For issue 45 of KÅRK we have chosen the title ‘Out of the Blue’.
When we initially started the discussions of a possible title, one thing that kept coming up was the wish to create an issue that would embrace colour and projects taking an alternative, political or artistic approach to architecture. One idea kept surfacing: the quiet yet profound role of spontaneity in the architectural process. It made us wonder—has our industry become so absorbed in precision, in the pursuit of flawless drawings, that we’ve lost touch with the art of the unexpected? Have we, in our quest for perfection, forgotten how to welcome the unplanned, the instinctive spark that breathes life into creation?
‘Out of the Blue’ takes a whimsical dive into the spectrum of blue shades, from deep navy to tranquil baby blue, embracing the unexpected and spontaneous in architectural exploration. This theme celebrates the serendipitous moments and chance encounters that shape our built environment, highlighting the importance of embracing uncertainty and experimentation in design practice. From the vast expanse of the sea to the endless sky above, ‘Out of the Blue’ invites you to consider the profound impact of context on architectural expression. It delves into the transformative power of repurposing and reuse, challenging notions of obsolescence and emphasising the need for sustainable resource management. In addition, the theme embraces the spontaneity of urban interventions adding vibrancy and meaning to our cities’ ever-changing landscapes. ‘Out of the Blue’ sparks curiosity and invites you to explore the beauty found in chaos and chance.
‘Out of the blue’ as an idiom means something that happens suddenly and without warning. It implies a surprise or occurrence that is unanticipated or unforeseen.
At the time of the open call back in April of 2024, we ironically did not know what to expect of the contributions we would receive. We have been blown away by the variety of projects that were sent in, and are very proud to present issue #45 of KÅRK.
We hope it can inspire you.
- The editorial team
TABLE OF CONTENTS
Bachelor
Repulsive stairs
På Besøg - Et møde mellem mennesker, tid og sted
Children’s Body-Mind Coordination Center
Krematorium im Elbpark Entenwerder
Kaleidoscope
Out Of The Blue
Master
100 ord
A Cold Glasshouse
Out of the blue/ Into the blue
The Anthropocene landscape
The presence of Shades
Strategic Design Project: Dyrene i Drypperup
Vinterhaven: Et sanseligt udstillingsrum
Wall Nest
Blue bunny/Lucky evasion
Badhuset på Kuddeholmens spets
Att väva
Vand-installation i nakskov fjord
Buildings in phantom pains
At bo med vand
Curating incidents
Too hot to handle
Living on Refshaleøen
Sediment re-settlement
KÅRK Recommends
Josefine Christine Jacobsen & Clara Brente
Mikkel Thorning Kristensen, Mohammed Sbeih & Gustav Hingebjerg Heltoft
Hendrik Woie-Flølo & Sofie Høwisch Nordby
Charlotte Surrenbrock & Jalma Fiolka
Weronika Pogorzelska
Members of the editorial team
Adam Frederik Haugaard
Anne Line Enggrob
Celina Domingo Hansson & Silas Steenberger
Mette Schmidt Christensen
Clara Thulin, Martin Jacobsen, Sara Lisinka Nielsen
Nora Ramadan Jepsen
Iaroslava Komissarova & Dara Varga
Clara Thulin
Olle Ehn Hillberg & Hedda Källkvist Lidman
Vanja Hellström & Helene Kohler
David Harvey Simpson & Amanda Weise Holtoug
Rebecca Langkilde Stenz & Selma Lindholm Levinsen
Gustav Hingebjerg Heltoft og Mikkel Thorning Kristensen
Emma Ejeskär & Andreas Laskaris
Thomas Tsz Nam Hui
Ehan
BACHELOR
REPULSIVE STAIRS
JOSEFINE CHRISTINE JACOBSEN & CLARA BRENTE
AARHUS SCHOOL OF ARCHITECTURE
‘Protagonistens Bolig’ var en oppgave som ba om en skreddersydd bolig til en filmkarakter. Skrekk-thrilleren Repulsion av Roman Polanski fra 1969, introduserer oss til karakteren Carol. Hun er en ung belgisk kvinne som bor i London med søsteren sin. Carol er en kvinne som opplever mye uønsket oppmerksomhet, særlig fra menn, noe som påvirker hennes psykiske helse og gjør henne fysisk handlingslammet. Carol er ute av stand til å kontrollere verden rundt seg, og klarer ikke holde den på avstand fra sitt liv og hjem.
Carol har bruk for en rekke rutiner som helst ikke må brytes med; vaske føtter når hun kommer inn i sitt hjem, hennes toalettsaker skal være renslige og stå hver for seg, hun skal kunne betrakte seg selv, og hun skal kunne kikke ut på verden utenfor, samt holde avstand fra den. Carol har et særlig forhold til boligen hennes, fordi hun ser det ikke helt som et hjem. Hun forholder seg ikke til rommenes opprinnelige funksjoner; speiler seg i en vannkoker, vasker føtter i håndvasken, stryker en skitten trøye, sover på gulvet og lager ikke mat på kjøkkenet. Carol hallusinerer og begynner underveis i filmen å forestille seg at rommene blir noe de ikke er. Carol trengte en bolig som fasiliterte sine rutiner og behov. Hun fikk en bolig som forsterker hennes særegne oppførsel, og gjør det mer komfortabelt for henne å leve livet sitt.
PÅ BESØG - ET MØDE MELLEM MENNESKER, TID
OG STED
MIKKEL THORNING KRISTENSEN, MOHAMMED SBEIH & GUSTAV HINGEBJERG HELTOFT.
ROYAL DANISH ACADEMY
Inspirationen til vores bachelorprojekt opstod gennem mødet med de lokale, der delte deres hjem, liv og kultur med os. Vi ønskede at skabe et rum til og i byen, hvor disse møder kunne fortsætte, et rum hvor grænser smelter væk, og hvor arkitekturen åbner sig for stedets uendelige kompleksitet.
Vores site ligger ved flodens kant, i et hjørne af byen hvor landskabet skifter former og historier. Her står et rustent Daihatsu bilværksted og en tilstødende bolig beboet af et søskendepar. Under værkstedets betonsøjler er der bl.a. en tunnel med flagermus, enorme zelkova træer og Japans reneste flod. Gennem vores projekt ønsker vi at forstå og implementere dynamikken mellem det stabile og det skiftende, og skabe en arkitektur der vibrerer i takt med disse.
I vores projekt åbner bror og søster deres hjem for rejsende fra fjern og nær, og skaber rammerne for tværfaglig og kulturel udveksling. Det er et hjem, der åbner dørene for det uventede og skaber et rum for fortællinger og relationer, der strækker sig ud over tid og sted.
