KÅRK №37 by KÅRK

GENDER

KÃ&#x2026;RK

Why discuss gender in an architectural context? Architecture is fundamentally based on the relation between body and space. The architect is tasked with shaping human life, through the spaces and infrastructures we occupy. In todayâ&#x20AC;&#x2122;s society gender norms, structures, ideas, and roles are changing and becoming more fluid, addressing our perception of the binary. Us as architecture students have the responsibility in shaping our future and challenging preconceptions of the social structures, now more than ever due to the potential for change in our present era.Â This edition displays a variety of interpretations that we think emphasize the relevancy of gender, not only in architecture but in society in general. Let us all create and design for a more inclusive and diverse future. KĂ&#x2026;RK is a collaborative magazine by architecture students from Aarhus School of Architecture and the Royal Danish Academy of Fine Arts, School of Architecture. Each Issue explores a different theme. Through the reflections of academics, we aim to gain knowledge and understanding of the chosen theme and insight into the projects made by students at the two institutions.

Dzifa Bravie Jens Rudolf Ugelstad Kaisa Hjorth Kristensen Mia Christina Forslund

INDEX

Et folkebad Sara Saur

Anna Marie Stahl 8

Reinvigorating a canonical building Andreas Ørbæk Damm 14

Digital Workflows Unit 2/3 D 22

Æstetik

Martin Søberg Stine Henckel Schultz 28

Generationshus

Majse Marie Nørhald 36

Plaster Wood Scan Anders Rovsing 44

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GENDER

Gender equality at AAA

The Queer Paradox

Modular hybrids

122

Home for the protagonist

Fifty architects

Dear Frederick

I Houmann, F Højbjerg

128

Building without Bias

Gender in Urban Space

Architecture and impermanence

102

Ruth Baumeister

G Donali, S Li,

Simen Sorthe

Helene Selmer Brønsted

Martynas Seskas

Tessira Reyes Crawford

Hannah Rozenberg

Frederik Braüner

You have to laugh

Everybody’s space

112

Trine Nørgaard

Katrine Norum

Inclusivity of unisex

En relevant deleordning

116

Kathleen Dieme

Anna Illdrup Keller

Victor Hauerslev Munch 130

Hempecrete Mischa Stæhr 140

29Y05M10D Sean Lyon 144

Bag Muren

Daniel Seyed Jebrali 76

Reproduction of a classical sculpture Unit 2/3 A 84

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BACHELOR Section I

Prosjekt: Folkebadet Sara Saur & Anna Marie Stahl Institut for Bygningskunst og Kultur KADK

Programmet, Et folkebad, søger at genopføre samt gentænke det offentlige bad i et kontekstrelateret og historisk perspektiv. 10

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FOLKEBADET

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Slutningen af 1800-tallets London var præget af en række public baths & wash houses, som opstod som reaktion på udbredte sundhedsproblemer i London på daværende tidspunkt. Ved engelsk lovgivning i 1846 kom der et politisk krav på at opføre offentlige bade og vaskerier i alle engelske byer. I det sydlige London fandtes en diversitet af badekulturer, hvoraf nogle også agerede som sociale mødepladser. Andre var stærkt klasseopdelte. Her fandtes både russiske bade, tyrkiske hamammer og engelske badeanstalter, som gav mulighed for forskellige sanselige badeoplevelser, velvære og ro. I midten af 1900-tallet, i takt med at teknologien udviklede sig og folk fik bade i egne hjem, blev mange af de gamle public baths nedlagt og industri og handel flyttede ind på Old Kent Road. Store gasvarmeanlæg blev bygget i Southwark området og det blev et sted for arbejderklassen. En udvikling, som området ses tydeligt præget af i dag. Mekanikere, værksteder og hvidevarebutikker dominerer gadens butiksfacader og dinere og frisørsaloner servicerer områdets beboere. Det gamle gasværk tårner sig op, og ses allerede et stykke inden man ankommer til grunden. Der står blot én gasbeholder tilbage fra det anlæg, der engang servicerede hele London. Beholderen er fredet og står hen som et minde om en anden tid og funktion. Programmet, Et folkebad, søger at

genopføre samt gentænke det offentlige bad i et kontekstrelateret og historisk perspektiv. Med en reference til områdets særlige historiske udvikling af badeinstitutioner, ønskes der at skabe en nutidig relevant version af badet som socialt mødested mellem kulturer, fremfor kun som sundhedsprogram. En version hvor ideen omkring det gamle offentlige bad ønskes tilbageført i Sydlondons nye kontekst: Et område præget af stor etnisk diversitet med medbragte traditioner og små fællesskaber, der sjældent krydser. Projektet vil undersøge, hvordan badeanstalten som program kan udgøre et sådant samlingspunkt ved at tage udgangspunkt i lokalområdets mange forskellige kulturelle grupper og deres medbragte forskellige badekulturer. Det har som ambition at sammenholde og sammenflette disse, og dermed give gode vilkår for at hverdagslige og fredelige møder og udvekslinger kan opstå blandt områdets beboere. Der undersøges derfor badekulturer for forskellige nationaliteter, der også er repræsenteret i området. Programmet søger at trække tråde fra disse og kombinere dem på anden vis. Hvordan flettes forskellige kulturer og traditioner for badet sammen med en respekt for individuelle intimgrænser og niveauer af kropskontakt? Og hvorfor skal vi overhovedet have det fælles bad tilbage? Programmet er både rammen for en historisk erindring, som området kan mindes, samt en genoptagelse af denne i en ny og aktualiseret form. 13

Projektet vil undersøge, hvordan badeanstalten som program kan udgøre et sådant samlingspunkt ved at tage udgangspunkt i lokalområdets mange forskellige kulturelle grupper og deres medbragte forskellige badekulturer. Det har som ambition at sammenholde og sammenflette disse, og dermed give gode vilkår for at hverdagslige og fredelige møder og udvekslinger kan opstå blandt områdets beboere.

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SARA SAUR & ANNA MARIE STAHL

AARCH

Reinvigorating a A project dealing with a transformation of Naturhistorisk Museum in Aarhus by Andreas Ă&#x2DC;rbĂŚk Damm

canoncial building

Unit 2/3A Transformation

Spatial Encounter. Section. The meeting point between the different architectual elements and languages are mediated in a small easy-to-miss window, that encourages curiosity and exploration

Section

The transformational approach is permeated by a respect for the existingbuildings. Naturhistorisk Museum in Aarhus is on the verge of moving away from the University Park and thereby eradicating an important part of our cultural memory. By emptying the purpose-built buildings in the canonical University Park and building a new museum, the museum visitors will fail to obtain an understanding of our shared history and of the development of our society that manifests itself in the yellow bricks of the University Park buildings and institutions. This move would not only be a mistake in terms of this loss of cultural memory, but also in terms of architectural and spatial values. A transformation of the museum would greatly improve on the problems that led the museum management to incorrectly propose this move; a lack of physical and modern exhibition space, a sense of being hidden away in the midst of the university far from the city, and a feeling of wanting to stand out and be seen. The transformational approach is permeated by a respect for the existing buildings and the language they have. Both in terms of placement and shape of the new volumes, but also in the choice of using the same materials for the new buildings as were used to construct the original museum. Inside, the museum has two different languages. Above ground, the strict orthogonal shapes of the university park dominate, whereas the shapes underground are more sweeping, wavy and rounded. This will supply the building with a duality that gives the different spaces, above and underground, distinct feelings that will affect the visitor and allow a reading of where you are merely by looking at the architectural language. 18

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ANDREAS ØRBÆK DAMM

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The main exhibition areas are moved into new underground spaces that supply the museum with the much-needed bigger halls. These are inserted between the original buildings, and thereby create courtyards above, that creates room for resting and welcoming the guests, but also gives space for light to seep down into the underground atrium.

REINVIGORATING A CANONICAL BUILDING

A transformation of the museum would greatly improve on the problems that led the museum management to incorrectly propose this move; a lack of physical and modern exhibition space, a sense of being hidden away in the midst of the university far from the city, and a feeling of wanting to stand out and be seen.

Circulation hall perspective sectionDuality in language and vertical exhibition space

Samlingen kobles sammen av et fræset stykke træ som også bærer den tværgående lægte.

Samlinger af hårdttræ Digital Workflows

Unit 2/3D, AARCH Anders Kruse Adjunkt, Cand.arch., ph.d. Niels Martin Lektor, Cand.arch., ph.d.

Kurset handler om at udvikle tektoniske koncepter gennem 1:1 fremstilling af trækomponenter. Kurset involverer anvendelse af CNC-teknologi, 3D modellering, parametriske principper, skitsering i tegning og model, samt viden om forskellige træsorter. Målet er at udvikle en samlingsdetalje, hvor tre bjælker af fastsatte dimensioner mødes. Bjælkerne er af sædvanligt konstruktionstræ, og selve samlingen fremstilles af en hårdere træsort, såsom bøgetræ, hvorved denne del af konstruktionen opnår større styrke. Parallelt med udvikling af samlingsdetaljen undersøges det, hvordan det tektoniske princip kan bringes i anvendelse som del af en større konstruktion. 24

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Opgaven består af tre forskellige niveauer 1

Fremstilling af en fysisk samling, bestående af tre bjælkedele (1000 x 130 x 65 mm) og en eller flere samlende dele af hårdttræ. Delene tilpasses hinanden ved hjælp af CNC-fræsning og samles med trælim og dyvler. Denne proces indebærer anvendelse af CNC-software AlphaCAM.

Undersøgelser af, hvordan princippet kan bruges parametrisk. Der eksperimenteres med Grasshopper i Rhino, og princippet formidles grafisk.

3D modellering, af arkitektoniske muligheder for anvendelse af det tektoniske princip, som en del af en arkitektonisk helhed. Der skal ikke tegnes et projekt som sådan, men der vises et arkitektonisk udsnit, som f.eks. en facade eller en anden konstruktion. De første tre dage handler om at skitsere principper i tegning og model. Der fremstilles 5 forskellige løsningsidéer, som præsenteres på den første pinup. Skitserne fremstilles i model, i skala 1:5 (bjælker: 200 x 25 x15 mm), samt 3D-modelleres. Der udprintes passende tegninger til pinup. De tre dele af opgaven formidles i den udleverede InDesign skabelon og uploades til Moodle. Læringsmål Skitsering af tektoniske principper med træ. Erfaring med CNC-baseret bearbejdning, herunder software til definition af værktøjsbaner (toolpaths). Parametriske principper på et topologisk, geometrisk niveau. Systematisk formidling af fysiske, modelmæssige og digitale undersøgelser. 25

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UNIT 2/3D AARCH

Samlingen udforsker hvordan tre stykker træ kan mødes i et punkt ved hjælp av digital fabrikation. 27

”Tetris-samlingen” er skabt i bøgetræ, og skal samle 3 bjælker af sædvanligt konstruktionstræ, fyrretræ, i fastsatte dimensioner. Samlingen, bøgetræ, har tre hoveder som hver deler sig i to modsatstående ender, der griber om konstruktionstræet. Konstruktionstræet har tilsvarende udformning, dog spejlvendt, så de to stykker træ passer sammen som to Tetris brikker. De griber således fat om hinanden og der opnås stor styrke.

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UNIT 2/3D AARCH

For at kunne fremstille samlingen på CNC fræseren, har vi måttet tage nogle forholdsregler. Da CNC fræseren ikke kan fræse indadgående retvinklede hjørner har samlingen i stedet for fået tilføjet rundinger hvor det var nødvendigt. Derfor fremstår den med både rundede og vinkelrette hjørner, som bidrager til dens æstetiske udtryk. Fremadrettet kan man overveje at arbejde med at få denne specielle CNC-æstetik mere inkorporeret i samlingen så udtrykket bliver mere ensartet. 29

Parti af Dosseringen i nærheden af Østerbro, overtrukken himmel. Malet af Christen Købke, 1841/45. Statens Museum for Kunst. Public Domain.

Arkitektur og æstetik

Stine Henckel Schultz, Arkitekt Maa, ph.d.-stipendiat KADK Martin Søberg, Kunsthistoriker Mag.art., ph.d., lektor KADK 30

4. SEMESTER KADK

Æstetik handler om, hvad vi forstår og oplever som skønt eller ej, og hvordan dette sanselige og affektskabende frembringes og virker. Med udgangspunkt i den klassiske vestlige æstetik belyser kurset Æstetik på Kunstakademiets Arkitektskole, KADK arkitekturens virkemidler i forskellige epoker. Kurset er fælles for alle studerende på bacheloruddannelsens fjerde semester og forløber over fem intensive uger. Igennem forelæsninger, diskussioner og tekstlæsning har vi arbejdet med en analytisk og sproglig dimension af arkitekturens æstetik og dermed de begrebs- og teoridannelser, der knytter sig dertil. Og i konkrete undersøgelser af udvalgte steder, bygninger og byrum omkring Blegdamsvej i København har vi arbejdet med eksempler på arkitekturens virkemidler analyseret ved hjælp af især tegninger og tekstskrivning. Målet har været at sætte de studerende i stand til at analysere arkitektoniske værker og til at forstå, hvordan værkerne virker, ikke blot i et historisk og analytisk perspektiv, men også som grundlag for de studerendes egen arkitektoniske produktion. Blegdamsvej rummer mange forskellige historiske lag og dermed spor af arkitektur, byen og naturen og deres interaktioner indbyrdes og med samfundsmæssige og kulturelle kræfter i øvrigt. Vejen har boulevardkarakter, den forbinder de to tætte brokvarterer

Østerbro og Nørrebro og løber parallelt med Sortedamssøen. Mod øst ender den i Trianglen, et af Østerbros centrale offentlige rum, mod vest i Sankt Hans Torv, et af Nørrebros centrale offentlige rum. Vejen har navn efter de blegedamme, som blev etableret her i 1660erne til blegning og anden forarbejdning af tekstiler, hvortil store mængder vand var en nødvendig ressource. På den anden side af Blegdamsvej lå en fælled, det vil sige et stort engareal, hvor byens indbyggere lod deres kreaturer græsse. Endnu i 1830erne og -40erne var stemningen langs Blegdamsvej og på stien langs søen, kaldet Dosseringen, udpræget landlig, som det fremgår af den danske guldalderkunstner Christens Købkes malerier. Arealerne langs vejen blev dog gradvist bebygget, ikke mindst efter at den såkaldte demarkationslinje, en militær beskyttelseslinje, der skulle hindre permanent byggeri i en vis afstand fra bykernen, blev flyttet i 1852 og dermed frigav store arealer til nybyggeri i den hastigt voksende hovedstad. Mellem Sortedamssøen og Blegdamsvej blev der især tale om tætte boligkarreer samt industri, der siden er forsvundet til fordel for gårdsaneringer og grønne anlæg. Nord for Blegdamsvej blev fælleden delvist bebygget især med offentligt byggeri og institutioner, mens en rest er bevaret og omdannet til den store offentlige park Fælledparken. 31

Det handler om at aflæse og om at tilegne sig en forståelse for arkitektur.

