to disrupt, as a creative act, they will have to embrace the mathematical foundations of space and understand the implications of the insight that computation is nothing but the practical application of the power of mathematics. This means that the practical activity of constructing new spaces will be disruptive to the degree to which it manages to actualize the potential of computational power.

owning architectural intelligence

We have already noted that the actual disruption of architecture, on a larger scale, depends on financial factors. If it then becomes the case that capitalism exploits potential, then a political and ethical battlefield appears. Both the ideas of architects and the machine learning technologies and models they use will be intellectual property (IP). The largest barrier to disruption will always be availability. The emergence of the global internet would not have been disruptive if not for the openness of the standards on which it is based. Oxfam released a report in September on Big Pharma including discussions on the overpricing of medicine, including the example that ”Pfizer’s breast cancer drug paclitaxel, can be produced for $1.16 yet sells for $276 in the US and $912 in the UK.” A machine intelligence driven, capitalist, architectural industry could be vulnerable to such sad cases too. It is evident that housing plays a major role in the financial markets. This could be used to argue for the possibility that architecture will become of strong financial interest as urbanisation continues, thus producing a part of the architectural landscape which is heavily capitalised. It could be the case that such an industry would find most of its economic value in IP. It is no outdated clich́ e that data will play an increasingly greater role in all economic sectors, it is rather an important truth which is remembered for good reason. Machine intelligence allows data and technology to be exploited. Thus the capitalized architectural industry will probably be no different. In such a case open source architectural neural networks could have disruptive and strong ethical potential, especially in the global south where urbanisation is going to happen at the highest rates.

technique and territory

We already hinted at it: an architectural idea is at its core a complex geometric object and it is on this basis that architecture is open to disruption by machine intelligence. It is possible to move in another direction of reflection too. Architecture is human technology, understood as the artificial constructions which human beings create in order to realize goals and expand their potential. It is not the basic lesson of computation, that the very concept of computation makes it applicable everywhere. Which industry has not been transformed by the powers of computation in the last 20 years? The maritime industry is only slowly beginning to invest in diverse potential such as computer security, networking, image recognition, and we have already discussed what determines the speeds of such transitions. Increasingly any technology is infused by a spirit of informational technology.

Houses, schools, metros, airports. It takes a strong lack of reflexivity to regard these merely as static geometric constructions, instead of complex networks of materials and flows of people, food, water, excrement, wifi, etc. Architecture is fundamentally linked to territory. This is a dynamic phenomenon, which is already within its biological basis linked to information. The dog peeing on the corner and sniffing everywhere.8 It is the job of creative, disruptive and critical architects and designers to figure out how machine intelligence will alter the power dynamics of territory. Here the most obvious pathway is a reflection on the access to physical spaces. After the ID and pin-keys which unlock doors, what will be next?

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architectural structures for navigation, could be made possible by use of machine learning. Once we begin to build digital models predicting spatial interaction it is only natural to explore the local and global maxima of such functions. It is already the case that game designers apply algorithmic constructions of virtual environments of a game. Perhaps there are unexplored possibilities of cross-fertilization between the fields of architecture and computer graphics.

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TYRA MATILDA REX

Med andra ord vill det vara en störning, splittring, upplösning, ett sönderfall. Det handlar alltså om att abrupt och direkt avbryta något, men göra det på ett subtilt sätt? I första hand har ordet en koppling till vår tids nya teknologi, men vad är det egentligen som skapar disruption? Är det kanske ordet själv? Disruption.

100 ord disruption. Vad kan man med 100 ord disruption? Kan man med 100 ord ’disrupt’ någon?Vad betyder det; ’to disrupt’? Att disˈrəpSHən, [disrupted|disrupted]. Det är ett tvetydigt ord. I direkt översättning vill det avbryta, någon eller något:

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Helene Isabelle Millan Eide, 2/3F AARCH

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Hvilke rammer arbeider jeg innenfor? Hvem har skapt disse rammene? Jeg? I hvilken grad formes min tilgang til arkitektur, av min eksterne påvirkning og min kontekst? Hva slags forskjeller er det mellom min tilgang som student i Aarhus, og andre studerende i andre land, og på andre skoler? Hadde jeg stilt disse spørsmålene, stilt meg like kritisk til mine egne rammer, hadde det ikke vært for at jeg hadde brutt ut av dem? Jeg kan noen ganger bli skremt av hvor mye jeg i perspektiv, ligner de jeg omgås med. Det er selvfølgelig helt naturlig, men desto viktigere at jeg er bevisst, bevisst om den diskurs som skapes, som jeg er en del av. Hva jeg mener om politiske emner, hvordan jeg angriper et prosjekt, hva som er fett og hva som ikke er ok. Utfordrer jeg det nok? Former jeg diskursen eller former den meg? ILSE SVORTEVIK HVIDING

How can architects more effectively respond to impermanent climatic conditions?

I concluded quite quickly that the main issue with impermanence and climate change is that it proceeds too slowly for us to comprehend. Therefore, I decided I would like my architecture to act as an indicator of this change.

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Anyana Zimmermann, S3 AARCH

D I S R U P T I O N

This semester, we are asked to explore a fundamental question:

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ISSUES

In Løgstør, I found two changes I would like to indicate. The primary one is the sea-level rise and the future flooding of coastal towns around the Limfjord. Another issue is the ongoing oxygen depletion in the Limfjord resulting from the human activities that have superseded the Limfjord throughout the century. Besides eutrophication, there is the issue of the removal of rocks for harbour construction and flood prevention which threatens the survival of Oxygen producing macroalgae and other species.

PROGRAM

To find the right program to indicate these changes, I looked into the connectedness of the people with water. I got mostly fascinated by the act of bathing. There is no official sand-beach near Løgstør, so there seems to be a need for a nice bathing-access.

SITE

Thus, I would like to raise awareness of the mentioned issues of water-level rise and ecological status of the Limfjord through the act of bathing. To choose the right site I looked where the sea-level rise will be tangible in the nearest future and found this spot on a ridge between the Limfjord and the canal. The canal is a man-made infrastructure that was dug out to enable sailors to pass by the town. I love this tension between the built and the grown environment, where wind and water are slowly pushing the sediments against the coast, ultimately breaking the ridge. The municipality of Løgstør wants to invest 5.5 million DKK to prevent this ridge from breaking, but in my opinion, this will detach, rather than protect, the people from their environment, so I propose an alternative.

ARCHITECTURE

As the canal today has lost its initial function, it mainly serves as a place for people to enjoy a walk in nature. But there is nothing along the canal to walk to, no destination or rest point. So, my intervention may serve as a third landmark in Løgstør next to the lighthouse and the Limfjord museum. It could be described as a natural bath that enhances bathing- and walking experiences along with changes of the seasons. I am essentially dealing with two movements in my project: The movement of People and the movement of the environment.

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My architecture can be subdivided into three interventions. The first one is this pier-structure which high- lights a cross-section that people naturally created due to the disappearance of the path. The structure is lifted around 1.5m in order not to obstruct the movement of the environment, but also because it will resist the water-level rise scenario the longest.

PLATFORM

My second intervention consists of horizontal platforms and vertical elements. Every platform is located on a different level and will by that get flooded differently over time, strengthening the awareness of sea-level rise. So each platform creates different atmospheres and personal experiences in relation to each other and in relation to the textures of wind and water. The biggest platform creates a large gathering space for events in summer and acts as a distributor. In winter, as it is designed as a basin, it can keep a thin layer of rain or snow that will freeze easily on the white surface and turn it into a natural ice skating rink, or further in the future, a natural swimming pool for the school children. Its position slightly below the peer-structure creates a more intimate space, that can be used as showers for the winter bathers. A smaller platform will serve as a sheltered, more intimate viewpoint, and in the coming years, it will form a pool whose water texture is calmer than the surrounding one. There is a platform similar in scale on the other side, which can be used as a smaller amphitheatre, and transform into a natural pool over time. The fourth platform creates two different atmospheres: one exposed to the wind and one protected from it; a hard surface of concrete opposed to the softness of the sand. Besides, it also plays with the amount and direction of water and sand, allowing it to move and pile up differently on the different platforms. The platforms play with the water, while the vertical elements in my project deal with the wind, views and visibility. The walls along here protect strollers from the strong wind, while along the pier they frame a view over the canal.

VOLUMES

The third intervention is three volumes that are positioned within the pier structure. Here, I dedicate one pier to the winter bathers with a changing facility and a sauna, and the other one to the public with a “tea- house”. I wanted to keep the shape of these volumes simple and concentrate on different views and light conditions. Each volume has different architectural needs based on their individual functions. The changing rooms, for example, need openings for light to enter without exposing the people that undress in there. The sauna evidently has to be airtight, with different seating- and viewing opportunities. For the tea-house, I imagined a wall that divides the volume into two spaces: a small kitchen and a relaxing area, creating two views: one to the bridge and over the canal, and the second over to the breaking ridge and the sea, without hindering the view along the peer. The interior in all three volumes is dark, for example, burnt wood, because Zumthor said about the zinc mines, “when you make a black space, the colour of the environment comes into the space”.

For the position of the winter bathing facilities, I got inspired by the ritual of winter bathing, which is essentially a walk where you expose yourself to radical temperature changes, adding some extra features to enhance this experience and create awareness of the changes in sea-level. This also determined the materiality: The current pier consists of concrete modules, cast in wood to create a texture so that bathers don’t slip easily, but also to make it easier for beneficial corals, mussels and algae to stick to it.

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PIER

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ARTIFICIAL REEF

Ultimately then, my answer to the initial question is not necessarily a shifting architecture but rather a shifting in the territory.

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By adding an artificial reef, I try to illustrate the water-level rise and the resulting flooding scenario for the present time, and in the next 50- or 100 years. The present roof of the pier will be the actual pier of the future; indicated through a second staircase for the winter bathers, and the present swimming pool will eventually turn into an artificial reef. Thus, what first belonged to the human habitat will turn into an artificial reef, which will support the oxygen levels in the Limfjord.

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D I S R U P T I O N

I failed. This was my disruption. I did not do the little fail that is encouraged in our school, Aarhus school of Architecture, I did a big fail. I failed an entire semester. I have never felt this kind of failure before. All my life if I tried hard enough, I would get what I wanted, or something else equally as good. I am an American achiever. See something, work hard, get it. I knew what I was doing. Except I did not.

I will keep failing. And it will be okay. I will learn and reflect and be a better version of myself. For now, I fail in smaller school assignments as our school likes to encourage. Even these are painful as I am a perfectionist, as many of us are. But I am less afraid now, in a time that I did not know I was afraid before. Failure will not break us. We need these disruptions to reflect towards being better. I failed. I reflected. I will keep failing and survive. And I will be stronger for it.

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tire semester, my first semester, of my masterâ&#x20AC;&#x2122;s education. At first, I felt cheated, and it felt unreal. I had worked really hard. I had really learned a lot. How could the teachers or the system say this is a failure? I had plans, four semesters and done. Goals for the next steps. Everything was displaced. I was disrupted. How could this have happened? I failed. I had to accept this. In a way I felt the system could not say I was a failure, because I had learned. I had grown, but I learned even more after being marked as a failure. I reflected. My own mother told me she was happy for me, that I failed. She said she worried that I had not failed enough as I grew up. A sentiment I can only now understand. From my monumental failure I could reflect monumentally on my life. I reflected. I saw that I lied to myself without knowing. I saw that I needed a clear driver in my architectural education. I started to learn about myself. It was not easy. I was unhappy about the entire situation. But I knew I could survive, and I began looking inward.

Mallory Nicole Buckner, S 2B AARCH

I failed an en-

The Dormant Shell

The afgang project addresses the notion of rethinking the purpose for an existing structure. Svanemølle Power Station is a rooted and integrated part of its area, and as such a building type it holds significant potential and identity as a construct of its surrounding context and culture. With the location and history of the power station it should be committed to give back to the city of Copenhagen in the future. Stig Fenger, S 2C AARCH + Andreas Angelo Thiis, S 2B AARCH

“For if the intervention is to find its place, it must make us see what already exists in a new light. We throw a stone into the water. Sand swirls up and settles again. The stir was necessary. The stone has found its place. But the pond is no longer the same.” - Peter Zumthor

The current proposal for expansion of Copenhagen is to add land masses in conjunction with the north-east part of The Northen Harbor, and in addition creating an entirely new island with gravel, sand, concrete etc. named Lynetteholmen. The areas are expected to be underway in 40 to 50 years growing from Svanemøllehavnen and stretching north-northeast into the strait of Øresund. As with many contemporary buildings and urban planning projects, there exists a challenge of being culturally anchored in the historical grain. In order to embrace this potential it is necessary to temporarily disrupt the development of the areas around the power station, so as to avoid decisions based on routine, procedures and precedents. Utilizing the building’s potential demands extraordinary patience and research yet it is immensely important to the placeness of the architecture to come. The power station is located in between the inner part of Copenhagen and the newly developed Northern Harbor, and it is the architect’s responsibility to decipher what the building wants to be - and not what we think developers want.

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PATCHING THE URBAN FABRIC

Image of Intent

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Power

Station:

The notion of a hinge has connotations in line with the functional pivot points on a door, a hatch, a window etc. That is, parts that are connected on 1) a stationary, sturdy, grounded object (e.g. a wall) and 2) an object that is mobile, pivoting around one point but not able to rotate 360 degrees. Applying those definitions to the site and or the building as the pivot point is an approach to compress and condense the essential features from the building and its surroundings. This can be used to analyze the reciprocal effects that occur when rethinking one area, e.g. what happens to the city when the Northern Harbor is changing? Will the Northern Harbor be different from the older city fabric, completely detaching itself, or will it build upon the foundation that is the existing city? A prominent physical boundary between the Northern Harbor, including Svanemølle Power Station, and the inner city is the large area of train tracks. The tracks imply a division for several aspects of the programmes in the context. In that sense, the train tracks function as a hinge, spanning along a line in a large scale and in a visible, tangible manner. On the other hand, Svanemølle Power Station can be seen as a hinge in itself, as a point rather than a line (or a series of points). Perceiving Svanemølle Power Station as a hinge should be done in a more figurative sense, e.g. looking at what activities and social interactions it can foster as a building. With certain adaptations and additions, the building can function as an attractor for each of the different actors in the neighborhood. Ultimately, the building’s qualities funnel activities, social interactions and housing possibilities through the old city to the Northern Harbor and back. Instead of detaching from its historical center of Copenhagen, Eventually, Svanemølle Power Station bridges the literal and figurative gaps between the Northern Harbor and the historical center of Copenhagen.

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Svanemølle Hinge

Disrupting Development Trends

Currently, developers of The Northern Harbor find it more feasible to create new ground, literally from scratch, and building new offices and homes. As architects, it is our responsibility to challenge that paradigm: to rethink trends and strategies. In this case, creating new islands seems extreme when this part of Copenhagen already features dormant buildings and areas to be further examined. An abandoned building’s history can easily be the impetus for a new building. Ultimately, we should convince investors and developers that architectural values go beyond the financial bottom line and that they actually can go hand in hand.

“If a work of architecture speaks only of contemporary trends and sophisticated visions without triggering vibrations in its place, this work is not anchored in its site, and I miss the specific gravity of the ground it stands on.”

- Peter Zumthor

Working with a site location like Svanemølle Power Station, an inevitable discussion is the one about how the context should depict the building’s future purpose, or whether the building should set an example of how to inhabit similar spaces in other urban contexts, or even cities. In other words, by rethinking the purpose of a dormant building, architects challenge the conventional approaches to growing cities. Not to oppose the developers expertise, but more to engage in a mutual investigation of re-purposing dormant shells as a new typology.

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east facade

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Jon Martin Seternes, 2/3D AARCH

D I S R U P T I O N

Disruptions do not necessarily involve jumping. Sometimes, by simply staying in one place for a long time, one can reveal its atmosphere. This is especially true for places where we usually just spend a few minutes – such as crossroads, alleys, passage ways or record shops. We start to notice the sounds and smells, we become aware of our mood and the mood of our surroundings, we notice other species and details of the weather – spatial qualities that are usually overlooked.

In 1997, the Danish-Icelandic artist Olafur Eliasson created an unannounced artwork for the second Johannesburg Biennale. By emptying a nearby water reservoir, Eliasson created a small stream of water flowing through a park and a parking lot before ending in a puddle in front of the entrance to the exhibition hall where a series of his photos were on show. The artwork, titled Erosion, forced visitors to jump over the puddle to get to the exhibition hall. Such small disruptions are important in public space. By slightly disorienting our bodies, they awaken our senses and attune us to the surroundings. The atmosphere is brought to our attention. This makes it possible to discuss the invisible qualities of our surroundings.

In everyday life, we are often not conscious of the effect of atmospheres on our mood and behavior. As we focus on the visual elements in our surroundings, the multisensory atmospheres remain unnoticed. We passively become part of our surroundings. Sometimes, a disruption is the only way to bring an atmosphere to our awareness.

We naturally attune to the surrounding atmosphere. The mood of the situation becomes our own mood, and it affects what we see in the surroundings and how we do things. For instance, think of the difference in sounds, smells and mood at Dokk1 compared to Aarhus Kunsthal, and notice how it affects your own mood and actions in the two places.

We are constantly surrounded by atmospheres. An atmosphere is the totality of smells, sounds, affects, regulations, rhythms, climates and other invisible qualities of a situation. It is what gives a situation its distinct character and mood. An atmosphere is neither a quality of an object or a perception of a person – it exists in the air between things and both affects and is affected by the actions of people.

DISRUPTIONS

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67 Polina Chebotareva, PHD M.Sc.Psych AARCH

History and Theory Workshop: ‘Disrupting Atmospheres – the city as a multisensory field’, January 2019, AARCH.

THAT REVEAL THE ATMOSPHERE

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Once the atmosphere is brought to our attention, it becomes possible to articulate the invisible qualities and convey the mood. Aarhus Ø is not only the buildings, but also the dust of construction sites and the feeling of shattering ideals of home, and Starbucks is not only the branded interior but also the smell and materiality of coffee. As these examples of students’ work illustrate, there is more to a site than what meets our eyes. By talking about the invisible, we can come closer to discussing the overseen in our everyday and addressing the climatic and political in architecture. This was the theme for the History and Theory course ‘Disrupting Atmospheres – the city as a multisensory field’. In the first part of the course, students were asked to stay in a site for three minutes and record their impressions and, after this, to return to the site and stay there for three hours to disrupt, reveal and register the atmosphere. In the second part of the course, students were asked to register the atmosphere of a new site which was particularly interesting and then conceptually disrupt the atmosphere by enhancing the visual and atmospheric qualities of the site. The disruptions were communicated on a postcard – on the front side of the postcard the atmosphere is disrupted through a photographic manipulation, on the back side of the postcard the atmosphere is disrupted through a multisensory manipulation. The postcards reveal an invisible, felt Aarhus.