CHILDREN’S BODY-MIND COORDINATION
CENTER
HENDRIK WOIE-FLØLO & SOFIE HØWISCH NORDBY AARHUS SCHOOL OF ARCHITECTURE
Our assignment was to create a proposal of a repair in a fragment of City Vest, a soon to be closing shopping mall in Gellerup. Our designated fragment was a long and narrow hallway with a two story high ceiling, located on the second floor. On both sides of the hallway there are many (now empty) stores, the third floor is filled with closed-off office rooms that have a view down on this hallway. The repair needed in the site is not something physically broken, but rather the program.
The walls, floor, columns and ceiling are not eroding; however, the area is in complete absence of people. Our repair approach is therefore more related to creating a new program for the site, as well as trying to reuse the already existing and functioning materials, rather than relying on additional CO2 heavy materials.
The percentage of people under the age of 18 is significantly higher in the area of Gellerup than in the rest of Aarhus. In addition about 15% of people under the age of 18 are diagnosed with a mental disorder and are in need of professional help. We therefore wanted to include these children in our new program, which is a Body-Mind Coordination Center for Children. With the use of mindfulness and embodiment, Body Mind Therapy helps people to get in touch with their bodily experiences in order to enrich overall health. We want to create a playful experience which children can interact with, in coordination with their therapy.
In addition to the program, the site itself needs a repair in the flux. As the site is at this point, you just walk straight through the hallway. There is nothing making you stop or interact with the architecture. There is also a poor connection between the second and third floor which at this point is hard to access. Therefore we aimed to connect the spaces vertically, and use this new vertical circulation space to gamify the access between the two floors. As the materials that are removed by opening up the space are not in disrepair themselves, we aimed to reuse as much as possible in our new intervention. The concrete slabs removed are therefore rearranged in a way to create this new intervention. The structure is then wrapped in a blue mesh material to make the intervention safe to use, as well as create a new visual language standing in contrast to the existing shopping mall.
KREMATORIUM IM ELBPARK ENTENWERDER
JALMA FIOLKA & CHARLOTTE SURENBROCK
HAFENCITY UNIVERISITY HAMBURG
Cremation, death, and mourning rarely find a place in daily life, usually confronting us in exceptional situations. This design seeks an architectural response to a contemporary approach to death, envisioning a space where life and death meet. The concept is based on the intersection of two axes – the technical process of cremation and the emotional process of saying goodbye and mourning. These axes intersect and intertwine, occasionally merging. A light-filled, green courtyard forms the center around which the building rotates. Public spaces are strongly connected to four distinct functional areas: the foyer, mourning halls, crematorium, and café, which stand out through variations in room height, roof shape, and light atmosphere. The foyer, café, and courtyard merge spatially with the movement axes. Large revolving doors visually connect the main mourning hall with the courtyard greenery. A play of intimacy and distance allows for various forms of mourning and farewell.
Located in Entenwerder Park, a peninsula in the North Elbe, the site offers lush greenery and expansive water views. Although public, the vast natural setting evokes feelings of intimacy.
The building’s exterior is perforated only where the four axes meet the outside space: the visitor entrance to the east, the ceremonial access to the south for water burials, the café entrance to the west, and the crematorium arrival area to the north. All entrances are recessed, covered, and protected. The rotation of the four bodies around their center is visible through exterior offsets. An introverted shell focuses on emotions and the ritual of farewell. Indirect, soft light and a play of shadows support this intention, enabled by roof openings and courtyards. Externally sculptural and mysterious, the interior is protective and intimate.
Indirect lighting in emotionally charged rooms creates a “floating space” detached from reality, embedded in the present. In the viewing rooms and small mourning halls, a thin slit of light falls down one wall, focusing attention on the private farewell. The main mourning hall is oriented towards the light entering from the back wall, creating tension and a climax. The airspace above is illuminated, with light guided by wooden beams and reflected by white walls.
In the oven room, a vertical play of light adds a ceremonial aspect to the technical process. Generous, slit-like roof openings cast long shadows between the three ovens. The foyer and café are illuminated by large skylights, marking the beginning and end of the mourning process. Large windows to the courtyard and park create intersections with the outside world, filling the space with light and alleviating its heaviness. Kolumba bricks in warm brown with dark red tones cover the building’s exterior, giving it a monolithic weight. Inside, the bricks are whitewashed, contributing to the structure’s delicacy. From 3.5 meters high, the wall material transitions to white concrete, reflecting sunlight and emphasizing the room height as they stretch towards the light. The brick, radiating permanence and security, aids acoustics and contrasts with light ash wood, bringing a sensitive, softer, and warmer character. Wood, featured in furniture, revolving doors, and café seating, serves as a touchpoint for mourners. It also frames windows and doors and supports the atrium, inviting entry. Light terrazzo, a unifying material, seamlessly connects all parts, making them one whole. The unified color palette ties together the contrasting materials.
The design integrates two distinct worlds, finding a balance and giving each the appropriate space. It offers insight rather than separation, as one cannot exist without the other: no life without death.
KALEIDOSCOPE
WERONIKA POGORZELSKA, GDANSK UNIVERSITY OF TECHNOLOGY
A SEASIDE RETREAT
The purpose of this project is to maximize the benefits of the hotel’s location. Glass passageways enable guests to view the sea, in its ever changing state, from the moment they arrive. The appearance of the hotel is susceptible to natural variables. It is a self-driven kaleidoscope operating on the passing of time. A kaleidoscope is not only an everchanging structure, but it is also highly dependent on col our, just like the human mind. Scientific research shows that differ ent hues influence people in specific ways. The hotel provides an additional function to its recreational value chromotherapy rooms. location plan
The analysis of how people arrive at the hotel was important to decide which way the building should be maximally exposed to the human eye to achieve the desired kaleidoscope effect. Thanks to well located public transport stops, as well as large parking spaces, the building is reachable within a 10-minute walk enabling visitors to fully experience the sight of the hotel’s glass, everchanging heart.
The anatomy
The glass passage in the heart of the hotel is designed to act as an architectural kaleidoscope focused on the movement of the sky. Throughought the day it provides different views. Just like a hand spins a toy kaleidoscope, giving unknown, highly intricate results, here, the passing of time spins the sky creating unexpected, complex, views framed by the buidling.
OUT OF THE BLUE
100 ORD
Members of the editorial team have written reflecting words on ‘Out of Blue’. Unfolding their thoughts around the theme using only 100 words to do so, showcasing the range and associations connected to a single idiom.