Æstetik-kurset handler også om at se. Det handler om at aflæse og om at tilegne sig en forståelse for arkitektur. Læsningen, analysen, sker igennem tekstskrivning og ved at tegne sig ind i udvalgte arkitektoniske værker. Opgaverne, der omhandler tegningerne, er målrettet formuleret til de specifikke steder/værker, og der peges specifikt på forskellige analoge tegnemetoder til at besvare opgaverne og dermed til at aflæse og forstå forskellige aspekter af det udvalgte område, dets udvalgte bebyggelser og bygninger. De studerende arbejder under forløbet i grupper af tre til fem, de har 2 x 2 M til rådighed til deres tegninger. De arbejder dermed side om side på det opspændte papir, og på den måde er de sammen i en tæt dialog med det givne arkitektoniske værk. I denne tætte dialog med værket og den langsommelige dvælen, der kræves, når man tegner analogt, og eksempelvis skal forholde sig til værkets udstrækning, form, konstruktion, 32

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materialer, størrelser, proportioner og/ eller bymæssige sammenhæng, opnår de studerende et niveau af erkendelse eller forståelse for værket, der rækker ud over den individuelle og personlige oplevelse af det. De studerende formår igennem optegningen af plan, snit og opstalter og ved formalanalyser og undersøgelser af materialer, højder, bredder, rytmer i facaden eller takter i den konstruktive struktur at gribe værket som en arkitektonisk helhed i en større sammenhæng. Rumlige skitser og rumlige snit udfolder rumlige sammenhænge, de fortæller om lysforholdene og beskriver valg af materialer, farver og overflader i et interiør. Konstruerede perspektiver og aksonometrier diskuterer voluminernes form, størrelse og rumlige virkninger eksteriørt. Ved udarbejdelsen af en palimpsest forøges forståelsen for den historie og de mange kræfter/aktører, der er medbestemmende og styrende for en by eller et steds udformning.

1 Havelågen ved bagermester Købkes gård på Blegdammen. Malet af Christen Købke, ca. 1845. Statens Museum for Kunst. Public Domain. 2 Aksonometri af Panum Instituttet, Mærsk Tårnet og Sund Naturpark. Tegningen overskueliggør de forskelligartede rumlige ideer i kompleksets dele. Tegnet af Caroline Brun Nielsen, Ida Møller Rasmussen, Justyna Marta Sadowa og Nicklas Vallaume Thorup, KADK.

ARKITEKTUR OG ÆSTETIK

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1 Facadestudier i udfoldet opstalt samt detaljer af Niels Bohr Institutet. Tegningen beskriver, hvorledes det, vi eksteriørt umiddelbart opfatter som en klynge af bygninger med én karakter, består af bygninger med subtile forskelle, ikke blot i højde og drøjde, men lige så vel i eksempelvis vinduesproportioner og pudsens overflade og tone. Detaljerne dissekerer så at sige bygningernes ydre og tydeliggør deres forskelle og ligheder og fortæller på denne måde, hvorfor de virker med hinanden i det ensemble, man forstår dem som. Tegnet af Brynjolfur Jônsson A’Heygum, Eva Whitney, Lasse Hedevang Nielsen, Mari Reme Sagedal og Rasmus Bräuner Krog, KADK.

2 Situationsplan af det samlede analyseområde, herunder Blegdamsvej, Fælledparken, Sorte damssøen, Trianglen og Sankt Hans Torv. Tegnet af Flora Tosti, Karoline Bach Nielsen, Louis Mølgaard Nerup og Morten Kjærgaard Jensen, KADK. 35

1 Parti af Dosseringen i nærheden af Østerbro, overtrukken himmel. Malet af Christen Købke, 1841/45. Statens Museum for Kunst. Public Domain. 2 Aksonometri af boligbebyggelse langs Bleg-damsvej. Tegnet af Ane Bella Sjøsten Panholm, Anne Sofie Buchbjerg Kroghsbo, Laura Kastrup Nielsen og Pernille Sparholt, KADK.

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ARKITEKTUR OG ÆSTETIK

Tak til Kjeld Vindum og Mette Jerl Jensen for uundværlig hjælp og sparring til planlægning og afvikling af kurset og tak til vejlederne Claus Pryds, Frej Skoog, Karl-Martin Buch Frederiksen, Knud Aarup Kappel, Louise Grønlund, Mathilde Lesenecal og Mikkel Kjærgård Christiansen.

MAJSE MARIE NÃ&#x2DC;RHALD

GENERATIONSHUS Institut for bygningskunst og teknologi KADK 38

Skitsemodel der viser orientering omkring gårdrum

I det nordlige Portugal hvor Douro har sit udløb i Atlanterhavet ligger Porto. På hver side af floden ligger stejle gader med snørklede passager, intime lommer, enorme bymure som inddæmmer landskabet og haver med terrasseringer ned mod vandet. I bybilledet findes sociale boligområder, hvor dagligstuen flytter ud på gaden og skaber private zoner i byens mellemrum. Samtidig står nyklassicistiske institutionsbygninger side om side med faldefærdige ruiner, og især her toner Portugals svære økonomiske situation frem. Dette kan blandt andet mærkes i landets velfærdssystem, hvor især to grupper er udsatte: børn og ældre. I dette spændingsfelt indtegner sig et generationshus med børnehave og ældreboliger, som sætter rammerne for, at der kan opstå relationer på tværs af alder. Generationshuset orienterer sig mod et fælles gårdrum i midten, som kobles sammen med bibliotekshaven på nabogrunden. Dermed opstår en serie af sammenhængende haver og gårdrum forbundet af smalle passager, ligesom det er tilfældet med baggårde og bortgemte haver i resten af byen. I stueetagen ligger generationshusets børnehave. Her er konstruktion i stampet jord, som mod gaden fortsætter til en tung og massiv facade, der fungerer som en termisk masse, som tager imod varme i løbet af dagen og afgiver den igen om aftenen. Mod gården trækker bygningen sig tilbage på 1.

sal og bliver til en lettere trækonstruktion. Tegltaget bliver mod gaden til et let træbånd, som griber fat i den stampede jord, og binder den tunge og lette konstruktion sammen. I børnehaven findes et rumligt hierarki, som understøtter børns forskellige sociale behov. Hver af de tre børnehavegrupper har et særligt rum, som inviterer til at samles og vende fokus indad og på hinanden. Samtidig er fascinationen af byens intime situationer i det store offentlige rum oversat til en beboet mur, hvor nicher og lommer danner huler og gemmesteder i bløde, inviterende former. Læsenicher danner rum til at trække sig tilbage og samtidig være en del af fællesskabet, kighuller danner relationer på tværs af rum og generationer og snørklede kroge taler til den barnlige lyst til at gå på opdagelse. Den beboede mur ses ved fællesarealerne på 1. sal i form af en dyb trækonstruktion i facaden, som enten bliver til siddepladser, hvorfra man kan være en del af fællesskabet i gården, uden nødvendigvis at deltage aktivt. Denne trækonstruktion kan andre steder åbnes, så ude og inde kan flyde sammen. Foran ældreboliger dannes ligeledes en dyb niche i facaden, som fungerer som tærskel mellem det private og fællesskabet, som ligesom i byens sociale boligområder kan beboes med potteplanter, vasketøj og lignende. 39

1 Plantegning av bĂ¸rnehave der viser relation til kontekst. 2 Udsnit av gipsmodel der viser ankomst med trappe. 3 Gipsmodel der viser udsnit av bĂ¸rnehavegruppe.

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GENERATIONSHUS

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Snit der viser generationshuset i sin kontekst

GENERATIONSHUS

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1 Skitsemodel der viser undersĂ¸gelse nicher. 2 Oppstalter av bygg i kontekst

Plaster wood scan Anders Rovsing Institut for Bygningskunst og Kultur KADK

Scanninger af gips- og træmodeller danner et vokabularium af opstalter og abstrakte forme som en del af en proces. En proces, som handler om at give slip på forventninger og kontrol og i stedet skabe i øjeblikket og lade den umiddelbarhed danne vejen for et projekt – en slags ubevidst vision. De scannede gips- og træmodeller er selv to indledende workshops i første semester på bygningskunst og kultur, som de seneste år har omhandlet et fælles projekt for årgangen – at designe en utopisk kirkegård. Gipsmodellen er afledt af en personlig og på-stedet kortlægning af en arkitekttegnet kirkegård og fungerer som en abstrakt og programløs rumlighed. Ud fra aksonometriske tegninger af gipsmodellerne tegnes en sammensmeltning af to til tre gipsmodeller af alle elever. Sammensmeltningen dannede grundlaget for træmodellen i MDF, altså en translation fra et medie, gips, til andet medie, MDF. Alle opstalter af både gipsmodellerne og træmodellerne blev som næste opgave indscannet og opsat som et vokabularium. De endelige programmer på kirkegården bygges op og dannes udelukkende ud fra hver gruppes vokabularium af opstalter og forme på den måde som nye sammensmeltninger med særlige karaktertræk fra de tidligere gips- og træmodeller.

Signe Andrea Høgstad Kelstrup Høgni Jákupsson 46

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Philippe Rothschild EisensĂ¸e Rebecca Rohde-Frisk Karl Ferdinand Willadt

Scanninger af gips- og trĂŚmodeller danner et vokabularium af opstalter og abstrakte forme som en del af en proces.

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PLASTER WOOD SCAN

Aron Munk Rösing Anders Rovsing Gunver Lindeskov Søgaard 49

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GENDER Section II

GENDER EQUALITY AT AAA... ? Ruth Baumeister, Dipl. Ing.Arch., PhD. Assoc. Professor AARCH

“A Room of One’s Own.” (1929) is the title of an essay by Virginia Woolf in which the author calls for the need of a literal and a figurative space for female writers in a literary world dominated by men. In other words, Woolf claims that for a woman to write fiction, she needs a space of her own where she can retreat, and on top of that, enough money to support herself. Woolf’s essay became a key feminist text as it raised important issues such as motherhood and family in relation to career, women’s rights and role in education and the aspect of sustaining oneself financially. Even though she relates to a male-dominated literary tradition at her time, her arguments would also have held true for young female architects when she wrote the text and unfortunately, they still do today. Despite the fact that there has been equal distribution between male and female students in architecture for some decades now, the profession and the practice of architecture until this day is a male dominated business. When it comes to climbing the career ladder, the higher you go the less women you encounter. Few architecture firms are led by women or have women in their leading positions. It is a majority of men, who are receiving awards, who are sitting on committees and are given a voice in public. Men earn more for the same work than women do and there is a high percentage of women who recorded experiences of sexual 52

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discrimination. It is important to realize though, that this is not about women, but it is an issue that concerns our entire society. Architecture schools are often criticized for being disconnected from the real world of architecture and our school here in Aarhus makes no exception in this respect. If there is one thing, where our school resembles the real world 1:1 though, it is the gender bias in the upper levels, unfortunately. While some of our reference models are catching up now – with Sarah Whiting at The Graduate School of Design at Harvard and Eva Franch i Gilabart at the AA London, both recently appointed their first female Deans in history - there is still a need for us here to do some ground work. Even though we have an equal share between both genders among students, our female graduates obviously do not make it to the top and that poses a problem that does obviously not solve itself over time. See graph. Such biases not only affect the working environment negatively, but unfortunately also provide a lack of role models for our students. Moreover, if we want our living environment to offer equal opportunities for all people, regardless their gender, nationality, ethnic background, etc., we have to radically rethink how we design our houses and how we conceive our cities and this means that we have to nurture expertise among teachers and research-

ers in gender studies. The fact that we are building a new school at the moment - literary as well as figuratively – provides a great opportunity for us to show that we can, and want, to make a change. I recently talked to a male student, who was telling me that whenever the gender bias in architecture comes up, he cannot help but feel that he is made responsible given the simple fact that he belongs to the gender who is keeping power. That is why he, and a lot of his male colleagues, usually keep away when discussing this issue. And yet, he assured me, the least he would like to do is prevent women from pursuing a career. “It is the system, which does so,” he said. “And it is on us to change this system,” was my answer to him. Moreover, I tried to explain that this is not about men against women, but about creating equal opportunities. Almost a century after Woolf has conceived her essay, we must ask ourselves for whom and how we build rooms, houses, the world. Thus, instead of unconsciously nurturing a repeated system of excluding women in positions of power or continue to conceive spaces that support gender biases, we need to take action. At Aarhus School of Architecture, we are very good in immediate, hands-on approaches.

Statistics Gender of Leadership at AAA

GENDER EQUALITY AT AAA

Therefore, I would like to take a constructive approach and present a plan with 7 very simple, straightforward actions:

Create awareness Gender equality must be understood as a person’s equal rights, opportunities and obligations. Reveal unconscious biases that exist within the field of architecture in general and within our school in specific. Create a policy The driving force behind all activities must be to ensure diversity and offer equal opportunities to all students and employees at Aarhus School of Architecture. Therefore, it is important to clearly state what we stand for. Re-invent the Architect The ´star-architect,´ who is working on a 24/7 base and who is willing to sacrifice everything in life to finally feature on gloomy magazines, is becoming a phase-out model. Let’s define success in our profession in broader terms with a range of acceptable definitions - for both men and women. Provide Role Models To prevent gender biases we need to carefully consider what, who and why we provide certain references. Think of it when inviting guest lecturers and critics; take it into consideration when communicating what happens at AAA 54

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to the outside world. Language constitutes an important agent in this; it is about creating equality, not about highlighting one or the other. Reconsider Hiring Strategies Integrate gender equality in the recruitment of new staff. Reconsider how the school expresses itself in job advertisements. Especially in those levels that are extremely unbalanced, the introduction of a quota might be necessary. Career coaching Aarhus School of Architecture provides an excellent career-counseling program, targeted towards bringing our graduates into the job market. Consider how to prevent gender bias when it comes to career development. Gender Studies in Research & Teaching The more perspectives we provide, the more diverse and rich our study program will become and the better we can prepare our graduates for the national and global job market. Build up expertise in gender studies among staff and integrate gender studies as a permanent component into the curriculum.

RUTH BAUMEISTER

Students

Assistant professors

Full professors 55

GENDER EQUALITY AT AAA

I would like to close this text by once again giving voice to practice. The call went out to both, men and women. Due to the unexpected Corona crisis, many of them replied that due to the seriousness of the situation, even though they are convinced about the importance of this initiative and would very much like to support it they are unable to respond. Following, is a series of comments and recommendations I received.