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Returning to the narrow passage -This time with the intention to stay for a long period of time. Two to three hours. Returning with the feeling, that it’s gonna be a depressing and freezing cold stay. Entering the passage. Immediately the sounds tells you, that we’re moving from the open space to the closed, from the big to the small. Standing. Just standing half ways through – where the sounds from the world around are at its lowest. This place is dead! I’m the only living here. At least for a while. Sporadically people pass by, everybody with the same purpose – and in the same rigorous rhythm with the eyes on the cobblestones. After a while the feeling of loneliness changes as I discover the life above me: Behind the wall is an old tree shrouded in ivy. At first glance I just notice the gentle wind touching the leaves, but then I begin spotting all the different species of birds up there, where the sun rays hit. Actually, one of them is looking at me with the head slanted as: ” What the heck is this human doing just standing there, disrupting this space?” Another bird is drinking rainwater from the clogged gutter from where grass is growing. For the first time I become aware of all the different bird sounds. Imagining summertime how more vibrant it will be. Imagining how the garden looks like behind the wall. Looking down again. Down where no sun rays reach. The walls reveal the history in several layers. And reveal how you are able to spend time alone. I feel small in the time of the universe. A noise interrupts me. Ventilation. My nose catches a scent of perfumed washing powder. Actually, it isn’t as narrow in here as felt before. Comparing with how much space a couch would need. (Still standing) … Leaving the passage after having been part of it. With no depression, -but richer in thoughts about how time flies. THREE HOURS STAY IN SNEVRINGEN, PASSAGE BETWEEN MEJLGADE AND STUDSGADE, 8000 C AARHUS Emilie Silverstein Marcussenm U2/3F AARCH

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Frida Nordvik, U2/3E AARCH + Julia Oldrup Rasmussen, U2/3F AARCH

D I S R U P T I O N

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Julie Oldrup Rasmussen, 2/3F AARCH + Frida Nordvik 2/3E, AARCH

Emilie Silverstein Marcussenm U2/3F AARCH

THREE MINUTES STAY IN SNEVRINGEN, PASSAGE BETWEEN MEJLGADE AND STUDSGADE, 8000 C AARHUS

First meeting. From something to something through something. Studsgade. Straight ahead; Nørreport and its busy traffic. The eye can see something, the ear can hear more: Hear around corners, and hear gradually distance. I’m turning right and immediately I’m in another universe: Gables. Masonry. Parallelism. And, thus, the passage. The passage does not allow for any other movement than straight. Attention to my footsteps. Cobblestones. The walls are holding on to the sound. Acoustics. The walls are amplifiers. The sounds from Nørreport fade out, the passage increases. The hierarchy of the sounds changes with each step. Heavy steps. Even heavier raindrops. Clogged gutters, and the sound of splashing water from puddles. A silence so grand that small sounds are extremely intensified. The silence, …the loneliness is also expressed by all the preventive solutions such as grids covering all street-level windows and by the many layers of graffiti covering the masonry. The darkness as well. In this emptiness, one can wonder in solitude and act as the mind desires. The light and sounds ahead reveal something else. Flashes too fast to recognize. Speed. On approach and out in the open again, it becomes clear. Mejlgade, cyclists, that is what it was. Speed. Pulse. Sound. Light. Contrasting visual and atmospheric shifts. From openness to closure, from light to darkness, from movement to stagnation, from sound to silence. From community to loneliness, and from law-abiding to anarchy. A connection between two worlds. From the quiet Studsgade to the bike-crowded Mejlgade.

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Diagrams of Exteriority Towards A Future Architecture”

140 BEATS PER MINUT

Suramya Kedia, S 2B AARCH

KÃ&#x2026;RK #35 D I S R U P T I O N

KÃ&#x2026;RK #35

suramya

D I S R U P T I O N

or, Disrupting My Own Design Process Through an Exploration of the Creative Subconscious The following school project was conceived in my 8th semester, working at AAA’s STUDIO 2A with tutors Carolina Dayer, Thomas William Lee and Tina-Henriette Kristiansen.

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A HOUSE FOR A PSYCHOANALYST

Rune Wriedt, S 2A AARCH

D I S R U P T I O N

At the core of Sigmund Freud’s psychological theories lies aspects of the subconscious(i.e.that which dwells beneath the consciousness, out of reach.) A well-known concept is that of the Freudian slip, where we expose some desire or embarrassing thought via a slip of the tongue, for instance accidentally saying’breast’instead of ‘best’ in a sentence. Thus, we sometimes expose what ought to be obscured (and perhaps vice versa?). This very notion of exposure and obscurity formed the primary conceptual narrative for the project. I will, through the following text and accompanying drawings, be exploring this subject through the philosophy of Freudian psychoanalysis and occurrences of asymmetric dyads (unequal relationships between the analyst and the analysand), with a further emphasis on the construction of interiority and the nature of the section.

Exposure and Obscurity

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The dichotomic relationship between the illuminata (the exposed, light, visible or uncovered) and the obscura (the obscured, dark, hidden or repressed) is at the core of human behaviour and our modes of interaction. We conceal ourselves behind the facades of social media profiles, the security of our bourgeois habits and routines, and, ultimately, preconceived notions of properness and societal norms. Microsociologist Erving Goffman theorised about the dramatisation of social interactions, wherein a fragile definition of a given situation is maintained according to the self-image (face in his terminology) of the individuals. Goffman likened this to the dramaturgy of the front stage, the preservation of common perceptions, and backstage, the repressed, non-conforming behaviour. Commonly, residential architecture solely frames the quotidian activities of mundane life, most often accentuating the privacy and reclusiveness of the modern

city-dweller. In my project, I intended to explore how the literal, allegorical and architectural concept of the masque (introduced by John Hejduk) created a condition for exposing the extraordinary and inversing inter-

personal relations for the resident and for the people in the surrounding area. I sought to make the house simultaneously expose and obscure (the daily life) of the psychotherapist inhabiting it - turning the question of contextuality into one of the building’s looming and strange psychological presence in the mundane neighbourhood of Øgaderne.

Psychoanalysis and the Asymmetric Dyad

Sigmund Freud’s structural model of the human psyche consists of the id, ego and super-ego, three distinct,

but continuously interrelating parts of the mind. The id represents instinctual, unconscious and repressed desires, while the super-ego is self-critical and moralising - consequently, the ego becomes the realistic mediator between the two extremities. According to psychoana-

Simply put, the House for a Psychoanalyst is a combined home and office in Aarhus’ Øgadekvarter, designed for a psychologist practising Freudian psychoanalysis. But more importantly, it also became an exploration of how to approach my own method of designing a work of architecture and of how to work creatively.

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lytic philosophy, mental disturbances such as depression, phobias and anxiety are caused by conflicts between the conscious and unconscious (often repressed traumatic events). In therapy, the analyst utilises techniques of questioning, free association and confrontation to expose unconscious conflicts and processes. The asymmetric dyad/ unequal relationship between the analyst and the analysand forms an integral part hereof: in the occurrence of transference, the analysand unconsciously projects emotions of love, dependence and anger unto the analyst. As such, their assumed masques are continually shifting, creating a relationship that is never truly binary - both parties struggle to obscure themselves and expose the other: the analysand because of psychological defence mechanisms, the analyst in a professional effort to protect his/her sanity. Lastly, psychoanalysis is an extremely time-consuming form of therapy, requiring the analysand to attend multiple sessions a week, often over the course of many years. This repetition contains a spatial potential for a sequence or set of spaces for the therapeutic actions. Thus, I aimed to investigate how the house itself could become imbued with the identity of the analysand or indeed the analyst. As a design tool, I turned three essential aspects of the relationship between the analyst and the analysand into three masks, each one allowing me to assume the role

of the one who listens, the one who questions, and the one who observes respectively. Using the masks, which already had imbued form, I scaled, rotated and (acetone printed) drawings of them on to my site, placing them without thinking (in an effort to let my subconscious rule the decision.) Then, in a process of conscious rationalisation, I traced the mass and void of a section on top of the drawing beneath, forming a new drawing that could then be collaged upon again. The question remains: Is the resulting design entirely arbitrary, or is it a result of a subconscious amalgamation of new knowledge, informed inspiration and unformed ideas?

Interiority and the Section

Defined as the quality of being interior or inward, or inner character, the concept of interiority relates to both of the previously elaborated themes but viewed in an architectural and tectonic context. As an example, the psychoanalyst may ask what is inside your mind, and the architect may ask what is inside the wall (or the floor slab, or the suspended ceiling - often the surfaces of the average dwelling actively obscures the tectonic log-

Is the resulting design entirely arbitrary, or is it a result of a subconscious amalgamation of new knowledge, informed inspiration and unformed ideas?

D I S R U P T I O N

ic behind it, reducing exposure to an aesthetic choice rather than a necessity.) In both cases, the question addresses a section of a complex structural model. This section becomes extremely important in juxtaposing the interior and the exterior, the concealed and the revealed, the accessible and the inaccessible. It ranges from describing the spatial experience to exposing the composition of tectonic elements and materials, simultaneously a statement of aesthetic intent and an order of logical structure. I was deeply inspired by Austrian architect Adolf Loos, who addressed the question of interiority in a spatial context. His interiors are oriented inwards, creating conditions of intimacy and control in his houses. Views to the outside often travel the whole depth of the house, depending on and being framed by interior situations. His treatment of light and arrangement of the immueble (built-in furniture) also establishes asymmetric relationships between the observer and the observed, creating spatial masques that expose the act of observation, a condition very obvious in the sections of his buildings.

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Working sectionally when designing the House for a Psychoanalyst was a liberation from the hegemony of the digital 3d-model. The establishment of a primary’ruling’section creating a clear hierarchy of spaces, guiding the relationships between the individual rooms when the building had to come together volumetrically. Thus, the process seemed more fluent and indeed easier than having to make everything’work’in a 3d-modelling environment.

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D I S R U P T I O N Transversal Section, 1:50 5m

Thus, the thoughts described above formed an integral part of the final design, especially because the subject matter to a certain extent forced me to explore a method that was, to me at least, wholly foreign, and I share it in the hope that it might aspire others to disrupt their own notions of how to approach an architectural project in the future.

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SILOS ON THE HILL

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CHAPTER THREE

Samuel Holohan, S 2A AARCH

Our lad could never have hoped for these tall windows. A place where he could shut the door on the world and deadbolt it. To go each evening to a place silent as a lung where he could sit among his own thoughts in a place of no distraction. And he could be free to shout and yell in his home, where his voice was multiplied and resonated like a drum within those cavernous walls. He always wanted to be above the city so he could see where the horizon merges sea and sky. An unconventional home elevated within the trees made of birds and light. Our lad adjusted himself upright from bed and slowly began to pick his way down the stairs to the bathroom below. Now exposed and moving, the cold tiles on his bare feet made his face wince in discomfort. A home of balconies was where our lad now resided. Light and sound dominated the entire vessel. He twisted the frigid tap and water spat out in a hurry. The dated tap squealed, and the acutely familiar noise made our lad think of work. He shuddered. The cold water that leapt upwards off the basin quickly took his attention. He began to wash away the more stubborn blood stains from yesterday that settled beneath his fingernails. His home and mind became immersed in the hums of running water and vigorous scrubbing.

*A few unsocialized weeks later*

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An aggressive noise chirped relentlessly, paused, and once more, repeated its melody. A quick jolt of his heavy right arm and flick of his thumb brought a sudden end to his smartphones morning song. The time was 7:05 A.M. There he was in bed like a melted choc-ice. Our lad only had to perch his body slightly and he was in the forest. The boundaries of home and nature were blurred, as if the forest could weave its tendrils inside the tall, slim windows and root itself in his home. Birds outside chirped in a morning orchestra. The unmistakable whistle of the nesting pigeons poured in.

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Det første spadestik er taget, og om lidt over to år vil de aarhusianske arkitektstuderende kunne indtage NEW AARCH på Godsbanen. Mange holdninger er blevet hørt i den sag. KÅRK er taget ned til tegnestuen FEM, for at tale med Frederik Valdemar Ravn Andersen og Erik Buur Bruntse. De har sammen med Morten Hagemann Nielsen startet deres eget firma og bygget kontor, som ligger lige ved skellet mellem New Aarchs byggeplads og det, der er tilbage af Institut for (X).

Johan Neve Klejs, 2/3E AARCH + Frederik Valdemar Ravn + Erik Buur Bruntse, tegnestuen FEM

D I S R U P T I O N

F Vi kom i praktik på (X) og fik som vores første opgave at bygge vores eget kontor.

J I startede med at vinde form:by konkurrencen i Kolding, hvortil I tegnede legeskulpturen FUGL. Kan I fortælle lidt om det?

F Ambitionsniveauet steg løbende! Morten sagde til at starte med, i august, at det ville tage tre måneder. Nu skriver vi marts, og vi er ikke færdige, og har gået mindst fire gange over budget. Vi fik vinduer og døre fra universitetet, og da de var så flotte, var vi også nødt til at skifte gulvet. Det ene tog det andet. Så kunne vi pludselig overtale os selv til at prioritere en dyrere udendørs beklædning. Vi glæder os, til der ikke er flere udgifter.

F Det var et forsøg på at se, om vi kunne lave et eller andet ved siden af skolen. Det startede med at være mig og Erik. Der var fire faserførst et åbent forslag, så en pitch, så blev vi valgt ud og så var vi blandt tre forslag til sidst. På et tidspunkt var det helt store mål for os, at vi skulle bygge den. De ringede os op i december eller januar, at den nu skulle den bygges! Det var kanon. J Det var det samme som at fortælle jer, at I havde vundet konkurrencen? F Ja, det kan man vel sige.

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E Det vi vandt, var pengene til at bygge den, materialepenge. Morten kom ind i det, fordi vi stod inden pitchen og havde givet op. Vi kunne ikke bygge modellen. Vi gik over til Morten, og lovede ham en del af præmien, hvis han byggede den her model. Det gjorde han så. Derefter var han med. Vi endte med, efter at have vundet konkurrencen, at sælge den til Kolding Kommune. Vi nød at arbejde sammen, så vi tog pengene fra salget og brugte det som startkapital til tegnestuen. F Vi blev enige om, at det kunne være godt at have en platform, så man kunne køre alt muligt ud gennem samme CPR-nummer. Det var ikke særlig effektivt at sidde i hinandens spisestuer. Vi manglede hele tiden vores ting. Det var sjovt, men det var i virkeligheden ikke en særligt velfungerende proces. J I snakkede så med Institut for (X) om at få et sted her, hvor I kunne have en lille tegnestue.

P Det har I gjort godt, må man sige.

E Til den historie hører selvfølgelig, at vi har været heldige med hele Kolding-projektet. Det skal ikke glorificeres. J Men I har jo også været engagerede og dygtige, og er blevet belønnet for jeres gode arbejde? E Det er også vigtigt for mig, at folk ved, at det ikke er umuligt at starte sit eget. Alle kan gøre det. Det handler om at finde nogen, man har et godt samarbejde med. Om man så sidder her eller hos hinanden eller et andet skur. F Vi snakkede med nogen af dem, der var med helt fra starten her på Godsbanen. De var fire nyuddannede, der hver havde skudt 5.000 kr. i at bygge et fælles kontor. Så det kan sagtens lade sig gøre. J Hvordan har I det med jeres position her på Godsbanen, nu hvor New Aarch kommer, og man kan læse hadefuld graffiti rundtomkring? Er I en del af instituttet eller arkitektskolen? Hvordan er stemningen? E Vi ligger ret symbolsk – J - lige midt i mellem det nye og det gamle!

E Men med front mod A-Huset. De ting, der bliver skrevet, er folk, der kommer udefra og folk, der ikke følger med. Der står ‘bevar Godsbanen’ og forskellige ting. Det hele er Godsbanen og det meste bliver sådan set bevaret. De folk, der er flyttet ud af B-Huset (Plantecaféen, Spant, etc.) er faktisk dem, der er mest cool med det. De er dødtrætte af at høre på folk, der brokker sig over det. P Det var vel også præmissen for Godsbanen? F Der er jo kommet den effekt af midlertidigheden, at ting skulle bankes hurtigt op, for måske har man kun et år sidde her i. Det er Klondyke-stemning. E Jeg var spændt på det inden vi flyttede herned. Vi begyndte at bygge midt i det hele, lige ud til stien, hvor arkitektskolen skal ligge. Mads Peter mente, vi skulle have lidt albuer. Vi var spændte på, hvordan folk ville have det med os. Var vi de første soldater fra NEW AARCH hæren? Det har slet ikke været vores oplevelse, og folk har været rigtig positive omkring det. Det er folk, der elsker forandring. De er svære at slå ud! P Tror I det er mere positiv eller negativ ’disruptioneffekt’, at det netop er arkitektskolen der kommer herned? Det kunne have været kontorbyggeri der skulle ligge her. F Jeg synes egentlig, folk har nogle rigtigt optimistiske syn. Også fordi skolen er begyndt at gå mere i dialog med naboerne. Hvordan får vi skabt et godt naboskab? Vi (tegnestuen FEM) har naturligt bevæget os mod at blive en slags mediator mellem skolen og det professionelle miljø. Man kan sagtens begynde at lave nogle ting ved siden af, mens man studerer. Der bliver vores position og nærhed til skolen et bindeled. Der kommer det galleri, Karen skal lave (Onsite Gallery), og også New Neighbour, et workshop/kontor/event space. Det åbner for mulige samarbejder inden arkitektskolen åbner. Overgangen bliver mere flydende.

Vi åbner en pose godt blandede samtaleemner: disruption, midlertidighed, tegnestuens tilblivelse, byggehegn, mols bjerge osv.

J Om to og et halvt år er skolen (forhåbentlig) færdigbygget. Hvordan ser I jeres egen midlertidighed? Hvad er perspektiverne for tegnestuen med jeres beliggenhed in mente? E Indtil videre ligger vi ved et byggehegn. Vi er rimelig godt sikret det næste år, og vi tager det lidt en uge ad gangen. Det kan godt være, at vi om to år sidder et helt andet sted. Så nyt er det hele for os. F Hvis vi ville, kunne vi smide kontoret her på en vogn og flytte den ud til Mols Bjerge. J Er det noget, I har tænkt på? F Ikke rigtig, men det kunne da være meget fedt! Vi har både køkken, stue, toilet og en lille hems. Man kunne i princippet bo her, vi har det hele. Hvis vi vandt et kæmpestort projekt, kunne vi rykke hvor som helst hen… Men det er også sjovt nok at skulle indtage en ‘mediator-rolle’ her. Vi forsøger at videregive det budskab, at man ikke skal være så skræmt, hvis der er noget man har lyst til at gøre. J Det budskab kan I vel også fortælle, nu I har gjort det godt? E Jo, men vi er ikke dygtigere end andre. Vi har bare et godt samarbejde. Har man det, er der mange ting, der kan lykkes. J Jeg kan mærke, at jo længere vi kommer ind i snakken, jo længere væk kommer vi fra disruption og jo tættere på samarbejde. F Disruptionrådet bruger det håbløse slogan om at gå forlæns ind i fremtiden. Der ligger i det en idé om at se det, man møder, i øjnene. Det kan godt være arkitektskolen kommer ned og ‘disrupter’ Godsbanen, men det kan også være en positiv form for disruption. Man har

kastet nogle bolde op i luften igen for at se, hvordan de så kunne lande, og om man skulle lade nogle falde. For nu at bruge lidt billedsprog. Det mest mærkelige, tænker jeg, er hvad der skal ske med de gamle bygninger, arkitektskolen efterlader.

mer herned og føler, de har trådt nogen over tæerne. Det er ikke nogen god ankomst. Overgangen skal helst være blød. Bevæger man sig rundt hernede, kan det også være godt, at der ligger en smed og en cykelmekaniker lige om hjørnet.

J Det er vel 8-9 forskellige adresser?

J Er det i virkeligheden det, vi skal have disruptet? Den indre modvilje fra os arkitektskoleelever?

