Diploma Days 2018 by KTH Arkitekturskolan

DIPLOMA DAYS AT THE SCHOOL OF ARCHITECTURE, KTH 29th of May â&#x20AC;&#x201C; 1st of June 2018

Content

An introduction by Per Fransson

A short word by Malin Ă&#x2026;berg-Wennerholm

Diploma projects

Studios 250

Students 251

Jury 252

About 253

Introduction The Diploma Days marks the end of an Academic Year and celebrates the next generation of Architects. It operates as a window onto architecture as it is taught, practiced, understood and developed at the KTH School of Architecture; and provides a stage for the formal examination of the Diploma Projects. These projects are the outcome of the term-long, final project within the School of Architecture. They present the studentsâ&#x20AC;&#x2122; solution to an architectural design problem and in doing so demonstrates their command of the unique set of tools, techniques, technologies, and knowledge required to make and practice architecture. The exhibition of student work spans the entire building and is mixed with works from all years of the 5 year program â&#x20AC;&#x201C; a full scale stress test to our 3 year old building and its possibilities to host an Architectural Education. The ceremony on June 1st 2018 celebrates a unique cross-section of the common concerns of a new generation of Architects. Per Franson, Head of Education 4

A short word Diploma students thank you all for your enthusiasm for learning and your firm belief in welcoming new approaches. How will you as new architects be able to live and act in the world, after a life in academia with its conditions? Well, there is a special place for everyone in the diverse architectural archipelago beyond the school. Diploma students, you’re soon entering the profession and together we have indeed, during your years of study, thought of the future of the built environment. During your time as an architect student you have been exposed to a variety of teachers of different kinds: practitioners, artists, researchers, architectural theorists and together we have created an excellent learning experience, based on education as practice of freedom. Diploma Students, you have indeed succeed with what might be one the most important part of your education: to do your very best, and for that, we – the School of Architecture – would like to congratulate you!

Malin Åberg-Wennerholm, acting Head of Department 5

Projects

Bastun â&#x20AC;&#x201C; ett andrum / The Sauna â&#x20AC;&#x201C; an emancipatory space Emilia Almqvist Jansson In Sweden the sauna is often a separatist space. Public saunas are mostly found in gyms or at indoor swimming pools. The dressing rooms, showers and saunas are normative separatist spaces in todays society, it is a norm created by the heteronormative society to divide by sex. Other spaces made for either men or women are looked upon with a frown. I feel there is a need for safe and emancipatory spaces for women, places where women can be without having to act in a certain way expected by the patriarchal society and the male gaze. The sauna is an emancipatory space, both in its separatist perspective and as an emancipatory apparatus for the mind and body. The sauna in SkĂ¤rholmen is a space for women, it includes a salon for meetings and a sauna for relaxing, it is a building where one can feel safe and consolidated. Studio 3: Johan Celsing, Daniel Johansson Contact: emilia.almqvist.jansson@gmail.com 8

Sauna plan, Scale 1:500.

PLAN, skala 1:100

5 13 11

7 10 9

2 6

4 6 15 17

1 3

1. Éntrehall 2. Kassa/Kiosk 3. Personalyta 4. Kök (till kiosk och personal) 5. Salong/Väntrum 6. RWC 7. Omkläddningsrum 8. Tvättrum 9. Bastu 10. Badstege

11. Solterrass 12. Bastukammare 13. Städförråd och tvättrum 14. Förråd 15. Teknikrum 16. Avlastningsyta ved 17. Klyvrum 18. Vedförråd

The salon, a beauty salon or a cultural salon like Natalie BarneyÂ´s or Gertrude StienÂ´s, a separatist space.

Three women in a sauna. The sauna is a mystical space, the setting is far from the everyday spaces of our daily lives.

SĂ¤tra lighthouse is the site for the project, the lighthouse as a symbol for another place.

SkĂ¤rholmens public sauna. View inside of the washing room with the sauna door in the back.

The key to architecture Emil Almesjรถ Architecture is not art. Architecture is an art! A house is created and throughout the process it reshapes and changes and in the end it is built. So the question is how, as an architect, can I give the project a chance to include a good process? This is an investigation into such a method, a key to get the project a good start and a relevant process. A key way of working that creates an understanding of what the client, architect and carpenter can expect to put their commitments. The method is based on the fact that projects can be resembled as cells and therefor the form can be programmed. The programming aim for including interests, this leads to more involvement; confidence in the process, and the cell gets a opportunity to shape architecture. Studio 4: Ori Merom, Charlie Gullstrรถm Hughes Contact: emilalmesjo@gmail.com 12

Programming the architectural process

Projects becoming a cell structure

Process

Fragment

Experience

A projects tree basic elements

Assisting architecture Therese Andersson When memory and logic fail us and it feels like the brain is slowly breaking apart, we need help with the physical details of our everyday lives. When planning housing options for people with dementia, we need to keep in mind that we are building for someone who will not be able to adjust the room according to their own needs. We need to step into that person’s world and focus on the smallest details. The room and the physical items need to remind the residents of what they usually do and how they do it. We need to think about how a physical environment can be adapted to people with severe cognitive failure. There is already so much technology that could be adapted and really helpful appliances. My task has been to search for details that can serve as guidance when memory and logic fail, and to look at how these can be planned for already in the construction of the housing. Studio 11: Malin Åberg Wennerholm, Claes Sörstedt Contact: tessandersson@telia.com 14

Att öva på att gå på ojämnt markunderlag kan stimulera hjärnan

Egna trädgårdstäppor. Är man inte intresserad kan staketet plockas bort och marken kan tillhöra alla.

Different facade material for

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increased recognition rate.

Windows with selected views.

Exercise

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FÅGELSÅNGSGARDIN

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Outdoor environments with the possibility of private planting.

Glass doors with birdsong TYDLIGT KONTRASTERANDE HANDTAG

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LJUSARE FÄRG PÅ FÖNSTERVÄGG FÖR ATT MINSKA

ATT BYGGA IN SPEGEL I KAKLET OCH HA DET DIREKT I ANSLUTNING TILL ÖPPEN DÖRR KAN GE FÖRVIRRING OCH KAN MISSUPPFATTAS SOM ATT NGN ANNAN ÄR I RUMMET

KONTRASTVERKAN DÅ DET BLIR MÖRKT UTE

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Warm colors and matte materials.

E HANDTAG

LJUSARE FÄRG PÅ FÖNSTERVÄGG FÖR ATT MINSKA KONTRASTVERKAN BLIRAV MÖRKT KONTRASTFÄRGERDÅ PÅ DET KANTER BORDUTE WC-KANT, SPOLKNAPP OSV

ATT BYGGA IN SPEGEL I KAKLET OCH HA DET DIREKT I ANSLUTNING TILL ÖPPEN DÖRR KAN GE FÖRVIRRING OCH KAN MISSUPPFATTAS SOM ATT VARMA FÄRGER PÅ VÄGGAR I BADRUM- EJ NGN ANNAN ÄR I RUMMET

GLANSIGA MATERIAL

Putting mirrors in the tiles can have a confusing effect. TYDLIGT KONTRASTERANDE HANDTAG

LJUSARE FÄRG PÅ FÖNSTERVÄGG FÖR ATT MINSKA KONTRASTVERKAN DÅ DET BLIR MÖRKT UTE

TYDLIGT KONTRASTERANDE HANDTAG

LJUDDÄMPANDE MATERIAL

LJUSARE FÄRG PÅ FÖNSTERVÄGG FÖR ATT MINSKA KONTRASTVERKAN DÅ DET BLIR MÖRKT UTE

Kontrastfärger på kanter av bord WC kant, spolknapp osv

ATT BYGGA IN SPEGEL I KAKLET OCH HA DET DIREKT I ANSLUTNING TILL ÖPPEN DÖRR KAN GE FÖRVIRRING OCH KAN MISSUPPFATTAS SOM ATT NGN ANNAN ÄR I RUMMET

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Sound absorbing material

ER AV BORD V bord WC kant,

VARMA FÄRGER PÅ VÄGGAR I BADRUM- EJ GLANSIGA MATERIAL

Contrasting edges KONTRASTFÄRGER PÅ KANTER AV BORD WC-KANT, SPOLKNAPP OSV

LJUDDÄMPANDE MATERIAL KONTRASTFÄRGER PÅ KANTER AV BORD WC-KANT, SPOLKNAPP OSV

VARMA FÄRGER PÅ VÄGGAR I BADRUM- EJ GLANSIGA MATERIAL

Kontrastfärger på kanter av bord WC kant, spolknapp osv

LJUDDÄMPANDE MATERIAL GSPublisherEngine 0.28.100.39

Kontrastfärger på kanter av bord WC kant, spolknapp osv GSPublisherEngine 0.28.100.39

Architecture that reinforces our senses and uses the healthy parts of the brain can be a guide through the physical environment and lead to social interactions.

LJUDDÄMPANDE MATERIAL

Fågelbord skapar trevliga utblickar dörr för personal som gör frukost och serverar medicin

låsbart medicinskåp

tavla för instruktioner

lugn dov grön väggfärg

Betongplattor 30x30

hall K/F

Kullerstenar avvikande mörkare färg på dörrblad Kattskallar

dörrbladet målas in i samma färg som väggen då köket inte längre används av den boende

förråd Livet ska fortsätta levas med valda ägodelar. Men för att det inte ska bli rörigt med mycket saker framme i hemmet så är det viktigt med ett väl tilltaget förråd med möjlighet till god överblick. Sömn är extremt viktigt för återhämtning av hjärnkapaciteten. Under sömnen rensas hjärnan. Lever man tillsammans ﬁnns det risk att man tidvis stör varandra. Här kan en extra säng för sådana nätter få plats. Under livets sista veckor kan det bli många vaknätter för anhöriga. Säng för övernattning.

Lampa utanför fönstret för att motverka att fönsterrutan ser svart ut på kvällen

Trampnarv

Epoxygolv samma i helg lägenheten. inga trösklar

Kryddbäddar

panelvägg med olika djup för taktil känsla

61 m

möjlighet till säng för att sova ostört

TV och info

Citronmelliss Timjan

skärmvägg som går att ta bort om så önskas

icke säsongskläder

Liggande grönt matt kakel.