Guide til at fange sproglig forskelsbehandling Begynd med at tage en stak arkitekturtidsskrifter Find de artikler, der handler om mandlige arkitekter Se, om de er beskrevet som mandlige arkitekter eller blot som arkitekter Find de artikler, der handler om kvindelige arkitekter Se, om de er beskrevet som kvindelige arkitekter eller blot som arkitekter Husk, at sproget former den måde, vi ser virkeligheden på Overvej, om denne sprogbrug er diskriminerende Hvis ja, drop herefter ordet kvindelig og snak om arkitekter uden at snakke om deres køn Marianne Krogh, Curator of the Danish Pavillon at the 2020 Venice Architecture Biennal

In my option the gender debate is central in order to obtain a more balanced society - social, economic and environmental. Suna Cenholt, Partner Pluskontoret 56

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RUTH BAUMEISTER

I never really consider my gender in relation to my profession. I’m an architect first and foremost. While I have been practicing the last 25 years – I have experienced the profession getting increasingly balanced in respect to gender distribution, which I find necessary and important. Still, I have often seen women choosing family over career. However, my experience as a partner in an office employing ten younger male architects is, that this behavioral pattern is slowly changing, as male architects nowadays also choose to prioritize family matters. I do acknowledge that society needs to continue working with our general culture in respect to raising girls and boys equally - we need to debate gender stereotypes and behavioral patterns. Trine Berthold, Partner at Loop Architects

Implement a policy of gender equality in all recruitment bodies, so that it breaks the men-choose-men/women-choose-women pattern! Ellen Braae, Professor of Landscape Architecture at the University of Copenhagen and Chairperson of the Danish Arts Foundation Committee for Architecture

Leaders are confronted with questions on gender bias on the leadership level very frequently. A constructive path for me has been to focus on the leadership qualities that inspire me. These are the qualities and behaviors I truly appreciate. The kind of people I look up to, and try to surround myself with very consciously. So I would encourage people to do the same. Surround yourself with people who are resolute and thoughtful. Brave yet not afraid to admit vulnerability. Ask your leaders to actively listen and reflect – take responsibility and show empathy when necessary. Value and encourage upand- -coming leaders who invest in the growth and development of their colleagues and peers. Surround yourself with people who value diversity of opinion, deep knowledge and enjoy a heated and reflective debate. A healthy sense of humor that allows them to not take themselves too seriously. People who are grounded and approachable. My hope is, if we collectively change the conversation a little and talk about the qualities we should demand from people in management positions and leadership, regardless of gender, the odds of getting to a diverse and rich landscape that reflects the world we live in will be higher and the journey a bit more enjoyable for all parts involved. Elif Tinaztepe, Partner/Design Principal at Schmidt/Hammer/Lassen/Architects 57 9

Anders Gammelgaard, Cand.arch., ph.d. , Nella Maria Konnerup Qvist, Cand.arch., Peter Mandal, Cand.arch

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Home for the protagonist Unit 2/3C Habitation AARCH

In the project The Home of the Protagonist you should explore the practical requirements of habitation and physical construction of architecture within the imagined narrative of your given film character. By introducing the film character as a client, the scope of the assignment is to explore the notion of a human dwelling, and raise the question: How does a house become a home?

Repulsion Gjermund Donali & Sjerry Li Unit 2/3C AARCH

Femininitet Repulsion tar oss igjennom en utsatt, forstyrret kvinnes hverdagshistorie, som viser forskrudde konservative idealer om hvordan kvinnenes rolle skal utspille seg i hjemmet på 60-tallet. Carol, filmens protagonist, lever i en verden omgitt av pågående mannlige skikkelser, og opparbeider seg et traumatisert forhold til seksuelle lyster. Det vi i utgangspunktet ser på som et vakkert element av kjærlighetslivet, blir i hennes tilfelle omdannet til en konstant redsel for overfall og voldtekt. Carol blir distansert fra sitt feminine rotfeste, og danser lenger og lenger inn i et mareritt som enser ingen ende. Iscenesettelse av hjemmet Å skape et hjem med klare skiller mellom ulike sfærer har vært sentralt for å danne trygge omgivelser rundt Carol. Ulike nivåer er tatt i bruk som overganger som skal understøtte følelsen av å tre inn i et dypere, mer beskyttet lag av boligen. Det er satt et stort fokus på hennes rutiner, og disse er igjen iscenesatt i ulike deler av boligen. Vår kropps-holder bygger på de samme undersøkelsene gjort for å avdekke og ytterligere forstå protagonistens psykiske lidelser. Plater for å skjerme fra både reelle, mulige og innbilte farer danner essensen for kropps-holderen. Disse platene kombinert med ulike utkikk og åpninger danner et beskyttende skall, som samtidig gir oversikt over det omkringliggende. Dette gir muligheten for å observere uten å bli observert.

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Ulike nivåer er tatt i bruk som overganger som skal understøtte følelsen av å tre inn i et dypere, mer beskyttet lag av boligen.

HOME FOR A PROTAGONIST 61

Fight club Ida Houmann Johansen & Frederik Højbjerg Unit 2/3C AARCH

Maskulinitet Filmen Fight Club er en brutal fortælling om en manderolle i opbrud og konflikt. I forsøget på at generobre den maskulinitet, der er gået tabt i forbrugerkulturen og den ensformige “IKEA-tilværelse”, dannes Fight Club. Her mødes almindelig mænd for at føle sig i live ved at slås. Hver gang nye medlemmer skal optages i Fight Club, skal de leve op til idealet om, hvad det vil sige at være en mand. En af reglerne for at blive optaget i Fight Club er: “If this is your first night in Fight Club, you have to fight”. Her testes det mandlige kønshormon gennem systematisk vold. Den introverte og ekstroverte personlighed Vores siddemøbel er designet og udformet til den dobbeltkarakter, som optræder i Fight Club. Ud fra en omfattende analyse af hovedpersonerne Jack og Tylers rutiner, adfærd og psykologi, har vi forsøgt at fremme kontrasten mellem dem, idet vores møbel kan roteres 180 grader, og således bruges af begge personligheder. Når stolen vender den ene vej, underbygges Jacks foroverbøjede, usikre og lukkede kropssprog, hvorimod når stolen er vendt 180 grader, henvender den sig til Tyler, der udstråler lederskab, selvsikkerhed og et afslappet, tilbagelænet kropssprog. Siddemøblet kan ses som en rekvisit, der styrker filmkarakterens udtryk. Iscenesættelse af hjemmet I forsøget på at forstå og underbygge Jack og Tylers sindsforstyrrelse har vi gennem håndtegning og collage forsøgt at iscenesætte hjemmet, og frembringe følelsen af hjemlighed. Tegningen markerer deres forvrængede forestilling af virkeligheden, objekternes bevægelser og hverdagens rutiner, når de indtager rummet.

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Ud fra en omfattende analyse af hovedpersonerne Jack og Tylers rutiner, adfærd og psykologi, har vi forsøgt at fremme kontrasten mellem dem, idet vores møbel kan roteres 180 grader, og således bruges af begge personligheder.

HOME FOR A PROTAGONIST 63

Marius Wold

Designed in 1925 by architect Gerrit Rietveld and commissioned by widow Truus Schröder-Schräder, the Rietveld-Schröderhuis was partially designed without walls. The interior of the two-storey house consists of a system of slideable panels allowing for an adaptable plan. Its purpose was to eliminate the hierarchy and containment of the traditional residential space through architectural design, thus challenging the architects of the nuclear family home. In the Schröder House the body is not restricted nor controlled. There are no assigned spaces for a husband, a wife or children as they are free to shape their own environment. Surely ahead of its time, the design of the Schröder House could have represented a shift in the structure of the residential architecture. However, the nuclear family home has not yet met its demise. Its practicality might have suited the family structure of the past century, but to this day the separation of spaces primarily remain the same in residential housing. The question lies in whether or not its role-specific functionality is still relevant in the 21st century. Should architecture continue to define the roles of its users?

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HUNDRED WORDS ON GENDER

Køn er et flydende, nuanceret spektrum, som ikke nødvendigvis er definitivt. Vi mennesker har dog en tendens til at sætte ting i kasser, det gør verden mere forståelig, gennemskuelig. Hvis man søger på internettet efter køn, vil man blive oplyst om, at der i dag findes 71 forskellige køn. Hvad er grunden til det? Er vi blevet mere åbne, tolerante? Eller har vores trang til at identificere, organisere medført, at man igen skal tilhøre et bestemt køn - en bestemt kasse? Vi mennesker lever, vi lærer, vi oplever, vi føler og mærker. Alt dette ændrer os, udvikler os. Som arkitekt er det essentielt at skabe plads og rum til at disse oplevelser og følelser kan få lov til at udfolde sig. Arkitektur vedrører alle - køn, intetkøn, alle køn. Arkitektur er til for mennesker.

Ida L. Jespersen

The library Internal view

The cinema. Exploded axonometric drawing 66

Building Without Bias: An Architectural Language for the Post-Binary

Hannah Rozenberg Part of EDIT collective. https://www.editcollective.uk/ MA Degree - Royal College of Art, School of Architecture, London 67

The bench A place to speak

“Technology is not neutral. We’re inside of what we make, and it’s inside of us. We’re living in a world of connections – and it matters which ones get made and unmade.” 1 Man is to Computer Programmer what Woman is to Homemaker. The most appropriate pronoun for the word Vulnerable is She whilst Intelligent is better suited to He. All domestic or administrative AI should be female. These gendered prescriptions are the result of a machine logic—a logic that indiscriminately infers truths from data; a logic that thus uncovers and embeds problematic prejudices at the heart of contemporary society. As automated technology finds its way into our bodies, buildings, and cities, it is essential that it be designed in a way that is free from insidious biases. However, in the case of gender, this is rarely the case. Instead, the artificially intelligent tools that we use on a daily basis amplify and sediment existing gender inequalities. For example, Google translates non-gendered language 68

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to a gendered one by assigning male pronouns to words such as intelligent, successful and ambitious but female pronouns to the words emotional, vulnerable and sweet. Building Without Bias seeks to discover whether architecture can be used as a tool to reveal, rethink, and revise the biases that are embedded within technology and society. The design methodology is based on a machine learning technique known as word embedding. The method teaches language by giving machines numerous texts, such as Google News articles. The machine processes them and creates links between words, which result from the way in which they are associated with one another. The machine learns, for example, that kitchen has a stronger relationship with the word she than he because it is more frequently found with the female pronoun in sentences. Using this technique, the project first defines a series of 0 GU (Zero Gender Units) architectural components. In the eyes of the contemporary machine, these components are—as a result of the way that they are labelled seen as neither male nor female.

HANNAH ROZENBERG

The library. Section 69

The theatre A space to listen

“Technology is not neutral. We’re inside of what we make, and it’s inside of us. We’re living in a world of connections – and it matters which ones get made and unmade.” 1

The website Building Without Bias is created with the aim of reaching a wider audience and allowing others to apply a similar methodology to their practice 2. This linguistic approach is then developed into a more holistic methodology for designing a post-gender architecture. A series of post-gender interventions are tested in one of London’s least nuanced areas: St James’s. In 2018, St James’s is still a very exclusive area, with many gentlemen’s clubs and gendered businesses. These institutions are visited by white, wealthy men, and their doors are closed to women or to those who do not belong to this elite. Five interventions are designed to disrupt the existing situation of St James’. The purpose of these 0 GU spaces, which vary in scale—from the size of a piece furniture to that of an entire building—is to retrain how we use language. Since technology reflects the biases embedded in our language, the first step towards a non-biased machine is a gender equal language. The interventions therefore house five different programs, each representing a different way in which language is used: viewing, speaking, listening, writing and reading. Ultimately, a landscape simulation is designed to maintain an optimally genderless St James’s. The ideal gender neutral masterplan is one in which buildings are no longer individual, exclusive spaces and where the boundaries between programs, forms and genders are merged. 72

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Footnotes 1 Donna Haraway, ‘A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century’ (1991), pp.149-181 2 Building without bias (http://building-without-bias.co.uk).

Illustrations 1 A space to listen in the digital masterplan 2 A space to speak in the digital masterplan 3 GU 0 Components 4 GU 0 Components Detail

YOU HAVE TO LAUGH

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Tine Nørgaard MA Arch., Assoc. Professor AARCH

You have to laugh 1980’s As a student at Aarhus School of Architecture I was told by one of my tutors that a woman’s radius of action was 120 cm. I realized I’d been overstepping my boundaries. While celebrating my diploma exam a group of fellow male students pointed out to me that the reason I passed with solely four boards was by having big tits. I think perhaps they were busy overlooking the models. 1990’s On a diploma jury with a contemporary architect, when adding up our experiences following graduation, we calculated that we were on our altogether fifth all-female jury. We also calculated that they were juries on five kinder-gardens. 2000’s Ha, ha, ha… 2010’s A guest tutor who was invited to contribute on the second day of one of my workshops chose to introduce me as ”his lovely assistant”. I think he meant to flatter me. Contributing data to a young researcher’s paper, he presented me with two boxes of Ahmad London Teabags. One of the boxes was made of cardboard. The other one, however, was made of tin in the shape of a London double-decker.

Inclusivity of unisex toilets Inclusiveness of public space - Gender-neutral public restrooms as object of research

Kathleen Dieme, Aalto University, Helsinki

The subject of my Bachelor’s thesis was the inclusivity of public space, a theme I explored by examining gender-neutral public restrooms and how such spaces might be designed to be more inclusive, particularly for gender non-conforming users. The main source of my thesis was Queering Bathrooms: Gender, Sexuality, and the Hygienic Imagination by Canadian sociologist Sheila Cavanagh. In addition to the literature survey, I also conducted thematic semi-structured interviews with members of the target group to study architectural elements that have a bearing on spatial inclusion. I wanted to bring a design perspective to bear upon the subject yet without forgetting the sociological aspects on inclusion. By comparing Cavanagh’s results with my own, I wanted to examine the tradition of the binary restroom in the context of gender-neutral restrooms and its effects on spatial inclusivity. The purpose of the interviews was to elicit spontaneous reflections on the subject matter while using interview questions to keep the discussion in focus. Alongside the questions I used pictures of four gender-neutral public restrooms in Finland to inspire thought. Two of the pictures were of new buildings – Helsinki Central Library Oodi and Väre building at Aalto University – and one from the older Dipoli building. The fourth picture featured the Stalled! group’s proposal for a gender-neutral restroom which is designed specifically in consideration of gender non-conforming users and inclusivity. The oneon-one interviews lasted an average of one hour and were conducted between 76

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7 and 20 October 2019. Crucial factors contributing to spatial inclusivity that emerged in the study included boundaries between the private and the public space, provisions in restroom architecture for accessibility and contact between users and how the restroom links to its surroundings. The ways in which original binary restrooms have been subsequently converted into gender-neutral spaces were also an important factor. The interviewees also challenged conventional elements of restroom design, such as large mirrors above wash basins or the use of white tiling that almost seem compulsory today. Signage also plays an important role in restroom inclusivity. Interview analysis suggests that the key for the attainment of inclusivity is to challenge design solutions that are considered neutral and taken for granted. Because restrooms are intimate and socially highly charged places, every choice in their design matters; from the dimensions of the space to the material of the cubicle doors. The interviewees’ wishes indicate that a white, clinical space with tightly symmetric rows of cubicles opening up into a narrow, brightly lit anteroom is not the only possible solution. The factors discussed by the interviewees for enhancing inclusivity proved to be vital for recognizing the multiplicity of genders, qualities and identities in the population. Architectural design should respond to this diversity by offering spaces that are easy, safe and comfortable to use regardless of one’s gender.