E Ja, og det gamle auditorium er sat til salg. F Det kunne være en fed biograf. E Eller koncertsted? J Jeg gad godt høre Ruth Baumeister slå nogle strenge an derinde. E Hvor kom vi fra? F Bemærkningen om disruption og samarbejde. Noget af det, jeg synes er mest spændende ved (X), er der, hvor containerne ligger så tæt, at det bliver gader. Man kan gå rundt på opdagelse. Når det løbende har skullet fortætte sig selv, blev man nødt til at tænke mere over, hvordan man gør. Alle dage har det været sundt at være begrænset. Det ved folk på arkitektskolen om nogen. Nu er vi kommet herover, og der er mindre plads. Så opstår der jo nok en lille god plads her i mellem skolen og (X). Der vil komme en byfornemmelse. J Jeg fisker igen, men kan det være, at det med at rykke sig kan give nogle spændende disruptions? F Det har det vel allerede gjort, og jeg føler også processen har gjort (X) stærkere som fællesskab igennem anstrengelserne for at blive boende. Disruptioneffekten virker begge veje. E Det har altid været en byggeplads hernede. Der skulle bygges noget lige meget hvad. P Det er godt at pege på, for jeg føler nogen gange, at modstanden mest kommer indefra, fra os studerende. F Det ville være en skam, hvis folk kom-

E For mig at se, så er det virkelig der, der skal sættes ind. Hernede tager folk efter vores opfattelse godt imod. Negativiteten er noget, der eksisterer inde på skolen. Arkitektskolen kommer også til at bidrage til Godsbanen, og det gør de allerede nu, eksempelvis med før omtalte New Neighbour. Det er vigtigt at få det kommunikeret ud! P Jeg var på New Aarch workshoppen, hvor vi kom ind på at Godsbanen er, det den er, i kraft af sin egen midlertidighed. Derfor forstod jeg heller aldrig helt den negativitet, der var. Det er måske bare nemmere at være negativ og lyde klog. F Det må være den mest utaknemmelige opgave at skulle tegne en arkitektskole! Derfor var det også kun så meget sejere, at det var Vargo Nielsen Palle, der vandt. Man skal forresten også give kommunen, at de har set potentialet i (X) og ladet noget af godsbanearealet blive til dem. P Jeg synes, det er smukt, at det var de unge, nyuddannede arkitekter, der selv lige kom fra en skole, der vandt konkurrencen. Det er deres første projekt, og de ved præcis hvad en skole skal kunne i dag, og forhåbentligvis i fremtiden. De havde også workshoppen, hvor de arbejdede sammen med os elever. - Vi har fået lov at sige noget, og folk er allerede i gang med projekter til den nye skole. E Der er mange gode historier i det. Interview er styret og transskriberet af Johan Neve Klejs. Tak til Perla, som var med. Tak til Frederik og Erik for en god snak.

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E New Neighbour bliver et sted, hvor andre også kan komme og have deres kontor. Det er svært at sige, hvor mange der ved det på Institut for (X), men invitationen ligger der.

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ADA ZAŁĘCKA

Jag har plockat isär en liten borste för att använda mig av hårbuntarna som är ihopknipna i de borrade hålen. Dem ska jag placera i min egna träbit med rader av borrade hål. När jag tar isär den industrigjorda borsten förstår jag hur den är sammansatt och kan skapa min egna variant av samma objekt. Dissikeringen är nödvändig för att nå nästa steg av kunskap och inspiration. Vi ska också dissikera ett verk som existerar genom att bygga upp en 1:1 modell av ett utsnitt och undersöka sammansättningen, vilket ska hjälpa oss att skapa igen – nu med våra egna tankar implementerade.

D I S R U P T I O N

A DISRUPTION

A DISRUPTION OF GRAVITY

A DISRUPTION OF

LANDSCAPE

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SUBJECT AND OBJECT

A DISRUPTION OF

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Egil Kahlbom FS KADK + Joel Elias Brynielsson FS KADK

A DISRUPTION OF

SCALE

A DISRUPTION OF

egil + joel

TIME

D I S R U P T I O N

Chris og Charlie, to arkitektstuderende, sidder i en togkupé på vej mod Venedig. Charlie skitserer fragmenter af forbipasserende facader i en sort Moleskine notesbog, og Chris læser “Architecture Depends” af Jeremy Till. Pludselig ser Chris op og spørger:

CHRIS Hvorfor er det egentlig, at vi lærer så meget om arkitektur og arkitekturhistorie, som om det eksisterer i et vakuum? CHARLIE Hvad mener du?

Noah Januar, KADK

CHRIS Arkitektur er et komplekst fag, men det vi lærer om i vores forelæsninger, drejer sig tit om en lineær udvikling af arkitektoniske epoker, som hovedsageligt beskæftiger sig med formgivning. CHARLIE Ja, men vi går jo på Arkitektskolen, og det er et sted, hvor det visuelle og formgivning er vigtigst. CHRIS Hmm jo, men hvis det visuelle er vigtigst, hvorfor lader vi så ikke bare det stå for sig selv? Så ville vi jo ikke skulle lære alle de mange elitære arkitekturbegreber, som vi beskriver arkitektoniske former og rumtypologier med. CHARLIE Det er vigtigt, som fremtidige arkitekter, at vi lærer dette ordforråd at kende, så vi kan tale kvalificeret om rumdannelse, fordi vi jo i fremtiden skal skabe rum.

CHRIS Er det virkelig os, der skaber rum? Har du læst Henri Lefebvre, den franske filosof og sociolog? Han mener, at rum er skabt gennem en kompleks forhandling

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EN SAMTALE OM ARKITEKTURENS ISOLATIONISME

D I S R U P T I O N

gode rum med arkitektonisk kvalitet, som mennesker bliver inspirerede af og finder smukke.

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CHARLIE Nu bliver det altså også elitært med den franske name-dropping. Men tilbage til din pointe. Jeg tænker mere, at det er os som arkitekter, der har og former den første idé, der kommer til at karakterisere bygningen til sidst. CHRIS Men gennem en bygningsplanlægning og byggeproces, er der jo så mange faktorer der kommer til at påvirke den endelige bygning. For ikke at glemme den indflydelse som tiden har. Bygninger forvitrer og sociale normer og stil forandrer sig. Bygninger bliver omdannet, renoveret eller revet ned. Jeremy Till påstår at: “All architecture is but waste in transit”. Den måde vores bygninger vil blive oplevet, værdsat og forandret over tid, er uden for vores kontrol. Hvordan kan vi så påstå, at kun “vi” som arkitekter har skabt rummet? CHARLIE Jeg tror, at selvom vi ikke kan kontrollere alt det der sker med vores ideer, så har vi stadig ansvar for at skabe

CHARLIE Fair nok, det med beton er et mærkeligt fænomen, men med hensyn til æstetikken, har der igennem historien jo altid været nogle konsistente egenskaber, som gennemgående er blevet kvalificeret som æstetiske. Du kan ikke nægte, at klassiske elementer i arkitektur har været inspirerende for arkitekter hele vejen igennem tiden indtil i dag. CHRIS Men denne klassiske æstetik, som er præget af orden, hvidhed og inter-relaterede geometriske proportioner, er en fundamental vestlig konstruktion! Og det betyder, at æstetik netop er et kulturelt fænomen og ikke et universelt. CHARLIE Men allerede Vitruvius grundlagde Venustas; æstetisk nydelse, som en af arkitekturens bærende søjler, og han er jo en hovedfigur i vores fag. CHRIS Han er jo også bare en del af den vestlige æstetikhistorie. Men sjovt at du nævner ham. Vidste du, at Vitruvius grundlagde de tre arkitektoniske principper, ikke kun med hensyn til en neutral rum-

mellem overlappende sociale handlinger. Han ser “the production of space” som dybt kompleks og politisk. Der er så mange modstridende felter, der påvirker rumdannelsen, og her udgør den arkitektoniske praksis kun en lille del af den indviklede proces.

CHRIS Jo selvfølgelig, men hvad betyder arkitektonisk kvalitet egentlig? Vi omtaler det i skolen, som om vi alle præcist ved, hvad det betyder, men egentlig har vi nok alle helt forskellige holdninger til udtrykket. Det som defineres som kvalitetsrigt og smukt, bliver jo bare konstrueret af vores samfund, og baseret på de nutidige stilistiske trends, som også stammer fra æstetikkens dogmer. Ikke for at glemme hypen for “det nye”. Og det er jo også os elitære arkitekter, der definerer æstetikken. Vi elsker beton, men “almindelige mennesker” (ikke-arkitekter) synes, at det er et dødt og ubehageligt materiale.

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dannelse, men i direkte forbindelse med Det Romerske Imperium? Arkitektur er således direkte forbundet med at skabe orden i samfundet, og bliver dermed også et politisk redskab, og ikke kun en æstetik i sig selv. Form er aldrig kun neutralt, selvom det er abstrakt. Alt er politisk! CHARLIE Nu snakker du om politik, som om den gemmer sig alle steder. Jeg tror godt, at et rum kan være smukt i sig selv, uden at have noget at gøre med politik og magt. CHRIS Arkitektur er den måde som vores sociale og politiske relationer, dynamikker og magtforhold manifesterer sig materielt. Dem der har magten, er dem der fastlægger, hvad der bliver bygget og bestemmer derved også over vores rumlige omverden. Hvis vi nægter at rum og politik er direkte forbundet, løber vi ind i faren for, at vores evner og frihed som arkitekter bliver misbrugt af dem, som har magt og kapital. Vi kan da ikke gå blindt ind i en verden styret af kapitalismens magtsystemer og tro på, at vi bare skaber smukke neutrale rum til alle.

CHARLIE Men dem som har magt og penge, får lov til at gøre hvad de vil alligevel, fordi de kan ansætte eller fyre os som arkitekter når som helst. I så fald skal hele systemet ændres, og ikke bare den måde arkitekter ser på tingene. Og hvis jeg altid skal tænke politiske, sociale og kulturelle kompleksiteter i mit projekt, så vil jeg jo aldrig få noget som helst tegnet færdigt.

CHRIS Ja, men verden er kompleks! Og hvis vi arkitekter bare gemmer os fra virkeligheden og trækker os tilbage til vores isolerede tegnesal til snak om form, så tror jeg ikke på, at noget kommer til at ændre sig. Så bliver vi i vores boble, hvor vi snakker om arkitektur på et højt niveau, og tænker, at vi forstår rum bedre end dem, som bor i dem. CHARLIE Måske kan de nye teknologier som virtual reality revolutionere arkitektbranchen og give mulighed for, at alle mennesker kan designe. Det vil i det mindste bryde hierarkiet mellem os og ikke-arkitekter. En demokratisering af arkitektfaget sådan set. CHRIS Interessant pointe. Men kan man virkelig snakke om demokratisering og kreativ frihed, hvis VR bliver programmeret i en fast ramme? En stor problematik ved virtual reality er, at man altid skal vælge materialer og andre bygningskomponenter ud fra en databank, der er designet på forhånd og endda baseret på produkter, der allerede er på markedet. Således bliver designprocessen ikke kun begrænset til, men også direkte tilsluttet til, det kapitalistiske system. CHARLIE Ugh… Nu er vi tilbage ved kapitalismen og hov, vent lige…. Skal vi ikke skifte tog her? Ej, vi skal nok forsætte ”kompleksitetssnakken” senere i det næste tog.

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SELMA GULDEN + JENNY BJERKETVEDT

Finally, we should reflect on our role as human beings in the disruption of a space, and how the presence of a body changes an atmosphere, or even gives new meaning to it.

Disruption can also be an existing factor on a site, such as water level changes, climatic conditions, and peopleâ&#x20AC;&#x2122;s movements throughout seasons. We can choose to ignore these factors, risking to compromise the successfulness of the intervention and ending up with an alien sculpture, or we can use them as advantageous starting-points in the design process, and hopefully end up with a suitable structure, in natural symbiosis with the existing context.

Whenever a project is realized, it changes its context through disruption. We should always consider the distruptive effect that an added element has on the already existing atmosphere, and ask ourselves to what extent this effect is desirable.

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Asger Højlund Olsen, FS KADK + Lovisa Nordlöf, FS KADK

Der er noget ved bygningen, som interesserer dig, men på et tidspunkt begynder bygningen at interessere sig for dig.

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DISRUPTIVE FIKTIONER

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TILSKUEREN En kirke står bare der på bakken og kigger henover de runde buske og kantede gravsten. Vinden blæser på samme måde som i går. Pludselig lister en ræv frem fra bag en af gravstenene, orange pels og gråt skæg. Ræven kigger på kirken, som om den er dum. Kirken kigger tilbage på ræven, som om den er dum. Inde i kirken ligger en åben bog, en ukendt side: ”Hvor gammel bliver en ræv? Og hundrede andre spørgsmål om ræve”. Jeg ved ikke hvor gammel en ræv bliver. Jeg ved ikke, om en ræv overhovedet ved det selv. Måske kan den mærke, når den skal til at dø, men nok ikke lang tid før. En ræv lever nok bare, indtil den ikke gør det længere. Måske er levetid slet ikke et succeskriterie for en ræv.

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Livet bliver vel ikke dårligere, bare fordi det er kort. Det tænker jeg, at ræve tænker. Det håber jeg, at ræve tænker.

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EN DAME HAR FORLADT SIT HJEM En dame har forladt sit hjem Hun tog sine sko på sine bare fødder Og gik ud ad døren Til fods ud ad døren På en tur som tog hende meget langt. Hun gik ligeud og fremad Hendes øjne var som limet til vejen lige foran Hun hverken spiste eller drak Hverken drak eller spiste Hun hverken sov, spiste eller drak.

Men hvis din vej en dag Krydses med hendes Så, så hurtigt som du kan Så hurtigt som du kan Løb og fortæl os.

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En dag ved daggry gik hun over en bro Hun gik ind i en rød by af tegl Og fra den dag Lige siden den dag Har hun været forsvundet i den blå luft.

Jeg var en af de mange, som arbejdede på fabrikken. Ventilationen borede sig igennem vinduet, skiftede glas ud med krydsfinér. Indenfor stod ren alkohol på række i grønne flasker, rationeret i definerede mængder. Ren alkohol kan man ikke drikke (nogle siger, at de kan, men de lyver). En dag fandt nogle ud af noget. Jeg puttede salt i flasken og begyndte at ryste. Jeg blev ved med at ryste, længere tid end jeg gad tælle til. Rystede flasken til den begyndte at blive varm, varmere og varmere i fabrikkens kolde luft. Langsomt begyndte en aflang brun genstand at vokse i flasken, jeg rystede stadig. Den brune genstand voksede til størrelsen af et stort, aflangt æg, pludselig stoppede jeg med at ryste. Jeg kastede den varme flaske alkohol ud af et lille vindue, den landede i sneen. Flasken kølede af, før en gammel dame med stille skridt gik forbi og hentede flasken.

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KONTROL

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JOHAN NEVE KLEJS

A powerful act, which causes great change, especially to a static system. These days used widely within the field of politics and technology. What can it mean to architecture? An economical term as well.. Is the field of architecture constantly being disrupted- if it is, can we even talk about disruption? Or just constant change? Can a “static” event or period disrupt a field of change?

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Disruption er de små og store bræk, brud eller knæk, der skubber til etablerede systemer. Kan man bruge disruption som et aktivt værktøj og derved knække tendensernes rytme med overraskelse og opfindsomhed? Et knæk kan frigive energi, men kan også svække en struktur. Derfor kræver disruption en bevidst refleksion over, hvad der ønskes at bryde med. I den antropocæne tidsalder bør vi genoverveje menneskets væren i verden, og hvordan vi kan disrumpere den. I arkitekturen kan disruption ses som et udtryk for en nødvendig tankegang, der bryder den etablerede struktur i alle skalaer og skaber nye orienteringer. KAISA HJORTH KRISTENSEN

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Pakistan St. Peter’s Church, Karachi Peru St. Peter’s Church, Lima Philippines Archdiocesan Shrine of Saints Peter and Paul, Bantayan, Cebu Saints Peter and Paul Parish, Ormoc City, Leyte Saints Peter and Paul Parish, Makati City Russia Lutheran Church of Saint Peter and Saint Paul, St. Petersburg Serbia St. Peter’s Church, Ras or Church of the Holy Apostles Peter and Paul Slovenia St. Peter’s Church, Ljubljana Spain Church of San Pedro Apóstol (Vitoria) Church of San Pedro Ad-vincula, Villa de Vallecas, Madrid San Pedro el Real, Madrid Church of San Pedro, Teruel St. Peter’s Church, Valdunquillo, Valladolid Sri Lanka St. Peter’s Church, Colombo Sweden St Petri, Malmö St. Peter’s Church, Stockholm Switzerland St. Peter, Zürich Turkey Church of Saint Peter, Antioch United Kingdom England Bedfordshire St Peter’s Church, Bedford Berkshire

St Peter’s Church, Martindale Derbyshire St Peter’s Church, Belper St Peter’s Church, Derby St Peter’s Church, Edensor St Peter’s Church, Hope St Peter’s Church, Netherseal St Peter’s Church, Parwich, St Peter’s Church, Snelston St Peter’s Church, Stonebroom Devon St Peter’s Church, Barnstaple St Peter’s Church, Rose Ash, by architect James Piers St Aubyn St Peter’s Church, Tiverton Dorset St Peter’s Church, Bournemouth St Peter’s Church, Winterborne Came County Durham St Peter’s Church, Bishopton St Peter’s Church, Stockton-on-Tees East Sussex St Peter’s Church, Aldrington St Peter’s Church, Brighton St Peter’s Church, Preston Village, Brighton St Peter’s Church, St Leonards-on-Sea St Peter’s Church, West Blatchington St Mary and St Peter’s Church, Wilmington Essex Church of St Peter-on-the-Wall, Bradwe- ll-on-Sea St Peter’s Church, Roydon St Peter’s Church, Wickham Bishops Gloucestershire St Peter’s Church, Gloucester St Peter’s Church, Leckhampton St Peter’s Church, Southrop Greater Manchester St Peter’s Church, Ashton-under-Lyne St Peter’s Church, Bolton St Peter’s Church, Hindley St Peter’s Church, Stockport St Peter’s Church, Westleigh, Greater Manchester Hampshire St Peter’s Church, Petersfield St Peter’s Church, Chesil, Winchester St Peter’s Church, Winchester Hertfordshire Church of St Peter, Great Berkhamsted St. Peter’s Church, St. Albans Isle of Wight St Peter’s Church, Havenstreet St Peter’s Church, Seaview St Peter’s Church, Shorwell Kent St Peter’s Church, Sandwich St Peter’s Church, Swingfield Lancashire St Peter’s Church, Burnley St Peter’s Church, Darwen St Peter’s Church, Fleetwood St Peter’s Church, Heysham St Peter’s Church, Leck St Peter’s Church, Mawdesley St Peter’s Church, Preston, Lancashire St Peter’s Church, Scorton Leicestershire St Peter’s Church, Allexton St Peter’s

Church, Leicester Lincolnshire St Peter’s Church, Barton-upon-Humber St Peter’s Church, Kingerby St Peter’s Church, Normanby by Spital St Peter’s Church, Ropsley St Peter’s Church, Saltfleetby St Peter’s Church, South Somercotes London St Peter’s Church, Arkley St Peter’s Church, Belsize Park, by architect James Piers St Aubyn St Peter’s, Bethnal Green St Peter’s Church, Ealing St Peter’s Church, Eaton Square St Peter’s Church, Hammersmith St Peter’s, London Docks St Peter’s Church, Petersham St Peter’s Church, Streatham St Peter’s Church, Upton Cross St Peter’s Church, Vauxhall St Peter’s Church, Walworth Westminster Abbey or fte Collegiate Church of St Peter St Peter’s Italian Church St Peter upon Cornhill St Peter-in-the-Forest Merseyside St Peter’s Church, Birkdale St Peter’s Church, Formby St Peter’s Church, Heswall St. Peter’s Roman Catholic Church, Liverpool St Peter’s Church, Liverpool St Peter’s Church, Parr St Peter’s Church, Rock Ferry St Peter’s Church, Woolton, Liverpool Norfolk St Peter’s Church, Hockwold Saint Peter’s Church, North Barningham North Yorkshire St Peter’s Church, Croft-on-Tees St Peter’s Church, Harrogate St Peter’s Church, Rylstone St Peter’s Church, Stainforth St Peter’s Church, Walpole St Peter St Peter’s Church, Wintringham Northamptonshire St Peter’s Church, Deene St Peter’s Church, Lowick St Peter’s Church, Northampton St Peter’s Church, Raunds Nottinghamshire St Peter’s Church, Clayworth St Peter’s Church, East Bridgford St Peter’s Church, Farndon St Peter’s Church, Flawford St Peter’s Church, Gamston St Peter’s Church, Hayton St Peter’s Church, Headon-cum-Upton St Peter’s Church, Laneham St Peter’s Church, Nottingham St Peter’s Church, Radford St Peter’s Church, Ruddington Oxfordshire St Peter-in-the-East, Oxford St Peter’s Church, Wallingford Shropshire St Peter’s Church, Adderley St Peter’s Church, Chelmarsh St Peter’s Church, Cound St Peter’s Church, Edgmond Somerset St Peter’s Church, Exton Church of St Peter, Marksbury St Peter’s Church, Treborough South Yorkshire St Peter’s Church, Barnburgh St Peter’s Church, Letwell Staffordshire St Peter’s Church, Alstonefield St Peter’s Church, Elford St Peter’s Church, Marchington Suffolk St Peter’s Church, Claydon St Peter’s Church, Carlton Colville St Peter’s Church, Henley St Peter’s Church, Sudbury Surrey St Peter’s Church, Old Woking St Peter’s Church, Wrecclesham Tyne and Wear St Peter’s Church, Monkwearmouth St Peter’s Church, Wallsend Warwickshire St Peter’s Church, Binton St Peter’s Church, Wolfhampcote West Midlands St Peter’s Church, Dale End St Peter’s Church, Hall Green St Peter’s Church, Handsworth St Peter’s Church, Harborne St Peter’s Church, Spring Hill St. Peter’s Collegiate Church, Wolverhampton West Sussex