Grönkål

sö lö fre tor ons

Basilika

garderob

tis

Tvättkorg

mån

krok för morgonrock

sittbänk

schampoo balsam

wc/tvätt

gardiner i linnetyg

MUSSELSTRAND

utesoffa

handduksförvaring

värmegolv

Lugna hörn för vila tandborste tandkräm

tavla för instruktioner

vanligt dörrblad för igenkänning

rullgardin för att individuellt kunna bestämma ljusinsläpp På kvällen kan denna ljusglipa se ut som en stor skarv upp mot taket

Plan scale 1:50

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Working with the details and keeping each thing in its place will face behavioral symptoms in dementia.

Walking path

Music Room

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Workshops

Shared kitchen

Different rooms for different activities

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Sequence from film about Lifeâ&#x20AC;&#x2122;s staircase

Diagram 1 Topological model of landmass expansion based on triangulation of topography

Current outline

Incremental increase of island circumeference

Section plane

Transformation of Beckholmen James Anstey The topography of any given site is developed in different ways considering topology in architectural drawing. The observations in the subsequent body of drawings constitute a topological landscape with a great many parallels to the architectural context. It may be described in time and space, as a complex traversed by forces, transformation and synergy; expressing and confguring varied and ambigous signifcanies through constellations that are both real and virtual. The method seeks to provoke a mode of operation in-between the real and the virtual, which may be said to hold the subject as its pivot along the phenomenology of the architectural object; omnipresently considering and shaping virtual constructions capable of instrumenalizing ambiguity and opening up a topological production of architectural meaning. Studio : Pablo Miranda Carranza, Annie Locke Scherer Contact: james.anstey@me.com 18

If a landscape is read as a tactile surface, despite an encounter between different typologies, there is a decipherability in the transitions between the states. A infrastructural grid structure can be dissolved and transformed into a more fluid form and then reoccur. Alternatively, it can be cut off with a clear new structure presiding. This can give rise to speculation upon how this mapping may be translated into threedimensional subcomponents.

Original component structure.

Screen joins component 3.

Twisting columns at back relocated to form twisting beams at entrance.

Columns rotate to support cantilever. Cantilever joins component 1.

Hannes Meyer: Peterschule. Drawings. Et cetera. This is a caption Scale 1:100.

Superfluous screen and grid removed. Incline becomes ramp.

Cantilever becomes roof of component 1.

Incline removed.

Evolution model roof extended into landscape.

Static space surrounded by inclining surface.

Several overlaps in evolution model create multi tiered roofing.

Columns are rotated and extended to form beams.

Transition into columns/beams.

Screen forms entrance of component 3.

Skylight positioned where grids clash. Twisting structure as part of landscape model.

Pace of beam corresponding to dock crane rail.

Resulting wedge-shaped structure in unison with landscape.

Static space sits within landscape.

Open/enclosed in correlation to outline model.

1,2m

22,3m

10˚

5˚ 30˚

1,9m

15,8m

90˚

61˚

10˚

1,95m

10,5m

90˚

86˚

27˚

77,4m

125˚

169˚

34,7m

165˚

32˚

7,4m 28˚

152˚

16,9m

8,5m

9,8m

Masterplan.

If a landscape is read as a tactile surface, despite an encounter between The way one chooses to decipher the different characteristics of the subcomponents lead to a variety of concepts, for example; The static void, which may relate to the subdivision of space. The repetition, which may relate to what constitutes as the structure, as well as the overlap of the fluid surface. These three main components are then assigned different functions in the final composition. 21

Kulturrum Visby – adding in a cultural heritage site Hugo Barcelona Bergenwall “A conversation is heard from a distance, somebody drops a wooden plank, the monotomous hammering on stone. The mechanic sound from a drill somewhere behind a high wall. To every day explore, discover. New places, angles, a new place where we put the table, a place for the scene. A space in constant transformation, a constant rediscovering. A sacred light filters through the window covered with a thin layer of dust. The support against the thick bench when sawing. Mixed tones from the radio bounces and turns down against the wooden floor. The smell of wood. A warm space with a burning kiln. An unclean concrete floor and the moisty smell of clay. Pouring up coffee against a low bench.” Studio 3: Johan Celsing, Anna-Karin Edblom, Daniel Widman & Daniel Johansson Contact: barcelonabergenwall@gmail.com 22

The workshop space. 1:20

From the inside out Anna Barenghi I began my thesis with compact living as my main idea. I researched the way we live in cities today and learnt that 57% of Stockholmâ&#x20AC;&#x2122;s inhabitants live in a two bedroom and kitchen apartment or smaller. My aim is to create furniture modules that can enhance small apartments. I created three modules that incorporate all essential items of furniture; these modules can be adapted for any apartment. In order to show how the modules can be used I picked a small site in central Stockholm and allowed the house to be shaped by the apartments, the apartments are in turn shaped by the furniture.

Studio 6: Leif Brodersen & Teres Sellberg Contact: anna.barenghi@gmail.com 24

Scale 1:30 A1

Led light strip & electrical socket

Kitchen module, scale 1:30 A1

Orrsjöpalatset Johan Bjärnström My dream of becoming a architect began when my father and grandfather built a summer house in the Stockholm archipelago. As a kid i was deeply impressed that they could build a real house all on their own. So in my last project here at school i have drawn a summer home that i in the coming years will build on my own. I have always had a fascination of light and decided to take this opportunity and do a thorough research of how light effect architecture. My approach has been to make lots of sketch models in which i have tested different qualities of light and atmospheres.

Studio 7: Peter Lynch, Elizabeth Hatz, Nina Lundvall, James Payne Contact: johan@bjarnstrom.com 28

Previous page, left: Living room. Right: Storage wall. This page: kitchen, 1:10 model photo.

Experiencing Rooms – a tale of two pathos(es) Hanna-Thea Björö & Anna-Vera Solala Arvidsson Experiences, narratives and architecture are seemingly connected, therefor this thesis project attempts to explore the transformation of emotions and impressions from an ‘artwork’ into architectural components and sequences of spaces. Our ‘artwork’ and generator for this thesis has been the film The Square by Ruben Östlund. It is a project where two interpretations been interwoven into one building, a monument of our mental rooms generated from the same starting point. The different scenes has evoked different feelings and impacts and been translated into 14 rooms.

Studio 6: Leif Brodersen Teres Selberg, Studio 3: Daniel Widman Contact: hannathea.bjoro@gmail.com, annavera.arvidsson@gmail.com 30

Room 1, hysteric or scary.

Backdrop (section) A-A, scale 1:150 (A0).

Backdrop (section) B-B, scale 1:150 (A0).

From the analysis, Method 4 Direction, model photo.

Stills from the film, The Square by Ruben Ă&#x2013;stlund.

Kungshagen- recognizing the qualities of the existing Kajsa Blohm This project takes place in an midsized swedish city. It´s about finding an identity in a more urbanised society where cities become more similar and distances smaller. In search of representative places we tend to clean up our cities so much that they show a totally artificial way of life. How can we instead work with what’s actually existing?

Studio Jesús: Jesús Azpeitia Seron Contact: kblohm@kth.se 34

3 4

8 7

20 19

27 25

SITE INVENORY

Industrial buildings with varying building quality and materials. Corrugated sheet metal,textile cloths, brick, plaster. Functional and flexible buildings.

Inventory of existing buildings on site.

56 nights of light Josefin Borg Above the polar circle the climate has a different cycle than most of us are used to. Summers are short with daylight around the clock and winters are harsh and dark. The shifts of the seasons are abrupt and full of contrasts. Living in these areas make an imprint on residents, both socially and culturally. Therefore it is a bit peculiar that their dwellings, in many ways the center of every personâ&#x20AC;&#x2122;s life, are not particularly characterized by these special conditions. This is a project about northern dwellings and the challenges and opportunities that such a site provides. I have chosen the Swedish mining town Kiruna as the place for my project. I have created a cluster of buildings to live in and around during seasons, with the specific conditions of the north. Studio 10: Alexis Pontvik, Sepideh Karami Contact: josefin.a.borg@gmail.com 36

Left: South faรงade. This page: North faรงade and model photo.

Architecture and cultural identity Helene Boström This project aims to preserve Malungs cultural heritage. A heritage of leather craftsmanship which has defined the area in centuries and has been a big part of the local identity. A heritage which today risk to be forgotten. In an attempt to bring the knowledge & traditions around the leathercraft in to the future I have created spaces where it allows to live on. I have also aimed to answer to Malungs contemporary needs. The proposal is located on a site where a factory building, who for a long time characterized Malung and were an important part of the area’s identity, earlier were situated. Due to a fire in 2014 the building burnt down and a part of the cultural identity got lost with it.

Studio 6: Leif Brodersen, Teres Selberg Contact: helene.bostrom@hotmail.se 38

Scale 1:2000

Animate form through low tech wood contruction Eric Bรถlin To challenge the homogeneous expression of the traditional swedish house the animate form can be used as a contrast and create a diversified contribution to our building fauna. This project aims to explore if and how this can be made with the limitations of what we have access to at the hardware store. With testing first in models and later in 1:1 it presents a method to construct and create your own free form house made enterly from plywood boards. Defineing the minimum radius of curves and limits of bendability, it gives you a guideline how you can shape your own structure into what suits you and your own purposes.

Studio 1: Anders Berensson, Adria Carbonell Rabassa Contact: eric.bolin1@gmail.com 40

Section perspective. Sauna.

Section perspective. Sleeping hut

Architecture and memory Qi Chen I was interested in this topic when I was in my bachelor. I come form China, in this time, we are in the rapid development stage. During this time we destroyed lots of valuable old buildings to made new one, just because that is a easier way to meet functional requirements for today. Then I start to think: architecture come alive when people have memory on it, time is this medium which can “store” human’s memory in buildings. If you want to protect people’s memory, you need to learn from time. This thesis is not about how to design feature of a building, but learn changings from the past, and try to do a building which reserve people’s memory.

Studio 4: Charlie Gullström Hughes, Ori Merom Contact: chenqi77134@gmail.com 42

Chen Qi. Research drawing of Knapingsborg in Norrkoping. Master plan analyze.

Chen Qi. Drawing of project. Master Plan. Scale 1:2000.