The bathroom was a place of quiet ritual. White tiles cooled the feet as the door clicked shut, sealing off the world. Sitting on the smooth porcelain seat, there was a pause — a moment of stillness. The faint hum of the fan, the gentle trickle of water, and the soft echoes of the space created a kind of meditation. The act itself, simple and necessary, became oddly grounding. The flush — a smooth, satisfying pull, sent water swirling in a clean spiral. In this small, private room, architecture and routine met, turning the mundane into something peaceful and intentional.
hva er blått?
i en horisontlinje er det blå en bakgrunnsfarge, hva er lengst frem?
er det blå en varm farge?
hvis du hadde blitt tilbudt en blå banan, ville du spist den?
har kongefamilien blått blod?
hvis du rører ved havet, føles det blått?
når det er blåtime, er alt lov da?
blir dine tenner renest av blå eller hvit tannkrem?
er blå en hard eller myk farge?
er en luftboble under vann blå eller gjennomsiktig?
er blå øyne den peneste typen?
hvis favorittfargen til noen er blå, hva sier det om dem?
fungerer blue light briller på ekte?
Blå glimt fra hendes krystalblå øjne lyser den mørkeblå himmel op
Ud af det blå griber hun min hånd
Blå fingre på en frysende aften
Byen der larmer
Betonjunglen der aldrig sover
Blå skær fra de blinkende lygter lyser den mørkeblå himmel op
Blå blink skaber en symfoni
Ind i det blå, det ukendte og ufremkommelige
Bevæger os systematisk og slavisk i det ukontrollerede bylandskab
Bylandskabet omfavner os, hendes læber er blå - den iskolde atmosfære
bliver mere fremtrædende
Blå tanker fylder mit hoved, hendes fingre glider ud af min hånd, og vi går
hver til sit - ud i det blå
Blue skies
Blue lights flicker spontaneously
Blue water, its reflection dances on the stone cold concrete bridge - like a i ntimate dance between two lovers
Blue eyes follow the dancing lights of the water
Blue feelings mimic the flow of the water
Blue fabric blows in the wind - the motion of the dress is in constant conversation with the surrounding environment
Blue skies turn navy - the sun turns its cheek the other way, the reflection disappears into the blue
Blue thoughts linger in the atmosphere, the moon shows it’s face once more in its light you can still sense the uncertainty
Automatisk skrivning; 3 minuter og 30 sekunder; lukkede øjne; ud af det blå, uden en plan, på instinkt, ufrivillige overraskelser, fejl og fejl. Stress, grænse, frigivelse.
Mærkelig, fascinerende, smuk som det tilfældige møde mellem en symaskine og en paraply på et dissektionsbord.
Koldt og varmt, men ikke lunt. Stille, bølgende, stormende og voldsomt. Det store hav er et blåt mærke på jordens krop. Et menneskeligt lille blodplet.
Skrivefejl. Udfoldende struktur i en fri tankemønstre. Referencer, kulturel bagage, sprogbarriere; følelsen af grave ind i mit hovede. Drøm og virkelighed, op og ned, dag og nat holder op med at vaere modstridende.
A COLD GLASSHOUSE
ADAM FREDERIK HAUGAARD, ROYAL DANISH ACADEMY
This project is located in a heath landscape and functions as a place of residence for passers-by in a nature park. The cold glass house, which is the building’s main structure, is equipped with three ‘functional modules’ which include toilets/baths, a kitchen and a bicycle repair and parking station. The glass house’s rectangular motif is transferred to the functional modules in a 2-3 rhythm, to create a coherent aesthetic expression.
The building’s blue color is a celebration of the way clouds can affect light. Clouds dim the light from the sun and thus darken the sky, which is a frequent phenomenon in Denmark. The cold ’sky blue’ that is so often above us can perhaps be harvested to our advantage.
Contrasting between the cold blue color and the building’s warm interior can help to reinforce the sense of security you get from being protected from the elements of nature. At the same time, it’s a way of relating to an element of the context that will never change, namely the blue sky.
OUT OF THE BLUE/ INTO THE BLUE
ANNE LINE ENGGROB
ROYAL DANISH ACADEMY
Det ukendte overrasker; det kommer ud af det blå, som et chok eller en langsomt krybende forandring.
Klimaet er, i et accelerende tempo, ved at gøre jorden mere ubeboelig for mennesker.
Krigen i Ukraine og folkedrabet i Palæstina chokerer os. Bølger af sorg er de sidste år skyllet ind over os. I en verden i konstant forandring er det svært at finde et fodfæste.
Fællesskaber man kan hvile i og finde en tryghed og en ro i det ukendte. Følelser af frustration og meningstab er ved at definere generationer.
Frygten for fremtiden, for det ukendte der venter os. Når det ikke bare er samfund og demokrati, der er ved at ændre sig, men selve den natur vi består af. Homo Sapiens overlevelse er afhængig af en omsorg for verden omkring os.
En omsorg for hinanden og for det fremmede. Et omsorgstab verden har lidt under i årtier.
Tiden står ikke stille og det er uundgåeligt for os at gøre andet, end at bevæge os ind i det ukendte. Finde modet til at genopbygge cityscapes, kulturer og tillid til hinanden og verden omkring os. Tilliden til at vi sammen har modet til at ændre noget.
THE ANTHROPOCENE LANDSCAPE
CELINA DOMINGO HANSSON & SILAS STEENBERGER, ROYAL DANISH ACADEMY
At the tip of Bogø lies a forgotten story. A story about humanity’s attempt to control nature. A story about the Anthropocene landscape. The reclamation of Nakskov Fjord is perhaps the largest human intervention in nature that we have in Denmark. Perhaps it is a proper intervention. Perhaps it is completely wrong. With post-Anthropocene perspectives, we lean towards the latter.
The Danish coastal nature is threatened. Several reports indicate that coastal meadows and coastal areas will be flooded within the next 100 years.
Furthermore, nitrogen emissions from agriculture need to be significantly reduced to address the severe oxygen depletion in Danish waters. To achieve this, according to a report from Aarhus University, 100,000 hectares of cultivated and drained lowland soils across the country must be flooded. So far, 187 hectares have been withdrawn...
Based on a hypothesis that Bogø’s pumping station has been turned off, and the dyke has been opened, we
will work in an area that has begun its transformation from lowland soil to wetland.
In an effort to encapsulate the story out here, we will create a center for local natural history, focusing on the area’s past and future. Can the dykes continue to protect an area from rising water levels? How will nature reclaim a flooded, abandoned farm? We want to convey the message through a route that invites observation and learning about the site.
Investigation of the controlled and the uncontrolled. An attempt to recreate a very precise and controlled plaster casting on site, using found tools and saltwater.
Plaster
All volumes work with bricks, in favor of the room’s program. Heavy volumes are pressed into the dyke, emphasizing that they are inserted into the landscape and not part of it.
A room for arrival (right) and a room for take-off (left).
The brick relief allows daylight to penetrate the space but sharpens the view, so the room provides space for contemplation and reflection after the route.