St Peter’s Church, Ardingly St Peter’s Church, Selsey St Peter’s Church, Shoreham-by-Sea West Yorkshire St Peter’s Church, Addingham St Peter’s Church, Birstall St Peter’s Church, Huddersfield St Peter’s Church, ftorner St Peter’s Church, Walton, Leeds Wiltshire St Peter’s Church, Devizes St Peter’s Church, Everleigh Wales Old St. Peter’s Church, Llanbedr Dyffryn Clwyd, North Wales St Peter’s Church, Llanbedr-Dyffryn-Clwyd, Denbighshire St Peter’s Church, Bryngwyn, Monmouths- hire, Wales St Peter’s Church, Carmarthen, South Wales St Peter’s Church, Dixton St Peter’s Church, Llanbedrgoch St Peter’s Church, Newborough, Anglesey St Peter’s Church, Peterston-super-Ely, Vale of Glamorgan Collegiate and Parochial Church of St Peter, Ruthin, North Wales St Peter’s Church, Wentlooge Scotland St Peter’s Church, Aberdeen St Peter’s Church, Edinburgh St Peter’s Church, Sandwick, Orkney Old St Peter’s Church, fturso Northern Ireland St Peter’s Church, Antrim Road, Belfast United States St. Peter’s Church (Sitka, Alaska) St. Peter Church (Bridgeport, Connecticut) Church of St. Peter (Danbury, Connecticut) St. Peter’s Church (Washington, D.C.) St. Peter Lutheran Church (Schaumburg, Illinois) St. Peters United Evangelical Lutheran Church, Ceres, Iowa St. Peter’s Catholic Church (Council Bluffs, Iowa) St. Peter Church (Keokuk, Iowa) Cathedral of Saint Peter (Kansas City, Kansas) St. Peter’s AME Church, Harrodsburg, Kentucky St. Peter’s Church (Queenstown, Maryland) St. Peters Catholic Church (Worcester, Massachusetts) Saint Peter’s Church (Mendota, Minnesota) St. Peter’s Catholic Church (Rensselaer, Missouri) Saint Peters Churchyard, Perth Amboy, New Jersey St. Peters Church and Buildings, Spotswood, New Jersey St. Peter’s Church (Albany, New York) St. Peter’s Church, Chapel and Cemetery Complex, New York City St. Peter’s Church (Hyde Park, New York) St. Peter’s Church (Staten Island, New York) St. Peter’s Catholic Church (Manhattan), New York Evangelical Lutheran Church of St. Peter, Rhinebeck, New York St. Peter’s Lutheran Church and School, Sanborn, New York St. Peter’s Presbyterian Church, Spencer- town, New York Old St. Peter’s Church (Van Cortlandtville, New York) St. Peter-In-Chains Cathedral, Cincinnati, Ohio St. Peter Church (Cleveland, Ohio) St. Peter’s Church (Mansfield, Ohio) St. Peter’s Church (Brownsville, Pennsyl- vania) St. Peter’s Kierch, Middletown, Pennsylvania St. Peter’s Church, Philadelphia, Pennsyl- vania St. Peter’s Church in the Great Valley, Phoenixville, Pennsylvania St. Peter’s Church and Mount St. Joseph Convent Complex, Rutland, Vermont St. Peter’s Church (Talleysville, Virginia) St. Peter’s Church (Richmond, Virginia) St. Peter’s and St. Joseph’s Catholic Chur- ches, Oconto, Wisconsin St. Peter’s Church (West Bend, Wisconsin)

Luiciana Faustini, UBA FADU

St Peter’s Church, Caversham Bristol St Peter’s Church, Bishopsworth St Peter’s Church, Castle Park, Bristol Cambridgeshire St Peter’s Church, Cambridge St Peter’s Church, Duxford St Peter’s Church, Offord D’Arcy St Peter’s Church, Ely, by architect James Piers St Aubyn St Peter’s Church, Prickwillow Cheshire St Peter’s Church, Aston-by-Sutton St Peter’s Church, Chester St Peter’s Church, Congleton St Peter’s Church, Crewe St Peter’s Church, Delamere St Peter’s Church, Hargrave St Peter’s Church, Little Budworth St Peter’s Church, Macclesfield, St Peter’s Church, Minshull Vernon St Peter’s Church, Oughtrington St Peter’s Church, Plemstall St Peter’s Church, Prestbury St Peter’s Church, Swettenham St Peter’s Church, Tabley, St Peter’s Church, Waverton Cumbria St Peter’s Church, Camerton St Peter’s Church, Field Broughton St Peter’s Church, Finsthwaite St Peter’s Church, Heversham St Peter’s Church, Kirkbampton St Peter’s Church, Mansergh

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Australia St Peter’s, Eastern Hill, Melbourne, Victoria, Australia St Peters Church, St Peters, Sydney, New South Wales, Australia Austria Peterskirche, Vienna Belgium St. Peter’s Church, Leuven St. Peter’s Church, Melreux Bermuda St. Peter’s Church, St. George’s Canada St. Peter’s Lutheran Church, Ottawa St. Peter’s Church, Toronto China Saint Peter’s Church, Shanghai Denmark St Peter’s Church, Bornholm St. Peter’s Church, Copenhagen St. Peter’s Church, Næstved, Sealand France St Peter’s Church, Le Crotoy, Picardy St Peter’s Church, Liverdun, Lorraine Old Saint Peter’s Church, Strasbourg Saint-Pierre-le-Jeune Catholic Church, Strasbourg Saint-Pierre-le-Jeune Protestant Church, Strasbourg Germany St. Peter am Perlach, Augsburg St. Peter, Syburg, Dortmund-Syburg Saint Peter’s Church, Fritzlar St. Peter’s Church, Hamburg Peterskirche, Leipzig St. Peter’s Church, Mainz, St. Peter’s Church, Munich St. Peter’s Church, Rostock St. Peter’s Church, Straubing St Peter’s Dom, Worms Iceland St. Peter’s Church, Akureyri, Norduland Eystra India St. Peter’s Church, Royapuram, Chennai, Tamil Nadu Ireland St. Peter’s Church, Aungier Street, Dublin St Peter’s Church, Phibsborough, Dublin St. Peter’s Church, Ennisnag, Kilkenny St. Peter’s Church, Laragh, Co.Monaghan. Israel St. Peter’s Church, Capernaum St. Peter’s Church, Jaffa St. Peter’s Church, Tiberias Italy Church of St. Peter (Portovenere) Kosovo St. Peter’s Basilica Church Latvia St. Peter’s Church, Riga Malaysia St. Peter’s Church (Melaka) Malta St Peter’s Church and Monastery, Mdina St Peter’s Chapel, Qormi Netherlands St. Peter’s Church, Leiden Protestant church of Jistrum or St. Peter’s Church Pieterskerk, Utrecht Norway St. Peter’s Church, Halden

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ALBERTE KLYSNER STEFFENSEN

Disruption means disturbance, collapse or problems which interrupt an event, activity, or process. It could be a disruption of sleep, a disruption in service or an activity that has continued without disruption. The term is especially used about the phenomenon concerning business or technology; of how the use of new technology can change the market situation drastically which, for example, could course the existing products and companies becoming redundant in the field. I find the notion of disruption violent. The tone of the term does in many ways sound negative and signifies something drastic, abrupt or sudden. Something very powerful which might affect us in a way that we are not prepared for. Architecture can be disrupting and the surrounding factors of architecture can be disrupting for architecture itself. Is every act of architecture then a disruption?

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DISRUPTIONS: ARCHITECTURAL EDUCATION IN THE AGE OF NEO-LIBERALISM INTERVIEW BY RUTH BAUMEISTER WITH BART DECROOS Prof. Ruth Baumeister, MSO Dipl. Ing.Arch., PhD, AARCH

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BDC The issue of OASE uses two turning points in recent history to situate the most im-portant developments in architectural education of the past decades. On the one hand, there are the student revolts of May ’68 in Paris and other countries. The years leading up to this moment and the following years seem to be characterised by a more radical and critical approach to teaching, both in architecture and other disci-plines. From the 1970s onwards, the humanities — history, theory and criticism, but also sociology and psychology — took on a significant importance, while the tech-nical or functionalist approach to architecture was under pressure. Consequently, chairs of history and theory were established, and other fields of knowledge ob-tained a more central position in design studios. For example, already in 1967, at the ETH Zurich, the Institute for History and Theory of Architecture (GTA) was founded, with Adolf Max Vogt as its first director. Or, in 1973, at Eindhoven Universi-ty of Technology, Geert Bekaert became the first professor of architecture history and theory. The journal OASE itself was founded in the early 1980s for and by stu-dents at Delft University of Technology, as a project of self-education focused by means of historical, theoretical and critical reflection, as a necessary correction of an architectural education that was experienced as too technocratic. On the other hand, the opposite point of reference is the Bologna Declara-tion on European Higher Education in 1999, which reoriented the curricula of univer-sities towards the market. One of the principles of the declaration was that educa-tion was not only considered as the formation of good citizens, but also the for-mation of an entrepreneurial subject. So knowledge became considered as an eco-nomic investment. In other words, following ‘Bologna’, a direct return was expected of universities, in the run up to a professional profile that makes students independ-ent entrepreneurs who can compete with each other. This change is also visible in the curriculum of European universities: At Delft University of Technology, the de-partment ‘Management in

the Built Environment’ was founded as early as 1991, then as the department ‘Real Estate & Project Management’, or at the University of Leu-ven, ‘Management and Entrepreneurialism’ became one of the three pillars of the ‘General Theoretical Formation’ of the Bachelor, along with ‘History and Theory’ and ‘Building Sciences’.

builders´, who are unskilled and, yet, their performance determined the quality of architecture in the end. Is this phenomenon specific to the case of Italy or do you believe this has also happened in other coun-tries? Is learning how to build still an issue in architecture today?

RB Higher Education in Europe throughout the last few decades went through a process of transformation, both in practice and in policy, which was caused by the neoliberal turn. How did this affect the education of architects in Europe? How do you think it will further determine the transformation of teaching ap-proaches in the future?

BDC I am not very familiar with the specific case of Italy, but, in general, it does seem true that in European and Northern American architecture schools there has been a growing gap between academia and practice. If you look at the major architecture journals of the late twentieth century, for example, you can see that these take an explicit theoretical turn: Oppositions, Daidalos, Zodiac, Assemblage. Whereas earli-er journals were often an extension of architectural practice, as was the case for Adolf Loos’ Das Andere, Le Corbusier’s Esprit Nouveau, Theo Van Doesburg’s De Stijl, or Mies van der Rohe’s articles in G, by the end of the twentieth century, archi-tecture journals became closely linked to academia, and architectural theory became a field of autonomous production. The idea of the architect-as-intellectual indeed seems to create a distance to the construction site, but I am not sure that the archi-tect-as-entrepreneur we see appearing today is able to close that gap.

BDC As mentioned, the Bologna Declaration seems to have been a key moment in this ‘neoliberal turn’ in architectural education. The logic of this treaty was to make Eu-ropean universities comparable to each other, in order to encourage exchange, both in terms of education, but also once graduated architects enter the European mar-ket. But what this also did was to level out some of the critical differences between different schools, by reorganising architectural education within a framework of ex-changeable ECTS points, for example. In Belgium, this process is still developing: all of our architecture schools have recently been absorbed into the established univer-sities and their intrinsic frameworks of validation and evaluation, which are mostly derived from the natural sciences. As such, whereas the events of May ’68 opened up a space of critical reflection, both on architecture as a discipline as well as on what architectural education could or should be, the neoliberal logic underlying the process of transforming these schools today seems to close up this gap again, vali-dating education merely in terms of economic and quantified values or returns. RB When talking about these processes and how they are mediated in architec-ture, you refer to two poles: the university where students are educated to become architects and the job market, where they subsequently perform. How about the building site though? I remember architect Paolo Desideri, head of Rome-based studio ABDR, once telling me in an interview about the position of architecture in a globalized world that in Italy, caused by the ´68 events and of course also influences caused by Rossi´s writings, architects pretty much retreated from the construction site and dedicated themselves to writing and drawing. According to Desideri, this retreat of the architect creat-ed a culture of ´T-shirt

On the other hand, this is also in part determined by the way the construction industry is organised. For example, in Belgium, architects are not only expected to design a building, but legally required to follow up on the entire construction site. This is further enforced by a ten-year legal responsibility for the building, in case anything breaks down. The result is that in Belgium, after graduation, students of architecture are still required to complete a two-year internship before they can build their own projects, as to ensure they have sufficient knowledge of the con-struction process. In contrast, in the Netherlands there is no such far-reaching legal accountability, and for many architects the process stops at the final design pro-posal. The project is then transferred to contractors, who are made responsible for the construction. This in part also explains the differences between the two architec-tural cultures: in Flanders, there is nowadays much more attention to craftsmanship and materiality, while in the Netherlands, with the Superdutch generation of the last decade, architecture has been much more focused on its mediated image. RB In the critical history on architectural education during the last decades you delivered in OASE journal, you centred the analysis around two turns, the 1968 era and the Bologna Declaration from 1999. These are disruptions which

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RB You recently co-edited an issue of the OASE Journal for Architecture, titled ´Schools & Teachers. The Education of an Architect in Europe´, which provides an analysis of different approaches in architectural training in Europe since the 1960s. This issue of KÅRK, the student magazine of Aarhus School of Architecture, collects contributions under the theme ´Disruptions´. Could you, in general terms, describe the biggest disruptions and the strongest con-tinuities of traditions in the last six decades of European architectural training since the post-war period?

BDC The digital turn is driven much more by technological developments than by eco-nomic or political motives — which is not to say that these are neutral instruments. The disruption caused by the digital turn seems to be located more in the architec-tural imagination. Since the late nineties, a whole new vocabulary has come into be-ing: from folding to nonlinearity and hyper surfaces, from versioning to scripting and parametricism. One need only look at the difference between the early work of Zaha Hadid and her office’s later buildings. Her oil paintings and the Vitra Fire Station that came out of them have a very distinct material quality, which seems to be missing in the later buildings designed with Rhino and Grasshopper. This is not a judgement of value per se, but merely to say that these instruments did change the architectural imagination and its subsequent production, and thus ideas on what architecture could or should be. At the same time, however, these computer programmes also changed the organisation of the construction process. Plans and drawings became much more precise while information and data could be shared more easily, resulting in the Building Information Modelling (BIM) software we have today, which has replaced the individual architect with an entire team of collaborating experts. I am not sure whether this is a disruption or rather the next step in a continuous process that has been developing since the disegno in the Renaissance, which already introduced an explicit separation between the conception of the building and its actual construc-tion, and replaced the on-site master mason with the artist-architect in his studio. The development of the blueprint in the nineteenth century introduced a more ex-plicit legal accountability, and ever since the architect has been drawing plans, whether it is on a drawing board or behind a computer screen. Either way, the digi-tal turn seems to have indeed transformed the profession, both on the level of imag-ination and in its practical organisation, but I am not sure if this also means that it produced a new subject position for the architect themselves.

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RB The foundation of Aarhus School of Architecture in 1965 was motivated by a concrete practical purpose: in Jutland at that time, people increasingly changed from working in agriculture to administration, production and the service industry. The upcoming Danish welfare state needed its proper built

environment, and architects were lacking. At the same time, the institution aimed at nurturing an ´architectural milieu in Aarhus´. The school was officially inaugurated only a year after it started operating, revealing some characteris-tics that are typical until this day: a pragmatic hands-on approach, a commit-ment to improvisation and experimentation and a democratic tradition. How do you see the future of these characteristics in architectural education? BDC Although the developments we sketch out in the issue of OASE paint a not very op-timistic image of the future of education, there’s no reason to be completely pessi-mistic either. Despite the ‘neoliberal turn’ in education in general, a lot of people teaching at architecture schools are still very much involved in architecture as a cul-tural field rather than an economic enterprise, and they still try to educate students rather than ‘train’ them. For example, the Sint-Lucas School of Architecture in Brussels — now integrated into the Faculty of Architecture of the University of Leuven — ran a two-year experiment in which students were allowed to work on-site at the re-development project for the former World Trade Center, near Brussels’ North Sta-tion. The school occupied the 24th floor of an empty office tower, which is sched-uled for redevelopment, setting up a design studio in collaboration with the archi-tecture offices and project developer that are doing the project. It is easy to be cynical about this situation, where students can be seen to provide free labour for the developer’s plans, but on the other hand, it also takes the students out of the school environment and places them inside of the ‘real world’, simultaneously also opening up a space of reflection within a commercial project. The squatter-like circumstances in which the students had to operate, reinforced the character of improvisation and experimentation of the studio, while the conversations with the involved architects and developers opened up different perspectives on architecture for both sides. With Lieven De Cauter and Gideon Boie as teachers, the students set up weekly ‘so-fa talks’, which were informal debates with invited guests to critically reflect on the redevelopment project, the problematic urban planning of the Manhattan district, the role of certain developers and architects who have shaped the city for the past decades, and the role of architectural education in relation to this place. This opened up both the tower and the studio space to a more general audience, per-haps effectively democratising the educational project of that studio for two years. RB During the first decades of its existence the school developed its own

specific profile with a permanent teaching staff recruited almost exclusively from with-in Scandinavia combined with inputs from different international guests. One of the specific characteristics of the Aarhus teaching approach until today is that the education, with the exception of architecture history and theory teaching, is studio based. In recent years though, not least due to interna-tionalization, the changes enforced through the Bologna process, and pres-sure from the national government to make graduates fit for the job market, the school has undergone a transformation process. Do you see local tradi-tions like, for example, the above mentioned studio teaching being nurtured, negotiated, or even disrupted within the current market of architectural edu-cation in Europe? BDC Over the past decade, the architectural culture in Flanders has grown exponentially, with the Flanders Architecture Institute supporting and promoting Flemish architec-ture both nationally and internationally, while the Team Flemish Government Archi-tect has provided many opportunities for both established and young offices, in real-ising prestigious projects through the procedure of the ‘Open Call.’ These efforts have allowed an architectural culture to blossom, which has been recognised and celebrated internationally: most recently, the Ghent-based Architecten De Vylder Vinck Taillieu received the Silver Lion at the Venice Biennale 2018, while seven Bel-gian projects were shortlisted for the Mies van der Rohe Award 2019. Typically, Flemish architecture is characterised by craftsmanship, its sensitive approach to her-itage and re-use, and the importance of materiality. These qualities are closely linked to a hands-on approach in architectural practice itself, and thus need a close connection between education and practice to sustain this developing architectural culture. At the same time, however, we see how many of these celebrated architects leave Belgian architecture schools in favour of international institutions. The devel-opments sketched out above are further reinforced through the increasing im-portance of academic research. There’s a mounting pressure to ‘produce’ research, in the form of PhDs and by organising teaching positions through tenure-track systems. The result is that studio teachers either have temporary positions, or are ex-pected to obtain a PhD and become full-time professors in the long run. Many of the studio teachers of course run their own architectural practices, which leaves them no time to do academic research, nor are they very much interested in aca-demic careers. This pressure towards

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are caused by a specific economic and political agenda. This creates two opposing models: the architect as an intellectual versus the architect as an entrepreneur. How about the digital turn, though?