Name ceremony in the Patent and Registration Office Sara Deurell The thesis investigates the encounter with an existing building and ceremonial rooms, in a proposal for a room sequence and ceremony for someone changing their name. There is a structure in all rites of passage, they have a separation, a transition and a reunification. That is also the structure for this ceremony. You leave your name, you are without a name, and you take a new name. It plays out in an entrance building, a dwelling, a celebration room and the passages in between, intersecting the Patent and Registration Office.

Studio 7: Peter Lynch, Elizabeth Hatz, Nina Lundvall, James Payne Contact: sara@urtiden.com 44

Elevation towards Skeppargatan

Entrance building, isometric view,1:200

Perspective view entrance building

Door to Valhallavägen , 1:100

New door to Valhallavägen, isometric view, 1:100

Elevation towards Valhallavägen

Sectional model 1:50. Cardboard, plaster, oak.

Reconstitutions – 18 variations on a Kurdish courtyard house Arram Eckerbom Image (swe. bild) as conception (swe. föreställning) and as object; memory and architecture converge in the image. In memory and through architecture we rely on a congruent relationship between image and ”lived experience” and ”the possible” respectivly. We rely on this congruency despite the fact that it can never be confirmed other than ideally existing. Dad shares his memories (swe. minnesbilder) and what appears is the image of a house. Like all images it appears as complete in itself but also; unfinished, incongruous and in continous creation through the observer.

Studio 2: Anders Wilhelmson Contact: a.eckerbom@gmail.com 48

A drawing by my father depicting his childhood home in Kifri, Iraq.

Älvgalleriet, Göteborg Artur Edman This is a floating art gallery in Gothenburg, Sweden’s second largest city. Its purpose is to provide a focal point to the city’s developing river-fronts and move whenever it’s needed to other locations. I believe that a good design is able to interact with its site. Hence, I decided to analyse the climate and other characteristics of the city as part of my process; Gothenburg’s two most prominent climate characteristics are wind and rain. Together with the barnacle, they inspired the design language and the water-harvesting facade of the gallery. Finally, this project was a platform to explore ways to design that were different from what I am used to, namely generative design and parametrics. Studio 4: Charlie Gullström Hughes, Ori Merom Contact: artur.edman6@gmail.com 50

roof

framework

on biti

spa

facade system

rse

cou

n /co

louvres/harvesters

ramp with exhibition zones

facade system

louvres/harvesters

dome

exh

Previous page: facade shown with the harvesters closed to provide shade, harvesting the rainwater and open to let daylight in. This page: exploded axonometric showing the elements of the gallery.

The flowing, wind-inspired dome structures are offset by the rectangular facade and irregular internal frame-work.

Plan. Showing the two contrasting spaces, inside the dome and in the concourse area around it.

Walkway suspended inside the dome, providing circulations to roof and three smaller exhibition spaces under the domes.

Interior perspective of concourse showing an art piece in exhibition.

Healing spaces for individuals with psychosis Linn Efvergren A large portion of the project has been to gather knowledge about the illness, what the spaces these persons encounter throughout their illness is like, and how one could better design spaces for individuals with a different perception of space and reality, and for who the environment play a large part in becoming well. The proposal, short-term group dwellings for first-time psychosis patients in combination with a meeting place for persons who have been ill longer, is about testing the result of the research architecturally and trying to answer the question: what could healing spaces be for individuals suffering from psychosis and schizofrenia?

Studio 8: Sara Grahn, Rumi Kubokawa Contact: efvergrenlinn@gmail.com 54

Many suffering from psychosis have a feeling of being watched. The layout of the bedrooms of the group dwellings allow for light to come in but there is always a choice if you want to be seen or not. Whilst lying in bed, one can see the sun moving across the space during the day like a sun dial, creating a connection to time, space and reality.

Section through the two group dwellings, its courtyards, and the meeting place.

Common spaces of one group dwelling placed around a courtyard

Urban Nomads Marie Ekblad In the marketing of certain types of newly-built urban homes there is an intended target group: the “urban nomad”. A luxury hotel style dominates these pictures of future dwellings and a new aesthetic has evolved in rendered images. These types of images have become so common in architectural magazines and housing ads that they often go unnoticed. Behind the pictures is an underlying idea of a flexible housing market that can create positive outcomes for the whole community. This project examines how the idea of mobility in the Stockholm housing market affects the design and marketing of architecture and the possible downsides to the commercialization of urban homes.

Studio 11: Malin Åberg Wennerholm, Claes Sörstedt Contact: marie_ekblad@hotmail.com 56

Illustration 1.

Lost Landscapes Ellinor Eklund Lake Bästeträsk in the northern parts of Gotland and the area surrounding it can become one of Sweden’s new national parks within a few years. The conditions for the site have been slowly created by geological processes for a near endless period. Hidden under an austere vegetation the remains of shells and sea lilies that were living in the tropical climate 400 million years ago can be found. The site is today characterized by natural and cultural environments and a large scale lime industry. We rarely stop to think about the origin of the materials that make up the built environment. Because these landscapes literally disappear, we can think of them as lost landscapes. On the border between the untouched and the industrial site is a place of observation, a hotel where every room looks out onto the dramatic landscape of a soon abandoned limestone quarry that is slowly filled with water. Studio 2: Anders Wilhelmson Contact: ellinoreklund@me.com 58

Merging pieces, searching the commonâ&#x20AC;&#x201C; interpreting appearance Emma Ulfsdotter Ekman Copenhagen in the turn of the last century; light from the outside world seeks its way along the floor into the interior painted by Vilhelm Hammershoi. Why do I want to stay here? The surrounding space of the room in focus affects our perception of it; in what way are they connected and which sources of light might exist behind? My method has been to phenomenologically explore a set of artworks representing rooms that, to me, convey a sense of desirable place to stay and live in. My intention with these investigations was to build a dwelling space with shared functions; a collective living. I tried to recreate my interpretations from the artworks by building rooms with similar qualities, hoping this project would make more people choose a collective way of living rather than an individual one. Studio: JesĂşs Azpeitia Seron Contact: emmaef@kth.se 62

Model studies of The Linen Closet by Pieter de Hooch and Der Laden by Neo Rauch. Original Scale 1:20.

Detail of model, final project. Original Scale 1:75.

Section, final project. Original Scale 1:75.

Sektion C-C skala 1:75

Groundfloor plan, final project. Original Scale 1:75.

skala 1:400

Section through ground, final project. Original Scale 1:400.

Views AndrĂŠ Eriksson Transforming the first floor of a 1950s building at SveavĂ¤gen, Stockholm, this project aims to redefine the traditional cinema. This is not a perfect quiet black box, but a place for sharing, experiencing and discussing film. A cinema for independent films, short films, documentaries and film festivals, but perhaps also presentations and lectures. A flexible building that can open up, or close down, depending on the event. A cinema where one can sit down for a brief movement with a coffee, or spend an evening at the big screen.

Studio 3: Anna Karin Edblom, Johan Celsing, Daniel Widman, Daniel Johansson Contact: andre.e@outlook.com 66

Floor plan. Scale 1:400.

Auditorium and restaurant. Scale 1:50

Auditorium. Scale 1:100

Entrance. Scale 1:50

Senja Anna Eriksson Communal housing for tourists and seasonal workers in the fishing industry. This project takes place in the north of Norway, on an Island called Senja. With its beautiful nature and reliable resource of fish it attracts tourists in the summer time and seasonal workers in the fishing industry during the winter. How can communal housing for tourists and workers act as a hub in the local community? Around this question a cluster of different functions has been developed that serves the whole community as well as the communal housing with private living units.

Studio 4: Charlie Gullstrรถm Hughes & Ori Merom Contact: petersdotter.anna@gmail.com 70

Anna Eriksson: Interior perspective

Seriously playful – a preschool in Bagarmossen Emma Erikson Children learn all the time, through all their senses, and are constantly and emotionally receptive to new experiences. Our little ones should not be sent to “storage”, but rather be given the opportunity to move, play and create, and learn by doing so. How we value children and education should be reflected in architecture. This preschool in Bagarmossen aims to do just that - be inviting, playful and accessible. Permanent needs should be solved with permanent solutions, not with temporary construction permits.

Studio 6: Leif Brodersen, Teres Selberg Contact: emma.erikson@gmail.com 72

Ground Floor Plan 1:800

Model

Subsidary building for the City Hall Therés Forsberg City hall were never intended for civil marriages since civil weddings were formerly performed by judges, a profane wedding room is placed in town hall. Since 2009 judges no longer performs marriages and the town hall’s wedding room is not in use today for safety reasons. My thesis project is a survey of Ragnar Östberg’s manner in the city hall in the form of a building theres´s a current need for. I have investigated and tested Östberg’s method of capturing the city hall’s identity and character in a new building similar to a mirrored sibling on the other side of Riddarfjärden.

Studio 6: Leif Brodersen, Teres Selberg Contact: theres.forsberg@gmail.com 74

Model over RiddarfjĂ¤rden with surrounding area, scale 1:1500.

Vision.

A Scenography of the City Adnan Gacanin The skene, the back wall of the stage, of ancient Greek theaters is a type which inhabits an intersection between architecture and scenography. That is, between the physical world and that of the dramatic narrative. My investigation has been a search both for other similiar intersections in the city and its architecture and for a visual language corresponding to this undefined state. This was done, in part, by looking at the conditions of the theater and the necessary abstraction and concentration in scenographic representation. The skene of the greek theater functions as a symbolic front, by being overly stylized or showing the limitations of the illusion this element marks the possibility of other, symbolic or fictional realities. I have placed a proposal for this type of stage at Karlberg Station. Studio 7: Peter Lynch, Nina Lundvall, James Payne Contact: adnan.gacanin@icloud.com 76

Elevation of east facade/fixed scenography

Capturing the Gothic Line Parametric Exploration of Gothic Ornaments Filip Grzesiak The project explores the ‘Gothic Line’ as observed in ornament. Escaping strictly geometrical means of defining, the study focuses on capturing the Line’s elusive properties in connection to chosen architectural elements. With selected properties, the two-dimensional principles are extracted into the 3D environment. Using parametric design tools each feature is transformed into multiple prototypes of three-dimensional interpretation. The project aims to capture subtlety of the Gothic Line while providing a system enabling creation of architecturally relevant ornamental structures.