KATHLEEN DIEME

Replacing the traditional gendered restroom symbol to a more inclusive neutral one that doesnâ&#x20AC;&#x2122;t single the users out based on their appearance 77

1 De ĂŚldre enfamiliehuse side om side med de nye boligblokke 2 Kig fra en af studieboligerne over det indre gĂĽrdrum.

Bag Muren: Transformation af en boligtypologi i Teheran

Daniel Seyed Jebrali, Studio 1C Transformation AARCH

Tehran set mod den sydlige og mere fattige del af byen hvor projektet placerer sig

“Nu står adskillelsens mure, grænsens mure igen højt som et plantehegn i den stille nat og vogter over min kærligheds mark. Nu forsvinder byens ondskabsfulde mumlen igen som en stime af oprørte fisk fra mit ekstreme mørke. Nu åbnes vinduerne igen for en frydefuld forbindelse mellem diffuse dufte, nu skifter alle træerne ham i søvnens have og jorden trækker månens forvirrede partikler til sig gennem tusinder af porer” —Forugh Farrokhzad Det var min sidste dag i byen. Afhøringslokalet virkede nærmest varmere end de 40 grader på den anden side af den gullige mur. En ventilator knirkede rytmisk i det ene hjørne af lokalet, og plamager og delvist afskallet puds dannede motiver på væggen bag de tre bevæbnede betjente. Jeg var placeret på en stol på den anden side af det brune laminatbord. Lyset faldt delvist fra et højt placeret vindue med tremmer for samt et par lysstofrør i loftet. Det var i dette afhøringslokale i det centrale Tehran, at de sidste brikker faldt på plads, og rammerne for mit kommende afgangsprojekt endegyldigt blev sat. Det er vigtigt for projektet at forstå, at Tehrans offentlige rum er meget anderledes end dem, vi typisk befinder os i. Byrummet er ekstremt kontrolleret, og man kan stille spørgsmålstegn ved, om hvorvidt der eksisterer et egentligt offentligt rum, som vi kender det. Alt fra moral, opførelse, samtaler og påklædning kan risikere at støde de forkerte, hvilket jeg skulle ende med at opleve på egen krop. Derfor er måden, hvorpå de lokale indretter sig og bruger byens rum på væsentlig anderledes end vores.

De eksisterende tagterrasser danner vigtige (fri)rum i byen. 81

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Men bag de høje mure leves livet i store træk som vores. Man skal ikke opholde sig særligt længe i den iranske hovedstad, før man opdager at alt fra forlag, start-ups, diskoteker, læsegrupper, barer og swinger-klubber etc. eksisterer i det skjulte bag murene. Folks private hjem optager mange af de semi-offentlige funktioner, der ellers ikke får lov at eksistere i byens rum. Byens tagterrasser får samtidigt funktion af et ophøjet offentligt rum, hvor befolkningen kan udtrykke sig og agere mere frit. De små gårdrum bag de høje mure får ligesom tagfladen funktion af en vigtig bufferzone i den ellers så kontrollerede by. Disse frirum er helt essentielle rum for befolkningen i en by som Tehran. Den iranske befolkning lever derfor under nogle helt andre vilkår end os. Mange ting vi tager for givet, er forbudt i dagens Iran. Alkohol er forbudt, homoseksualitet og sex før ægteskabet straffes i yderste konsekvens med døden. Netop køn, sex og seksualitet blev efter mit besøg i byen et vigtigt fokus for projektet. Et af de centrale programmer i projektet er en skjult sexklinik. Skjult fordi at dette program, trods sin relevans, ikke ville kunne eksistere i det offentlige rum. Netop sexklinikken er valgt, da kønssygdomme af flere årsager er et stort problem blandt unge i Tehran. For det første er sex før ægteskabet, som før nævnt, kriminelt. Det vil sige, at de mange unge, der ikke er gift, men har mistanke om, at de har en kønssygdom, har svært ved at gå til en læge og blive tjekket uden dermed også at blive gjort til kriminel. For det andet skriver flere om, at der i disse dage sker en form for seksuel frigørelse blandt de unge 82

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iranere. Flere opfatter det som de unges måde at gøre modstand mod systemets mange regler og stramme kodeks. Sidst, men ikke mindst, er der generelt ekstrem dårlig information omkring sex, og det er hverken noget, man bliver undervist i i skolen og sjældent noget, man snakker om i hjemmet. Det tilsammen er en farlig kombination, og derfor mangler der i dag et sted, hvor unge kan blive testet og blot få vigtig information omkring sex og køn. Sexklinikken er et eksempel på et skjult program, der kan opstå i denne nye boligtypologi. For projektet arbejder aktivt med at fortolke og forstærke disse vigtige mellemzoner i byen; gårdrummet og tagterrassen. For netop disse rum er i dag truet af en hårdhændet byfornyelse. På stort set hver eneste gade i Tehran, fra det rige nord til det fattige syd, ser man de ældre enfamiliehuse blive revet ned og nye boligblokke skyde op i stedet. Udviklingen er en naturlig følge af stadig stigende tilflytning til byen kombineret med et ønske fra byens side om at byforskønne store dele af Tehran. Men der er flere problematikker i måden, hvorpå udviklingen sker, og projektet er på et overordnet plan en direkte reaktion og kommentar til denne udvikling. Det væsentligste problem ved udviklingen er, at hverken tagterrassen eller gårdrummet er en del af de nye boligblokkes typologi. Dermed mister iranerne de føromtalte vigtige rum i byen, i takt med at de ældre boliger bliver revet ned, og de nye boligblokke skyder op. En bevidst strategi, hvis man ønsker yderligere kontrol over en by, hvor protester og oprør er en del af hverdagen.

Det er vigtigt for projektet at forstĂĽ, at Tehrans offentlige rum er meget anderledes end dem, vi typisk befinder os i. Byrummet er ekstremt kontrolleret, og man kan stille spĂ¸rgsmĂĽlstegn ved, om hvorvidt der eksisterer et egentligt offentligt rum, som vi kender det.

VindtĂĽrnet som et nyt (men ikke fremmed) motiv for den nye bebyggelse og fremtidige typologi. 83

1 Teherans bybilde er preget av smale gader og høye mure 2 Beboer byder indenfor i en af de eksisterende indre gårdrum. Skellet mellem det private og offentlige rum er af stor betydning.

Længdesnit gennem det indre gårdrum omsluttet af de mindre studieboliger. I kælderplanet ses tehuset og sexklinikken. At tehuset er gravet en smule ned i terræn, bygget i ubrændt lersten og implementeret med et mindre vandbassin er med til at forbedre de indre klimatiske forhold og nedkøle den gennemstrømmende vind. Dele af vindtårnet fungerer samtidigt som trappekerne med trapper i perforeret stål. Åbningen i det ene tårn fungerer som et sug mens selve vindfangeren kan lukkes af med et spjæld i tilfælde af f.eks. slem luftforurening. 84

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Den anden problematik er, at de nye bebyggelser sker meget hurtigt og ofte uden tanke for stedet. Den samme generisk, vestligt-inspirerede boligblok bliver bygget i alle Tehrans distrikter, og resultatet bliver en fremmedgørelse overfor dem, der bor i de respektive kvarterer. Dette projekt ønsker derfor gennem transformationen at komme med et mere stedsbunden alternativ, der i stedet kan medbringe nye lag og dermed nye associationer til et kvarter, hvis minder, historier og fælles referencer, gode som dårlige, risikerer at gå helt tabt. Flere traditionelle persiske byggeskikke og teknikker er gennem processen blevet studeret, men især vindtårnet er endt med at blive en vigtig og integreret del af projektet – både ud fra et miljømæssigt perspektiv, men også som et vigtigt sammenbindende og formgivende element. Det traditionelle vindtårn (badgir) er en flere hundrede år gammel teknik, der groft set fungerer som nutidens aircondition. Det er kendt, at nutidens klimaanlæg er en af de helt store klimasyndere, og antallet af klimaanlæg stiger i takt med at levestandarden stiger. Det er her, at det bliver relevant at undersøge muligheden for at inkorporere denne gamle teknik i ny arkitektur. For modsat nutidens klimaanlæg så fungerer det traditionelle vindtårn helt uden tilførelse af energi. Derudover er vindtårnets materiale, traditionelt set og i dette projekt, af ubrændte lersten. Materialet har i sig selv en masse iboende kvaliteter. Da leret findes lokalt og ikke er brændt, er det i sig selv et bæredy-

gtigt produkt. Derudover optager det varmen, lagrer den i løbet af dagen og frigiver den så i løbet af natten i langt højere grad end den brændte tegl. Vindsystemet bliver samtidigt det beskyttende element, der danner en ny mur mod gaden, og et beskyttet gårdrum opstår imellem. På indersiden af vindtårnene henvendt mod det indre gårdrum er de mindre studieboliger placeret. Studieboliger er valgt, da der er en stor mangel på disse i dagens Tehran. I kælderniveau finder man en nyfortolkning af det traditionelle tehus, der skal fungere som samlingspunkt for stedets beboere og samtidig agere som skalkeskjul for den føromtalte midlertidige sexklinik, der er placeret i tehusets “baglokale”. Projektets skala er valgt med henblik på at fungere som et reelt alternativ til de fem-seks-etagers boligblokke, der bliver bygget i dag. Projektet indskriver sig i Tehrans urbane grid, der blev lagt ned over store dele af byen i løbet af 40’erne, og det er derfor også oplagt at tænke den nye typologi videre i en større skala. Derved bliver de mikroklimatiske forhold i gårdrummet optimeret, men vigtigst af alt bliver det indre gårdrum forstærket og murene mod den kontrollerede by gjort længere. Dermed vil graden af beskyttelse også blive forstærket, og forbindelser og passager på tværs kan blive skabt. Tanken er, at projektet med dets nye typologi, kan fungere som et mere stedsbunden alternativ til de nye boligblokke, der samtidigt kan yde den nødvendige grad af beskyttelse og et minimum af frihed til en befolkning, der mangler det. 85

Digital workflows: Reproduction of a classical sculpture

Unit 2/3 CAARCH Jon KrÃ¤hling Engholt, Ph.d.-stipendiat, Cand. AARCH

In this course we investigate how a digital model of a physical artefact allows us to penetrate and dissect its geometry. We carve out sections of classical sculptures and reproduce their features in concrete formwork.

Photogrammetric scan of a classical sculpture in Antikmuseet. Followed by digital dissection of the scanned model 87

Three articulations of casted concrete: Smooth, retarded, interlocked

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Through a series of casting experiments we experience how nuances in formwork finish and concrete mix transform the initial geometry into a hybrid expression of the geometrical origin and the material properties of liquid concrete.

Robotic milling of EPS formwork

HUNDRED WORDS ON GENDER

Architecture is informed by and informs the way the human body is understood within the context of space and society. Is there a role of gender in architecture and can spaces be defined as “feminine” or “masculine”? Can architecture, by design, be gendered? Zaha Hadid’s sweeping fluid forms are light and feminine. Her architectural style reflects her femininity. The BLOX project by OMA stacks several glass boxes in Copenhagen’s harbour. In the interior raw steel, black concrete and strip lights are exposed. A recurring palette of many projects by OMA, as a style rather masculine. In architecture, the design reflects the architect’s personal styles and values. Whether architecture is gendered, one thing is for sure. Architecture is for humans.

Lisa Sawada

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Kaisa Hjorth Kritsensen

Which body is architecture built for? Traditionally the built environment has largely been a creation of masculine subjectivity. The proportional systems such as The Vitruvian Man by Leonardo da Vinci or Le Modulor by Le Corbusier are based on idealized, male bodies. Le Modulor was a measuring system linked to the human body and represented a 2.2 m tall man with one arm raised. In the late and fluid modernity of our society traditions are changing, disrupting or taking new and various forms. The non-binary perception of gender is beginning to influence the broader social and structural norms. Architects are building for future human beings and it is therefore relevant to think differently of the architectural anatomy in relation to the body. Both proportionally, structurally and politically. It is time for architecture to catch up with todayâ&#x20AC;&#x2122;s fluidity.

THE QUEER PARADOX

TEXT: SIMEN SORTHE 92

Urbanism & Societal Change KADK

Eigil (left) and Axel Axgil after their civil unionceremony in Copenhagen City Hall, 1 October 1989. Photo by Ole Buntzen

The fragility of challenging societal heteronormativity Because of our understanding of gender and sexuality in Western societies is traditionally built on heteronormative ideals, the unfolding and exploration of a queer identity can be a sensitive and fragile process, happening in secrecy, behind closed doors or in shadows of the city – spaces free from potential stigmatisation and judgment. This process often happens in adolescence and early adulthood, and the queer person is often alone with the exploration of their own identity, until they find a community of equals to help and guide them. Therefore, sexual and gender minorities are different from other minority groups, such as ethnic, religious or cultural minorities, as they do not grow up surrounded by their own community.