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The disruption caused by the digital turn seems to be located in the architectural imagination. Since the late nineties, a whole new vocabulary has come into being: from folding to nonlinearity and hyper surfaces, from versioning to scripting and parametricism.â&#x20AC;?

RB Youâ&#x20AC;&#x2122;re pointing out another important aspect here, which is the problems that occur when you try to make architecture match other academic disci-plines on the levels of research, education, recruitment of teachers, etc. The PhD programme at Aarhus School of Architecture focuses on design based research and tries to trying to bridge the gap between a purely academic cul-ture and a design-based education of architects. Do you think that such an approach could potentially fix the disruption between practice and academia in the long run or does it contribute to chasing out practising architects from education? BDC Here in Belgium there is also a lot of interest in research by design, or theory by de-sign, or research-based design, and so on. I think this development really points to the pressing nature of this underlying lack in architecture schools, which is the gap between academia and practice, and that it signifies various attempts to indeed bridge this gap. But perhaps bridging research and education is not enough, and we will really have to bring back actual and messy architectural practice into the schools, both in education and research. RB In higher education in Denmark, the humanities are under great pressure. Whole departments have suffered severely due to budget cuts or were forced to completely close down in recent years. These developments of course also have a large impact in the field of architecture. How do you see the future of teaching history and theory in architectural education?

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BDC Such predictions are always difficult, and one risks getting ahead of things in doing so. However, as Joan Ockman wrote in her 2012 publication Architecture School, for now, architecture schools remain the primary site where the discourse of architecture is

formulated and disseminated. This is the place where students are introduced to a much larger community of intellectuals and professionals, and become a part of it. In the current conditions, where architectural education is permeated with the logic of the market, the challenge for historians and theorists, but also for studio teachers, is to open up an educational space that can serve as a counter-weight to these capital-ist prerogatives of production, distribution and consumption. Instead, it is about preserving and passing along the possibility of emancipation, of cultural reflection and of a social consciousness to future generations of architects.

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doing academic research and the effect it has on the available positions for studio teachers, drives out actual practising architects, leaving an increasingly widening gap between schools and practice. However, we also see an increasing discontent with this situation, both within academia and in practice, and whereas only the future will tell what this means for architectural edu-cation, it seems that this pressure will inevitably require us to reinvent again what an architecture school should be for the twenty-first century, both taking into account the academic standards of the universities they have now adopted and without los-ing touch with the practice of architecture and its pressing challenges.

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Bart Decroos is an architect, researcher and editor based in Brussels. He is currently a PhD candidate at the University of Antwerp (fellowship of the FWO), with a focus on the ‘materialist turn’ in architecture. He is a member of the editorial board of OASE Journal for Architecture and writes for various architecture magazines. He has previously worked as an editor at the Flanders Architecture Institute and Architects De Vylder Vinck Taillieu.

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Arissara Reed, University of Sidney/AARCH

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Arkitektur fra et queerfeministisk perspektiv

Nora Ødegård,, SET KDAK

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Litteratur Ahmed, S. (2006) Queer phenomenology. United States: Duke University Press, p. 161 Bingaman, A., Sanders, L. and Zorach, R. (2001). Embodied utopias. London: Routledge. p. 58 Bonnevier, K. (2018). Behind Straight Curtains: Towards a Queer Feminist Theory of Architecture. Ph.D. KTH. p. 277, 282 Brooks H. A., Le Corbusier’s Formative Years, (Chicago, University of Chicago Press, 1997), p. 375. Burroughs, B. (2010). Do Bodies Matter? Stone, water, light, skin and material performativity in There Vals. Stockholm University, p. 5, 11, 12, 16, 19, 23 entasis. (2018). Kildeskovshallen - entasis’ tilbygning reflekterer konkurrencens væsen. [online] Available at: https://entasis.dk/projects/kildeskovshallen/ [Accessed 19 Dec. 2018]. Fanon, F. (1998). Black skin, white masks. London: Pluto, p. 82. Information. (2018). Du kan kun blive dig selv som et ‘vi’. [online] Available at: https://www.information.dk/kultur/anmeldelse/2011/02/kan-kun [Accessed 19 Dec. 2018]. Jensen, T. (2001). Murstenens ornamentale vilje. [Kbh.]: Kunstakademiets Arkitektskole. p. 37-38. Kommune, Gentofte. (2018). Kildeskovshallens historie - Gentofte Kommune. [online] Gentofte.dk. Available at: https://www.gentofte.dk/da/Borger/Kultur-og-fritid/Idraet/ Idrætsanlæg/Idrætshaller-og-anlæg/Kildeskovshallen/Kildeskovshallens-historie [Accessed 19 Dec. 2018]. leksikon, S., filosofi, R. and fagdisipliner, F. (2018). fenomenologi – Store norske leksikon. [online] Store norske leksikon. Available at: https://snl.no/fenomenologi [Accessed 19 Dec. 2018]. Miller, B. and Ward, M. (2002). Crime and Ornament, The Arts and Popular Culture in the Shadow of Adolf Loos, edited by Bernie Miller and Melony Ward, XYZ Books, 2002, p. 30 Semper, G. (1851) Utdrag fra Four Elements of Architecture i kompendium ved KADK, p. 103 – 104. Tampere Institute of Technology (2018). Raw materials. [online] Available at: https://www.tut.fi/ms/muo/vert/10_reinforcing_materials/textile_production_properties.htm [Accessed 19 Dec. 2018]. Worringer, W. (2014). Abstraction and empathy. Mansfield Centre, Conn.: Martino Fine Books. p. 51

KÅRK #35

TRANSMATERIA, STOF OG BETONG

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Denne tekst behandler kjønnsroller i arkitektur fra et queerfeministisk perspektiv. Etter en introduksjon vil jeg utfolde bakgrunn og teorigrunnlag for analysen. I annen del vil jeg gi en overordnet beskrivelse av et utvalgt verk etterfulgt av en caseanalyse. I caseanalysen vil jeg introdusere en komplementerende teoridel. Teksten avsluttes med en konklusjon.

1 TEORIGRUNNLAG introduksjon

Rommet dannes idet vi inntar det, idet vi opptrer i det er persepsjonen opplevelsen av denne kroppslige interaksjon. Gjeldende kategorisering av kropp i form av rase og kjønn er utslagsgivende for ulik romlig persepsjon. Denne avhandling tar sikte på å utforske vår orientering i rom ut fra et queerfeministisk perspektiv med hensikt å kaste et nytt lys over vår romlige oppfattelse. Hvilken betydning har vår seksuelle og dermed verdslige orientering for vår persepsjon av rom? Kjønn og rase er ikke et naturlig biologisk faktum, det er en sosial konstruksjon. Vi er oppdratt til å oppfatte hverandre med hensyn til rase og kjønn. Segregeringen er problematisk da den benyttes som hovedverktøy for makthavere til å misbruke andre. På samme måte som rase er et resultat av rasisme, og ikke omvendt, er kjønn med tilhørende attributter kostruert. Fornemmelsen av selvet finner ifølge Hegel først sted idet du trer inn i sosial interaksjon.1 Det er anerkjennelsen hos dem utenfor deg selv som danner grunnlaget for oppfattelsen av selvet. Sexisme og rasisme blokkerer denne anerkjennelse idet du istedenfor å bli sett som menneske, blir møtt med stereotypier derivert fra et kategorigrunnlag. Du hindres i å fornemme et selv idet muligheten til anerkjennelse forstyrres. Som svart person eller kvinne i en hvit heteronormativ orden resulterer den manglende anerkjennelse som Fanon beskriver gjennom tap av orientering hvor kroppen blir et objekt på linje med andre objekter samt følelsen av krise av å tape den plass i verden man aldri har blitt gitt.2

1 (Information, 2018) 2 (Fanon, 1998) p. 83 3 (Burroughs, 2010) p. 19

Konstruksjonen av feminine og maskuline roller er avgjørende for vår kroppslige og materielle forståelse. Denne undersøkelse tar sikte på å utfordre det vi definerer som essensielt, herunder dominerende heteronormative tolkninger av hvordan vi skaper og inntar rom. Som teorigrunnlag for casestudiet velger jeg å bruke Brady Burroughs´ Do Bodies Matter - Stone, water, light, skin and material performativity in Therme Vals og Sarah Ahmeds Queer Phenomenology. Brady Burroughs er medlem av FATALE som forsker i feministisk arkitekturteori ved KTH. Med filosof og queerteoretiker Judith Butlers performative teori som grunnlag gjenfortolker Burroughs Peter Zumthors Therme Vals og dislokaliserer de heterosexistiske normer de er konstruert under.3

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teori og metode

Burroughs refererer i sin tekst til arkitekt Leslie Kanes Weisman: “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality.” 6 Burroughs tydeliggjør at en essensialiert binær tenkning kan forstyrres gjennom å omtale arkitekturens substans i henhold til den kvinnelige kropp.7 Strategien demonstrerer en kvinnelig kropp som både rommer femininitet og maskulinitet. Beskrivelsene drag king og butch retter seg begge mot den kvinnelige kropp, og uttrykker ifølge Burroughs varierende grad av kvinnelig maskulinitet.8 Teorien forstyrrer en binær tankegang og krever et nytt begrep i forhold til kjønn og materie, definert av Burroughs som

“transmateria - matter which is in a constant state of transformation, incorporating and expressing multiple connotations of gender simultaneously.”9

Vår opplevelse av romlige fenomener skjer i relasjon til vår kroppslige bevissthet.

Transmateria agerer gjennom material performativity i reaksjon med menneskelig persepsjon: En overflate er ikke blendende før den blender noen. Slik kan materien betraktes gjennom at den gjør, snarere enn at den er. Burroughs underbygger sin teori med Pallasmaas tolkning av materie forriglet med prosess. Materialiseringen, som også omfatter nedbrytningen, avhenger av materie i endring.10 Queer i kjønnspolitisk perspektiv beskriver en seksualitet som ikke imøtegår normative definisjoner av feminin og maskulin adferd. Ahmed beskriver noe som queer “when things fail to cohere”, “when things slip away” 11, det kan for eksempel være meningen ved et begrep som unnslipper.

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Burroughs´analyseverktøy muliggjør en undersøkelse av fenomenologisk karakter. Fenomenologi er en filosofisk vitenskap som betrakter fenomener gjennom å trenge inn til deres vesen, med henvisning til den tsjekkiske filosof Edmund Husserl.12 Fenomenologi er en eksistensiell teori da væren kommer forut for essens, teorien undersøker individets fotrståelse av sin menneskelige erfaring. Fenomenologien er transenderende da den kaster lys over vår eksistens uten å opponere mot vitenskaper med andre tilnærminger. Vår opplevelse av romlige fenomener skjer i relasjon til vår kroppslige bevissthet. Rom og materie fremtrer og får betydning gjennom kroppens sansning.

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Burroughs introduserer metoden non-essential phenomenology som bygger på post-strukturell teori basert på tekster av Juhani Pallasmaa og Judith Butler. I non-essential phenomenology innfører Burroughs begrepene transmateria, material performativity og sexual material performativity. Det foreligger en essensialisert oppfatning av arkitektur basert på en binær kjønnsteori. Det mannlige/kvinnelige har følgende typiske attributter: dybde/flate, essensiell/overfladisk, uavhengig/avhengig, geometrisk/organisk, bygger/bebor, kultur/natur, eksteriør/interiør, ortogonal/rund, offentlig/privat, konstruksjon/dekorasjon, permanent/ midlertidig, fallos/hule, himmelstrebende/jordet. 4 Stukturen utgjøres av at det mannlige er overordnet. LeCorbusier uttalte i et brev 1913: “The naked man for me is the man who has surmounted himself ... a complex of firm and rectangular planes. The naked man for me is architecture. When I no longer make architecture, I see everything as women.” 5 Han er sivilisert og aktivt skapende idet han opprettholder sin avstand fra naturen. Gjennom teknisk bearbeidning overvinner han naturen og deriverer en ren komposisjon. Han er overlegen naturen som LeCorbusier jevnfører med kvinnen.

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2 CASEANALYSE Jeg velger å undersøke Kildeskovshallen tegnet av Karen og Ebbe Clemmensen med særlig henblikk på tilføyelsen av Entasis. Jeg undersøker to materialer, betong og stoff, og deres karakter i relasjon til kroppen og gir til sist en kort komparativ analyse mot Clemmensenparets haller. Undersøkelsen er av fenomenologisk karakter og behandler materialeessens fremfor konstruksjon og romprogram. introduksjon av Kildeskovshallen

Hallene er oppført 1966-1969 med Gentofte kommune som byggherre. En ny kafeteria ble bygget 1970 - 1972, og i 2000 - 2002 en ny bassengbygning tegnet av Enstasis Arkitekter. Anlegget har en størrelse på 31.000 m2, hvorav 9.700 m2 er bebygget areal med tre svømmebasseng, to idrettshaller, tre idrettssaler, en gymnastikksal, en møtesal samt diverse klubbrum og et serveringssted.13 Kildeskovshallene er utformet som fem volumer med svømme- eller sportshaller. Hallene reiser seg med forskjellig høyde i et lett kupert terreng. Tre kubiske former utgjør selve svømmehallen med takskiver i varierende høyde som skyter seg inn over hverandre. I fasaden løper en taktfast rekke av slanke violette søyler i stål. Søylene møter takkonstruksjonen i de mintgrønne stålpyramider som utgjør gitterdragerne, og tegner et tremotiv som minner om den omkringliggende Kildeskov. I loftet brer seg et romgitter i brun aluminium. Fagene mellom søylene er utfylt med glass og forsterker motivet av søylene som folder taket, trekronen, ut. Dette gir en opplevelse av et oppløst forhold mellom ute og inne. De indre overflatene er flisbelagte i blanke varmhvite fliser. Noen steder er ulike fliser lagt i loddrett mønster. Entasis´ nye bassengbygning ligger nedgravd i terreng. Den er utført i rektangulære søyler og en takskive i betong. Over bassenget er taket hevet i et ovenlys som bæres av gitterdragere i stål som utveksler kreftene til betongsøylene. Langsmed åpningen henger hvite lerreter. Bygningskroppen dikteres av det langstrakte basseng med en lengde på 50 meter. Forbindelsesleddet mellom den opprinnelige bygningen er en lang trapp hvor de varmhviteflisene er gjenanvendt. Trappen lander i et terapirom med tilliggende varmtvannsbasseng.

betong

“Hvor Clemmensens arkitektoniske sprog er nærmest feminint, uvirkeligt let og varmt rummer tilbygningens 50 meter konkurrencebassin et andet fokus. Her er arkitekturen baseret på hårde maskuline og kontante virkemidler der reflekterer konkurrencens væsen: Den rå beton og det lukkede rum der vender al opmærksomhed og energi mod konkurrencebassinnet.”14 Innholdet i Entasis beskrivelse har antatte feminine attributter.

4 (Burroughs, 2010) p. 12 5 (Brooks and Le Corbusier., 1997) p. 375 6 (Burroughs, 2010) p. 5 7 (Burroughs, 2010) p. 5 8 (Burroughs, 2010) p. 5 9 (Burroughs, 2010) p. 11 10 (Burroughs, 2010) p. 16 11 (Ahmed, 2006) p. 160 12 (leksikon, filosofi and fagdisipliner, 2018) 13 (Gentofte Kommune, 2018) 14 (Entasis, 2018)

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massivitet og “material performativity of butchness” Betongen i rå oveflate presenterer seg allerede ved inngangen til konkurransebygningen og markerer overgangen til et rom av en annen karakter enn Clemmensens hall. Den fingranulerte betong gir den grå overflate med et blankpolert preg. Dette motvirker en porøs framtoning, og forsterker betongen som erosjonsdyktig og permanent. Den får sin styrke presentert ved at takets stålbjelker legger av på veggen. Betongens tyngde og tetthet uttrykker en permanens (maskulinitet). Entasis beskriver:

rommet som et innadvendt interiørt rom, vanligvis assosiert med det feminine. Den porøse stein representerer antatte assosiasjoner til kvinnelig kropp og seksualitet som uthult materiale passivt overfor inntrengning fra en maskulinassosiert utside. Betongen har ikke det grove tilslag som danner en slik overflate, men en tett, blank overflate som uttrykker en antatt mannlig maskulin permanens.

Betongen er formgitt etter ortogonale prinsipper og uttrykker menneskeskapt geometrisk form i motsetning til naturalistisk organisk form, egenskaper assosiert med rasjonalitet, kultur og uttrykk for mannlig maskulinitet. Det foreligger en motsetning i denne forestilling av materie beskrevet som mannlig maskulin og det interiøre rommets antatte feminitet. Gjenklangen av lyden av kroppene i vannet slår hardt mellom veggene og flisgulvet. Den hule lyden fører tankene til grotten, det negative femininine som inntas av det positive maskuline. Den normative tolkningen representerer en binær kjønnsoppfattelse der maskulinitet er knyttet til den mannlige kropp og femininitet er knyttet til den kvinnelige kropp. Burroughs´ begrep transmateria tillater en annen tolkning enn den motsetningsvise. Gjennom non-essential phenomenology argumenterer Burroughs for at de kontrasterende assosiasjoner i sin kombinasjon kan tolkes som kvinnelig maskulinitet.15

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Uthulingene i betongen fremkalles ikke av grovt tilslag, men i form av negative avtrykk fra forskalingsplater og ankerpunkter. Som et ekko av veggens tilblivelsesprosess står relieffene som det mange i dag ville anerkjenne som et ornament. Ornamentets rolle i arkitekturen har vært emne for diskusjon over flere århundrer. Ornamenet er blitt underorndet, feminisert, hevdet som overfladisk, ekstravagant, uvesentlig. Arkitekt

Adolf Loos publiserte i 1908 essayet Ornament and crime hvor han skriver: “The evolution of culture is synonymous with the removal of ornament from utilitarian objects”16 Ornamentets rolle er forsøkt rettferdiggjort gjennom ulike strategier hvis grunnlag kan knyttes til tre ulike former for betraktning: en binær betraktning, en interrelasjonell betraktning og en transenderende betraktning. Gjennom en binær betraktning er ornament og konstruksjon to adskilte størrelser, hvor det etterfølgende argumenteres på forskjellig vis for deres over- eller underordnede posisjon. Italienske Leon Battista Alberti konstaterte omkring 1443 ornamentet som underordnet arkitekturens fundamentale bestanddeler, liniamenta - tanken og structura - konstruktive delelementers samlede komposisjon. Ornamentet skulle ifølge Alberti fremheve konstruksjonen og var akseptert som et påheftet element sålenge det kunne begrunnes logisk.17 400 år senere fordret Pugin en mer en bokstavelig fremfor metaforisk sammenheng mellom ornament og konstruksjon: “Ornaments are actually constructed, instead of forming the decoration of construction”. Ornamentet anerkjennes dersom oppstått som et resultat av bygningens konstruksjon, ornamentet er konstruksjonen.18 For den tyske arkitekt Gottfried Semper kunne arkitekturens elementer inndeles etter et tydelig hierarki alt etter om det kunne føres tilbake til et av “The four Elements of Architecture.” Ulikt Alberti og Pugin lå arkitekturens essens hos Semper i overflaten. Semper påpekte den vertikale rominndeling som veggens opphav: “Wickerwork was the essence of the wall.19 (...) But what primitive technique evolved from the enclosure? None other than the wall fitter (Wandbereiter), that is, the weaver of mats and carpets.” 20 Veggen som flettverk hadde hos Semper en overorndet posisjon som et av arkitekturens fire elementer. Menneskenes kultur har ifølge Semper alltid vært fasinert av tildekningen eller masken inneholdende en symbolikk som ikke kan uttrykkes av den indre konstruksjon. Semper så konstruksjonen som et underordnet støtteelement for flettverket. Dette er Sempers teori om Bekleidung. Arkitekt Otto Wagners forståelse av kunst og arkitektur som sameksisterende disipliner kan sies å bygge på hans forståelse av Sempers teori om Bekleidung. Wagners teori om konstruktiv symbolisme produserte bilder som maskerte sin virkelige funksjon. Wagners Postsparkasse i Wien er kledt med boltede marmorpaneler som tilslører arkitekturens, ifølge modernismens arkitekter, sanne essens. Wagners bruk av bolter viser en lek med oppfatningen av ornamentets nødvendige sammenheng mellom konstruksjonen, da mørtelen gjør boltene konstruktivt overflødige. Den tyske kunsthistoriker Wilhelm Worringer anser ornamentet som en kunstnerisk impuls med den funksjon å frigjøre mennesket fra eksistensiell frykt. “It is in the essence of ornament that in its products the volition of a people finds its purest and most unobscured expression.”21