Studio 9: Annie Locke Scherer, Pablo Miranda Carranza Contact: grzesiak.fa@gmail.com 78

System: Example Ornamental Structures

Rose Window: Seeming Rotation

Window Frame: Elusive Line

Wooden Carvings: Weaving Threads

Nave Elevation: Blending Rhythm

Seaming Rotation: Vertical Expansion of the Line; Column

Elusive Line: Arcs Transformation into Semi-Horizontal; Arches

Weaving Threads: Seamless Connector of Elements

Blending Rhythm: Transition into Horizontal Line; Surface

The Theatre of unforseen Affiliations Mimmi Gustafsson The Statue of Liberty might seem like a complicated woman at first glance. But her metallic, sculptural shell is supported by a quite conventional trusssystem on the inside. This “unforseen affiliation” of building elements is a marriage between the orthogonal and the curved, the structural and the artistic. The oldfashioned in disguise of something new. I seek to investigate the loadbearing role of the truss in relation to its cladding, surface. Can something that looks advanced and sculptural be supported by something simple almost banal? My take on this question has been to design a theater building in the park “Hagaparken”, a hallmark of Swedish landscape planning á la Rokoko. In terms of construction and aesthetics my reference project has been one of the treasures of the history of Hagaparken, the 17th century building “Koppartälten”. Studio 5: Ulrika Karlsson, Veronica Skeppe Contact: www.artmimmi.se 82

10.

11. 7.

Plan 0, 1:100 1. Restaurant, serving space. (Stair leading up to terass)

9. Storage with entrance for props to be unloaded.

2. Specially constructed dining space, with built in â&#x20AC;&#x153;scenary curtain wallsâ&#x20AC;?

10. Scene space + salon 11. Toilets

Plan 1, 1:400

Roof plan, 1:400

3. Dishes / Storage 4. Kitchen with bench-island in its center. 5. Foyer space + extended serving space. 6. Loge 7. Wardrobe with access to rest - rooms + 9340

8. Artists foyer with pentry (Stair leeding up tp second floor)

Moleric section, plan 1:100, elevation 1:100

Seeing, building â&#x20AC;&#x201C; Looking at the existing, making tectonic translations Caroline Gynther To build is to add to the existing. Three existing wooden buildings in Visby, made in three different local techniques (a post and plank, a timber frame and a log construction) have been the starting point on which to build upon. By studying these techniques, new buildings have been added in line with the principals of the existing.

Studio 7: Nina Lundvall, Peter Lynch & James Payne Contact: caroline.vilhelmina@gmail.com 84

Construction axonometry of an existing timber frame building.

New cemetary Stockholm Marcus Gรถhle There is a shortage of graves in Stockholm. This thesis project investigates a new cemetery in northern part of the city while exploring new and old burial methods and rites. Freedom of religion only extends by Swedish law for the living. At the moment of death you are forced to adapt to Swedish norms and only to methods. The cemetery of tomorrow should reflect the values of our society and be a welcoming host for everyone and offer a good death.

Studio 4: Charlie Gullstrรถm, Ori Meron Contact: gohlemarcus@gmail.com 86

Mwakikonge community space Gustaf Hammerbo & Carl LoftĂŠn The purpose of the project is to improve the situation for the children at the Mwakikonge school and to help the politicians to strengthen the weight of education in the village of Mwakikonge, north -east of Tanzania. The building will simplify the lunch situation with a dining hall instead of children eating in the extreme sun. It offers a large area with shade as an extension of the schh spaces for both spontaneous and planned meetings. In addition to the buildingâ&#x20AC;&#x2122;s low-tech solutions with water and solar cells, the building acts to strengthen the role of education in the village, a way to get more parents closer to school. The building is designed according to local building tradition and will have a durable structure that hardly requires any maintenance. Studio 1: Adria Carbonell Rabassa & Anders Berensson, Full scale Instagram: carlgustaf_tanzania 88

Gustaf Hammerbo & Carl LoftĂŠn: Mwakikonge coummunity space plan caption Scale 1:100.

Gustaf Hammerbo & Carl LoftĂŠn: Mwakikonge coummunity space perspective view

Gustaf Hammerbo & Carl LoftĂŠn: Mwakikonge coummunity space site plane

Gustaf Hammerbo & Carl LoftĂŠn: Mwakikonge coummunity space axonometry

Thrue Observation and Interaction Anna Hansson Brusewitz A path that goes around the edge of the esker hill Observatorielunden with adjecent additions contributes to a new spiritual dimension to the area dominated by scientific institutions. The sequence aims to make aware the spiritual, enable contemplation, emotions and experience presence through observing and interacting with the environment and objects.

Studio 6: Teres Selberg, Leif Brodersen Contact: anna.brusewitz@gmail.com 92

Observation/Interaction - Within the square the esker is being dug out, rearranged and ordered

Interaction - wash one self and stones that can be brought between the squared room and the circular above

Observation - sky in the circular room

House to share Mirja Henriksson When it comes to solving ones housing situation, we are more or less omitted to ourselves in todayâ&#x20AC;&#x2122;s society. The only way to succeed in getting your own home appears to be either inheriting it or simply to wait for a well-enough-paid and full-time employment, which in turn can give you the required credit. However, life is not always that â&#x20AC;&#x153;simpleâ&#x20AC;? and your chances of getting your own house are small. So what about joining those in the same situation and make the seemingly impossible possible? A chance to create an alternative accommodation, where the autonomous way of life can exist together with more co-operative ways of organizing, financing and owning.

Studio 2: Anders Wilhelmson Contact: mirjah@kth.se 96

House to share. Model photos

Mirja & Micaelas hus sektion 1.20 0

House to share. Section 1.20 (a1)

House to share. Diagram

Flak Towers Vienna - Translations of historical architecture Pia Victoria Hocheneder The Viennese Flak Towers are remaining traces of World War II and Hitlerâ&#x20AC;&#x2122;s regime in the city. Most of them have been sealed off and ignored since over 70 years now, just as many Austrians tend to be when it comes to Nazism. Looking into an Austrian example of left war architecture, this thesis investigates how to handle existing and historically important buildings that have lost their purpose. Trying to take into consideration the questions about transformation, cultural memory, different generations and the presence of spaces.

Studio 8: Rumi Kubokawa, Sara Grahn Contact: pia.hocheneder@hotmail.com 100

Axonometric Section, Augarten combat tower

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Profile and plastic quality of architecture Kisoo Hwang Profile means side face or outline of figures which capture essential quality and character of them, and from relief and its plastic quality we can still sense profile as well. When architectural elements such as walls, platforms, stairs, or columns and beams are integrated in complex relationship as if ruins, they often bear similarity to reliefs and sculptures. Johannisborgs fortification ruin in Norrkรถping is located in abandoned field where industrial, historical, and natural outlines meet each other, and from this complexity, I tried to figure out new profile and character of the city, by means of architectural fragments, systems among them, their combined silhouette, footprint on the ground, and the sequence within the existing context buildings and the landscape. Studio 7: Elizabeth Hatz, Peter Lynch, Nina Lindvall, James Payne Contact: kisoo@kth.se 102

Aerial view of the project situated in Johannisborgs fortification ruin in Norrkรถping From North border of the site, looking at the whole complex in imagined ruined status

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Sequential view from the entrance of the field, looking at the existing gate tower and the library

Sequential view from balcony of the workshop, looking at platforms and the library

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Longitudinal section through library scale : 1/100

Cross section through the library, showing construction and structure systems

Interior view from the reading room, top floor of the library

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Could we live together? Fredrik HolmĂŠr I have investigated how human and non-humans could share space and coexist without humans giving up their demands for architecture. By asking the deceptively simple question: Could we live together without giving up human demands on architecture? Today we are not living together; Humans are living at the expense of non-humans. We are in the middle of a mass extinction event and since loss of habitat which, among other things is caused by urbanization, is a major cause of that this is important to investigate

Studio 11: Claes SĂśrstedt, Malin ĂĽberg Wennerholm Contact: fholmer@kth.se 106

Scenario 1- Animals and plants claiming space like mans do.

Model of recently built kvartersstad in Liljeholmen Scale 1:100.

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Scenario 2 - The ground is continuously open for movement for human and non-human alike.

Model of traffic junction coming of Örbyleden into Hökarängen Scale 1:100.

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Scenario 3 - Humans living more like animals, carrying their house with them.

Model of Kristinebergs idrottsplats fotball field Scale 1:100.

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Remake Lukas Johnell A remake of a play or a film does not try to recreate the set design or the actors of the original work, those parts can change to put the new work in another context. What is essential is the story, the plot. Could the same approach be used in recreating a building? This thesis project investigates a reconstruction method, using the Art Noveau palace Dramaten as a case study. The collective memory of the lost building has been used to establish its plot wich is the source of the new. Forming a new building, corresponding with the picture of the old.

Studio 7: Peter Lynch, Nina Lundvall, James Payne & Elizabeth Hatz Contact: lukasjohnell@outlook.com 110

Model photograph of the reconstructed Foyer

Model photograph of the reconstructed Lobby

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COP 25 Philip Junaeus Architecture composed of massive timber elements have recently gained a lot of interest and come with the promise of lowering our carbon footprint. What if prefabricated timber systems could be transported from Sweden to other parts of the world in a sustainable way? These are the foundations for my project. Early on in my thesis work I formulated a series of questions that reflect my interests in climate issues, and also allow me to explore how computerized adaptive componential design can help generate future architectural tectonic expression and of course help to mitigate climate-related issues.

Studio 4: Ori Merom, Charlie Gullstrรถm Contact: philipjunaeus@gmail.com.com 112

NORTH AMERICA 34.7% total FSCcertified area

EUROPE

49% total FSCcertified area

ASIA

4.4% total FSCcertified area

OCEANIA

1.3% total FSCcertified area

SOUTH AMERICA 6.9% total FSCcertified area

AFRICA

3.6% total FSCcertified area

CO2

Component Sketch Design Concept.

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Front Elevation.

UN Campus Site, Bonn, Germany.