The opening is an observation room, consisting of a single window, tailored to the seated body. The light sluice clarifies the room’s function, and two metal discs support the dyke where the saltwater and freshwater meet.
A room for historical immersion. The limited overhead light creates shadow play within the interior brick relief, emphasizing the importance of the volume’s content—an exhibition that teaches us about the consequences of the Danish dykes and water manipulation.
The Anthropocene tower will eventually be flooded and must be accessed from a higher floor, serving as a clear demonstration of the consequences. The route concludes with a visit to the old, now flooded, pumping station.
The Opening Visualisations
Model 1:25
Plaster and steel
THE PRESENCE OF SHADES
METTE SCHMIDT CHRISTENSEN AARHUS SCHOOL OF ARCHITECTURE
STRATEGIC DESIGN PROJECT: DYRENE I DRYPPERUP
CLARA THULIN, MARTIN JACOBSEN & SARA LISINKA NIELSEN
ROYAL DANISH ACADEMY
The water supply company HOFOR aims to build sustainable cities and future-proof Copenhagen. With this project, we rethink HOFOR’s activities to include educating the new generation about sustainability: Learning about the world should be easy. We took it upon ourselves to create an engaging video game that works as a teaching tool for a young audience. Dyrene i Drypperup is designed to be weaved into their classroom activities and aligns with the existing curriculum.
Caring for our resources and creating a sustainable city is a collaboration between all.
HOFOR asked us: How might we encourage a shift in citizen awareness and behaviour towards saving water in Copenhagen? We did research to uncover insights that could narrow down this challenge, and get us closer to a solution.
We learned that most communication from HOFOR happens through bills or news of temporary shutdowns. That meant HOFOR and its consumers had the impression that “no contact is good contact”. We wanted to change this mindset by communicating in a way that could be a positive experience for consumers.
We also found that the youth is less sustainable in terms of invisible resources like water, even though 83% of 16-25 y/o’s think people have failed to take care of the planet.
By showing the role of water-saving in the context of sustainability, we hope to motivate more youth to contribute to saving water.
Last but not least, we experienced a disconnect in HOFOR’s value proposition. Their vision of creating sustainable cities lies very close to both their heart and actions, but is not very visible to the public. It was therefore very important for us to better communicate this positive aspect of HOFOR.
We reframed all these findings into: How might we turn water-saving into a positive experience for a younger audience, reflecting HOFOR’s vision: ‘We create sustainable cities’ ‘ and its connection to nature?
The answer ended up as the concept for the educational video game “Dyrene i Drypperup” (Animals in
Driptown).
By exploring the city, the player can talk to citizens, solve quizzes and play mini-games. By helping the city, the player sees the effects of sustainable water use: The world becomes greener, parks and rain water containers appear.
The gameplay can be broken down into 3 main categories: Tasks, quizzes, and creation. Tasks are often time trials with scoring, where you learn to do specific tasks that correspond with our real everyday life. Quizzes quiz you on what you’re learning through the game. Creation are calm creative games, you can e.g. build a rainwater reservoir or plant a garden.
VINTERHAVEN
– ET SANSELIGT UDSTILLINGSRUM
NORA RAMADAN JEPSEN - AARHUS SCHOOL OF ARCHITECTURE
I vinterhaven er man omsluttet af en verden, hvor naturens kontraster mødes. Skygger fra nøgne vintertrækroner kaster mønstre på væggene - en påmindelse om vinterens stille skønne natur.
Ved trapperne lokker orange toner, der lyser som den sidste rest af solens varme. Det føles trygt og hjemligt som en varm stue på en kold vinterdag.
Passagen nedad rammes af blå nuancer og et skiftende lys, der spreder sig som vintermorgengry. Det er som at træde ud i en frossen skov, hvor kulden kan være både skarp og smuk. Rummet er lukket og uden vinduer, men synes vidt og fyldt med muligheder.
‘Vinterhaven er et sted, hvor kulde & varme og inde & ude, mødes og skaber en sanselig rejse.
‘Vinterhaven’ var en del af en højskoleopgave fra Krabbesholm Højskole fra efteråret 2020, der gik ud på at forestille sig et udstillingsrum og bygge det i model.
WALL NEST
IAROSLAVA KOMISSAROVA & DARA VARGA
The diverse fauna of logroño and intricate structural engineering principles observed in bird’s nests, where materials are efficiently used to create stable structures, inspired us to design a pavilion that is both aesthetically pleasing and structurally sound.
Using this concept metaphorically, we integrated organic shape and form reminiscent of a bird’s nest into the design of the pavilion. It involves curving and interweaving structures to create a visually dynamic and textured exterior in connection with nature.
Each element used in the nest serves as a building block, and the arrangement of these materials creates a stable structure for the nest
Assembly Fastening First wall
Wall connection Wall Nest
Situation axonometry
These comparison points be-tween a bird’s nest and a brick wall highlight the common thread of structured arrangement, functionality, and adaptability found in both human architecture and the natural world. While the materials and scale differ, the principles of structural stability and load distribution are shared.
BLUE BUNNY
CLARA THULIN /LUCKY EVASION
Lino cut & gouache
Gouache
BADHUSET PÅ KUDDEHOLMENS SPETS
OLLE EHN HILLBERG & HEDDA KÄLLKVIST LIDMAN
ROYAL DANISH ACADEMY
Vi föreställer oss ett badhus på Kuddeholmens spets.
Badhuset välkomnar en bredd av människor och är en plats för återhämtning och sociala möten för Nakskovs befolkning - både i själva baden och i badhusets café. Badhuset är öppet under vinterhalvåret och caféet håller öppet året runt.
I ett annars platt landskap är badhuset placerat på en liten backe och under din promenad till badhuset kan du precis skymta hur det sticker upp ur backens täta buskage.
Som besökare i badet rör du dig genom ett flöde av rum med skiftande stämningar rummen skiftar från stort till litet, ljust till mörkt, varmt till kallt, tungt till lätt.
ATT VÄVA
SCHOOL OF ARCHITECTURE & AARHUS SCHOOL OF ARCHITECTURE
VANJA HELLSTROM & HELENE KOHLER
UMEAA
I en liten skog, bredvid ett öppet hav, stod några träd och såg på när vi drog tråd i en rad;
De förstod nog först och sedan glömde de igen till en början fanns ett mönster, sen gick vi mest på känn.
Likt träd i skogen, som förgrenat sig runt om är staden också myllrig, lika sugen på en sång,
Likt spindeln som väver en fälla för flyn, väver vi människor nät, långt utanför vyn.
Likt naturen, prövar vi att planera vår konstruktion, men hur mycket vi än väver, kan blott ett bortglömt träd, bli fallet av vår mission.