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Med arkitektur som institusjon oppstår kjønnsdelingen og det produseres en dikotomisk avstand mellom maskulin og feminin, mellom kunst og håndverk, konstruksjon og ornament. Den feminine betegnelse produseres i det øyeblikk det underordnes øvrige betegnelser og blir gjort avhengig av disse. Entasis tegner et bilde av

D I S R U P T I O N

Han vekter ornamentets kunstneriske innhold høyere enn konstruksjonen. Den interrelasjonelle betraktning representeres av de feministiske teoretikerne Norma Broude og Kim Sawchuk. Broude kritiserer det å rettferdiggjøre ornamentet ved å tildele det intellektuelt innhold da det priviligerer dette over sanselig form – en form for uønsket maskulinisering av ornamentet. Dersom maskuline egenskaper kreves for ornamentet til å oppnå anerkjennelse, bekrefter det feminine egenskaper som underordnede. Den interrelasjonelle betraktning kan beskrives med Sawchuks analyse av bekledning: bekledning er ikke en refleksjon av en allerede eksisterende identitet, men bidrar aktivt til selve konstitueringen av en identitet.22 Dette innebærer en gjensidig definisjonsmakt i konstruksjon og overflate. Burroughs fremviser en transenderende betraktning idet han vil bevege seg fra en essensiell betraktning til en performativ betraktning. Tolket gjennom non-essential phenomenology er det nærliggende å tro at Burroughs vil behandle ornamentet på linje med annen materie og vektlegge hvordan det agerer i forhold til oss i sin kontekst. Avtrykket i betongen er en effekt av oppføringsprosessen fremfor en et fritt utformet kunstverk. Det forteller om betongens transformerende egenskaper idet det en gang var flytende og formbart. De negative ankerpunkter avslører også en massivitet i den monolitiske veggen. Betongen har maskuline attributter tilknyttet, men dens blanke overflate bærer preg av en lettere hud med livlige formasjoner i sedimentene. Det tegner seg som svingede kurver med et levende uttrykk. Betongens massivitet representerer en maskulinitet, men betongens overflate, som Sempers øyne er det primære ved veggen, fremtrer med levende, organiske, feminine former.

stoff

15 (Burroughs, 2010) p. 23

“Tilbygningen har dog andet en rå maskulinitet i sin arkitektoniske dna. Konkurrencerummets textilvægge fungerer som lærred for solens projektioner af ovenlysets konstruktioner. Disse står som en konstant dynamisk ornamentik i dagstimerne afløst af aftentimernes kunstige belysning via armaturer rytmisk placeret bag lærredet.Konkurrencens rum defineres af bassinvægge og lærredsvægge over disse, kronet af et stort ovenlys.”23

16 Miller, B. and Ward, M. (2002) p. 30

Stoffet er et materiale svært mange har vært i berøring med. Den tolkede letthet utspringer av denne erfaring, men også ved synet av hvordan stoffet rører seg med luftens bevegelse. Entasis definerer letthet feminint: ”Hvor Clemmensens arkitektoniske sprog er nærmest feminint, uvirkeligt let...”24

21 (Worringer, 2014) p. 51

17 (Jensen, 2001) p. 37 18 (Jensen, 2001) p. 38 19 Semper (1851) p. 104 20 Semper (1851) p. 103

22 (Negrin, 2006) p. 15 23 (entasis, 2018) 24 (entasis, 2018)

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Langs med konkurransebassengets midtstilte himmelåpning henger en hvit tekstilvegg av fremtredende karakter. På nærmest sakralt vis trekker båndet av stoff himmelen ned i konkurranserommet. Letthet er typisk forbundet med femininitet, jf. Entasis´ beskrivelse:

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Stoffets fleksibilitet og foldbarhet er materialiseringer knyttet til femininitet. Stoffet assosieres med interiør, privat sfære, sensualitet, sløring og mystifisering, alle feminine attributter. Stoffet kan tolkes som innehavende antatte maskuline egenskaper idet det er et syntetisk fremstilt materiale. I motsetning til å være en naturlig forekomst knyttet til det feminine, representerer det syntetiske stoff et resultat av teknologi, jf. Spinning Jenny som symbolet på industrialisering, manufaktur og kapitalisme. En foredling av naturen uttrykker en destillering tilpasset menneskenes behov. Den mannlige maskulinitet er forbundet med en hevet posisjon over naturen med makt til å organisere den. Stoff kan oppnå en svært høy slitestyrke, der stoffet er produsert med karbonfiber, er trekkstyrken 3400 MPa versus 2750 MPa i stål.25 Styrke impliserer en forståelse av den mannlige kropp og representerer mannlig maskulinitet. Stoffet henger høyt, svever og har en kontakt til himmelen. Det himmelstrebende impliserer en forståelse av den mannlige kropp. Stoffet opptrer i perfekte kvadrater i en symmetrisk monorytmisk oppstilling. Som Hegel definerer LeCorbusier arkitektur, altså the naked man, ideell som “rationalized lines” som “purifie(s) the world and endow(s) it with symmetrical order and affinity to mind”.26 Den hvite fargen symboliserer den maskuline renhet, utskilt fra naturen. Stoffets akustisk absorberende egenskap potensiell til å skape et rom med kortere gjenklang, gjerne kalt et intimt rom påkaller en underorndning av stoffet da det intime, ikke-monumentale impliserer en forståelse av den kvinnelige kropp. Jeg vil nå diskutere stoffet i henhold til ornamentet. Entasis beskriver: “Tilbygningen har dog andet en rå maskulinitet i sin arkitektoniske dna. Konkurrencerummets textilvægge fungerer som lærred for solens projektioner af ovenlysets konstruktioner. Disse står som en konstant dynamisk ornamentik i dagstimerne afløst af aftentimernes kunstige belysning via armaturer rytmisk placeret bag lærredet.”27 Ornamentikken Entasis´ beskriver er ikke en kunstnerisk impuls eller abstraksjon. Det er en effekt av konstruksjonen som projiserer seg i stoffet. Denne rasjonalisering av ornamentet, hvor det forsvares i sin forbindelse med konstruksjonen, representerer ifølge Broude en maskulinisering av ornamentet. Samtidig med å være et lerret hvorpå konstruksjonen kaster sine skygger, slører eller maskerer stoffet gitterdragerne. Arkitekt Katarina Bonnevier introduserer i sin bok Behind Straight Curtains – Towards a queer feminist theory of architecture konseptet cross-cladding. “For a person to cross-dress is to take the attributes and clothes of the non-expected gender (...) Cross-cladding is a term I have invented to combine the cross-dressing of queer theory with the cladding of architecture theory. The term links the theatrical performance of gender and sexuality with the masking and dressing of architecture.” 28

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Konstruksjonen omtales gjerne som bygningskroppen i analogi til kroppens skjelett. Dersom gitterdragerne utgjør skjelettet, kan stoffet tolkes som en form for bekledning. Er dette et tilfelle av cross-cladding? Ser vi på stålgitteret og stoffet isolert, er det tale om en form for maskering hvor det typisk maskuline stålet er tildekket av det typisk feminine stoff. Dette forutsetter imidlertid en tankegang hvor et materiale tjener et annet. En alternativ tolkning med er en primær vilje til en tekstilvegg, myk, lett og levende, og en konstruksjon som støtter denne, jf. Sempers teori om Bekleidung.

25 (Tut.fi, 2018) 26 (Bingaman, Sanders and Zorach, 2001) p. 58 27 (entasis, 2018) 28 (Bonnevier, 2018) p. 277 29 (Bonnevier, 2018) p. 282

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“The building is an exaggerated performance which acts like a drag king, by exaggerating the masculine character. (...) The suit does not fit.” 29

Stålet og stoffet utgjør ikke en drag king performace som beskrevet ovenfor. Selv om stoffet tar betydelig fokus, er det et samspill mellom stoffet og gitterkonstruksjonen hvor det ingen konflikt eller flertydighet er omrking deres statiske funksjon. Konflikten ligger snarere i anskuelsesformene. Ifølge Sempers teori om Bekleidung, er flaten, rominndeleren og flettverket overordnet konstruksjonen. Sawchuks beskrivelse av vekselvirkningen mellom bekledningen og det tildekte avkrefter konstruksjonen som essensiell og uavhengig av sin maske. Jeg vil mene at feminiseringen skjer under selve underordningen av et materiale. Vi ser at ulike tolkninger av stoffets funksjon i en binær tankegang demonstrerer motsetninger. Burroughs begrep transmateria tillater en samtidig eller skiftende tilstedeværelse av feminine og maskuline attributter, dessuten at maskuliniteten kan representere kvinnelig maskulinitet. Feminin og maskulin adferd er ikke fiksert i et materiale eller en funksjon, men endrer seg i sammenstilling med andre materialer. På samme måte er feminin og maskulin adferd gjennom en queer forståelse ikke fiksert i den mannlige eller den kvinnlige kropp.

konklusjon

Vår begrepsverden utgjøres av et strukturelt nettverk hvor symoler får betydning gjennom sin forbindelse med andre symboler: en kvinne defineres gjennom forbindelsen til sensualitet, følelser, omsorg. Andre symboler er dermed tilstede innenfor meningen av et enkelt symbol. Mye av den vestlige filosofi er basert på binære motsetninger hvor en term eller et konsept blir gitt forrang overfor et annet. Mening endrer seg fra menneske til menneske og gjennom tid, tolkninger er subjektive og en felles sannhet kan ikke presenteres av en institusjon. Analysen viser en non-normativ tolkning av maskulinitet og femininitet i forhold til persepsjon av materialer. Det er et forsøk på å endre det strukturelle nettverk som dikteres av en dikotomi mellom den kvinnelige og mannlige kropp. Materialer kan på samme måte som mennesker opptre både feminint og maskulint, og samme materiale kan agere med skiftende egenskaper. Kildeskovshallens vannsvøpte fliser fordrer en konsentrasjon til fotfestet hvis grep påvirkes av de våte spor andre etterlater seg. Vi opplever ulik støtte fra grunnen vi trår på fordi verden er skapt slik at noen er mer trygge enn andre. Jeg ønsker med en ny avlesning av rom og materie å åpne for en ny avlesning av alle kropper og mener at de som transmateria har en potensiell tilhørighet til all annen transmateria.

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Jeg støtter ikke oppfattelsen av Clemmensens haller som feminine og Entasis´ hall som maskulin da jeg mener det representerer en utilstrekkelig heteronormativ tankegang. Både tilføyelsen og det opprinnelige byggverk har materialer som agerer maskulint og feminint.

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Thomas H. Kampmann, Lektor KTR + H. K. Qarooni, Konservatorskolen, KADK + A. S. Warburg, KTR, KADK

“Et stenkast fra hovedvejen, lægger det røde bindingsværkshus sig ind i skråningen på bakken. De taktfaste stolper der bærer huset, bærer ligeledes på fortiden. En svunden tid af godt håndværk og gamle byggetraditioner. De påmalede løsholters stramme og stringente udseende er iøjenfaldende, og står i skærende kontrast til det originale håndhøvlede tømmer. Det er på mange måder svært at drage paralleller til det idylliske kunstnermiljø, der netop har været i og omkring huset 100 år tilbage. På husets bagside har en mindre tilbygning forskudt sig ud af den ellers stramme bygningsform. Den skarpe uafbrudte horisont går i ét med tagryggen og man kan næsten føle havgusen fra den barske Østersø, imod sin kolde hud. Lyden fra det oprørske hav, der skyller imod klipperne, er voldsom og beroligende på samme tid.”

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LÆRLINGENES HUS

Et tværfagligt samarbejdesprojekt mellem Lærlinge fra Bornholm, DTU og kandidatprogrammerne Kulturarv, Transformation og Restaurering og Konservatoruddannelsen ved KDAK.

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lag på både snedkerdetaljer som døre og vinduer samt på vægge. Yderligere analyserer de hvilke pigmenter og bindemidler der er brugt i malinger og mørtler og de er dermed en uvurderlig samarbejdspartner ved alle restaureringsopgaver. SAMARBEJDE MED DANMARKS TEKNISKE UNIVERSITET KTR har ligeledes gennem længere tid ønsket et samarbejde med DTU for at få lavet nogle grundige og valide varmetabsberegninger og ikke mindst livscyklusanalyser, LCA. Med al den fokus der er på bæredygtighed er det nødvendigt at få nogle konkrete målinger, og ikke bare fornemmelser af hvad man føler der er det mest bæredygtige. Det at energiproduktionen i dag går mod mere og mere vedvarende energi, uden CO2 udslip, gør at det derfor ikke nødvendigvis er mere bæredygtigt at efterisolere bygninger med meget tykke isoleringslag, hvis isoleringen ikke kan nå at ”betale” sig tilbage i den tid den

er anbragt i huset. Det er planlagt at der beregnes på omkring fire scenarier fra en nænsom istandsættelse og energiforbedring til større og større indgreb i bygningen – og måske også på en hel nedrivning/ nyopførelse af huset. BYGNINGSARKÆOLOGISKE STUDIER En bygningsarkæologisk undersøgelse er et detektivarbejde der kan afkode huset dets historie. En bygningsarkæologisk undersøgelse kombinere opmålinger med arkivstudier for at få en vurdering af opførelsesår, og alle vigtige senere ombygninger og fornyelser. Arkivstudier består af at man finder gamle fotografier og malerier af bygningen, opstiller en liste over alle dem der har ejet huset så langt man kan gå tilbage i tiden og, udfra denne, undersøge skøder, brandtaksationer, historiske kort mm. for at prøve at tidsfæste de spor man har fundet i bygningen. Det er også meget vigtigt at få kontakt med folk der er kommet i huset, måske har boet der, eller endog ombygget det, for at få alle ting fra ”mands minde” med - det er ofte i det sidste halve århundrede de

største forandringer er sket. Ideelt set præsenteres den bygningsarkæologiske undersøgelse, der ofte er meget kompleks og uoverskuelig, gennem rumlige tegninger af huset udvikling i de forskellige faser. Det at man opmåler en bygning gør,

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SAMARBEJDE MED KONSERVATORSKOLEN KTR har gennem længere tid ønsket at få et samarbejde mellem både Konservatorskolen og DTU. Konservatorer, som jo er en del af uddannelsen på KADK, er rigtig dygtige til at afdække malingslag, lag for

Normalt er bindingsværk samlet med tapsamlinger sammenholdt af trænagler, men på dette hus var der kun en eneste nagle i stolperne i bindingsværket. Det viste sig at løsholterne var samlede efter en meget speciel metode som i Danmark kun kendes fra Bornholm. Da først samlingsmåden var erkendt blev alle stolper undersøgt for om der oprindeligt havde siddet en løsholt – og dermed ikke været en yderdør. Bygningens alder Bygningens alder drillede en del da bindingsværk med gennemstukne bjælker hører til i slutningen af 1700 tallet men her viste den specielle samlingsmetode med løsholterne, dør- og vinduesprofilerne, gavle opført uden bindingsværk sammenholdt med arkivstudierne at bygningen er opført i 1887 på stedet, og altså ikke består af tømmer fra et tidligere hus.

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PROJEKT UDFRA GRUNDIGE FORARBEJDER Formålet med denne grundige opmåling, de bygningsarkæologiske studier, de

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at man opholder sig i den i længere tid og efterhånden som opmålingen skrider frem kommer man ind i alle afkroge af bygningen. Sammenholder man sin viden fra arkivalierne med de spor man finder under opmålingen, kan man efterhånden begynde at stykke hele bygningens historie sammen. Det er klart at des mere der er tilbage af den oprindelige bygning, des nemmere er det at lave en valid undersøgelse. Heldigvis viste det sig at der var rigtig mange oprindelige dele af bygningen bevaret. F.eks. er hele tagkonstruktionen med alle spær den oprindelige hvoraf vi kunne se, at bygningen først var bygget med kun syv fag men senere tilbygget to fag. Ligeledes er langt de fleste oprindelige døre og vinduer bevaret hvor det kun er den sydøstlige del af bygningen, hvor der var stald, at alt er fornyet.

farvearkæologiske undersøgelser samt energiberegninger og livscyklusanalyser er, at skabe det bedste grundlag for smukke og bæredygtige projekter. Alle forundersøgelserne gør, at selve vurderingen af hvad og hvordan projekterne skal udformes, lettes utroligt i forhold til hvis man bare havde kastet sig ud i opgaven. Som en yderligere gevinst giver undersøgelserne en indsigt i, og respekt for de mennesker der tidligere har stået for opførelsen af bygningen – og vil formodentlig kunne skabe større forståelse mellem arkitekter og håndværkere. Desværre løses mange tilsvarende opgave i virkeligheden uden disse forundersøgels-

Opmåling 1:50 Selve opmålingen af bygning blev opmålt udfra den traditionelle metode populært kaldet ”kniv og gaffelmetoden”. Her måles alt fra et målesystem af snore og målebånd. Først vælger man den højde planen skal tegnes i, og så afsættes vandrette mærker over hele bygningen udog indvendigt med en vandslange. Afdelingen havde lige anskaffet en multilinjelaser, men vandslangen viste sig mere anvendelig ved at være mere nøjagtig og kunne måle omkring hjørner. Når det vandrette niveau var afsat blev der opsat snore på brædder skruet fast rundt omkring bygningen og herefter med målebånd og vinkelprisme snore parallelt eller vinkelret på udgangslinjen. Med lodder og målebånd blev der opspændt et tilsvarende snorsystem på 2. etage. Snorene blev opsat så alle opstalter, planer og snit kunne måles fra dem. Det at alle snore er præcist opsat gør, at alle kan arbejde samtidigt med dem til de forskellige tegninger, endda flere hold på samme tegning.

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er - men hvor arbejdet så bliver så meget desto større og resultatet dårligere. Man kan sige at opgaven gjorde det ideelle forarbejde – som alle bygninger burde gennemgå før der udarbejdes projekt. Det er desværre heller ikke så almindeligt at der undervises i deciderede bygningsarkæologiske undersøgelser endsige nært samarbejde med Konservatorskolen og DTU. Så vidt vides er det ikke sket før på KADK i dette århundrede… Håbet er at projekterne vil blive reelt bæredygtige og udviklende for håndværkere, arkitekter, konservatorer og ingeniører.

Anne Sophia Warburg, KTR

Hannah, Konservatorskolen

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Tak til arkitekt Niels Holger Larsen for henvisninger til at uvurderlige beskrivelser af historiske bygninger og til arkitekt Jens Riis Jørgensen for stor hjælp med arkivstudier. Der skal også lyde en stor tak til de tidligere ejere Bill Richemeier Hansen og Gitte Fiil.