To commence my study, I needed a â&#x20AC;&#x2DC;clientâ&#x20AC;&#x2122; with great exposure to global climate policy making, seeking a large exhibition and conference space to showcase new emerging technologies and connect policymakers from around the globe. With these considerations, I selected a site on the main UN campus grounds in Bonn, Germany where various climate events are held including the past COP 23 summit and Tanaloa Dialogue. I believe that architecture has a vital role to play, not by saving the world one building at a time, but by connecting people and setting the stage for future successful global climate strategy talks. 114

Exploded Isometric.

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The Cultural Sphere Carlo Ben Kauffmann The Cultural Sphere is a building that functions as a platform for European cultures to meet. The idea is based on a cultural space that enables people to overcome prejudice, stereotypes, and ignorance in times of uprising nationalism and protectionism. Dialogue is key to success. The building is located at Slussen (among Swedens most connected squares) on top of Slussenâ&#x20AC;&#x2122;s subway station. It acts not only as a passage for pedestrians but also as an experimental path containing different functions. The aim is to discuss and transmit the culture of a temporary host. Through physical interaction in different functional rooms, the proposal tries to dissipate ignorance regarding European fellow cultures.

Studio 7: Peter Lynch, James Payne, Nina Lundvall Contact: carlokauffmann@gmail.com 116

ENTRANCE

TECH SPACE CAFÉTÉRIA

WORK SHOP EXHIBITION

THEA TRON

T U N N E L B A N A

1. Schematic/Programmatic section

2. Top view 3. Elevation

[Zeichnungstitel] Maßstab: 1:200

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Student housing in Belgrade Marija Kinkel Martinoski Belgrade is a growing European university city, today the largest in the Balkans. Up to 140,000 students share a total of 12,000 state-owned student homes. This growing trend will continue as the city and the country generally see economic growth greater than in previous years. In an effort to respond to student housing shortages, I contribute with a proposal how to efficiently build for both students and the city. The site is centrally located at Bulevar Kralja Aleksandra, which is Belgradeâ&#x20AC;&#x2122;s equivalent to SveavĂ¤gen. Until the fire in 2014 there was an indoor market on the site of what was previously a garage and turning point for the trams that go along the boulevard. Studio 10: Alexis Pontvik Contact: marija.martinoski@gmail.com 118

Entrance floor, Scale 1:1000.

Typical student housing floor, Scale 1:1000.

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Szczecin

Urania Centralhallen

Stadttheater

Verkehrsvereingebaude

Synagogue

Memory and loss Patrycja Komada Szczecin is a city in a western Poland which after WW II was damaged and lost its inhabitants. About 90 precent of the city centre disapappeard, bombings took away cityâ&#x20AC;&#x2122;s identity. According to Rossi the city is always considered as a man-made object and the past will always be partly experienced and gives meaning to permanence. How much of past is still present in Szczecin? The wounds healed after many years, but what is there left of the city that it used to be?

Studio 7: Peter Lynch, Nina Lundvall, James Payne Contact: patrycjakomada@gmail.com 120

0 5 10

100

Stadttheater 1 : 100

Fragments of cityâ&#x20AC;&#x2122;s memories brought together in one place are forming the memorial of the cityâ&#x20AC;&#x2122;s past fulfilling the gap between the past and present.

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The endurance of the built form Sebastian Krautzer Buildings are designed and constructed by the common measurements and regulations of their specific time period. Thus buildings are the imprint of contemporary beliefs and requirements, as well as restricted by the current understanding of spacial context and technical ability. Every building has a terminated lifespan, depending on the technical factor (durability of materials) and the social factor (economical lifespan). The endurance of the built form deals with the lifespan and durability of our buildings in a spatial and social sense. It addresses how buildings change over time in connection to social changes and how buildings can be adaptive and thus effective in its structure and design. Studio 10: Alexis Pontvik Contact: krautzer.sebastian@hotmail.com 122

top: axonometric section | bottom: structural evolution

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An alternative plan for the Kathputli Colony, New Delhi AndrĂŠ Kullmar The Kathputli Colony, thirty minutes west of central New Delhi, is set to be demolished and the improvised dwellings to be replaced by high-rises and a skyscraper. The residents of the colony have protested the development scheme, arguing that it does not cater to their needs. The existing landscape of dwellings which they themselves had constructed contain a number of different spatial qualities on which they depend to be able to continue their subsistence - Bazaar streets to sell their wares, courtyards to congregate with their families, squares on which to perform, roofs on which to sleep during the hot summer months. This projects presents an alternative plan, meant to cater to both the needs of the ex-residents and the Indian middle class. Studio: JesĂşs Azpeitia Contact: andre.kullmar@gmail.com 124

Isometric drawing of the new proposal. Previous page: Diagram depicting the existing landscape of informal dwellings.

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Section in perspective running through the Bazaar.

Section in perspective running through a series of courtyards and alleys.

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Rhythm as architecture Albin Landström Around a rhythmic arrangement of concrete shapes I have designed a venue intended as an event space for cultural activities such as electronic music and dance – things that have a close relation to rhythm. The interior could be seen as a permanent rhythmic structure – a sort of scenography. Integrated into the building is also an existing railway track (present at the site today). The whole building is constructed around the fact that the track must be accessible and possible to use in case of preparedness. This all according to a written submission from The Ministry of Defence, something which has put several other projects on held. The idea is that the venue can be cleared within short notice to make it possible for a train to pass through. Studio 6: Leif Brodersen, Teres Selberg Contact: albinlandstrom@gmail.com 128

A. B. C. D. E.

KICK HIHAT CLOSED HIHAT HAND CLAP BASS NOTE 1+2

A B C D E

Images from rhythm experiments.

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fragmentation

outdoor indoor

privacy, courtyard, narrowness

loft, rounded roof

expanding, outgoing

indirect lighting, roundness

excavated

half stories

cluster

cavernous

indirect lighting, vegetation

raised tower

curves meet orthogonality

elevated

accessability

distance, narrowness

two boxes

repeated segments

expanding towards center

longitude

vegetation, light

linked path

single curved straight walls

introverted, protected

plan and section the same

circular plan

verticality

two story narrowness

closed courtyard

accessability

textured NURB walls

NURB walls

boat hull shape

open center

curved roof terrace

ceiling height, roundness

curved underpass

greenhouse atrium

curved narrowness

porch, loft

terracing

expanding wall

circular section

levels

semi raised corner (1:200)

interior balcony small semi-open courtyard

Observation and deduction Johan Lange This project is an adaptable student housing complex at the southern end of the Stockholm University Campus. Students are often forced to live in conditions that are not of the same standards as the rest of society. With this project I want to elevate student housing and use inhabitants input to learn about the students wants, needs and preferences. I believe this goes hand in hand with the spirit of higher education and the scientific method of experimenting, evaluating and adapting. Each housing unit is different. Some are more introverted, with a private courtyard, some are more open and outwards-facing. Placed in a grid where they can be stacked, moved and rearranged according to student input, it creates a responsive and compassionate complex. Studio5: Ulrika Knagenhielm-Karlsson, Veronica Brรถderman Skeppe

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Watercut sheet metal frames cross and form strong intersection-points that enable the stacking of units.

Interior cladding sheets.

Exterior corrugated sheet metal cladding, watercut to fit each unit.

This particular unit has loadbearing pillars that support the unit and raises it one floor above ground. 10 mm sheet metal.

20 mm thick cellfoam insulation is cut into custom pieces for each unit and inserted in the gaps formed by the loadbaring frames.

The bottom layer of insulation also holds the attatchement for the supply cord and distribution of water pipes.

The cord supplying the top unit with water, electricty, fiber and sewage pipes. Fitted into a 150 x 150 mm insulated pipe.

Lightweight white metal staircases are added where units are stacked

Nodes that connect to the underlying grid where units can be placed and supplied with water, sewage and electricity.

160 cm below ground the unit creates 20 m2 squares where each crossing point is a potential connection point to an above unit.

Isometric exploded view of construction elements.

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SmĂĽstadens Forum Futurum Robin Larsson The most important resource is no longer the river, forest or mine - it is information, creativity and knowledge. Larger urban areas has transformed in to bigger cities with global perspectives, cities where weÂ´ve never before seen as much segregation and class differences. The smaller cities that once transformed Sweden from a poor peripheral nation to a country in the financial and social forefront, has been deprived of the possibility of being part of the knowledge economy. However, in this hierarchical transformation of the society the digitalization is forming a new type of center - an autonomous bomb goes off - and we all become our own center. This project explores the possibilities for a more decentralized society development, when the big cities is unable to deliver the perfect life setting for all. Studio 2: Anders Wilhelmson Contact: robinlarsson.arch@gmail.com 132

Smaller cities of the periphery is often beautifully situated and offers life qualities and spaces that many are longing for. Though, the last decades have been tough and left a lot of the smaller cities with a scattered and rough context â&#x20AC;&#x201C; and a common lack of spaces to meet in. Therefore this project ended up becoming, what I imagine to be a new kind of symbolic building for meetings - that with its form, function and programme should express the new future of the periphery. The ambition is to introduce spaces which could act as a generator of a new time where the small towns get to be part of the knowledge economy, a time where people get to choose their own location of center through the tecnology of today. A future concept allowing the whole of Sweden to become more vibrant, connected to essential functions and filled with life - no matter the amount of people or the physical location of the place.

Space for meetings - finding exchange and recreation in each others presence.

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A city within the city Joel Larsvall

GSEducationalVersion

Today former harbors and industrial areas often make place for larger residential developments in Stockholm. One such site is Lรถvholmen, which is situated on the immediate limit of the inner city. Here, any architectural intervention would have to deal with the dialectics of urban and suburban, architecture and nature. The project aims to synthesise these STOCKHOLM factors, revisiting urban strategies from the beginning of last century, whilst making the Cities within the city 1:20000 buildings suitable for the conditions of contemporary living. The project aims not only to bridge the gap between architecture and urbanism but to make a proposal of how the city can grow in continuity with its history.