But beyond the private and intimate spaces of our homes, where does this exploration take place? Can we find (any) traces of queer lives being unfolded in public in Copenhagen? And why is it that such an open and liberal city as Copenhagen, does not have a gay neighbourhood? Defining queer(ness) Queer means different and non-conforming. It describes what it is not, without defining itself. A queer person does not have to limit themselves to any label or category, but is allowed to freely move on spectra of gender, sexuality and expression – they reject societal expectations. However, using the term queer is controversial. With its history of being a slur for homosexual men in most Anglophone countries, some sexual and gender minorities find the usage of the

word problematic, as it reminds them of a time of less acceptance and tolerance. Up until the 1980s, the term was almost exclusively used by heterosexuals, in derogatory contexts, but this has shifted in the last decades. With the emergence of queer theory, the term has – rather consciously – been reappropriated by a wide group of sexual and gender minorities. Now the word is a symbol of inclusiveness and non-conformity. The word queer is also different from the acronym LGBT – it does not specify who is included or excluded. It refers to both sexual and gender minorities, and its elusive definition is attractive for people who do not feel at home in a category or with a label, such as gender-fluid or gender non-conforming persons. Its problematic history, and its subsequent reclamation, makes the act of referring to oneself as queer, an act of rebellion – you cannot insult me by 93

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1 Two Shirts 1998, Collier Schorr2 Phalli’s Field 1965, Yayoi Kusama3 Riverbed 2014, Olafur Eliassson 4 Phrank 5 Sjællandsgade Bad, City of Copenhagen 6 The 1969 Stonewall Riots in New York City. New York Daily News Archive 7 A Fantastic Woman 2017, Sebastián Lelio 8 Transwoman Cecillia Mundt in hospital after being hit with a hammer in the head on Rådhuspladsen in Copenhagen, 2013. Jan Søgaard 9 Untitled, Théo Gosselin 10 Ball in Absalon, Amanda Hjernø 11 The first NYC Pride event in 1970, marking the one-year anniversity of the Stonewall Riots. Mike Lien 94

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calling me what I call myself. Progressive Denmark The global fight for queer rights and acceptance is becoming more and more polarised, with rich and democratic countries becoming more progressive, while poor and unstable countries regressing. In this context, Denmark stands out as a progressive world-leader, showing ambition and action in the fight for queer equality. Today, the acceptance of homosexuality is even seen as an integral part of what constitutes Danish values. Despite the progressiveness of Danish laws, traditional societal norms on gender and sexuality are still persistent. When sociologists at the University of Copenhagen looked into the acceptance of homosexuality in Danish society in 2012, they found it be mostly limited to a homosexual man which “is not a threat to the heteronormative assumptions and institutions, such as marriage, monogamy, nuclear family and gender conformity” – meaning the acceptance is conditional and heteronormative. For many queer persons, the heteronormative society becomes hard to navigate and manage. A binary gender system (male or female) stigmatises trans, non-binary or intersex persons, and sexual minorities find their romantic and sexual relations to be objects of interest, fascination or even disgust, in their every-day life. Liberal copenhagen // The bushes Ever since the creation of our modern perception of gender and sexual identities in the 17th and 18th century, the city has played an integral role in the lives of the deviants and non-conforming. Because the urban environment has been able to provide anonymity and a critical mass of peers, the city became where queer lives were unfolded and experienced. In Copenhagen, with its history as a liberal-minded city and with an international port, allowed for an environment where gay bars could discreetly

exist, mostly free from police harassment. Even before Danish society grew more accepting of the queer community during the 20th century, they were persisting in the blind spots of the city – behind closed doors, in dark alleyways and in the park bushes. The 1969 Stonewall Riots in New York City, which was an explosive reaction to police harassment of the queer community, birthed a global movement fighting for the queer community’s right to visibly exist in the urban realm. As the community emerged from the shadows, they asserted themselves in urban enclaves, which could provide safety through numbers – such as the Castro in San Francisco, Le Marais in Paris or Schöneberg in Berlin, to name a few. However, this fight never arrived in Copenhagen, as the queer community never experienced the same level of police harassment, resulting in them never asserting themselves a physical and public presence in the city. Because of this, queer life and experiences are still found in the same places they originated, in the shadows and behind closed doors. In Copenhagen, the bushes of Ørstedsparken are still the meeting place for sexual rendezvous, and the social focal point of the community is centred around the bars and clubs, just as it has been for the last 100 years. Without a public and common space for the queer community to gather, the fight for acceptance and against stigmatisation in public space, has fallen short. While the homosexual man might enjoy the privilege of societal acceptance, the more marginalised trans, non-binary, and intersex persons are still fighting for their right to an urban and public existence. And with no safe (urban) space to occupy, the community is still staying in the shadows and seeking protection behind closed doors. The case for exclusion However, many in the queer community are actually enjoying the protection the closed doors and darkness provides. Because society’s heteronormativity is creating an experience of 95

“their chronicity produces a cumulative stress effect that can potentially be equally distressing [as a hate crime].”

stigmatisation, even the innocent act of holding your same-sex partner’s hand in public, can induce stress and paranoia. This can especially happen in crowded or busy spaces – spaces which we (as architects) want to consider to be inclusive and democratic. To escape this stigmatisation, the queer community has sought out spaces which can provide freedom from it – mainly gay bars and clubs. These spaces provide a safe environment, both physically and psychologically, alleviating the stress experienced from stigmatisation. Today, 13 bars or clubs in Copenhagen self-identify as catering to the queer community, but the concept of creating safe environments has also spread to other locations in the nightlife scene, targeting a wider audience. In these spaces, societal norms can be dissolved, allowing for a free expression of sexual and gender identities which might not be accepted or safe to perform in public spaces. Holding your same-sex partner’s hand is now suddenly the same mundane and innocent act, as when performed by a heterosexual couple. The queer community is also different from other minorities, as they are not born into the community, which can guide and inform them and their identity. Because they span across religion, culture, ethnicity, geography and socioeconomic status, they are left to seek out a community on their own. While other minorities might have certain typologies or emblematic spaces associated with them, there is no equivalent of the synagogue, milonga or hammam for the queer community to 96

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gather around. Gay bars and clubs have substituted this lack of dedicated space. However, these gay bars and clubs are also problematic. On one side, they are enabling a potential abuse of alcohol and illicit drugs, something the queer community is already more prone to than the rest of society. This becomes especially problematic when considering these bars and clubs might be the first spaces a young queer individual might seek out, as they are trying to explore and understand their identity. Later on, the same bars and clubs might also start to act as a form of escapism, where the issues and stresses experienced outside the space have temporarily disappeared, only to reappear at sunrise. In other words, the voluntary exclusion from society provides the freedom to express and explore non-conforming gender and sexual identities. However, the exclusion does not challenge the same societal norms which are creating the need for exclusion – resulting in a self-perpetuating situation. Stigma // Making lemonade Stigma is, according to Herek, “the negative regard, inferior status, and relative powerlessness that society collectively accords to people who possess a particular characteristic or belong to a particular group or category.” The stigmatisation queer people experience, which makes these exclusive and safe spaces so alluring, is complex and highly individual. It cannot necessarily be measured in the severity of it:

while a hate crime might be more noticeable because of its acute and isolated character, research has found even subtle forms of stigmatisation, such as demeaning jokes, comments, or looks can have the same effect, because if repeated “their chronicity produces a cumulative stress effect that can potentially be equally distressing [as a hate crime].” If a person experiences enough stigmatisation in certain situations, spaces or by a certain person or group, even the expectation of them can induce the same level of stress – irrelevant of the stigmatisation taking place or not. As a result of this, a behavioural change might occur – if a same-sex couple has enough bad reactions to them holding hands in public, this can be enough for them to stop doing so, as a form of protection. To overcome their experiences of stigmatisation, the sense of community plays a major role. Finding comfort, safety and support in other people with the same experiences, can also provide a source of meaning-making, where the negative experiences and effects of stigmatisation are turned into something positive or hopeful. Research has shown that this form of community-building, where minority groups actively work with their societal stigmatisation, can lead to social creativity – manifesting itself in activism and other attempts at societal change. Therefore, this meaning-making can turn the stigmatisation into

SIMEN SORTHE

Prada Marfa 2005, Elmgreen & Dragset, Thessaly La Force 97

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tools to fight the causes of it, instead of only healing the wounds. So, while gay bars and clubs might provide much-needed escapism from stigmatisation, they do not promote the community-building and organisation needed for meaning-making to take place, which could, in turn, combat the stigmatisation. Inclusion - through exclusion In my opinion, the voluntary exclusion from society can be liberating, but it is also upholding the status quo – it does not change or challenge the hegemony of the heteronormative ideals, society is currently imposing. The status the gay bars and clubs have today as the main social space for the queer community, is upholding a segregation of different expression of queer identities: one authentic identity, which is only to be expressed in exclusive (safe) spaces, and a secondary identity, shaped by the experiences of stigmatisation, but safe to be expressed in public. A large part of the fight for acceptance of minority identities comes from their exposure and confrontation towards the majority – the contact hypothesis. The growing acceptance of the queer community in the Global North did not reach the momentum it has today without the Stonewall Riots, where the community left the shadows of the city and started fighting for their rights, on the streets and in daylight. Had the Danish queer community claimed themselves an urban domain, in Copenhagen or any other Danish 98

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city, it could have provided them with a visible and permanent presence in the city – a presence which would have confronted the rest of the city daily with their existence. While the fight for legal rights and formal equality in Denmark mainly took place behind the scenes, the public and every-day fight against societal norms in the urban realm lagged behind. So, if the only space which feels truly safe to fully express your queer identity is an exclusive space, how is the strive for urban inclusivity to move forward? A new queer space The queer community, and the spaces they inhabit, play an integral role in this confrontation of societal norms on gender and sexuality, as well as the stigmatisation which follows. But it is a paradox: the exclusion from society can create safe space for the exploration of gender and sexuality, uncovering true and authentic queer identities – the same identities which need to be visible and confronting to society’s norms and stigmatisation. By facilitating meaning-making, these experiences of stigmatisation can inspire activism. And by encouraging and supporting an exploration of individual gender and sexual identities, the community can improve a queer person’s self-esteem to also express these identities outside the safe and exclusive spaces. This way, even the innocent act of holding your same-sex partner’s hand while walking down the street, be-

Bibliography Books Butler, J (2006) Gender Trouble. New York: Routledge (Original work published 1990) Doan, P L (2011) Queerying Planning – Challenging Heteronormative Assumptions and Reframing Planning Practice. Burlington: Ashgate Publishing Edelberg, P (2014) ‘The queer road to Frisind: Copenhagen 1945–2012’, in Cook, M & Evans, JV (eds.) Queer Cities, Queer Cultures: Europe since 1945. Pages 55–74. London: Bloomsbury Academic

Scheuer-Hansen, S (2018) ‘20 unge patruljerer byens natklubber: Club Mafia kæmper mod gramseri og diskrimination på dansegulvet’ in Politiken, 7 December. Schmidt, S (2019) ‘Americans’ views flipped on gay rights. How did minds change so quickly?’ in Washington Post, 8 June. Ulvedahl, J (2019) ‘Jeg nægter at acceptere den homofobi, jeg møder, blot fordi heteroer ikke mener, den findes’ in Information, 12 July.‘ Reports

Foucault, M (1990) The History of Sexuality, Volume 1: An Introduction (R Hurley, trans.) New York: Vintage Books (Original work published 1976)

Flores, A R & Park, A (2018) Polarised Progress – Social Acceptance of LGBT People in 141 Countries, 1981 to 2014. The Williams Institute at UCLA School of Law.

Herek, G. M (2009) ‘Sexual prejudice’ in Nelson, T D (ed) Handbook of prejudice, stereotyping, and discrimination. Pages 441467. New York City: Psychology Press Lildal-Schrøder, N (2020) Kort og godt om LGBT+. København: Dansk Psykologisk Forlag

Frisch, M et al. (2019) Sex i Danmark: Nøgletal fra Projekt SEXUS 20172018. Statens Serum Institut og Aalborg Universitet National Institute of Public Health (2015) LGBT Sundhed Nebeling Petersen, M N (2012). Somewhere, over the rainbow: biopolitiske rekonfigurationer af den homoseksuelle figur. Københavns Universitet.

News articles Adamczyk, A (2019) ‘Why are some places gay-friendly and not others?’ in BBC, 29 May. Ploug Lilmoes, S (2013) ‘Homoseksualitet er nu et symbol på danske værdier’ in Berlingske, 15 April. Rasmussen, K S (2019) ‘Homoseksuel mand: Kan to mænd gå hånd i hånd igennem København?’ in Politiken, 20 July.

Articles Frost, D M (2011) ‘Social Stigma and its Consequences for the Socially Stigmatized’ in Social and Personality Psychology Compass, 5(11), 824-839 Paluck, E L et al. (2019) ‘The contact hypothesis re- evaluated’ in Behavioural Public Policy, 3(2), 129-158

Fifty architects Helene Selmer Brønsted Unit 2/3 AARCH

Mangler du en rollemodel? Jeg går på Aarhus Arkitektskole, og jeg er tilfældigvis en kvinde. På skolen får vi undervisning i arkitekturhistorien fra antikken og frem til i dag. Jeg har dog lagt mærke til, at der meget sjældent bliver nævnt kvindelige arkitekter til disse forelæsninger. Det fik mig til at undersøge, hvilke kvindelige arkitekter der kunne inspirere mig og skabe et forbillede i arkitektfaget. Hvis du også mener, at kvinder bliver overset i arkitekturhistorien, så tag et kig på dette lille udpluk jeg har samlet af de mange dygtige, kvindelige arkitekter.