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“Projektet Lærlingenes Hus er mit bachelorprojekt. Jeg er studerende på Konservatorskolens linje for Monumentalkunst, hvor vi blandt andet lærer at arbejde med konservering og bevaring af arkitektoniske værker - og derfor synes jeg at det var oplagt at vælge Lærlingenes Hus som mit bachelorprojekt. I februar måned, tog jeg afsted til Bornholm sammen med KTR fra arkitektskolen, hvor jeg skulle udføre dele af mine undersøgelser. Min rolle i projektet, som konservatorstuderende, er at lave farvearkæologiske undersøgelser, samt at undersøge hvilke andre materialer, som har været brugt til husets opførelse. Her skal mine resultater indgå i de arkitektstuderendes restaureringsprojekt for huset, der senere skal videregives til håndværkslærlinge på Bornholm. Lærlingens hus, er det første projekt i mange år, hvor arkitektskolen og konservatorskolen indgår i et fagligt samarbejde. Det er en rigtig god idé og meget relevant at vi, studerende, lærer hinandens faglighed, kompetencer og arbejdsgang at kende. Også fordi at vi på den måde, bliver bedre klædt på, til når vi en dag kommer ud i det virkelige arbejdsliv. I hele projektets forløb vil vi være i dialog med hinanden, og bruger hinandens undersøgelser og resultater på tværs af faggrupperne. Jeg er meget begejstret for projektet, og glæder mig til at følge det til ende.”

“Vi, på kandidatprogrammet KTR, startede det nye semester med at tage tre uger til Bornholm, for at opmåle og lave bygningsarkæologiske undersøgelser af Lærlingenes Hus. Det har været spændende at følge Hannahs arbejde med farveafdækningen, det er virkelig interessant at koble hendes undersøgelser sammen med vores undersøgelser af huset. Det har også været sjovt og anerledes at se den måde de studerende fra DTU arbejde, de få dage de var på Bornholm. Det var tydeligt at mærke, at de er skolet på en helt anden måde end vi er, og vi er også gået til opgaven på vidt forskellige måder. Det har været sjovt at følge hinandens arbejdsgang på stedet og bliver ligeledes sjovt at se hvad samarbejdet kan bære med sig i resten af projektet. Det bliver også interessant at få DTU’s tal og beregninger på det vi sidder og laver, da det jo slet ikke er noget vi er vant til eller har prøvet før! Det har virkelig været fedt at være på sitet i tre uger! Man kommer meget tættere på forståelsen af det man arbejder med, og vi har fået lov til at fordybe os helt ned i den mindste detalje, og det sker kun når man er i og omkring noget så længe. Det er meget intenst, på den gode måde, og allerede nu hvor vi sidder hjemme i København igen, og prøver at få styr på de sidste tegninger, virker det hele ret fjernt, fordi vi ikke lige kan løbe ned ad bakken til huset og tage de mål eller fotos vi mangler. Vi kunne sikkert godt have målt hele huset op på meget kortere tid, men så er jeg sikker på at vsi ikke havde fundet ud af så mange ting om huset, som vi gjorde. Selvom opmålingen var den primære opgave på Bornholm, har vi også lavet fænomenologiske fotoregistreringer og analyseret og værdisat huset. På KTR skal vi arbejde med Lærlingenes Hus hele semestret, og vi vil hele tiden have et tæt samarbejde med Hannah, vores konservatorstuderende, og også i løbende kontakt med de fire studerende fra DTU. Jeg er selv ret begejstret for projektet, fordi jeg ikke tidligere i min tid på skolen har prøvet et netop så tværfagligt og realistisk projekt. Jeg synes også der er en hvis styrke i, at kunne forstå vigtigheden af de andre faggruppers arbejde og jeg glæder mig til at komme ordenligt igang med projektet og selvfølgelig se hvor det ender!”

D I S R U P T I O N

AFGANG ØYEBLIKKS BILLEDER FRA ET AFGANGSPROJEKT

- ET SPEKULATIVT UDVIKLINGSPROJEKT DER SØGER STØRRE SOCIAL DIVERSITET

Pelle Juul Carlsen, S 1A AARCH

ET ALTERNATIV TIL FREDERICIAS KANALBY

I dette afsnit har Kårk valgt at samle øjebliksbilleder fra et afgangsprojekt. Pelle Juul Carlsen har lavet et inspirerende og omfattende afgangsprojekt, som behandler en transformation af Fredericias havnefront. Kårk har valgt at belyse nogle af projektets styrker i en collageserie af tekst og illustrationer.

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af Pelle Juul Carlsen Studio Urban Design and Landscape, AARCH

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”Visionen med afgangsprojektet er at udvikle et by-strukturelt greb, der står i kontrast til kanalbyens masterplan. Et greb, der kan trække forskellige befolkningsgrupper til den bynære havnefront. Skabe et bedre miljø, give plads og åbne op for møder mellem sociale klassers forskelligheder og mellem fæstningsbyen og den nye havnenære bydel.”

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s.12 “I stedet for at forstærke overgangen mellem socialklasser, vil afgangsprojektet koble de to by-scenarier sammen i form af en ny polycentrisk by-struktur. Projektet vil fungerer som et link, der ikke går ind og udvisker denne grænse, men i stedet tydeliggør den og skaber en forbindelse mellem centrum og havn. Projektet accepterer derfor byens eksisterende tilstand, men ønsker at genanskue opfattelsen af en by splittet i to. Ved at skabe en ”by”, der kan implementeres i byens urbane struktur, vil projektet skabe link mellem de to scenarier. Projektet vil fungere som en katalysator for havnens fremtidige udvikling, og skal forstås som en artikuleret dialog i dette set-up. Byen vil derved blive en platform for dialog-baseret planlægning, der har til hensigt at skabe arkitektonisk og samfundsmæssig identitet i den i dag klassedelte udvikling der er igang på Fredericia havn.” s.66 DELKONKLUSION; “Industriens mange transformationer har skabt spændende dynamikker mellem store og små bygningsenheder.

Både som enkeltstående bygninger men også som områder der efter funktion er blevet opdelt som små helheder. Det er i udarbejdelsen af projektforslaget undersøgt hvilke bygninger der kan stå alene eller som sammen med andre kan udgøre et dynamisk byrum.” s.69 ”Historie og erindring er væsentlige begreber i vores forestillinger om os selv og vores omverden. Som mennesker må vi hele tiden forsøge at danne forbindelser mellem en tolkning af fortiden, en forståelse af nutiden og en forventning om fremtiden. Den kollektive erindring og de minder vi er fælles om, er essentielle billed og identitetsdannende faktorer i vores samfund, som giver os en følelse af kontinuitet. Uden en forståelse og nysgerrighed for hvordan vores verden er blevet som den er, smuldrer det fundament som vi udvikler vores samfund på gradvist men sikkert. En bys fortid består ikke af en ensporet, lineær historie, men kan i stedet ses som flere lag af overlappende og modstridende historier som den dag i dag kan aflæses i byens nuværende struktur.”

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PROCESS-SKITSE

processkitse

- ET SPEKULATIVT UDVIKLINGSPROJEKT DER SØGER STØRRE SOCIAL DIVERSITET

D I S R U P T I O N

URBAN DESIGN AND LANDSCAPE

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VIEWPOINT

Højhuset som landmark og adskillelsen mellem shell og den nye bydel

- ET SPEKULATIVT UDVIKLINGSPROJEKT DER SØGER STØRRE SOCIAL DIVERSITET

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+ Et tæt samarbejde mellem uddannelser, jobcentre, erhvervsserviceenheder, produktionsvirksomheder og arbejdsmarkedets parter. + Et tæt samarbejde om rekruttering og opkvalificering mellem jobcentrenes virksomhedsservice. + Fælles planstrategi og kommuneplaner. + Fælles iværksættervejledning. + Landets højeste andel af elever, der undervises i entreprenørskab som resultat af et samarbejde mellem grundskoler og ungdomsuddannelser. Disse resultater har jeg brugt til programlæggelse for “byen i byens” videreudvikling med fokus på stadig at fremme vækst og samarbejde i regionen. fx. studieboliger til uddannelse, både på det interne campus men også til SDU (Syd Dansk Universitet) i Kolding. Samtidig er der frigivet plads til erhvervslokaler kan opføres strategisk ifht. shells støj og eksplosionsfare.”

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s.100 PROGRAM “Visionen for Trekantområdet er at styrke området som Vestdanmarks vigtigste vækstcenter og landets produktionscentrum. Samarbejdets fokusområder har derfor været i felterne inden for produktion, iværksætteri og kultur. Siden kommunalreformen (2007) har det skabt resultater som Trekantområdet selv formidler:

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D I S R U P T I O N

Pelle Juul Carlsen

ET ALTERNATIV TIL FREDERICIAS KANALBY

KÅRK #35

URBAN DESIGN AND LANDSCAPE

140 - ET SPEKULATIVT UDVIKLINGSPROJEKT DER SØGER STØRRE SOCIAL DIVERSITET

D I S R U P T I O N

URBAN DESIGN AND LANDSCAPE

OMA , Parc la Villette, 1982

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Rem Koolhaas , Delirious New York, 1978

- ET SPEKULATIVT UDVIKLINGSPROJEKT DER SØGER STØRRE SOCIAL DIVERSITET

URBAN DESIGN AND LANDSCAPE

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Pelle Juul Carlsen

s.167 REFLEKTION/KONKLUSION “Vi skal passe på vi ikke forkaster de eksisterende struktur og bygningstypologier og i stedet kaste os ud i nye små enklaver som kun styrker vores individuelle behov og ikke et større fællesskab, da dette kun medfører en endnu større samfundsmæssig adskillelse. Vi lever i en periode hvor arkitektur gennem en ny bølge af global ekspansionisme har påvirket vores design af bygninger, og urbanisering foregår i en hastighed og i et omfang uden sidestykke i menneskets historie. Derfor skal vi huske vores fortid fra både teoretiske og praktiske produktioner. Arbejdet med den polycentriske by bør efter min mening tage udgangspunkt i ideen om, at dens steder og sammenhænge kan kvalificeres ved en dialektisk konfrontation, der på en gang har oprindelse i et fællesskab, men som på samme tid hylder bydelens individualitet og den spænding, der opstår i konfrontationen mellem fællesskabets komponenter. Gennem arkitekturens separation afsløres essensen af byen og essensen af arkitekturen selv, byen bliver en komposition af (separate) dele.

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Ofte vil en kvalificeringproces satse på så stor som mulig kontinuitet i forhold til det allerede eksisterende. Men i denne proces skal vi passe på vi ikke udvider den grænseløse by ved at følge en given struktur i konteksten, vi skal overveje muligheden for at konfrontere denne struktur og placere en “grænse”. En grænse der respekterer det urban landskab i byen, en by med identitet og styrket individuelle områder som sammenknytter en spændende by, en by der igen er defineret.”

ET ALTERNATIV TIL FREDERICIAS KANALBY

industriens struktur videreføres videre med hængslet.

Life within stairs; As the corridor needed daylight, the ceiling was raised and turned into a stairwell where the writer and his two commuters can meet. The stairs of the project leads to an intresting cross-over of people moving in and out of the corridors.

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Seeking traces and stories in architectural elements Critical written reflection by Sophie E. Flinder, tutor Carolina Dayer

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Sophie E. Flinder, 2A AARCH

D I S R U P T I O N

ESCAPING THROUGH INFRA-ORDINARIES

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Walking in Mumbai was my very first wander in the continent of Asia. In addition to the climate and the pace of the street, something else was brought to my attention. As I walked down Mahatma Gandhi road, my view of the clouds was distracted by a symbol of power and wealth. Spires and pointed arches as far as the eye could see. I realized that this was not India. This was a trace of the past, a trace of immigrated architects of the colonial time.

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PREFACE

Escaping is bound to the human condition and its history. While some people have been and are forced to escape due to tragedies and conflicts, others escape cross-borders for pleasure. Regardless of the cause of escaping, the geographical movements of humans have generated a spread of diversity in cultures and stories across the world. In architecture, this is especially evident in the cross-cultural building techniques of colonial times. Some people left traces of their origin in a new location, and others brought fragments of a visited location back to their native district. However, we tend to forget the possibilities of seeking traces and inspiration in our daily life and surroundings. Seeking and observing traces can be used as a tool for becoming explorative and innovative by psychologically and perceptually escaping the habitual.

The aim of this essay is to seek escape through the infra-ordinarities of some of the most common architectural elements; a corridor, window and stair. These elements are carefully chosen as architectural elements of daily life and escape, through history and in the way, we act within these places. The first part will give a separate account of the terms escape and infra-ordinarity, as defined by Emmanuel Levinas and George Perec. This will create a foundation for why humans are eager to escape and create a set of guides for later examination of the three architectural elements. The second part will explore corridor, window and stair as historic and spatial tools for escaping through analyses of the infra-ordinarities which lay within these elements.

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Within the pace of today’s society lies an ongoing rhythm of routines and a struggle to appreciate and reflect on the moment of the present. Therefore, this essay will focus on the importance of smaller escapes. It will address the physical and mental flights we take from our daily life and what these escapes can teach us about how and why we react and act to places and atmospheres. I will step back and review the world of the ‘I’ and you from the outside, and look for moments where the ‘I’ and you can escape through traces of daily life and others.

WHAT IS ESCAPE? A DEFINITION In the book ‘On Escape’ (1935), French philosopher Emmanuel Levinas writes about the meaning and importance of escaping. The need for physical and mental escapes derives from a wish to leave an unpleasant feeling or event. Therefore, Levinas argues that the need for escape is the fundament of our existence in the way that it turns us from passive to active dwellers (Levinas, 2003, p.60). Levinas focuses on the presence of the finite existent (the ’I’) and the permeance in existing, rather than being as a temporality before the future and the infinite. Whereas in Heidegger’s transcendence the vital urge (dasein) is focusing on world-awareness and leading mortals to the unknown of the divine, Levinas’ existence focuses on the self-positing as incomplete being itself and the urge to escape regardless of destination (Richardson W.J. In Heidegger, 1974). Levinas’ definition of escape as the need for the existent to flee the existence rejects a possibility for absolute escape as the ‘I (moi) is oneself (soi-même)’ (ibid, p.55). However, within our imperfect finite existence, attempts of escapes will occur through the demands of need (ibid, p.63) in states such as malaise, pleasure and shame.

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WHY DO WE NEED TO ESCAPE? As Levinas states, ‘It is precisely from all that is weighty in being that escaping sets forth.’ (Levinas, 2003, p.54). The discomfort of malaise emphasizes the limitation of our existence, and therefore, the search for satisfaction extends outside ourselves. For this reason, suffering becomes a positive force or getting out of the passive state and towards the unknown, causing evolution of consciousness. When satisfaction is achieved, needs re-appear, and the symbiosis between the two is what Levinas argues, gives importance to the human condition (ibid, p.60). The satisfaction of a need can be described as pleasure. Pleasure is understood as ‘the process of departing from being’ (ibid, p.62), which increases proportionally to the decrease of malaise. In contrast to malaise, which creates a need for escape, pleasure is an escape, an instant release from being. Still, this is not an absolute departure from oneself, and as pleasure fails shame can emerge. Shame is the self-awareness and claim of responsibility of our being, and the inability of the ‘I’ to identify with oneself. It is the revival of the existent’s pure existence, which is impossible to hide from oneself and others. Our finite condition and its incomplete being are what creates needs and an urge for escaping.

INFRA-ORDINARITIES In the chapter ‘Approaches to what?’ (1973), novelist George Perec inquires anthropology that ‘speak about us’ and ‘will look in ourselves’ instead of the constant focus of the spectacular. He critiques how existence only appears because of an extraordinary event, i.e. ‘What is scandalous isn ́t the pit explosion, it’s working in coal mines.’ (Perec, 1973, p.177). The infra-ordinary can be understood as ‘the background noise, the habitual’(ibid), the state and objects of daily life that remains after removing the extraordinary and the ordinary. Perec opens up for a philosophic approach of questioning the origin of infra-ordinarities (brick, phone dials...) in order to discover the essential. TOOLS FOR ESCAPING Even though Levinas essay is a complex writing on existentialism and Perec’s short-story is an easy read novel of the everyday, they share a common ground. Yet, an attempt at comparing Levinas’ philosophy and Perec’s reflection is filled with risks. One can argue that Perec’s text is a call for a deeper reflection of the habitual and why ‘we’re habituated to it’ (Perec, 1973, p.177). Namely an invitation to his co-existents to search for their existential awareness. The need for escape as defined by Levinas can be understood as the primitive force of human existence, a force that causes renewal and evolution. It could be explained as the infra-ordinarity of our being, an inner act that exists without us reflecting onto why it does. Even though absolute escape is impossible in our existence, awareness of our limits and the search for fulfilling our needs creates instant moments where pleasure is achieved and the ‘I’ in oneself is forgotten. The search for pleasure in the state of discomfort awakens our consciousness and curiosity and therefore it is possible to argue that the need for escape is more important than the escape itself. However, we depend on the symbiosis between satisfaction and need in order to avail innovation and evolution. To escape the ‘I’ through infra-ordinarities we need to be aware of the common things in our surroundings and in others as well as our own existence. By accepting Perec’s invitation to ask the questions ‘How? Where? When? Why?’ (Perec, 1973, p.178) the next chapters will search for infra-ordinarities in the architectural elements’ corridor, window and stair. Can we use the space of the elements as a tool to enforce moments of escape from the ordinary habitual way of living?

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PART 1 ESCAPING THE ‘I’ THROUGH OTHERS

D I S R U P T I O N

PART 2 THE TRACES AND STORIES OF ARCHITECTURAL ELEMENTS

“The corridor does not rank high on the list of most-loved spaces. It can hardly hope for sympathy, seemingly damned to forge pathways through enclaves of misery.” -Stephan Trüby

Today, architects fear the corridor’s invasion of the open-plan. They neglect the beautiful history of the element as a social space; a space for story travelling, respite and informal meetings. In the old city of Lyon, great things happened within the network of the secret corridors called Traboule. They were initially designed to serve as shortcuts to the city’s water reservoir but were later used as a sheltered way for the silk workers (This is Lyon, 2018). What started as random cross paths of artisans ended up as rendezvous where community spirit rose and riots against merchants were planned.

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CORRIDOR The corridor has gone from being a high standing feature of cosmology and harmony in the layout of the early Chinese dynasties to become an abhorred element of building legislation and risk design (Koolhaas, 2014a, p.3). However, the corridor has always been a place of transition and a tool for organizing movement. The word corridor (n.) relates to the Latin verb ‘curro’ (to run) and was initially used for human couriers and later as a space for movement on top of city walls (Hoad, 2003). These spaces functioned as protection from enemies and as at device for physical escapes through a network of uninterrupted pathways. The aspect of observation and control has later played a crucial role in hospital and prison design and in the architecture of war and politics. When looking at the 28.2 km stretch of corridors in the Pentagon (Koolhaas, 2014a, p.86), or the uncountable number of doors in a hospital hall, the element of a corridor is perceived as the equivalent to escape. This could be understood as the very paradox of the corridor as a tool for physical escapes; you can run fast but you can’t hide. Therefore, one can say that the corridor is mostly functional as a tool for escaping the soulless.