Studio 7: Peter Lynch, Elizabeth Hatz, Nina Lundvall, James Payne Contact: joel.larsvall@gmail.com 134

135

40%

1,8% Endurskรณgur Egilsstadir Sofia Lindelรถf How can tourism become a helpful force instead of a destructive one? Creatinga a second center to Reykjavik on the eastern part of Iceland, will help distribute the tourists better. They already have an international airport and you can reach the same destinations with the same amount of days just from another starting point. The idea is to create a hiking center that is also a tree nursery. By combining these two, you can invite the tourist to bring a seedling on their hike to plant at the end of their trail.The hiking center will be connected to a number of hiking cabins with different trails leading up to different outlooks. These cabins will frame the nature outside and they are simply designed to provide shelter and warmth. In time the tourists will have created a forest that will combat soil erosion and shield both city and hikers from the wind. Studio 10: Alexis Pontvik, Sepideh Karami Contact: sofia.lindelof@live.se 136

Mars

April

August

April

t Augus

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Forwards to the Past Victor LindĂŠn Having been a major source of heavy metal contamination in the inner Stockholm archipelago for centuries, the shipyard on Beckholmen (Pitch Islet) is about to atone for its past. This thesis reimagines what the island could become in the future by restoring nature lost through years of damaging human activity. The very essence of the project is to fuse nature and architecture, in order to reactivate the greenery of the island and make it more accessible to the rest of the city.

Studio 4: Charlie GullstrĂśm, Ori Merom Contact: pervictorlinden@gmail.com 138

Masterplan (not to scale)

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Section drawing not to scale

Plan drawing not to scale

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Perspective inside former dry dock

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Bark Nicklas Linderskรถld The wooden industry has came up with more then thousands of uses for the wood itself; all sorts of planks, boards and beams are cut out from the logs. They are then in a further process made into anything from the smallest wooden dowel to the largest of CLT walls. From furniture to construction material or decorative pieces. But what about the waste material? I have found a way to grind and then, with high preasure, press bark into eco-friendly boards, much similar to Oriented Strand Boards (OSB) and the Medium Density Fibreboards (MDF). The material that I have been experementing with are held together with only the natural lignin in the bark, so no extra glue is added.

Studio 1: Anders Berensson, Adria Carbonell Contact: nicklas@linderskold.com 142

143

Harvest Fishcages

Import Seacages TALKNAFJORDUR Seacages ready to harvest Towards processingplant

Tourism/Export Seacages ISAFJÖRDUR

Village reimagined – the transformation of Bíldudalur Matilda Lundmark Today, more than 50 percent of people worldwide live in urban areas and the World Health Organization predicts that the urbanization of our planet will continue to increase. Question is how the rural communities will evolve? Will they simply become remains from out past, or will they play a part in our future societies? Village Reimagined is a case study about the sparsely populated communities in Iceland. Why they are struggling and how the circle of decline could be turned around. The project concluded in a transformation and a reimagination of the small icelandic village Bíldudalur in the southern parts of the West fjords.

Studio 4: Charlie Gullström, Ori Merom Contact: matildalundmark@msn.com 144

Territorial Systems connecting Bíldudalur, Tálknafjörður & Patreksfjörður. Site plan. The Westfjords, Iceland.

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Searching for the Sacred Xiao Lu When I encountered the Woodland Chapel by Asplund at the first sight, I could not forget its sacred atmosphere and deliberate proportion. Since then, I have always hoped to have a chance to design a chapel by myself which may be exotic to me. My proposal for the chapel is an attempt to create an isolated shelter in a city environment which offers the architectural silence. And a place that you can get a feeling of being embraced and at the same time embrace the moment and doing nothing. The site was chosen in Bellevue park. The extensive view of Brunnsviken and Haga park and the existing beautiful sequence of buildings of historic interest on the Bellevue Mountain are crucial factors for me to choose as well as my resourses and references for my project. Studio 7: Elizabeth Hatz, Peter Lynch, Nina Lundvall, James Payne Contact: luxwithgrit@gmail.com 146

Model Image of the Sacred Space of the Proposal.

Ground Floor Plan. Scale 1:800.

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Sequence of spatial experience in Vinterviken Malin LydĂŠn I have investigated spatial experience in the landscape in Vinterviken, a park area just south of Stockholm. In my method I havev studied three reference buildings that have in common that they propose something formalistic. I have studied phenomenon and actual geometries that have guided me in the design process. The meeting with the site have then decided what will happen where and given every piece its own soul. To investigate how spatial experience can motivate an architectural addition on a site I make something whiteout function or program. In my design I create three additions in the landscape that are somehow entwined to its specific nature room. The additions then work as structures for spatial experiences and to reach inaccessible nature rooms in Vinterviken. Studio 4: Ori Merom, Charlie GullstrĂśm Hughes Contact: malin_lyden@hotmail.com 148

Addition by the wall. Section Scale 1:200

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Addition by the hill. Section Scale 1:200

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Addition in the bay. Section Scale 1:200

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In search of Pliny’s Villa Emma Mierse “Over beyond the strolling area, the passageway, and the garden is my favourite suite of rooms, truly my favourite, for I had it built myself. It contains a sun-room which looks out on the strolling area on one side, and on the sea on the other, and it gets sun on both. The bedroom from its folding doors looks out on the passageway, and from its window on the sea. (...) When I retire to this suite, I regard myself as being away from my house and I take great pleasure in it.” Pliny the Younger II.17 Letter to his friend Gallus, written ca 100 AD. Studio 7: Peter Lynch, Nina Lundvall, James Payne Contact: mierse@kth.se 152

Exterior view private suite

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DOTTO Ramina Mirzaie The rise of new social and working environments are blurring the conventional way we work. To accommodate this need a new kind of office is required. An inspiring space and a meeting point. Dotto is located in one of Stockholms most vibrant areas. An office, but also a library and a bookstore. With memberships suitable for creative individuals or teams who want to work in an innovative and stimulating environment and have access to the always updated library. The objective has been a social space that benefits networking and an inspiring culture. A place where the community is strong and feels like a second home. The character of such place is influenced by the people who visit it and by a playful mood. Studio 6: Leif Brodersen, Teres Selberg Contact: raminamirzaie@gmail.com 154

Elevation of north facade

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Plan. Office space, second floor

Plan. Office space, third floor

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Interior perspective of stair

Interior perspective of office space

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Rádujávri mountain hut Sara Mohlin In the northern part of Sweden, with mountains, northern lights, midnight sun and reindeers is one of the world´s most famous hiking trails located - Kungsleden/King’s trail. Along the trail there are mountain huts where hikers can stay overnight. Rádujávri Mountain Hut is located two days walk from Abisko, surrounded by a mountain lake in a breathtaking valley.

Studio 3: Anna Karin Edblom Contact: sara_ _mohlin@hotmail.com 158

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House of dreams Marylou Musat

How do you return to a place you never set foot in? In an effort to work with architecture in a more intuitive way, I have chosen in this work to use the dream as a method of creating an architecture free of references and notions of logic and absolute function. This has led me to a place I often return to in the dream, the little cottage, inside proving to be a big fort, in which many of my dreams unfolds.

Studio 2: Anders Wilhelmson Contact: marylou@kth.se 160

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Footnotes Mathew Newton This work is about how small everyday sites can tell big and unexpected stories of how we live together. These sites appear unremarkable at first glance, but on a second look are filled with contradictions and conflicts of interest. When put into focus they become extraordinary and strange, their meaning unstable and slippery to grasp. As contestation becomes palpable these sites testify to wider social and political processes of city-making and uncover alternative paths that help us see and imagine the world in new ways.

Studio 2: Anders Wilhelmson hello@wetheweak.com 164

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Mosque for Women Johanna Nordin This is a search for a new type of mosque for a women congregation in Copenhagen lead by Sherin Khankan, the Mariam Mosque. This new feminst movement within Islam started around 2015 in western countries. None of these new congregations have designed their spaces. I got intrested in how this new approach and perspective would effect the spaces in a mosque. How does it work socially and how does is it connect to the public and the city? What are the new rules for women and men in this kind of mosques where the spirtual spaces are only for women? How can a building be shaped and programmed for these questions and needs in a modern context of Copenhagen? I have tried to meet the questions with a humble attitude and an open mind. Studio 6: Leif Brodersen, Teres Selberg Contact: jmf.nordin@gmail.com 166

Axonometry: The building situated in park showing roof lights, the bike path from Superkilen passing behind the mosque.

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Public space, assembly hall for lectures, events etc. with a big open facade toward north.

Prayer hall with the mihrab shaped as a vertical narrow opening to show direction towards Mecca.

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Part of entrance, foyer, public space, toilettes, public wardrobe, stair and elevator down to basement.

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Study of a Swedish cottage – remnants of an overlooked story Johanna Permert

I unravel pieces of Swedish building history from different places in time and space, and show what I have found interesting, strange and beautiful. It’s not my intention to transform, restore or renovate. Instead, I want to evoke interest, visualize and convey an image of an architecture that is often taken for granted; in the ordinary, plain, and commonplace, there is a story to be told.

Studio 11: Malin Åberg Wennerholm, Claes Sörstedt Contact: Johanna.permert@gmail.com 170

Transformation of the Sund cottage

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Pocket of shadow

th through its w at the back white glossy in the ceiling, dows and The profile of amounts of e the beam. I an that creates ly detailed.

Pocket of shadow

Contrasting illuminated surface

Contrasting illuminated surface The shape of the pillar gives a variation of shadow

The shape of the pillar gives a variation of shadow

Oskar Seamless transition between bench and wall

Seamless transition between bench and wall The bench envelopes the shadow and gives additional depth. In contrast and in care.

The bench envelopes the shadow and gives additional depth. In contrast and in care.

Quest for depth Oskar Person Depth is one among many adjectives that are used throughout our education. This project aims to break down the quality of depth and use it as the corner stone when developing an architectural proposal. The process started with a photographic exercise. Photos were taken and analysed in order to gain a better understanding on how depth is perceived and constructed. These conclusions then guided me through the design of a kayak and ice skating club outside of Stockholm.