Ju hårdare vi håller, desto fortare det faller, men om vi blundar litegranna, visst liknar det kristaller?
VAND-INSTALLATION I NAKSKOV FJORD
DAVID HARVEY SIMPSON OG AMANDA WEISE HOLTOUG
ROYAL DANISH ACADEMY
Dette projekt reflekterer over to primære problemstillinger, vandstandsstigninger på og omkring lolland, specifikt Nakskov fjord, og Nakskovs behov for at tilrække turister samt skabe en organisk vækst, økonomisk såvel som kulturelt.
Først og fremmest er projektet et forsøg på at forstå vand, kompleksiteten af det, både som element og som allestedsnærverende trussel for lokalområdet omkring naksov. Dernest er det en fordybelse i, hvad vand er for os som mennesker, og hvordan det berører samtlige af vores sanser, når vi oplever det. Derfor er projektets konklusion den bygning/installation som følger efter denne tekst.
Installationen er ca 80 meter lang og 8 meter bred. Den skildrer i sit forløb overgangen fra land til fjord, samtidigt med at den diskuterer grænserne for, hvornår vandet har magten, og hvornår vi som mennekser kan styre det.
Derfor er placeringen af bygningen ca. 50% på land 50% i vand et hovedgreb som fra bygningens ydre formuleres klart.
Indvendigt er den delt op i tre overordnede rum, ikke opdelt af vægge, men af de landskabelige elementer som vi har fastfrosset i bygningen. Igennem bygningen løber vandet fra fjord til land, regn kan penetrere visse steder i taget, og nogle steder er det tilstrækkeligt mørkt til, at man blot kan høre vandets rislen eller mærke det omkring anklerne.
Projektet er i høj grad udviklet ved at bygge modeller på ligefod med at tegne det frem.
”Et skærpet blik på vand” 10 x 25 cm
Glasstøbningen her er lavet på en støbeform af ler og derefter gips. Den er formet af vand, således at den lerform vi brugte, var blevet formet af rengvand. Derfor symboliserer refleksionerne, den afgiver en direkte indflydelse fra vand. Det blev senere i projektet brugt som forslag til et langt vinduesparti, hvor udsigten over fjorden ændrer karakter ved kig igennem støbt glas.
”Refleksioner”
En undersøgelse af det støbte glas’ reflektioner i og på vand
BUILDINGS IN PHANTOM PAINS
REBECCA LANGKILDE STENZ & SELMA LINDHOLM LEVINSEN
AKBILD - AKADEMIE DER BILDENDEN KÜNSTE WIEN
This project explores buildings as living organisms with a certain skin, spine, way of breathing and sensing. It questions whether buildings feel pain and loss after demolition. Inspired by artist Rachel Whiteread and her explorations of absence and memory, this project is titled ‘Buildings in phantom pains’.
Phantom pain is a sensation of pain in a body part that is no longer there – the pain often appears after amputation of a limb. It is a memory and a tick in the brain that thinks the limb still exists. The phenomenon is not fully understood by experts yet, but after a large study of the phenomenon, scientists believe that the pain is linked to nerve damage following the loss of a limb. A phantom is something apparent to sense but with no substantial existence – the word describes something fleeting and imagined, something that flickers in a person’s mind for a moment, but then disappears upon a closer look - like a shade. It refers to things that are not quite real, but seem to be for a moment. Phantoms appear in the absence, as in the photo of the figure ‘Eye phantom’ from Josephinum Museum.
A visit to Josephinum Medical Museum in Vienna revealed parallels between construction sites and surgeries. At Josephinum things are hidden behind textile and lattice, which has similarities to the construction sites we visited. Medical instruments are being displayed and bear witness to the fact that surgery in old days was a form of craftsmanship more than a medical profession. Fragmented wax models of limbs and gallstones are beautifully archived and displayed in the rooms, and medical records, x-rays, photographs and prints are essential elements in the medical world. In a glass case, a preserved stomach from an early stomach resection in the 19th century floats in water. The stitched scar and thread is still visible, and has become a part of the skin - emphasizing beauty in imperfection and traces of history.
ARCHIVE OF BIOPSIES
The fascination with sensing something insubstantial and memorial led us to view buildings within the city as living, breathing organisms. Our perception of buildings changed to seeing them as crying, with rashes or scars. With the visit at Josephinum Museum in mind, we went to three construction sites in Vienna: Prater, Radetzkysstrasse and Lassallestrasse. We made medical records for each site, investigating their current state, past history and future prospects. One section of the records focuses on wounds, value, and pain. To question perceptions of value, we placed Kinesio tape on scars and wounds - on ‘broken’ facades in Vienna. Kinesio tape is made to ease pain from injuries and has a highly visible red color that draws attention to the areas. Another section of the records involves collecting and documenting construction remains as biopsies of demolished buildings. These biopsies have been archived and preserved as a memory of the loss and the state existing between two times - before and after demolition. Today, the biopsies are stitched together into one system, representing the overlooked fragments of history and the physical remnants left behind.
We looked at accidental, unintentional traces and created four phantoms as imagined structures evoked by the remaining traces and traditional building parts: phantom 01 ‘stairs’, phantom 02 ‘roof’, phantom 03 ‘window’, and phantom 04 ‘room’. For these phantoms, we only used hospitality materials. During the modeling process, we used alginate powder to make casting molds. The powder is often used by dentists to make imprints of teeths and by doctors to absorb wound fluids. The structure is made of steel as a reference to repair of broken bones. The skin is made of glycerin soap, referring to the clean and sterile environment of a hospital, while also representing the fragility and erosion of the body. By giving form to these phantoms, we aim to create a temporary acceptance of the unreal and imagined.
As construction sites are temporary and constantly changing, the four phantoms will hang on the facades for an unknown time. When new construction begins, they will be moved to the Old General Hospital Garden in Vienna, where they will stand as the last remnants of the demolished buildings and the forgotten time between demolition and construction. The four phantoms will erode over time. In interaction with wind, sun and water, the glycerin soap will dissolve and crack. We don’t know exactly how this process will go, but by time all traces of the soap skin will be gone, and only the rusted steel skeletons remain.
model af gasbeton, træ og epoxy
Skitser
MASTER
CURATING INCIDENTS
EMMA EJESKÄR & ANDREAS LASKARIS, ROYAL DANISH ACADEMY, CURATING INCIDENTS - FOR INTERACTION
It is evident that people living in Brøndby Strandpark have a special relation to High-rise buildings. The demolishing of five of them left empty holes and the inhabitants felt what could be described as the feeling of loss. Some of the area’s identity had been stripped away. The five High-rise buildings that have been demolished are already in the past, but it is important, especially now that big changes are in the making, to investigate those that will remain and highlight their potential.