Lina Bobardi in her Casa Vidro, 1952 Sao Paulo. Chico Albuquerque 100

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01 Aino Aalto 02 Alison Brooks 03 Alison Smithson 04 Amale Andraos 05 Amanda Levete 06 Anne Heringer 07 Anne Griswold Tyng 08 Carme Pigem 09 Charlotte Perriand 10 Denise Scott Brown 11 Dorte Mandrup 12 Eileen Gray 13 Elizabeth Diller 14 Flora Steiger-Crawford 15 Florence Knoll 16 Frida Escobado 17 Gabriela Carillo 18 Grethe Meyer 19 Hanne Kjærholm 20 Hiroko Kusunoki 21 Inger Exner 22 Ivanka Rapopovic 23 Ivenue Love-Stanley 24 Jane Drew 25 Jaenne Gang 26 Julia Morgan 27 Kazuyo Sejima 28 Lella Vignelli 29 Lene Tranberg 30 Lila Georgine Hansen 31 Lilly Reich 32 Lina BoBardi 33 Ljiljana Bakic 34 Margarete Schütte-Lihotzky 35 Marianne Brandt 36 Marion Mahony Griffin 37 Mary Turner Shaw 38 Maya Lin 39 Neri Oxman 40 Norma Merrick Sklarek 41 Odile Decq 42 Perin Jamsetjee Mistri 43 Ray-Bernice Kaiser Eames 44 Sheila O’Donnell 45 Sheila Sri Prakash 46 Tatiana Bilbao 47 Toshiko Mori 48 Wenche Elisabeth Selmer 49 Xu Tiantian 50 Zaha Hadid

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Gender in Urban space Frederik BraĂźner Political Architecture: Critical Sustainability KADK

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The city is an ideological battlefield – notions of the ideal society and the appropriate way of life have shaped new districts, transformations of existing neighborhoods and urban riots against both. Technological and economic breakthroughs have been instrumental in shaping the city's spaces, creating new preconditions for the modern individual, including the way in which we, as gendered and cultural bodies, inhabit the city. The following excerpt from a bachelor thesis entitled ‘Køn i byens rum' (Gender in Urban Spaces) will provide a critical feminist perspective on the analysis of urban spaces with the intention of nuancing our understanding of the ideological battles that are taking place. This will allow us to explore how our understanding of gender is reflected and reproduced in the urban spaces of our cities. Feminism rejects a universalist mono-causality in the development of art and thus also the development of the city. The method therefore offers us the opportunity to analyze urban spaces as expressions of conflicts, contradictions and ideological positions that shape a given society's social structures and architecture. However, in a Danish context this perspective has largely been overlooked. This became clear to me while researching for this thesis, where it was almost impossible to find any literature on feminist architecture analysis written from a Danish viewpoint or with a Danish works as it’s analytical focus. The following analysis will therefore seek to clarify how definitions of gender and their relations both shape and are shaped by our cities

and urban spaces in Denmark. Methodologically, this investigation is conducted through a comparative analysis of two urban spaces in Copenhagen; Ruten in Tingbjerg and Superkilen on Nørrebro. While Ruten represents an early Danish post-war modernism, Superkilen represents a later postmodernism at the start of the new millennium. Linguistics, historiography, and art have long been the subjects of a critical feminist approach’s analytical toolkit. In order to identify and deconstruct discriminating and socially constructed gender structures, our urban spaces are naturally also relevant research objects. As the American anthropologist and gender studies scholar Shirley Ardener concludes: “…space reflects social organization, but of course, once space has been bounded and shaped it is no longer merely a neutral background: it exerts its own influence.” Our cities form the physical framework of our everyday lives and shape our behavior and interactions in profound ways; hence, in a normative, antisexist, feminist agenda, urban spaces must be the subject of critical reflection, also in a Danish context. This feminist perspective is only one of many and in itself not a comprehensive analysis of neither Ruten nor Superkilen. But the approach can give us a more nuanced understanding of the city's structure, and how we can improve urban design today, considering that the societal ideas of gender and equality are significantly different from what they used to

be in the early post-war years. Physical Boundaries and the Distribution of Functions As seen in the master plan of Tingbjerg, Ruten is clearly defined and segregated into functional zones both in relation to the surrounding city and internally in the urban space – a structure typically seen in a modernist city district from the mid-20th century. This clear spatial division is interesting seen in relation to Ardener's theory on the importance of physical boundaries in defining what she refers to as “… 'X' in contrast to ‘non-X’.” This simple distinction indicates that when a given space is assigned to a particular group, their ownership of this space determines how the group is regarded in society in relation to those who are excluded. Ardener says: “Societies have generated their own rules, culturally determined, for making boundaries on the ground, and have divided the social into spheres, levels and territories with invisible fences and platforms…” Spatial boundaries and our understanding of the social reality mutually influence one another. While Ruten and Tingbjerg are, generally speaking, functionally zoned, the division of space contributes to our creation of a social structure and therefore defines how different groups – like men and women act. In the societal structure where Tingbjerg emerged, women's work consisted primarily of unpaid 105

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Steen Eiler Rasmussen, Tingbjerg 1950-72. Ruten, Mogens Breyen

work in the home as stay-athome mothers, whereas men were most often full-time employees elsewhere. Thus, through the functional separation of the modernist city, the genders were also separated in each of its functional zones. The district of Tingbjerg itself is therefore primarily intended for the stay-at-home mothers, which is also seen in the type of functions connected to Ruten. Daycare institutions and small shops for everyday households mark the area as the woman's primary living and working area, whereas the manâ&#x20AC;&#x2122;s working zone can be found elsewhere, importantly outside the residential area. This will have an impact on the way in which men and women move in the traffic-separated spaces of Ruten. Since the men must drive by car to and from Tingbjerg to get to the business zones outside the district, car traffic becomes their primary infrastructural space, whereas the close functions intended for the women can be reached on foot or by bicycle. As we see in the infrastructure of Ruten, the male residents therefore occupy the most dominant space devoted to car traffic and the women are assigned to the surrounding confined spaces for the vulnerable road users. Through spatial segregation, gender has been clearly defined and placed in a spatial hierarchy in this modernist urban space. This functional separation of gender is also seen in the formal features of the defined masculine and feminine spaces. With the dwelling as the woman's primary sphere, a natural connection between femininity and interior is made, versus the masculine and exterior because of men's place in the public. However, in this modernist city plan, a type of

inferior formal language is found even in the public spaces intended for women. We see how the shopping arcade in Ruten has been drawn away from the male-dominated infrastructure, and the pedestrian walkway, primarily intended for women, is covered by a roof only slightly higher than a typical indoor ceiling. What could be termed as a 'public interior' for the women in the shopping arcade is protected and tucked away in the periphery of the centrally located and more open masculine exterior of the infrastructure. Similarly, the public areas for recreation, playgrounds and childcare are framed and protected by the grid structure of the residential blocks, therefore also delineating a type of public interior. In many ways we see a clear opposite to Ruten in the functional mix and formal diversity found in Superkilen. Due to the infill character of the urban space in a non-zoned urban district, functions that can be categorized as being traditionally masculine and feminine are not physically separated. On the contrary, this merge of functions blurs the boundaries between 'X' and 'non-X', that is, the boundary between men and women. This is also seen in the more interwoven infrastructure, where pedestrians and bicycles have been prioritized, and the masculine-dominated car traffic in modernism is no longer the primary design element. Similarly, with its diverse furnishings of collected and reproduced objects from other nations, Superkilen manages to deconstruct our expectations of the formal distinction between interior and exterior. By placing typical interior objects such as chessboards, a boxing ring and a bicycle pump in this exterior space, the user's expectations 107

are made unstable and the modernist distinction between a masculine exterior and a feminine interior is deconstructed. A similar conclusion can be seen in the architects and artists definition of the space as being an “… urban living room”. The mixed functions and the formal characteristics of the spaces in Superkilen therefore create a possibility for greater diversity in the groups able to occupy the urban space. The Male Gaze in Modernity Spatial structure also becomes defining for the visual hierarchy and the associated power relations that arise between men and women in the form of the gaze. As the acclaimed art historian and gender studies scholar Griselda Pollock describes, vision takes on a hegemonic role in modernity over the other senses and creates a hierarchy between the seeing subject and the observed object. In her analysis of modernist paintings, she defines the public and the exterior as a masculine space versus the private and the interior as a feminine one, which we also saw in our analysis of Ruten. Between these zones, there exists a hierarchy of vision, where it is a male privilege to observe the woman from his position in public space. This privilege contributes to society's idea of both femininity and masculinity, as well as the latter's higher social position. As Pollock concludes: 108

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“The spaces of femininity are those from which femininity is lived as a positionality in discourse and social practice. They are the product of a lived sense of social locatedness, mobility and visibility, in the social relations of seeing and being seen. Shaped within the sexual politics of looking they demarcate a particular social organization of the gaze which itself works back to secure a particular social ordering of sexual difference. Femininity is both the condition and the effect.” Ruten is structured around an elongated space with a clear view from all sides, where the male resident occupied the centrally located, exterior spaces. As in Pollock’s conclusion in regard to modernist paintings, the male resident occupies a position on Ruten from which his publicly situated gaze can objectify the woman in the interior periphery of the urban space. This overview of the space is further enhanced by Tingbjerg's only high-rise located at the eastern end of Ruten. The high-rise stands at the top of the slightly rising topography and towers as a panoptic element in the urban space. The narrow spaces for the vulnerable road users in which the women move without the possibility of the car's incognito are, therefore, constantly under surveillance from this high-rise if she tries to move beyond the boundaries of these spaces. The dominance of the gaze can

“Sensitivity to needs is a first reason for going to the existing city. Once there, the first lesson for architects is the pluralism of need.” — Scott Brown, Denise. ”Learning from Pop” Casabella, vol. 359-360, no, 1. p. 26-33. (1971)

therefore take place independently of the man's physical presence, since the high-rise becomes a potential for surveillance in the public space. The possibility of constant visual dominance arises through Ruten’s spatial structure, which reproduces femininity as the object of a masculine gaze. Again, we find the opposite of Ruten in the deconstructed spaces of Superkilen. The varying topography breaks the visual hegemony of modernism and the optical overview we found in the planar geometry of Ruten. The natural and artificial hills cut off gaze directions, and the varied placement of functions in the landscape breaks a potential hierarchy between these. We see how the playgrounds, a traditional feminine space, are placed highest in The Global Park, whereas the basketball court, which can be characterized as a stereotypical masculine space, is immersed in the landscape. Furthermore, the panoptic element of the high-rise is not found in Superkilen, which is framed by courtyard buildings typical for Copenhagen and low-density daycare institutions. As Pollock concluded, the dominance of the gaze and the design of a space are mutually dependent on one another, and the hierarchy arises on the basis of and simultaneously reproduces certain perceptions of gender. We see in Superkilen a postmodern deconstructed visual hierarchy, where a dominant gaze is not directed at any particular group, e.g. women,

but is more focused on the tangled and diverse functions of the urban space. The Intended Body In many ways, Ruten, therefore, determines the behavioral patterns of the gendered bodies using it, whereas Superkilen offers many different and adaptable possibilities. But what type of body are the two urban spaces initially intended for? The visualizations and renderings of the projects, made before their completion, gives us an impression of this. In Steen Eiler Rasmussen's drawing of Tingbjerg and Ruten, it is striking that the only drawing, which includes people, is the isometric visualization of Lille Torv at the eastern end of Ruten. The remaining drawings, although beautiful and detailed, show only the intended building blocks and greenery. The body shown in this abstract and overview-oriented form of representation is very simple and consists merely of a stylized human outline. As icons for the term 'human', the bodies are scattered around the outer edge of Lille Torv's parking lot, where relatively detailed cars are parked. This becomes particularly interesting when seen in relation to the postmodern theorist and architect Denise Scott Brown's critique of modernism's idea of building for a universal 'Man': “Sensitivity to needs is a first reason for going to the existing city.

Once there, the first lesson for architects is the pluralism of need. No builder-developer in his right mind would announce: I am building for Man. He is building for a market, for a group of people defined by income range, age, family composition, and lifestyle.” Steen Eiler Rasmussen’s human icons are an indication that Ruten and Tingbjerg are intended for the illusion of a modern, universal body. The mono-functional urban space, which indicates a correct form of use, is in Rasmussen's drawings inhabited by a corresponding ‘correct’ type of body. The level of detail in the depiction of cars also indicates a hierarchy, where this primarily male dominated traffic is in focus and the abstract body has to move around in the periphery of the urban space. Furthermore, it is interesting to see this representation of bodies in relation to Pollock's theory of modernity’s foundation on a masculine character, despite an alleged universalism. With the intention of building a functional and rational urban space for ‘the average human’, one could argue that Ruten is actually a monofunctional space primarily structured to accommodate the needs of men. In the early renderings of Superkilen, we see a radically different type of representation. The space is no longer shown as an abstract isometric line drawing, but as a perspective col109

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Footnotes 1 For the entire bachelor thesis written at Art History, Institute of Art and Culture, Copenhagen University see BraĂźner (2019) 2 For an introduction too critical feminist methodology in the history of art and architecture see Pollock (1988): 25 3 Hatt & Klonk (2006): 145 4 For an introduction to feminist analysis of the relation between the public and private sphere see Sparke (2008): 13-14 110

1 BIG/TOPOTEK 1/SUPERFLEX, Superkilen (2009-12). The Red Square. Frederik Braüner 2 BIG/TOPOTEK 1/SUPERFLEX, Superkilen (2009-12). The Black Market. At the far right are the Bulgarian chess boards with Romanian seating. Frederik Braüner

lage of colors, materials and bodies. Of course, this type of architectural representation also stems from the new technologies that were available in the 21st century, which allowed for digitally produced illustrations. However, they also indicate that the visual hierarchy of modernism to some extent has been broken. In contrast to the overview and rationality of an isometric drawing, this perspective space, with its almost tactile use of surfaces and materiality, appeals to a plurality of our senses. Simultaneously, the renderings indicate the diversity of bodies – all three parts of Superkilen are intended to be accommodated. We see different ages, genders and ethnicities occupying the heterogeneous urban space. The universal, average body we found in Ruten, here, has become a collection of particular, individualized bodies that engage with the car-free urban space. The renderings show Scott Brown's 'pluralism of need', which Bjarke Ingels, one of the architects behind the project, also concludes in the following way: “A lot of different people from different backgrounds, age groups, cultures, nationalities, gender, inhabit a limited amount of space and have to find ways of maximizing their opportunities to express themselves without taking away this opportunity from their neighbour.” We can therefore conclude that Ruten, in its segregation of functions, spatial structure, and visual relations, expresses and reproduces a social hierarchy in which men can be placed above and objectify women. This is

made clear in the visualizations’ use of a universal body, which fundamentally has a masculine starting point. As its contrast, we find Superkilen to have a more gender-inclusive distribution of functions – a spatial structure and a visual hierarchy that does not favor one gender over the other. This is also seen in the diverse range of bodies represented in the renderings from the early stages of the project. It is of utmost importance to note that these urban spaces are most likely not intentionally gender-discriminatory or inclusive but are simply based on naturalized notions of gender at their time of construction – notions that we can deconstruct through the analytical tools of critical feminism. A critical feminist lens ultimately allows us to discuss existing and future urban developments with a focus on the derived implications for the social structuring of genders. As we continue to work with a city and develop it further, new spatial hierarchies will emerge. Although, we do not merely change the physical appearance of a city, but also affect how different genders move about, how they meet, and what type of behavior seems natural between them. The urban spaces of our time will build upon and reproduce the prevailing social structures and influence our perception of gender. This is precisely why the critical feminist perspective, among other analytical perspectives, is important both internationally and in a Danish context. Ultimately, a heightened focus on equality between all genders could help us create more inclusive and well-functioning urban spaces for everyone. 111

Steen Eiler Rasmussen, Tingbjerg 1950-72. Lilletorv. Tobias Faber

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References

Ardener, Shirley. ”The Partition of Space” in Gender Space Architecture: An Interdisciplinary Introduction, ed. Jane Rendell, Barbara Penner & Iain Borden, p. 112-117. New York: Routledge (2000) Braüner, Frederik. “Køn i byens rum” bachelor thesis, Art history. Copenhagen University (2019) Ellin, Nan.

Postmodern Urbanism. Cambridge: Blackwell Publishers (1998) Hatt, Michael & Klonk, Charlotte. Art History: A critical introduction to its methods. Manchester: Manchester University Press (2006) Hayden, Dolores.