Studio 7: Peter Lynch, Nina Lundvall, James Payne Contact: bror.oskar.person@gmail.com 172

Previous page: Trons Kapell â&#x20AC;&#x201C; Gunnar Asplund

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Materializing Matilda Persson Tales have always had a way of capturing people and the telling of a tale enabels a completely different world come to life. What intrigued me was this atmosphere creating ability that tales possesses. I explored folktales – these are simple stories for children so the complexity of the language is not very high. Even so the stories still manage to carry a lot of atmosphere and magic. I decided to use tales from “Bland tomtar och troll”/“Among gnomes and trolls” (1907), tales illustrated by John Bauer (1882-1918). Bauer’s images and the tales perfectly embody that atmosphere I am so fascinated by. So, I decided to pose the question: “Can architecture evoke the same feelings, and hold the same qualities, as a tale?” Studio 5: Ulrika Knagenheilm-Karlsson, Veronica Bröderman Skeppe Contact: MatildaPersson1992@gmail.com 174

On my journey of defining and developing these qualities materiality became a major tool. I merge these old tales and images with new technology. The images that where once analogue drawings, becomes digital textures and is then ingrained on building materials. These materials are then put in direct contrast and relation to their actual natural counterparts. This blend of the real and the unreal is central to any tale and so also to my project. The final product becomes a bath house full of expression, impressions and varying realities.

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Section.

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Cellular Landscapes Siyana Petrova The project investigates the consequences of the rising sea levels due to the climate change and what impact this will have on the topography and the natural landscape. It proposes a large scale strategy for agriculture which does not rely on the use of land. The structure comprises of inflatable spherical modules which float on the water surface. It is a dynamic and expandable system, with minimal environmental footprint, designed for low-lying areas vulnerable to flooding and land shortage. The more the land surface is vanishing due to the increasing sea levels, the more the structure will stretch to compensate for the loss of farmland.

Studio 9: Annie-Locke Scherer, Pablo Miranda Carranza Contact: petrova.siyana@gmail.com 178

Siyana Petrova: Cellular Landscapes. The image illustrates the progression of the system over time based on the estimation that by 2300 the water level will rise by 6 meters. Scale 1:750.

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Singæ – bruten mark Isabelle Pohjanen We seem to seek the distant environments, these sites that have been left due to preservations areas or more extreme conditions in climate and challenging landscapes. How do we build here and how will an added structure respond to the place today. How can material and form respond to the nature and landscape it sits in. I’ve added a small program on an former military site, on the island of Singö. With never ending views here is the spot to see the northern light. The landscapes paints a picture of a restful place. Being present to the site and learning about the past tells a different story. I’ve added three small structures on the northern part of the island, each one different, telling a story about this specific place. Studio 6: Leif Brodersen, Teres Selberg Contact: isabellepohjanen@outlook.com 180

Top: illustration of added structures, seen from the ocean. Below: photo of the site Rรฅstensudde, Singรถ.

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Vinterviksdalen Pontus Restadh This diploma project explores how to use minor architecture as a devoloping factor in urbanizing Vinterviken, a park in the southwest part of Stockholm. The two main problems of the park is that itâ&#x20AC;&#x2122;s lacking clarity and unity. To solve this Iâ&#x20AC;&#x2122;ve added minor insertions along a path to elevate and activate the different areas of the park.

Studio 7: Nina Lundvall, Peter Lynch, James Payne Contact: pontus.restadh@hotmail.com 182

Previous page: Axonometric drawing, 1:1000. THis page: Model photos

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Kojan â&#x20AC;&#x201C; A room amongst the woods Hanna Sander Kojan is a tiny house of 5.8 square meters built with only wooden joinery, without any other fasteners than the wood components themselves. It consists of a building kit that is assembled by hand in a nature scene of choice. It is a refuge, a shelter, a cabin amongst the woods where one can dwell in connection with nature.

Studio 6: Supervisor: Leif Brodersen, Teres Selberg Contact: hannamariasander@gmail.com 184

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The Neighbourhood or what are the key components of a sustainable comunity? Stefania Sir The inheritance of ABC planning (ABC -work, dwellings, mall) remains to a great extent. At the same time, we face today the challenge of a huge housing shortage. We need to seek innovative and creative solutions and think new in the existing environment as well learn from the good examples of succesfull city planning. Instead of splitting, we want to gather and concentrate the city. Through the investigations on and around the concept of neighborhoods there will be understanding of how they work. By looking closer at different elements that are used in functional and less functional parts of the city, I wanted to find the right â&#x20AC;&#x153;formulaâ&#x20AC;? of city planning that could be applied in the city planning process in the future. Studio10: Supervisor: Prof. Alexis Pontvik Contact: sir@kth.se 186

The investigation of 8 areas (Vällingby, Djursholm, Hammarby Sjöstad, Farsta, Gubbängen, Hökarängen, Älvsjö) , reduced to 5 and then looking closer to 2 adjacent areas (Hökarängen and Gubbängen) resulted in creating a space for interaction, meetings, a possible connection between the inhabitants of the different neighbourhood entities, a square.

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The Intertwined Amusement Park Sarah Själander On the island of Djurgården in Stockholm you can find the oldest amusement park in Sweden, named Gröna Lund. It’s a very popular park, however very small, and they have therefore had to maximize the use of space. Under the 135 years of development of the park it has become the most densely built park in the world, with different ride structures intertwining with each other to be able to fit everything in. Today they stand for the opportunity of an expansion on a neighboring parking lot. All the while they will have more space in the future I think they still should use the method of intertwining structures right from the start, since this is a method that makes them unique. In my suggestions for the expansion I’ve created different structures for amusement that are intertwining both with each other and with the landscape. Studio 4: Charlie Gullström Hughes and Ori Merom 188

Diagram of movement and storytelling inside a dark ride.

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Nya Hjorthagen Åse Skaldeman Stockholm is building housing, all over. But the theme is not housing – it is variation. Varied facades, varied roofscapes, varied materials, to create variation along the streets. I propose that there is a safety in monotony - the kind that is lacking on the housing market. Anonymity can be a sign that the sender had you in mind, rather than themselves; this was the best we could do, therefore we repeated it over and over again, implying there is a ”we” and not an ”I” behind it all. This that is provided for you - for example a home - is not something you must earn, it can be taken for granted, by you and everyone else.

Studio 7: Peter Lynch, Elizabeth Hatz, Nina Lundvall, James Payne Contact: ases@kth.se 190

IT IS ALL TOP-DOWN PLANNED, NO MATTER HOW VARIED THE FACADES. THE PROBLEM IS THAT IT IS TERRIBLY PLANNED, WITH NO ONES BEST IN MIND.

WITH THE DECONSTRUCTION OF THE WELFARE STATE, WHAT WE NEED IS COMFORTING ARCHITECTURE. WE NEED THE MONUMENTAL AND RELIABLE, AND MORE THAN ANYTHING, WE NEED A DOOR TO CLOSE BEHIND US. Nya Hjorthagen: Interior perspective from suggested apartment.

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Most of the 20th century housing schemes around Stockholm were thought out with the best of the future inhabitant in mind. Not all, and maybe some were best on paper, but what is important is that they were thought out Today the city is “planned” by letting its land to as many constructors as possible, next to each other, to avoid monotony, and to make cash flow. Stockholms large-scale 20th century development was not towards a Narkomfin-like collectivism but towards the freedom of the individual, for a separation of the nuclear family from the unclean and unruly collectivism of the inner city. Mass housing and city planning have a disciplinary history. Yet, it is in the suburbs rather than the inner city that the collectivism prospers today, since it is a matter of economical dependance rather that architectonic layout. Alexander Klein wrote that every age has its great architectonic themes, in his it was to make decent mass produced housing. It was nearly a hundred years ago, and no one thinks like that anymore. I have looked at neighborhoods around Stockholm, trying to find what went right and what went wrong. A strenght of areas like Henriksdalsringen, Blåkulla and Grindtorp, is their strong identity. They provide a sense of belonging, and being seemingly anonymous or even disorienting to the stranger only emphasizes the identity of the place. Stockholms recent developments, Norra Djurgårdsstaden and its siblings, are places for the tourist. The compromises made within the million program areas, the way many of them concede to the landscape and to the wellbeing of the inhabitant, displayed in a randomness within the regularity, makes the difference between a monumentality that is threatening and one that is kind. Beatriz Colomina writes that the silence of Loos houses is no more than the recognition of a schizophrenia in metropolitan life: the inside has nothing to tell to the outside because our intimate being has split from our social being. It is the mask the house wears in the city that allows the home to be intimate. Maybe it can work the other way around as well. If we allow the home to be private, perhaps Stockholm will come alive.

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In 18th century Paris the authorities had to put up street signs during the night, to avoid riots. But Stockholm is not 18th century Paris, and it is not on a quest for a lost collectivism we are constructing block cities. Nya Hjorthagen, view from north-east.

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Institute of contemporary escapes Zuzanna Skwarlo This project aims to create physical ambience for escapism, that can take placein a variety of ways. In moderation it is a healthy habit, that in times of fast pace of life and information overload, can help us keep our sanity. The building is located in the heart of Stockholm, on the waters of lake Mälaren. This project tries to intertwine reality with fantasy in a form of a new culture house - a public institution of our time. In the age of celebration of individualism on one hand and affirmation of cooperation on the other, it aims to reflect on those two natures and translate them into architecture. Hence a sequence of spaces for introvert, spiritual escapes, as well as rooms for extrovert activities, places to gather and reconnect in an “analogue” way, in times of prevailing digital communication. Studio 4: Ori Merom, Charlie Gullström Hughes Contact: skwarlo.z@gmail.com 194

Sequence of spaces. Axonometric view.

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Southwest elevation.

Project site. Stockholm, Gamla Stan. Connection between Riddarholmen, Munkbrohamnen and Gamla Stan station.

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Perspective section.

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Neural Net Hidden Layers

Input Layer

Output Layer

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Machine Architecture Max Spett Recent developments in AI is changing our world. It already governs our digital life. In my thesis I take the position that AI involvement in the field of architecture is inevitable, and indeed already here. AI is neither something we can simply accept, nor wholly ignore. Rather, we should try to understand and work with it. These algorithms should not be seen as mere tools with predictable, repeatable outcomes, they are something more complex. I’ve explored the world of AI by means of teaching a machine to design diverse, typologically similar objects: residential doorways from Stockholm. By instructing the machine to read and recreate these objects it has learned to design objects similar to them. While the machine does not know what it has designed, it has nevertheless reinterpreted the residential gate, thus offering an opportunity to glimpse into to the “mind” of AI, a world equally as unknown as omnipresent. Studio 5: Ulrika Karlsson, Veronica Skeppe 198

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Growing Architecture Elin Stensils This projects is an attempt to create a structure that grows over time, a living structure changing both in appearance and function during it’s life. Working with renewable materials that are made through biological processes or cultivated, to generate a new way to construct Architecture. A way that doesn’t work on a cradle to grave basis, that doesn’t exploit natural resources or pollute our environtment and that lets go of the expectation of emidiat results, creating organic spaces made from biological materials.