In larger apartment buildings that are inhabited by multiple families and individuals, fragments of personal space can be located much further apart than in freestanding or terraced houses. This can be seen played out in the High-rise building where mailboxes, storage rooms and designated parking spots, as well as shared spaces like entrances, laundry rooms and meeting rooms are detached and placed away from the flat, separated but still accessed through shared pathways, staircases, elevators. This suggests that the borders of dwelling are in some sense blurred, or fragmented. The shared spaces may meet their functional purpose, but we believe there is much more to that.
By activating them in the right way, can we create ambiguous spaces for the inhabitants to dwell and possibly create new bonds between each other? Could the fragmented home become a catalyst to create shared thresholds that make residents more aware of their neighbours?
The functionalist model of modern housing complexes of the past where pedestrian and car circulation is completely divided, creates on one hand liminal areas with potential interest, but can on the other hand create negative spaces that can feel cold, uncanny, and dangerous. On top of that, when areas like this are near the entrances of buildings they contribute to the creation of a general hostile environment where people can feel disconnected from the surroundings and each other. We believe that the bases of the high-rise buildings in Brøndby, are specimens of this type of functionalist architecture of the past century, that through trying to resolve problems, create new ones. In our opinion these places hold a lot of hidden potential that is usually overseen and therefore they shouldn’t be completely discarded and demolished. Our intention is to identify these problematic spaces, and through introducing new connections, uses, and architectural elements, curate incidents that will help the inhabitants finally engage with them.
Car infrastructures like high-speed highways and underground parking lots have a very strong presence in this area. Cars are often associated with negative aspects but for a lot of people they represent freedom, social status and they can also be something that gathers people. In addition to that, according to previous findings, the reason why a lot of people chose to live in the high-rise buildings is related to mobility problems or age, as the nearby parking space and elevators make the building easier to use. Therefore, a challenge would be to find a way to make people and cars coexist in a new, more interesting way, celebrated even, and turned into a spectacle.
TOO HOT TO HANDLE
A GEOTHERMAL WATER COOLING STATION IN AL AIN, UAE
THOMAS TSZ NAM HUI, ROYAL DANISH ACADEMY
As the other countries under the similar hot and arid climate, the United Arab Emirates also faces water challenges. Nevertheless, the issue lies not in the insufficient availability of freshwater, but rather in the elevated temperature of the drinking water. Tap water is consistently hot, both indoors and outdoors. Can geothermal temperature exchange, commonly used for heating in western countries, be effectively employed for cooling water in the Emirates? Specifically, can the hypothetically cooler underground mass facilitate heat exchange to cool drinking water without relying on electricity?
‘Too hot to handle’ targets this specific challenge of drinking hot water in summers in the Emirates, where temperatures can reach above 50 degrees Celsius. The main objective is to cool down water for drinking using the principle of geothermal cooling with the underground’s natural coolness in Al Ain. The experiment will test its cooling performance alongside other cooling means, and also its relationship to the cooling depth, duration and site locations.
It is not merely a water cooling device, but also a part of the water ritual. It allows the user to experience water in the desert, a cherished natural elixir:
“In desert’s grasp, water’s allure; Coolness in a metal cup, so pure. Flowing in spirals, a tranquil sight; Mist on face and body, sheer delight.
Sip the elixir, taste pristine; Life’s essence, desert’s serene. In mouth, water’s symphony unfurls; Nature’s gift, cherished in desert worlds.”
DEMOGRAPHICS
Al Ain is a city with a unique demography characterized by a signicant population distribution. Non-citizens form the majority of the population, reecting the inux of migrant workers from various countries. This diverse demographic composition contributes to the city's cultural richness and economic growth. However, it also brings to light certain human rights issues faced by the migrant worker community. Migrant workers in Al Ain often encounter challenges related to labor rights and living conditions.
Polarization in demography is noticed between expatriates and Emirati nationals, including income levels, welfare provisions and the education system. Emirati nationals generally enjoy higher income levels, greater social support, and preferential treatment in terms of education and employment opportunities.
EDUCATION CHARTS
Education system is polarized. Expatriates outnumbered citizens in private school due to its teaching language.
DEMOGRAPHIC DISTRIBUTION
Below maps show distribution of a variety of religious institution and labour camps in Al Ain.
INCOME CHARTS
UAE
LIVING AREA
Migrant workers often
demography characterized by a signicant population distribution. Non-citizens population, reecting the inux of migrant workers from various countries. This diverse contributes to the city's cultural richness and economic growth. However, it also rights issues faced by the migrant worker community. Migrant workers in Al Ain related to labor rights and living conditions.
noticed between expatriates and Emirati nationals, including income levels, weleducation system. Emirati nationals generally enjoy higher income levels, greater social treatment in terms of education and employment opportunities.
Slavery” for migrant challenges and dilemma show a typical situain UAE.
EDUCATION CHARTS
Education system is polarized. Expatriates outnumbered citizens in private school due to its teaching language.
DEMOGRAPHIC PARAMETERS
THE AL AIN DEMOGRAPHIC
Despite
DEMOGRAPHIC DISTRIBUTION
Below maps show distribution of a
Al AinAbu
AL AIN, UNITED ARAB EMIRATES
HEALTH
PUBLIC HEALTH, HEALTHCARE AND INFRASTRUCTURE
In Al Ain, there is a stark contrast in healthcare between expatriates and Emirati nationals. Expatriates often face signicant health challenges due to accidents, long working hours, poor living conditions, and instances of abuse. Limited access to quality healthcare further compounds their vulnerabilities.
Meanwhile, Emirati nationals benet from a robust healthcare system but face different health issues. Lifestyle-related diseases like obesity and stroke are prevalent among them, stemming from sedentary lifestyles, unhealthy diets, and genetic factors. Bridging the healthcare gap requires ensuring equitable access to healthcare services for all residents, promoting healthy lifestyles, and implementing preventive healthcare measures to address the specic health challenges faced by both expatriates and Emirati nationals in Al Ain.
ACCESS TO HEALTH INFRASTRUCTURE
Abu Dhabi's healthcare system encompasses a wide range of facilities, including healthcare centers, screening centers, hospitals, and private clinics. Nonetheless, many of the facilities only serves the Emirati nationals but not the migrant workers since they are not covered in the health insurance system. In addition, many of the health infrastructure concentrates at the city centre of Al Ain. Residents living in a remote residential areas or migrant workers living in distant labour camps may nd them hard to access.
CORONAVIRUS CASE STUDY
Inadequate
There was a serious outbreak of coronavirus pandemic in labour camps. The unhygenic living conditions, absence of running water and cramped dormitories are key factors leading to such an outbreak. Social distancing is thus almost impossible exercise at workplace. The lockdown and quarantine has further worsened the situation. It is reported employers may use lockdown as excuses to prevent migrant workers to leave their workplaces.