In Levinas notion of escape as an individual act referring only to itself, the need for satisfaction turns us towards others (Levinas, 2003, p.58). A mental escape is a personal process, but there must be a possibility for a collective escape where the ‘I’ seeks refuge through and with others. The function of the corridor as a space of transit allows it to house daily acts and store traces of other people. A trace, which makes the mind flee daily stress, can, for example, be a hint of a conversation down the hall, or it could simply be a bus ticket. The mental escape does not necessarily deal with the trace itself, but what the trace individually connotes to the observer;

You might see a bus ticket laying on the floor. As you pick it up, you immediately foreshadow the return of a neighbour in ten, nine, eight, seven... While counting down the seconds, you start wondering why the floor has gotten the ungenerous finish of linoleum. The thought takes you back to the age of eight when you were running up and down the school corridor playing indoor soccer with your friends and suddenly slipped on a mop cloth. Then you realize that the linoleum finish was there for hygiene reasons, and that the reason why you broke your leg was not that the cleaner forgot the cloth. Oh, and you have blamed him? And he has probably blamed himself. You should send him flowers.

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The fact that the corridor has decreased from being a place for host dinners for the royal household in medieval times (Koolhaas, 2014a, p.36) to now having the width of nothing more (or less) than the 1118 mm required by the building regulations, does not limit our opportunities to flee by observing and reflecting the infra-ordinarities within space. Thescene created for escapes within the corridor outset from the position of the ‘I’ in place. Regardless of it being a mental or physical escape, where you stand or enter affect the scene. If you enter the space in the middle of the corridor, you might observe a light condition or different objects than you would not have seen if you entered the space from either of the ends. Entering in the middle also gives you the challenge of having to choose a direction; where to look? Where to run? Adding to

the scene are the obvious objects that we tend to forget, such as exit signs, sprinkler systems and ventilation. You don ́t necessarily notice them until they become a distraction, but if questioning their position, awareness of the spatial layout and what exists beyond the ceiling can be achieved. Then you have the materials you can see and the materials you cannot see, like the invisible fire resistance in the wallboard. And last, there is the impression of the senses which together creates an atmosphere. The variation in the relation between objects, materiality, sense impression and the placement of the ‘I’ and others create different outsets of noticing and questioning infra-ordinarities. Thereby series of daily escapes can occur within the same space.

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I see walking down a corridor as a map of possibilities, there are doors that are slightly open, doors that I can choose to open and doors that are locked. It does not matter if it is at a hospital or retirement home, but somehow my senses are intensified in corridors telling me clearly where I definitely do not want to go.

D I S R U P T I O N

– Le Corbusier

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WINDOW In ancient times, the window appeared as a hole in the wall or a hole in the roof above the firepit. This leaves the primary function of the element unchanged as an inlet of air and light. Because of its relation to the environment, the window can be seen as a manifestation of culture and climate around the world. Historically windows and their light conditions have also been associated with space of worship and wealth, and in 1696 William III of England calculated inhabitants tax based on the number of windows, with a window simply defined as an inlet of light (Koolhaas, 2014b, p.30). The word window arrives from Old Norse vindauge meaning wind-eye (vind and auge) (Hoad, 2003). In Old English, the window was seen as eagduru (eye door) which relates to looking out and the framing of imagination and escape (Koolhaas, 2014b, p.9). This escape was emphasized in the 18th century when windows started to cantilever from the facade, adding the function of observing the street (Ibid, p.26). Even though bay windows can have similar properties as the architectural element of balconies as they both have a strong connection between the outdoor and indoor, there is a clear contrast. While the balcony offers an opportunity of physically stepping out and leaving the frame, the window creates a mental perception of stepping out while staying protected by the frame. Although a regular window today consists of glass and a frame, it is the properties and position of the hole that is the essence of the imaginary escape.

When analyzing possibilities of mental escapes, windows have a unique standing in comparison to other architectural elements. There is a two-directional escape in which two individuals can flee the ‘I’ through the other, only separated by glass. A person standing inside and in front of a window can speculate about the destinies of strangers at street level. And a streetwalker can observe the daily life behind the windows and compare and reflect on the diversion between several inhabitants and several actions within the same building and within the same moment of time.

Throughout life, I have gained experience as a dweller, but most of all experience as a cohabitant and neighbor. I lived in a metropolis and I lived in mountain villages, I lived with my nuclear family, a boarding family, at student halls with premature teenagers, and I lived with strangers and friends and strangers who have become friends. But not until now have I lived with my neighbors. Through my window.

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“A window eleven meters long brings the immensity of the outer world into the room, the unadulterated totality of a lake scene with its tempestuous moods or its gleaming calm. The landscape is so close it’s as if you were in your garden.”

You are half sitting half lying down in your chaise lounge with a book on your chest. A couple of minutes ago you entered your apartment after a day at work, and finally, the evening is all yours. Well, all yours and the dog who repeatedly strolls around a set of bushes on the street below. The rhythm of the tail is a meditative view, and as you try to remember whether dog tails wag for pleasure or for balance, your fifth microwave meal of the week announces its appearance. Comfortably placed in the chaise lounge with a plate of lasagna, you lean forward to reach the book in the windowsill. In the flip of a second, your self-awareness arises. Has he been standing there for long?

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A window is a destination of its own, and they rarely offer opportunities to hide from the spot of observation and being observed. As a result, a window facing the street can provide a mental and physical escape at the same time. As a scene for escape, the position of the existent as being on the inside watching out creates a power structure where the ‘I’ can hide from its observing objects. But in the case of escaping through the infra- ordinarities of the window, the positioning of the element itself and the materiality has a higher value than the objects in space. The hole that transits our mind from the inside to the outside creates a frame and a boundary for our vision and imagination. Our eyes move in correlation to which our mind processes information; we look up in order to construct or remember visualizations and down when talking to oneself or exploring emotions (Elich, Thompson and Miller, 1985).

Therefore, it does not only matter if there is a skylight or a façade window, but the careful position of frames is central to where our escape leads us. The window as a tool for escape can also change drastically accordingly to the orientation of the sun which can convert the architectural element from being infra-ordinary to extraordinary.

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It lies in the wish of seeking out, a risk of being invaded by the environment or by others. As a result, elements of protection, such as screens and curtains, have been added. A curtain often functions as a sunblind; however, it is also an existential aspect of the curtain related to shame and self-awareness. Levinas describes shame as ‘related to everything we would like to hide and that we cannot bury or cover up’ (Levinas, 2003, p.64). It can, therefore, be argued that the everyday action of pulling the curtains together is an unconscious attempt of hiding from others and oneself. This two-sided relationship could play out like this;

One would require an entire university, dedicated to the study of stairs of the world. -Friedrich Mielke

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STAIR When analyzing the etymology of the word stair, it is evident that this architectural element has kept its function of the Old English word stæġer relating to rising, climbing and ascending (Hoad, 2003). If we add the word -case, a protective cover is added to the stair as a tool for vertical movement. It is a wonder why there are no stronger liturgic connections between the elements of the stair and the ascend and divine when climbing the stair; - ‘of morality’, - ‘to heaven’, or - ‘of self-transcendence’ are not unfamiliar phrases. When looking at religious buildings such as chapels and temples, it is clear that the dimensioning of stairs and the relationship between riser and tread and steps and landings are not executed by pure chance. To illustrate there is always an odd number of steps leading to an altar (which for sacred reasons are raised above ground) so that the right foot can both begin and end the ascent (La Tourette, April 2018). Historically the dimensions of stairs could connotate wealth and power, for example, a bourgeois stair was steep, whereas the Bishop’s stair was gradual in beneficial to the majestic display (Freiherr in Koolhaas, 2014c, p.9). Even though the function of the stair as a tool for vertical movement has remained, there has been an evolution in shape and ornamentation, going from a simple ladder to a straight stair, the visual expression of the element has differentiated from symmetrical, spiral, winding, sinuous and representational. Today, one could argue that we are going back to the very basic of stair design, as a device for a rapid moment tailored for physical escapes. Sadly, stairs tend to suffer the same destiny as corridors; a ‘must have’ insertion solely for emergencies. In contrast to the architectural elements of corridor and window, the construction of the stair has a direct relation to human anatomy as the formula made by Francois Blondel, 2s + a =65 cm (1675), is based on the length of one planar step (Koolhaas, 2014c, p.4). Therefore, designing with stairs is an easy way to control the speed of movement, how people act with-

For some reason, I always run downstairs, not because I am in a rush, but because the steps of stairs awaken the runner in me. I have traces of my favourite stair stitched into my forehead, but the scar does not bother me as it reminds me of either ascending to bed or descending to a dinner party. Walking on the stair reflects our presence in the present while the future is evident in why we entered the stair in the first place. When spending time in a stair this movement can reveal the permanent reality of being finite, and ‘the identity of being reveals its nature as enchainment, for it appears in the form of suffering and invites us to escape.’ (Levinas, 2003, p.55). When realizing the permanence of the finite, and by that the awareness of a possible end, existential questions of the habitual and an eagerness to make every moment count blossoms. The awareness of ones limited time could, for example, arise like this;

You walk down the corridor with your suitcase as your shadow and reach the end of the stair. Or is it the beginning? Is the staircase going up or down? It does not really matter; you are going up anyway. The dirt from your previous business trips is evi-

dent as wheel paths at each stair nose. They climb up the stairs, and they slide down, as a trace for every time you had to leave. Now the cracks are deep enough to be counted as a ramp. And as you are following the tracks of the previous you, you realize that this stair is the anchor point in your life, the place in-between departure and arrival, the place in the present. You stop, your breath, you try to escape the realization of your life when you notice remains of red nail polish on the balustrade. Mrs Sorensen died four years ago. As well as being a haven for containing infra-ordinary traces, the materiality of a stair can affect the impression of senses through sound, smell and tactility. The awareness of tactility especially appears if the stair is dimensioned for two people crossing, where a natural action would be to lean towards the wall or the case of the stair. Escaping in a stairwell is a completely different experience than escaping down an exterior fire escape where the element of protection is absent. As mentioned, the shape of the stair can provide disorientation, however, there are features such as balustrades and stair eyes added to the stair as directional guides. These guides can be used by a being for increasing speed of motion, and by that, it is arguable that the stair is the element of architecture where time and speed show their presence. The stair as a scene for escape relies heavily on the atmosphere created by dimensions, craftsmanship and realization of time.

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in space and enforce circumstances of daily escapes. For instance, the stair could be wide and freestanding and hold the properties of seating, or it could be a narrow enclosed spiral staircase that refuses you from seeing the beginning and the end, and therefore causes a state of disorientation. As a place of transit, moving in these elements connotes an awareness of time and permanence.

In the spirit of George Perec, I have been curious and questioned our surroundings in order to find what affects the possibility of a momentarily release and what features may influence the outset for an escape. The three architectural elements analyzed are all directional guides and can be used for physical escapes, however, they can connote different mental escapes. You have the corridor, which opens up for collective escape with others, the window lets you escape through others by observing their existence, and the stair focuses on an individual escape from time and the present of the ‘I’. Yet, it is important to stress that one character of mental escape does not exclude other types of escapes from happening within the same element. What affects the outset of the escape is mainly the position of the ‘I’ and the position of the element itself, nevertheless the elements ability to house traces of infra-ordinarities. Traces can be found in the craftsmanship and design, the objects and materiality within space as well as in the impression of the senses. These features are crucial to open up for deeper imagination and obstructing the existent relationship to its existence.

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To answer the initial question; Can we use the space of the elements as a tool to enforce a moment of escape from the ordinary habitual way of living? As the process of self-realization and position as finite lies in the power of the individual, architecture cannot force escape but rather create scenes where these moments may occur.

A COMMUNITY OF INFRA-ORDINARITIES The routines and rituals of every day and how we perform them have a tendency to be perceived as fixed and repetitive. Therefore, a passion, as defined below, could be used to break the permanence of the daily ordinaries with temporality. A passion could appear as an urge to go fishing, to sing or to bake, however, the reason of having a passion lies in the metaphysic question of existence; the need of something bigger, something different and a freedom of self. The essence of passion is escape, and therefore a passion of escaping for pleasure has formed the community of dwellers surrounding this project. The architecture emphasizes infra-ordinarities through spatial design arranged for human relations, physical traces of lived lives, and impression of the senses. The semester project is based on the coherent relationship between the permanent dwellers (writer), the temporary dwellers (commuter) and the public. In this way, there will be a rotation of strangers to observe and a possibility to witnessing the habitual of common faces. Key to their coexistence is how they all gain from sharing a community. The writers live off writing stories inspired by daily infra-ordinarities and are therefore pleasantly placed in an urban context. They are dependent on retreat for concentration and critique of material and therefore have their own individual writing studio and a collective debate chamber. The street-facing part of the writer’s flat is rented out to the commuter. In addition to having a private bedroom and bathroom, it has access to common areas and spaces to retreat shared between the ‘family’ of temporary dwellers. In return, the writer’s studio extends into the temporary’s flat, giving an opportunity for observing life at the street as well as the traces of the absent commuter. The public has access to escapes through reading alone in the street facing the library, a garden for retreat and glimpses of the dweller’s daily life; their shed and mailboxes and sounds and shadows from the debating chamber and private corridors. In return, the public does not only serve as new individuals that can be observed, but they

leave physical traces like trash and forgotten belongings. The spatial layout considers both private hides and cross-circulation of the permanent, temporary and public, which are vital for the appearance of daily meetings and physical flights. All these scenes for possible escapes of the daily life are happening in and around one of the three architectural elements examined in the essay.

Passion - both a strong and barely controllable emotion. An intense desire or enthusiasm for something. (Oxford Dictionaries, 2018)

Life within the window; The commuter apartments are baywindows facing the street. The wall behind him is leading up to the writers studio. When the commuter leave, the timber shutters on the wall will open up so the writer can access the window.

The aim of this essay was to establish ways of escaping through the infra-ordinarities of the architectural elements; corridor, window and stair. With Emmanuel Levinas text on the importance of the need to escape in mind, I have searched for qualities in places where the ‘I’ can flee itself, and where oneself can be distracted by infra-ordinary traces of others. Through studies of the elements’ origin and evolution, an awareness of their primary function and why they appear as they do have been established. These findings have shown how our ancestors acted within these elements and atmospheres, and by that also revealed something about the present beings today.

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POSTFACE

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The closest we get to escape is the verb to dream, to flee reality for imagination, to find the space in between routines, horror and daily life where we momentarily can escape through extra-ordinary infra-ordinarities.

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When designing the spaces within the elements, it has been essential to keep the stairs, windows and corridors as primary infra-ordinarities. What makes them noticeable and open for escapes is rather the unexpected positioning of the elements, like the threshold between the elements orn where they merge. However, they serve the users and intensify their impression of the senses through contradictory actions; observing the diversity of dwellings from the street or watching the street in a double-height window, debating while walking in a gradual stair or viewing the shadows of the writers running in the corridors, sitting on a cantilevered stair or walking under a stair and observing the skylight. As previously concluded, escapes cannot be forced through architecture, but it can set a scene where there is a contrast between the perception and visibility of traces. While the durable and solid concrete structure hides a story of past craftsmanship and wears over time, flimsy soft wood and light glass surfaces hold traces of the present. In order to control the diversity of the interior atmosphere and speed of movement, light shafts are carefully angled toward different cardinal points and stairs rapidly change steepness. As a result of these dictions, the range in the spatial design is reflected in the visual expression of the exterior and awakens the streetwalkerâ&#x20AC;&#x2122;s curiosity of what is inside the community.

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BIBLIOGRAPHY

WEBSITE - Oxford Dictionaries | English. (2018). passion. [online] Available at: https://en.oxforddictionaries.com/definition/us/passion [Accessed 30 May 2018]. - This is Lyon (2018). Traboules of Lyon - Secret Passageways to Visit in Lyon. [online]This Is Lyon. Available at: https://thisislyon.fr/thingsto-do/historical-monuments/the-traboules/ [Accessed 30 May 2018]. JOURNAL - Elich, M., Thompson, R. W., & Miller, L. (1985). Mental imagery as revealed by eye movements and spoken predicates: A test of neurolinguistic programming.Journal of Counseling Psychology, 32(4), 622-625. FURTHER READING - Tsukamoto, Y. (2011). WindowScape. Singapore: Page One. - Willis, J. (2016). Architectural Movements: Journeys of an Inter-colonial Profession. Fabrications, 26(2), pp.158-179.

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BOOKS - Hoad, T. (2003). The concise Oxford dictionary of English etymology. [Oxford]: Oxford University Press. - Koolhaas, R. (2014a). Corridor Elements of Architecture. [s.l.]: Marsilio. - Koolhaas, R. (2014b). Window Elements of Architecture. [s.l.]: Marsilio. - Koolhaas, R. (2014c). Stair Elements of Architecture. [s.l.]: Marsilio. - Levinas, E. (2003). On escape (De L’évasion). Stanford (California): Stanford University Press, pp.49-73. Originally published in 1935. Introduced and annotated by Jacques Rolland. Translated by Bettina Bergo. - Perec G. 1973. Approaches to what?. In: Highmore, B. (2008). The everyday life reader. London [u.a.]: Routledge, pp.176-178. - Richardson W.J. (1974) The Essence of Ground. In: Heidegger. Phaenomenologica (Collection Publiée Sous Le Patronage des Centres d’Archives-Husserl), vol 13. Springer, Dordrecht

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AARCH Jenny Bjerketvedt Toya Causse Selma Gulden Frida Nordvik KDAK Peter Grue EDITORIAL TEAM AARCH Isa Eila Ilse Svortevik Hviding Johan Neve Klejs Alberte Klysner Kaisa Hjorth Kristensen Tyra Matilda Rex Jens Rudolf Ugelstad Sara Constantin Yildiz KADK Dzifa Bravie Mia Christina Forslund Kasper Hübertz Anna Hanghøj Iversen Asger Højlund Olsen Ninna Viltoft Overgaard Ada Zalecka LAYOUT AARCH Sigrún Perla Gísladóttir FORMAT 200 x 265 mm PAPIR Omslag 250 g Artika Indhold 100 g MultiOffset 130 g Coated Gloss TYPOGRAFI Times New Roman San Fransisco PRINT

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Clemenstrykkeriet Oplag: 1400 April 2019

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EDITORS

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AARHUS SCHOOL OF ARCHITECTURE GRUNNLEGGENDE LÆRE OM ARKITEKTUR 1A 1B 1C TP1 2/3A 2/3B

BACHELOR 1ST YEAR Unit 1A Unit 1B Unit 1C TERRITORIES, ARCHITECTURE AND TRANSFORMATION BACHELOR 2ND + 3RD YEAR Unit 2/3 A Unit 2/3 B

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MASTER Studio 1A: Urban Design/ Landscape Architecture Studio 1B: Cultural Heritage Studio 1C: Transformation Studio 1D: Cultural environments and urben transformation

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TECHNOLOGY, BUILDING CULTURES AND HABITATION

2/3C 2/3D

BACHELOR 2ND + 3RD YEAR Unit 2/3 C Unit 2/3 D

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MASTER Studio 2A: Building Design and Techniques Studio 2B: Computational Building Development and Transformation Studio 2C: Building Culture and Tectonics

TP3

EMERGING SUSTAINABLE ARCHITECTURE

2/3E 2/3F

BACHELOR 2ND + 3RD YEAR Unit 2/3 E Unit 2/3 F

MASTER Studio 3: New Beginnings

DET KONGELIGE DANSKE KUNSTAKADEMIS SKOLER FOR ARKITEKTUR, DESIGN OG KONSERVERING

FS KTR KKA PACS IBT

BACHELOR Finder Sted MASTER Kulturarv, Transformation og Restaurering Kunst og Arkitektur Political Architecture: Critical Sustainability Bygningskunst og Teknologi

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BACHELOR Helhed og Del

MO SDE SDE

MASTER Møbel og Objekt Spatial Design Strategic Design & Entrepreneurship

IBBL

Bygningskunst, By og Landskab

KP ART LS USC

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Bygningskunst og Kultur

BACHELOR Kompleksitetshåndtering i Praksis MASTER Arkitektur, Rum og Tid Landskab Urbanism & Societal Change

Arkitektskolen Aarhus Nørreport 20 8000 Aarhus C Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering Philip De Langes Allé 10 1435 København K

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Internship

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THE SOUTHERN HARBOUR IN AARHUS / OUR WINNING TEAM

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