”What would a Non-sexist City Be Like? Speculation on Housing, Urban Design and Human Work” in Gender Space Architecture: An Interdisciplinary Introduction,

ed. Jane Rendell, Barbara Penner & Iain Borden, p. 266-281. New York: Routledge (2000) Pollock, Griselda. Vision and Difference. London: Routledge (1988) Rendell, Jane. ”Introduction: Gender, Space” in Gender Space Architecture: An Interdisciplinary Introduction, ed. Jane Rendell, Barbara Penner & Iain Borden, p. 101-111. New York: Routledge (2000) Scott Brown, Denise. ”Learning from Pop” Casabella, vol. 359-360, no, 1. p. 26-33. (1971) Skriver, Poul Erik. ”Tingbjerg: En bebyggelse ved Utterslev mose” Arkitekten, vol. 8, p. 126-132. (1958) Sparke, Penny.

The Modern Interior. London: Reaktion Books (2008)

Steiner, Barbara. Superkilen: A Project by BIG, TOPOTEK 1, Superflex. Stockholm: Arvinius + Orfeus Publishing (2013)

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TEXT: KATRINE NORUM Institut for bygningskunst og kultur KADK

En samling stillinger som fĂ¸lge av form, eller en samling former som fĂ¸lge av stilling

The Old Kent Road står som et godt eksempel på en av Londons mange High Streets. Gjennom tiden har området opparbeidet en bred sammensetning av kultur, etnisitet, bedrifter og industri, men står nå i fare for å miste store deler av sin identitet og historie, som følge av masterplanens store opprydning. Dette prosjektet stiller spørsmål til byutviklingens store zoom ut, og vil starte oppgjøret helt nede på bakkenivå. Hvor lite skal til for å endre noe? Stedet kan ofte oppstå på grunn eller på tross av et spesifikt objekt. Objektet kan ha en funksjon, som igjen fører til en særlig handling, oppførsel eller opplevelse, og arkitekturen blir dermed pådriveren for den intensjonen stedet er ladet med. Med noen bevisste inngrep, har jeg programmert et utvalg funnede steder, med noen funksjoner motivert av mellommennesklige behov. Gjennom en samling av byinventar, ville jeg undersøke hvilke typoliger som representerte et møte, og utfra det skape noen reviderte utgaver av offentlige rom vi allerede kjenner og forholder oss til. Rimelig midt på Kent Roads strekning, ligger åpningen til Burgess Park, et av de større grøntområdene i distriktene. Her strekker det seg en buet mur og skaper en avgrensing mellom park og fortau. I virkeligheten er det en benk. Benken finnes i to varianter, den massive og sammensatte, eller den enkle og spredte. Strødd utover parken, finner vi de samme formelementene som i muren, men enkeltvis befolker de parken, både på egenhånd og i bruk. Busstoppet opptrer som et knutepunkt i byscenen, med en gjenkjennelig karakteristikk. De typiske skurene med tak og tre vegger fungerer mer som markører enn husly, og sitter det noen på benken fra før, vil vi nok heller forbli utenfor. Ved å studere oppførselen rundt et tilfeldig, men travelt, busstopp, legger man tydelig merke til minimumskravet på to armlengder mellom hver reisende. 116

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KARTINE NORUM

Busstoppet er stedet vi møtes uten å mene det, og skjermen er en sikker vinner for å unngå konfrontasjon. Men er intimsonen like stor, hvis den deles av to stålprofiler?

Hensigten har været at skabe en arkitektur, der kan favne et nuanceret behov for private og fælles zoner og derved rumme både børnene, forældrerollerne og mor og far som individer.

En relevant deleordning Man bliver aldrig rigtig skilt, når man har børn

Anna Ildrup Keller Studio 2C Building Culture and Tectonics AARCH

Min intention med dette afgangsprojekt har været at belyse et samfundsmæssigt ønske og behov, for at organisere familie og bolig på nye måder. Kultursociolog Emilia Van Hauen mener, at dette behov er centreret om kvinden i parforholdet. De danske kvinder er i dag mere socialt, fagligt og økonomisk uafhængige, end de har været nogensinde før. Begge parter i forholdet kan derfor gøre som de ønsker, og det har åbnet op for en masse nye måder at have en familie på. 118

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Eksploderet aksonometri 119

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Snit A

Afgangsprojektet har til formål at gøre op med den splittede boligsituation, som hvert tredje danske barn havner i. Dette grundet deres forældres valg, om at gå hvert til sit og de medfølgende klassiske deleordninger. Ved, i relation til hjemmets udformning og anvendelighed, at undersøge børnenes såvel som forældrenes behov efter et brud, har målet været at skabe en bolig til hele familien. En bolig, der kan danne ramme om en ny relevant deleordning, hvor børnene har én fast base, og hvor forældrene kan bevare forældrerollerne og samtidig afvikle kæresterollerne. Hensigten har været at skabe en arkitektur, der kan favne et nuanceret behov for private og fælles zoner og derved rumme både børnene, forældrerollerne og mor og far som individer. Boformens helt store styrke er forældrenes fælles glæde i deres børns velvære. For nok er de ikke længere partnere, men de vil altid være knyttet sammen af deres fælles forældreskab - to individer med separate liv og et fælles ansvar. Der findes ikke meget tilgængelig viden om de marginale eksisterende familiekonstellationer, der vælger at fastholde én fast base til børnene efter en skilsmisse. Derfor har det været altafgørende for dette projekt at få inddraget disse familiers erfaringer på godt og ondt. Jeg har fået kendskab til tre af de omtalte familier, som har indvilget i at give mig et indblik i deres liv og boligsituation. Familiernes bidrag har dannet grundlag for projektets endelige rumprogram, som er omfattet af tre zoner og overgangene mellem disse.

Gavl

EN RELEVANT DELEORDNING

Snit B

Snit A

A A

1:100

En bolig, der kan danne ramme om en ny relevant deleordning, hvor børnene har én fast base, og hvor forældrene kan bevare forældrerollerne og samtidig afvikle kæresterollerne. 121

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Iterations: Modular Hybrids Martynas Seskas Institut for bygningskunst og teknologi KADK

The proposed pipeline examines concept development by analyzing architectural programmes as well as makes use of physical and digital prototyping to design and evaluate adaptable kinetic structures.

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Physical prototyping to design and evaluate adaptable kinetic structures.

This thesis project suggests a homogenous design framework for responsive architecture in the context of public events using transformable bending-active hybrid structures (BAHS). The proposed pipeline examines concept development by analyzing architectural programmes as well as makes use of physical and digital prototyping to design and evaluate adaptable kinetic structures. By employing embedded energy of the material, BAHS are capable of achieving dynamic spatial outcomes and working in systems just as well as individual elements. Essentially, BAHS are defined through linkage of different components in parallel and/or in series that are combined to resist forces by developing a specific mechanical behaviour due to their different resisting nature. This allows hybrid structures to have unique form articulations and engage in novel architectural language or portray a certain character - some are quite elegant while others are intense and heavy. To that extent, they can also remind of being of different genders or from different worlds. 126

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Physical prototyping 127

Digital prototyping to design and evaluate adaptable kinetic structures. Two states.

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Dear Frederick Kiesler,

Where have you been, since you left? Decades and decades have gone, but only months and months have passed since I turned to a world familiar to yours. Here They are, Their lips and fingers with remnants of you, eyes closed; They present Themselves to me as reality, since They caught me filling Their throats with my fingers. I never knew you, yet here are your memories in my eyes and ears, leaving my lips: memories of me remembering you keep me up at night, in ways I never knew the dead could. Were you consumed by your every thought, as you watched Them use Their mouth and hands in ways you only imagined? I also consumed my voice, as I found myself repeating: there is more than seeing what you can only hear! These memories of myself haunt me, as I dug for your carcass in a grave of thoughts neatly stacked in two and parallel. How silly of me to assume I was going to find you everywhere: how can I only find you here but never there? Do you remember the stares, as I remember them? I revisited Their gaze when my hand found its way into my throat while speaking of spiders, cringing as my nails dug into my esophagus, desperate to hold onto oxygen. If this is what punishment for weaving fingers feels like, then this feels good. A cough lingered, as I watched Them whisper with Their eyes that I would only heal without the other’s supervision; although, my lips want to taste the freedom of being seen vulnerable. Did you feel the compassion of needles digging into your skull, as you attempt to remunerate Them with forgotten fingers and lost words? There is a notion that uncertainty signifies the wrong game is being played. I returned to memories of my heavy chest, the weight as I scrambled for everything 130

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that was real but not; I crawled with scattered strands and wove pressed against the ground. Needles cannot be afforded; six fingers are enough to pull them through, but if I wove with eight, what would they mean to me? How did your fingers cringe to catch hold of Them? Mine are desperate, grabbing onto the ends of what cannot be seen. They smile while They suspend Themselves high above on an unbent strand, using one hand to hold Their lips, as They dream to be a master; the rest hang with scars high above Their chins and low below Their noses. As They play Their games, They evolve Their eyes to focus and fingers to stiffen, finding peace in lamenting Themselves between existing stacks. How did your chest fall while you watched the state of things untangle? Mine is scratching with memories of touched door handles before consumed food, constantly reaching for a Fanta and the hope for vitamin C’s promise to heal. They encourage twiddling Their thumbs and seeking distance in colored pictures that change by clicking buttons and shifting sticks; Their control is found in the plastic, and mine? I appear to not know what it is. Was your home once a prison, since your body was dragged from discomfort? I found myself in the distance with my fingers clambering for nonlinear thought after thought, pausing to touch every bit of my lips as my eyes... They showed me Their fingers intact with certainty, nudging Their nails toward my ear: is it worth reality, if your fingers crawl further down your throat? When our eyes met, I wondered about the dead that could. I wonder about the dead that couldn’t: decades will pass, and I will be forgotten. Memories are real if only told from Their eyes, eyes that have heard the fingers point to the self with pressed lips.

Tessira Reyes Crawford, Institut for bygningskunst og teknologi, Computation in architecture KADK

Sincerely, Tessira Crawford

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Architecture Momentary monuments in Tokyo - a project by Victor Hauerslev Munch

& impermanence

Studio 2A Building design and techniques 132

This project proposes an architecture that celebrates the temporality and impermanence of everyday life in Tokyo treated in a monumental manner.

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Between 2017-2018 I worked in Tokyo, Japan, and like most Tokyoites I lived in a tin can apartment with one large, opaque window facing a neighboring concrete building, which I perceived as an extra tapestry and not an actual view. The constant rebuilding of the city has left its build environment standing in concrete, steel, glass and endless rhythms of tiles, giving it a homogenic and generic quality. To navigate such concrete desert, the Tokyoites turn to the train stations, which are some of the few fixed reference points in the city. From the train station they navigate from personal experiences and alternative landmarks of infraordinary kitsch: Megawatt pachinko parlor of mirror chrome, postwar wooden ramen joints, Victorian love hotels in wet concrete, artificial LED light from the convenience stores, sculptural copper roofs of shrines, painted squares of smoking boxes and the ever-present vending machines. Therefore, I spent hours on the central Yamanote Line circulating all over Tokyo to find places to break and reflect. During one of my expeditions, raiding my preferred mochi cake shop in the oldest part of Tokyo, Yanaka Ginza,

I jumped on the 18:12 Yamanote Line at Ueno Station towards Shinjuku. As the train passed Uguisudani Station I looked out and noticed a sculptural patinated copper roof of a holy shrine in between large hotel billboards. This richness of intersections between seemingly ordinary programs is characteristic for the Japanese culture and can be found all over Japan. In that blue hour I found a place which was in no guidebook, waiting to be unfolded. This project proposes an architecture that celebrates the temporality and impermanence of everyday life in Tokyo treated in a monumental manner. Amid of speedy schedules and the fast pace of the city, impermanence is addressed in this project through a series of places to stop, to take a break and reflect. This occurs through the programs of a dry-cleaning shop, rooms for rest, and a flower garden. The project is sited in Tokyo’s infamous Uguisudani neighbourhood where complex and diverse identities meet — a cemetery with its small scaled city of granite tombstones, a train station with its endless rhythm of tracks and a Love Hotel district perceptible by its two-story billboards.

Site analysis unfolding its three situations; the Kan’ei-ji burial grounds, the Uguisudani train station and the love hotel district. 135

1 Fragment of the kan’ei-ji burial grounds with a drawing depicting the ritual of cleaning the graves of lost relatives. 2 Elevation of the original train stations steel roof structure and the underground passage leading to the Uguisudani district of love.

Despite the rich intersections the station is still the least visited of all the stops along the Yamanote Line with around 75.000 visitors a day flipping the turnstiles. This project seeks to preserve its haunting solitude with programs that are temporal in nature and culturally quasi-ritualistic. The average age of a building in Tokyo is 25 years and the median age of its residents is 44 years. Tokyo is a city in which its residents are on average older than its built environment. The city consists of a patchwork of plots on which structures are constantly built, inhabited, and razed. Its horizon is only broken by skyscraper districts and tower cranes living a continuous cycle of construction and destruction nourished by capitalist moral, regulations, and taxes. It could be considered a city of memory loss, however this relationship with memory is best described through the Ise Shrines located in the town of Ise in Japans Mie prefecture. The shrine is considered the heart of Japan and has been rebuilt every 20 years for the last 2000 years with few exceptions. The shrine is not considered as a finite object but an infinite process. ‘Process’ constitutes heritage. The subjects involved in the rite of rebuilding and the spirit of Amaterasu, the Sun Goddess in Shinto, remain always present through impermanent constructions. It is through this rite history and style that memory be136

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comes traditions and rituals instead of an object. The Ise Shrines represent a celebration of culture and architecture founded in the impermanent. This project meditates on this captivating form of temporality to propose a modern ritual with ancestral memory through very ordinary actions that can be experienced any day by just getting off the train. Tokyo’s dynamic memory can be compared to the rite of the Ise Shrine; its history lies within its inhabitants. As you listen to them share stories in tea shops, converse while standing in line at convenience shops or celebrate blooming cherry blossoms, Tokyo’s history is excavated. These momentary monuments, as I choose to name them, are directly involved with the flow of experience. They unveil Tokyo’s layered historical imagination and it is by identifying these ephemeral, insignificant encounters within the city’s rhythm that we can perhaps open a deeper understanding of pausing, reflecting and connecting with something greater than the individual. Tokyo’s many train stations constitute the meeting point for interactions that can originate transient, almost insignificant events that yet can signify momentary monuments. Yet these moments are being highly dominated by current commercial trends and not by memories or actions rooted in traditional practices or habits.

VICTOR HAUERSLEV MUNCH 137

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Fragment of the main elevation depicting the walkways to the station platforms, along with the dry cleanings glass towers displaying the stored clothes, mimicking the love hotels many bill boards.