Tsz Nam Thomas Hui 230161
style-related diseases like obesity and stroke are prevalent among them, stemming from sedentary lifestyles, unhealthy diets, and genetic factors. Bridging the healthcare gap requires ensuring equitable access to healthcare services for all residents, promoting healthy lifestyles, and implementing preventive healthcare measures to address the specic health challenges faced by both expatriates and Emirati nationals in Al Ain.
WORKERS
EducationandCampaigns CombatingonSmoking
A geothermal water cooling station
Axonometric drawing of prototype
QR for video instruction
LIVING ON REFSHALEØEN
EHAN HARSHAL HALIMUN, AARHUS SCHOOL OF ARCHITECTURE
Comparing 18th and 19th century maps of Copenhagen, it is clear that the city was built on claimed land that goes further onto the sea. Refshaleøen, in particular, was constructed in the North as part of a bigger scheme between the mainland and Amager, where Christianshavn was built in the 1620s. For more than a hundred years, Refshaleøen was home to their shipyard which closed in 1996. Since their bankruptcy, the abandoned buildings have been re-appropriated to host a mixture of cultural and recreational uses. This site is considered to be an icon of Copenhagen’s industrial history.
In the present, the site is filled with a mix of fruitful industries ranging from the arts, food, and cultural spaces. However, with the development of Lynetteholm just North of Refshaleøen, questions start to arise about its existence. What will happen to Refshaleøen, will it be subjected to gentrification? What will happen to Refshaleøen’s identity without the industry? Will it be forgotten?
With that, our project focuses on developing a 50 unit dwelling that explores the idea of site longevity, with a specific focus on a community driven sustainable development. My project is situated on the Northern part of Refshaleøen and is placed on an infilled concrete patch that was formerly used as a slipway from the old shipyard. The buildings are positioned in a way that allows privacy through the surrounding trees, but also ensures a community living through the created internal courtyards and shared spaces, and also invites users from both ends of the complex. To ensure minimal site intervention, the building is lifted 600mm off the ground with the use of concrete blocks. Looking at the ever changing landscape of the site, I’ve made use of a lightweight timber construction as a solution for temporary construction. The plan of the units are uniform and repeated to ensured adaptability and ease of construction. Units are of different sizes and can be adapted depending on the user’s needs. It is fairly minimal, and the units open up to the external walkways to ensure interactions between the inhabitants.
SEDIMENT RE-SETTLEMENT
MAK YUEN CHING IVY, ROYAL COLLEGE OF ART, LONDON, UK
Sediments
The sediments have held memories and history of human activities along the river, and have always been a source of living, bringing nutrients to the land and forming habitats for various species. Now that with inevitable sea level rise, the natural coastal landscape of Portugal is in danger of disappearing, it is not only about the sea, but also the consequences of colonialism which have weakened the landform. This project investigates future possibilities to create space for humans, vegetations, birds and other coastal estuarine creatures to live with the threat, and more importantly, to nurture once again the richness of the estuarine ecosystems.
Throughout time, we can see the change of relationships between humans and the sediments of the river. During the colonial ages, various human activities altered the natural landscape. Not only had the Portuguese turned the riverside wetland as enslaved fields, but their development of the Port of Lisbon has also largely affected the estuary.
The Port of Lisbon was famous for trades and colonial voyages. Yet large ships like caravels induce ship wakes
which erode the land. With the expansion of the port, dredging was also performed to open up shipping channels to Lisbon from the Atlantic Ocean. Since 1755 after the Lisbon Earthquake, reclamation has become the method of developing the port. This has shaped the long artificial shoreline of the Northern banks, and made the estuary narrower.
Erosion
With intensive ship traffic and constant dredging, the deposition process at the Tagus Estuary has been disrupted. Supply of sediments was reduced, and the strength of waves got stronger. The desires of the Portuguese has not overridden the ambitions of the Atlantic waves. The waves are intensifying the continuum of colonialism. Memories and land are being washed away by coastal erosion and rising sea levels.
In about 70 years, the sea level would have risen for a metre or more, In Portugal, Shoreline retreat rates of more than 1 m/year are recorded for more than 50% of the sand shores, with locally maximum rates up to 5-10 m/year. Costa de Caparica is one of the most highly affected coastal regions in portugal. This is threatening the habitats of various species and communities, human, nonhuman and the more-than-human - migrant birds resting in coastal wetlands and fishermen villages living with the coast. The Tagus Estuary is an important roosting site for migrant birds.
Aim
Cova do Vapor is located at the tip of the estuary, taking advantage of proximity to the sea yet it is also hazardous with waves. The fishermen villagers in Cova do Vapor have long been a very adaptive community to the
change in living environment. Even the moving of land throughout time has not stopped them from living in the area. They move following the movements of sand, until sand has vanished from the edge of the concrete land.
Instead of revitalising the fishermen community, a preservation of memories and a sustainable habitable environment shall be regenerated for the existing residents and anyone who are dependable on the living habits and environment of the village.
In the long run, the project shall release the coast from relying on hard human structures and regenerate the connections between various species’ lives and the natural environment.
Sediment Nomads
In this proposal, villagers’ settlements are adaptive to both sand and water. It is a new form of adaptivity required in the future. Groynes structures work with floating breakwater structures to help regenerate deposition. With the generation of new land, floating elements of the village can move further away from the shore to reach better locations for fisheries and to recall the past living habits of the old fishermen. They are still nomads of sediments.
This proposal is based on the ancestral spirit of adaptivity, enabling resilience through changing tides and times. In response to environmental changes, the proposal develops a system for regeneration and reclamation of land which once belonged to the villager and had disappeared or are disappearing. In this proposal, the settlements are adaptive to both sand and water. It introduces a flexibility through groynes systems that are required in the future, responding to sea level rise. Groyne structures work with floating breakwater structures to help regenerate deposition. With the generation of new land, floating houses and fishing platforms of the village can move further away from the shore to reach better locations for fisheries. They are still nomads of sediments.
Sedimentation
The structure will be an anchor for floating community spaces and dwellings, with parts accommodating non- and more-than-human bodies as a tidal refuge. The port is fixed to the sea bed by ways of groynes, which help regenerate the eroded beach and wetland. These groynes not only help the deposition of soil and sediments, but also facilitate the “sedimentation” of settlements and society. While the floating structure and tidal elements respect the change and fluctuation of the natural environment instead of overriding it with hard structures and strategies.
Coexistence
The construction starts with a foundation of 3 zig-zag wooden groynes extended from the shore. By avoiding the use of concrete and building large scale hard structures, the zig-zag groynes leave spaces for the structure to breathe in water. It facilitates the growth of saltmarsh and estuarine vegetation. The roots and dense stems of the vegetation will hence strengthen the land composition as a natural protection of land. Wetland vegetations help preserve coastal habitats for various species and also act as wave-and-windshield for human living areas.
On top of the tidal area, lifted platforms and houses create extended street space from the main streets of Cova do Vapor. Wooden platforms and dwellings are fixed within vertical structure on the river bed, but are floating in water. During high tide, the platform floats to adapt to the change of water level. This can avoid flooding or inundation in living spaces. When the platforms adjust their levels, new spaces such as tidal pools will be formed.
Such layered spatial structures create habitats for various species. It is a collection of nutrients, sediments and lives for the shore.
Structure from the shore extends the nature of the main
street of the village. The west wing extends from the edge of the village, where sand dune plantation is on-going from Costa de Caparica. Therefore the west wing mainly contributes to the regeneration of coastal wetland, as a bird habitat, as well as a protection from the Atlantic Waves to the project.
The mid wing elongates the society’s busiest main street. Dry markets, cafes and restaurants with outdoor seating are used to provide opportunities for residents to interact with each other. Since the village is crowded with houses, there are not many public spaces. Therefore, the street becomes their daily social meeting area. By con-
necting the main street to the seaside, this allows the villagers to reclaim their land on water, and to slowly expand their living area to the sea.
The east wing connects to the road going to the cities. This wing acts as a port, where fishermen and other local families exchange and trade their goods. Goods can be exported to cities through the main road directly. This is a mode of construction where both human, natural environment and other species can live together and benefit each other.
RECOMMENDATIONS
Palestine
Comicbook by Joe Sacco
Joe Sacco is a Maltese-American journalist and cartoonist. In the early nineties at the time of the first Intifada he spent a few months in the West Bank and the Gaza strip, travelling and taking notes. From that he created ‘Palestine’. Combining eyewitness reportage with the art of comic books he captures the heart of the palestinian experience.
The result is an impressive mix of art and journalistic writing. It is a great way of learning about the politics, history, humour and heartbreak of the palestinian struggle in a factual yet artistic way.
Léopold Lambert is the editor in chief of the Funambulist Magazine. In his teach-in ‘The Architecture of Settler Colonialism in Palestine’ Lambert presents his research and unfolds how architecture is strategically employed to uphold colonial systems and reinforce settler colonial structures. The teach-in provides valuable insights for students seeking to understand and engage with these dynamics, and is available and free to watch on youtube or via www.thefunambulist.net
The Architecture of Settler Colonialism in Palestine
Lecture by Léopold Lambert
Photo credit: Léopold Lambert
Photo credit: Joe Sacco
The Concrete Tent Art installation by DAAR
DAAR (Decolonizing Architecture Art Research), founded by Palestinian architect Sandi Hilal and Italian architect Alessandro Petti, challenges power structures related to displacement and colonial histories. Their project, "The Concrete Tent" (2015-2023), reinterprets the traditional tent in concrete to preserve its cultural and historical significance, especially in relation to the Nakba, while also addressing contemporary issues of exile. This initiative embodies a complex dialogue between tradition and the current political landscape.
The Funambulist Magazine #27 Learning With Palestine Magazine
The Funambulist is a platform that engages with the politics of space and bodies. Their 27th issue ‘Learning With Palestine’, created with the Palestine Festival of Literature, examines how to reclaim what colonialism has taken—cities, land, language, narratives, and digital spaces—through contributions from Palestinian authors. It connects Palestine’s anti-colonial struggles with those in Turtle Island, Algeria, and beyond, and includes articles on the Iraq Revolution, Korean “comfort women,” and Black resistance. The issue can be accessed for free online at www.thefunambulist.net
Photo credit: The Funambulist
Photo credit: DAAR
Dima Srouji
Architect and artist
Dima Srouji is a Palestinian architect and visual artist who investigates the ground as a layered space, carrying cultural significance and offering possibilities for collective repair. Through working with glass, text, archives, maps, plaster casts and film, she seeks out ruptures in the ground where imaginary liberation is possible. She uses each medium or object as a guide to better question the meaning of cultural heritage and public space in a middle eastern and more specifically Palestinian context.
Photo credit: Dima Srouji
Mirna Bamieh is a Palestinian artist. She melds food and storytelling as a way of exploring the politics of disappearance and appropriation. Her art is a tribute to Palestinian culture and fading traditions, but also a way of developing socially engaged work like she has done through the ‘Palestine Hosting Society’ - a live art project that stages dinner performances.
All of Mirna Bamieh’s work is very original, but especially her installation ‘bitter things’ which includes ceramic sculptures inspired by bitter Oranges and the Palestinian Jaffa Oranges is inspiring and poignant, and tells the story of wilderness and dispossession.
Stitching the Intifada
Book by Rachel Dedman
Tatreez, the intricate art of Palestinian embroidery, is a craft rich in beauty and history. In this book, Rachel Dedman explores its evolution—from a regional tradition to a powerful symbol of Palestinian identity and resistance, especially following the 1948 Nakba and during the First Intifada, as well as its reinterpretation by contemporary artists.
Mirna Bamieh Artist
Photo credit: Mirna Bamieh
Photo credit: Londonbookarts
praktikant bachelor Tillykke, du er
Hey, studerende, inden længe skal du i praktik. Bagefter tager du måske en pause fra studiet for at få endnu mere erfaring.
Til den tid er du uddannet bachelor. Det betyder, du skal have en helt anden løn, end da du var i studiepraktik - du er nemlig ikke længere praktikant!
Vi er FAOD. Vi kæmper din sag. Meld dig ind nudet er fuldstændig gratis!
OUT OF THE BLUE
Paper:
115g Munken White
300g Munken Print White
Cover: Henrik Christian Abel
Print: LaserTryk.dk Issues: 1000
Format: 200x265mm
Fonts: Nimbus sans Synthese Regular
Articulat CF Demi Bold
Contact: kaark@stud.aarch.dk
@kaark_magasin issuu.com/kaark
KÅRK is a non-profit magazine provided free of charge to architecture and design students across Scandinavian countries, and any others with interest in the fields of design and architecture. It is made in collaboration between the students at Aarhus School of Architecture and The Royal Danish Academy. We release a new magazine once every semester - each exploring a different theme.
If you would like to be featured in the next magazine, we would love to hear from you at kaark@stud.aarch.dk
A special thanks to:
Aarhus School of Architecture
Exners plads 7 8000 Aarhus C
The Royal Danish Academy Philip De Langes Allé 10 1435 København
The editorial team of this issue for making the cyanotypes that are used throughout the magazine as an exciting way to explore the theme ‘Out of the Blue’, and for spending a whole weekend to produce the layout of this issue.