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The project strips the current Uguisudani Train Station’s enclosed spaces of stained concrete, accumulating its existing program of ticket offices, restrooms and a small soba-shop, while preserving the platforms’ steel cover structure. New program is added onto the isolated station to build upon the cultural tradition of impermanent pleasure and rituals. The materiality is primarily Japanese cedar wood, similar to that of the Ise shrines, as to revoke an ancestral memory within the Tokyoites. Its antiseptic quality makes it fit for a public space, as it has been used for tubs in the Japanese baths for ages, while the constant scratches from the wear of the infamous Tokyo rush hours constantly re-opens the wood, circulating its characteristic fragrance. Mirroring surfaces are used for key elements concerning the three programs as to reference the enshrined mirror of the Sun Goddess Amaterasu. The program of the dry-cleaning will add a functional purpose to effortless pass- through for any situation or occasion, renewing all clothes from white-collar shirts with lipstick marks, to soba-stained dresses. The dry-cleaning evokes an ancestral memory of the Goddess of clothing, food and housing as she accompanies the Sun Goddess in Ise. It makes space for a functional 140

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break of cleansing, holding both convenience and caution of privacy, as the drycleaner knows of all the dirt their customers are dealing with. A garden is laid out on the stone terraces along the graveyard, today inhabited by weeds and rocks, to create space for unscheduled, temporal breaks in between annual and eternal white chrysanthemum flowers. They reflect a cultural awareness of the transient melancholy of grief and the temporality of life. The flowers are cultivated separately under open air and within small pavilions of greenhouses, functioning as lanterns during the night as the production of flowers requires. A shop offers bouquets of the cultivated flowers for the mourning visitors who cleanses their conscious as they offer prayers to their ancestors. Within the garden, dwellings are laid out for anyone looking to renew themselves through reflection in solitude, while still connected to the city. Openings are placed as not to distract the user with the city’s visual noise, allowing a break of solitude and contemplation. Keys are distributed from the dry-cleaning, providing similar anonymity as the Love Hotels, while the architecture of the dwellings allow for an understated connection between its users.

A garden is laid out on the stone terraces along the graveyard, today inhabited by weeds and rocks, to create space for unscheduled, temporal breaks in between annual and eternal white chrysanthemum flowers. They reflect a cultural awareness of the transient melancholy of grief and the temporality of life.

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Project: Hempcrete Mischa Stæhr Studio 2C Building culture and tectonics AARCH

Hempcrete er et naturligt materiale, der kun består af vand, industriel hamp og kalkmørtel. Hamp optager mere CO2 fra luften under dyrkningen end, hvad materialet kræver for at bygge med det.

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Hvad med at vise byggeriet fra sin gode side?

Hvis du spørger mig, så kan vi én ting som andre byggefag ikke tillader. At lade sig inspirere. Min rejse begyndte i Australien. Her var jeg på udveksling og på eventyr i the Blue Mountains vest for Sydney. I en lokalavis fandt jeg en artikel om hempcrete, et ord jeg aldrig var stødt på før. Hvad jeg ikke vidste var, at dette øjeblik ville komme til at være skelsættende for mit liv indtil i dag. Jeg slugte artiklen råt og kontaktede dernæst Kirstie, damen bag byggeriet fra artiklen. Få uger senere stod jeg med handsker og sikkerhedsbriller som frivillig på, hvad der skulle vise sig at være blot mit første hempcrete byggeprojekt. Men hvad var det egentlig, der var så inspirerende ved hempcrete? Bæredygtighedstanken har altid fyldt meget for mig, men når vi kigger på den måde det meste byggeri bliver opført i Danmark i dag, så ser vi desværre det helt modsatte. Flere og flere artikler dukker op omkring den grimme side af vores byggeri. Cement udleder store mængder CO2, sand og grus eroderer jorden i Kina, og vores nybyggede huse afgasser med farlige kemikalier, som giver beboerne astma. 144

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Hempcrete er et naturligt materiale, der kun består af vand, industriel hamp og kalkmørtel. Industriel hamp bliver allerede dyrket mange steder i Danmark, hvoraf flisen, som bruges til byggeri, kun er et restprodukt af hampens andre brugsformer. Hampen optager mere CO2 fra luften under dyrkningen end, hvad materialet kræver for at bygge med det. Optagelsen af CO2 ses også under hærdningsprocessen af kalkmørtlen. Når materialet blandes og støbes omkring den bærende konstruktion, skal det ses som et homogent, men fast isoleringsmateriale, der kan udgøre hele væggen. Varmetransmissionen gennem materialet er meget lav, grundet den høje termiske masse, der naturligt regulerer varmen i huset. De termiske egenskaber kan i de fleste tilfælde aflaste energikrævende klimaanlæg, ikke mindst fordi det er et diffusionsåbent materiale, og derfor også regulerer luftfugtighed og skaber gode og sunde indeklimaer. Okay, det lyder rimelig fantastisk, men hvad ved historien? På vejen hjem fra mit oceaniske eventyr, undersøgte jeg muligheden for at bruge hempcrete i Danmark, i et relativt vådt og koldt klima, som vi jo har herhjemme. Til min store overraskelse viste det sig, at England var kommet os i forkøbet, sammen med Frankrig og Tyskland. Altså, det måtte kunne lade sig gøre! Dertil tikkede en mail ind fra skolen, om at man kunne søge et legat hos boligfondens spirekasse. Det her kunne ikke vente, så jeg greb chancen. Boligfonden var vilde med ideen! Efter en sej kamp med arkitektskolens administration, fik jeg omsider grønt lys til at tage min praktik hos UK Hempcrete, det førende hempcrete firma i hele Europa. Under praktikken fik jeg arbejdsopgaver, som at være ude og bygge huse og lære af hands-on erfaring, samtidig med også at skulle tegne og designe, som i enhver anden praktik. Jeg tror jeg taler for mange ved at sige, at den bedste erfaring får man

ved at bruge hovedet OG hænderne. Dygtiggørelse kommer af at kende sit fag gennem alle aspekter, og netop den slags arkitekt, var hvad jeg gerne ville være. Kan hempcrete så bruges i Danmark? Kendskabet til hempcrete er så småt begyndt at blomstre herhjemme i takt med den grønne bølge, og et ønsket om en sund og bæredygtig bolig. Her på mit tiende og sidste semester på arkitektskolen, har jeg valgt at skrive min afgangseksamen med titlen ”The hempcrete home”. Et hjem der er bygget af naturmaterialer, men samtidig arkitektonisk kan appellere til fremtidens hr. og fru Danmark. Efter praktikken blev det gjort mig klart, at andre havde fundet interesse i hempcrete. Jeg stiftede derfor virksomhed med andre af en bred faggruppe, og satte i værk at få testet og afprøvet materialet og dets egenskaber på dansk jord. Hvorfor det er vigtigt, handler i høj grad om at vise og overbevise det danske byggemarked, om at der findes et bæredygtigt alternativ. Byggebranchens kvælende konservatisme kan vendes ved en grøn lobbyisme men det kræver kræfter. For at kunne inspirere må man lade sig inspirere selv. Det er arkitektens rolle i samfundet.

MISCHA STÃ&#x2020;HR

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29Y05M10D The planet Saturn takes 29 years, 5 months and 10 days to complete one full orbit of the sun. The gas giant is easily visible in the night sky — the bright disc floats amongst the stars, slowly visiting each of the 12 constellations of the Zodiac as it cuts its path along the ecliptic. As the furthest of the 5 planets known since antiquity, it has attained a certain mythos and mysticism that has evolved over the centuries. Saturn was the Roman god of the harvest, leader of the Titans, father of civilizations, social order and conformity. After the Roman conquest of Greece, Saturn was conflated with the Greek god Kronos, and later became known as the god of time. Ancient Chinese and Japanese astrologers associated the planet with the classical element of earth, naming it the “earth star” (土星). In Hindu astrology it is one of the nine astrological objects known as Navagrahas, and judges everyone based on the good and bad actions performed in life.

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CASA POLI

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“Nature is an infinite sphere of which the centre is everywhere, and the circumference nowhere.” — Blaise Pascal

On the 14th of September 2019 I turned exactly 29 years, 5 months and 10 days old. In Western astrology this moment is known as a Saturn return — it is associated with a time of change, a time of maturing and of facing the next major stage in ones life. A lot can happen in the span of 29 years, especially in this time of accelerated climate change, technological progression and weary political uncertainty. Saturn returning to the exact same minute of arc in the sky as when I was born presents an opportunity for internal reflection — for appreciating the paths that I have taken so far in my life, for understanding where I am now, and for considering the future that lies unwritten before me. This project arose naturally at a time when I was going through some great personal change. I had just graduated as an architect from Arkitektskolen Aarhus and started my first job in a large architectural firm based in Copenhagen. I am at a time in my career where I feel the need to decide what kind of architect I wish to become, and to continue with the development of ideas, thoughts and philosophies in the

expression of my own personal architecture. Casa poli is an artist retreat designed by local Chilean architects Pezo von Ellrichshausen that is a 5 hour drive south of Santiago. It is a place of retreat, for gatherings, exhibitions, workshops and research — a place that is isolated, disconnected, free from distraction and offers space to work, reflect and contemplate in peace. I was awarded the Casapoli Residency Grant by Arkitektskolen Aarhus for my thesis project to spend the month of September, along with one other recipient of the prize, in the house perched precariously on the edge of a cliff overlooking the south Pacific Ocean. Situated at 36°31’42.7” south of the equator and peering west over the vast Pacific Ocean, Casapoli is witness to the most wondrous night skies. At such latitudes the Earth is facing towards the centre of the disc of the Milky Way, where stars appear far denser and brighter in the sky than in more familiar northern latitudes. It truly is a sight to behold. Light pollution is low, skies are clear, and the horizon is wide. The occupiable roof calls to become a plat149

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Bildetekst Lorem ipsum dolor sit amet, consectetur adipiscing elit. Donec sit amet ullamcorper mauris, et lacinia nisl. 151

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form for stargazing recreation, a pedestal for one to bear witness to the heavens, a plateau for quiet introspection, a plinth in celebration of the cosmos. Matter tells space how to curve, and space directs matter how to move. So to a precisely calculated arrangement of found objects (matter) inform the user how to move across the field (space). Situated on the roof and exposed to the raw elements of southern Chile, the composition celebrates the moment of the return of Saturn to its particular position in the sky after one complete and deeply personal orbit. The story of that moment is narrated by the movment of the body through a space separated from time — the meanderings of the visitor as they wander through the field frame exact views, trace long arcs across the sky and is invited to rest in particular poses that align the body all to instigate moments of cosmic connection and appreciation. The objects are found on-site: some placed by the architects themselves, others by workers and builders, and yet others by previous artists and makers. A coat hanger, a stool, some timber

offcuts and most curiously — several lengths of 2cm×200cm cold-rolled steel strips. The installation is thus a manifestation of the material found within the site — nothing foreign is brought in and nothing is taken away — just as a photon is an excitation of the electromagnetic quantum field. A temporary arrangement, a compression wave, of the ever-dynamic forces and ideas enacted by visitors and residents of the house. The installation tells four stories relating to the night of the 14th of September 2019; the location on the horizon of the sunset; the great arc across the sky tracing the ecliptic upon which Saturn can be found; a separate arc representing the plane of the Milky Way galaxy and its centre; and a resting position aligned to the axis of the Earth’s rotation about the stars. On the 14th of September 2019 I turned exactly 29 years, 5 months and 10 days old. My intervention on site is an attempt to capture this moment and project the infinite sphere of nature down to a personal, human and experiential centre.

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On the 14th of September 2019 I turned exactly 29 years, 5 months and 10 days old. My intervention on site is an attempt to capture this moment and project the infinite sphere of nature down to a personal, human and experiential centre. 154

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Matter tells space how to curve, and space directs matter how to move. So to a precisely calculated arrangement of found objects (matter) inform the user how to move across the field (space).

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KURSER & WORKSHOPS RABAT PÅ FORSIKRINGER, FAGBLADE & MEGET MERE

RÅDGIVNING OM LØN SPARRING PÅ CV & ANSØGNING START UP HJÆLP

FAOD er mere end en fagforening. Vi er et fællesskab for alle, der arbejder med arkitektur, design, byplanlægning og alt det, der ligger rundt om. I FAOD står vi sammen om at sikre og forbedre dine vilkår igennem hele arbejdslivet. www.faod.dk

Internship Are you ready to grow city life from the bottom up?

Check out our internship programme and see what we have on offer at www.aart.dk/karriere

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THE SOUTH HARBOUR DISTRICT IN AARHUS / OUR WINNING TEAM

This is the essence of our AART approach – recently manifested in our winning proposal for the transformation of the South Harbour District in Aarhus, where we before sketching any building have engaged with local artists, entrepreneurs, homeless and business people – all with the aim to grow city life from the bottom up.

A. ENGGAARD • AART ARCHITECTS • SCHMIDT HAMMER LASSEN • LABLAND • RUM3 STUDIO

Creating great architecture starts with asking why, and challenging the ordinary. It’s not just about creating beautiful buildings, but about passionately striving to improve how people live, learn, and work – and all the things in between.

EDITORIAL TEAM

AARCH

KADK

EDITORS

Jens Rudolf Ugelstad

Mia Christina Forslund

Kaisa Hjorth Kristensen

Dzifa Bravie

LAYOUT Frida Nordvik Toya Causse

EDITORIAL TEAM

Anne Katrine Petersen

Anders Rovsing Kristiansen

Asta Wittrup Lindenborg

Annemette Juel

Cathrine Guldborg Adamsen

Camilla Frandsen

Clara Troldborg Ohmann

Jens Marcus Røisi

Clara Winterberg

Kaja Dons Petrussson

Helene Selmer Brøndsted

Mari Reme Sagedal

Ida Houmann Johansen

Signe Andrea Høgstad Kelstrup

Ida Jespersen

Victor Buch Rasmussen

Karoline Bonde Larsen Lisa Sawada Petersen Marius Wold Mathias Vang Christensen Monique Henriksen Nanna Hagedorn Olsen Nora Salvesen Oda Marie Gjøsæter

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FORMAT 200 x 265 mm PAPER Cover

Offset 300g

Content Offset 120 g TYPOGRAPHY Helvetica Times New Roman PRINT Clemens Trykkeriet Issues:1400 May 2020

ADRESS

ARKITEKTSKOLEN ÅRHUS

Nørreeport 20 8000 Århus C DET KONGELIGE DANSKE KUNSTAKADEMIS SKOLER FOR ARKITEKTUR, DESIGN OG KONSERVERING Phillip De Langes Allé 10 1435 København K

CONTACT

Kaark@stud.aarch.dk Instagram: @kaark_magasin Issuu.com/kaark

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Send you contributions to kaark@aarch.dk

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GENDER