Studio 4: Charlie Gullström Hughes, Ori Merom Contact: Elin@Stensils.se 200

Isometric view of the structure 2023 - Park

2023 Park Saplings have been cultivated in nurseries and was planted on site when between 1,5 & 2 m tall. Some of the sapling have been here for almost 5 years and have continuously been shaped and bound together with their neighbour, merging over time just like kissing trees and have started to create wall like structures. Others are newly planted, together creating a landscape in various stages of growth. This will be a park of framed circular spaces, framed by stems, walls, difference in materiality & temporary shelters. A totally public space, changing in appearance from season to season and as the living structures develop. 201

Isometric view of the structure 2038 - Habitation

2038 Habitation By now, what used to be a park have become buildings, 2- 3 stories high stems inhabited by students. The first students moved in about 10 years ago, when the structures were tall enough to house one story. As the buildings have grown taller, more people have moved in. The building skin is made primarily from mycelium & placed on the inside of and attached to the living structure. During the growth process, a ring made from a strong material (steel)have been merged into the structure to which the floor slabs of the building will be attached. The living structure supports the floor slabs and the mycelium walls helps as well. 202

Isometric view of the structure 2068 - Civic centre

2068 Civic centre What used to be individual buildings have now become building elements in a large structure. The stems have grown into either a traditional tree crown, or into a canopy like in a weeping willow, Generating different types of spaces and connections. Large open crown halls, for lectures or exhibitions, the canopies with a combination of larger spaces and private corners for workshops or events & the stems, where communications are situated and smaller rooms for studying or research. The sapling has made the journey from a single plant, into a building element, in a building that in time has grown into a building element in a larger building. 203

Experiment as method Tolla Stuart Dahlgren A sitting device â&#x20AC;&#x201C; an object that holds a human body above ground. The project is an experiment of method and material in the human scale. A series of tests of building methods and materials have been carried out in the project. Preconceived ideas of seating as well as how different materials perform, have been examined. Design development and process have been based on full scale sketching and intuitivity. What is a chair? How do different materials perform? What does a design process based on full scale sketching and intuivity look like? When does design happen?

Studio 1: Anders Berensson, AdriĂ Carbonell Contact: tolla@kth.se 204

Hannes Meyer: Peterschule. Drawings. Et cetera. This is a caption Scale 1:100.

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The condition of architecture Gustav Hallström & Viktor Söderlind We wanted to, with a physical structure, investigate and reflect on the difficulties and opportunities that built architecture meets. In an attempt to initially free ourselves from an overly formalistic work process, we saw the art of play as a catalyst for creativity. The play, and especially the playful human, influenced the project in several ways. For example, there has always been a strong sense of serendipity during the project development. We have been driven by a situationist mindset, in which action, especially during the early stages of the project, has prevailed over planning. In agreement with Debord’s reasoning in “The Society of the Spectacle” and Lefebvres “Right to the City”, we saw an opportunity to go against the passivizing influence induced by school and society. Studio 2: Anders Wilhelmson Contact: Gustav +46 73 069 15 26, Viktor +46 70 438 01 82 208

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Dirty Geometry Viktoria Söderman Why does contemporary architecture look the way it does? Why are certain aesthetics considered more valid than others? Is the urban environment representative of its inhabitants? Who are included or excluded? With my thesis project, I propose Dirty Geometry – norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and “bad taste”. The purpose is to, with the aid of parametric design processes, question paradigms and make Stockholm less boring and more dirty.

Studio 9: Pablo Miranda Carranza, Annie Locke Scherer Contact: viktoria_s@hotmail.com 210

The dirty, noisy blob penetrates the clean, white box.

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A part of the instructions on how to build Dirty Geometry.

Partly open geometry. Scaleless.

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Open hairy “cave”.

Enclosed hairy “cave”.

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Blixt

Välva Akvedukt

“Världen badar i blod”, “Fragment“, “Du store Eros“, “Aning“ “Vid soluppgång“, “Fragment av en stämning“, “Blixten“, “Fångenskap“

“Svart eller vitt“, “Fragment“, “Eros skapar världen ny“, “Landet som icke är” Krets Ring, krans

Hög Ö

“Jag såg ett träd... “, “Färgernas längtan”, “Tre systrar”, “Eros skapar världen ny”, “Landet som icke är”

“Oroliga drömmar“, “Triumf att finnas till”, “Fragment”, “Förhoppning”, “Jorden blev förvandlad till en askhög“, “Hamlet“ Kaströrelse

Skål

Språng

Att tolka en poetisk förhoppning som rumsupplevelse Sofie Tidstrand “Jag såg ett träd... “, “Jag”, “Vierge Moderne”, “Hyacinten”

“Vierge moderne“, “Triumf att finnas till”, “Fragment”, “Jorden blev förvandlad till en askhög“, “Eros skapar världen ny“, “Extas“, “Stjärnan“

To read the poetry of Edith Södergran can be a physical experience, and if Södergrans poems were to be interpreted as architectural space, what kind of spaces would they be? This project examines what spaces and spacial experiences can be generated from 15 poems written by Edith Södergran. Based on a interpretation of shape in relation to the “I“ in each poem, the various emotions and situations of the “I” have been subjectively investigated and translated into a sequence of rooms and spatial qualities. In order organise the translation of the poetry the project is influenced by a literary theory on thematic analysis. The title refers to Södergrans poem “Förhoppning“, where writing is baking, and baking is building. Studio 6: Leif Brodersen, Teres Selberg Contact: sofie.tidstrand@gmail.com 214

Section of lĂ¤ngtan, extas, intighet and upplĂśsning, from underground platform to top floor. The public building is situated in Stigbersparken, Stockholm.

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Varieties within inhouse homogeneity Felicia Troedsson Friberg With the KTH School of Architecture utilized as ambassador for the context of homogeneous visual exposure, the goal has been to provide optional, visual pauses within the open layout characteristics. This has ultimately been investigated and attempted through three full scale prototypes placed around the building.

Studio 2: Anders Wilhelmson Contact: feliciajefriberg@gmail.com 216

Second prototype, a cubicle framed by the buildings architectural attributes. Taken as found from the sixth floor. Documentation of interaction.

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First prototype, a studio table with interiority, as found @ first year studio 1. Documentation of interaction.

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1. A table, studio floor 5

3. An opening in the wall, public entrance floor 1

2. A cubicle, floor -1

Tham & VidegĂĽrd: KTH Arkitektur. Axonometrical site map with positions of prototypes. Scale ca 1:1000

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Activating Porto Heli Vasilis Tzoumpas Porto Heli is a summer resort town in Greece with approximately 2000 residents. It is a peaceful place with not so many things to do there in winter but in summer the town transforms and the population exceeds 20 000. My aim is to redevelop the town’s port area in order to create a new space for people to gather and use, not only in summer but in the winter also. I’ll try to solve the traffic issue and also redesign the park, so people use it again. Moreover, I’ll design a marina on the meeting point of the port and the beach, so there is space for more boats and also more tourism. The marina will be a landmark and will facilitates spaces for recreational activities, culture, art and creativity that the town misses. The project should bring life in the winter and refreshment in summer. Studio 4: Ori Merom, Charlie Gullström Contact: tzoumpas@kth.se 220

Master plan

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Yoga school at KTH-campus Emil Wadeskog Having practised yoga for 5 years I have questioned myself how the architecture effects the practice. Most of the classes I have taken have been under ground in old boiler rooms or cellars. Is this ideal? How would a yoga facility manifest itself if built from scratch? In order to delve deeper into the topic I have dedicated my diploma project to propose a yoga school here at KTH Campus, Stockholm, Sweden.

Studio 3: Johan Celsing Contact: wadeskog@kth.se 222

Yoga class at proposed yoga school.

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Searching for the grandiose Johan Wallhammar On the waves of imagination we sail when we suddenly see land on the horizon. Sparkling on top of white cliffs we see a building, massive in size. Inside, the building stretches hundreds of meters in front of us, like the nave of a church only much longer and wider. The corridor opens up into a vast circular space with large columns, in fact larger than any columns we have ever seen. We wonder who could have designed such a building, and how was it built? After walking around for some time we realize that we do not remember from where we came. We are lost inside architectural fantasy.

Studio 2: Anders Wilhelmsson Contact: johan.wallhammar@gmail.com 224

Entrance plan

Entreplan 1-2000 GĂ&#x201E;LLANDE

1:2500

Exterior elevation of proposal

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Fragments of forgotten spaces Malin Valuskova Najib This thesis project takes its starting point in four specific Stockholm locations; a self-service laundromat, a residential townhouse, a pedestrian tunnel and a public bath. They have emerged during different times but are brought together by their habitual and mundane character. Aside from that they have qualities that may not be seen at first glanze, but becomes visible over time and perhaps at a second or third viewing. A quest in finding what lies slightly out of sight â&#x20AC;&#x201C; hidden yet visible. Through several steps of translations and fragmentation new scenarios have evolved.

Studio 6: Leif Brodersen, Teres Selberg Contact: malin.valuskova@gmail.com | malin.world 226

Fragments

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Stimulating indoor climate Marieke van Dongeren

â&#x20AC;?Architecture should no longer be satisfied with creating spaces, but should instead create temperatures and atmospheresâ&#x20AC;? Philippe Rahm Do we need a temperature of 22 degrees in all of our rooms? Do our exterior walls need to be a barrier between us and our outdoor environment? This project explores how a home can provide a stimulating climate to its residents both in and around the building. A home in interaction with- instead of compensating for natural factors.

Studio 6: Leif brodersen, Teres Selberg Contact: vanmarieke@hotmail.com 228

SKALA 1:200 0 1 2

Stimulating Indoor Climate. Section. Scale 1:400.

SKALA 1:100 SEKTION DD SKALA 1:100 0

GSEducationalVersion

Stimulating Indoor Climate. Plan. Scale 1:400.

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The Ornamental Space -the joy of tectonic qualities and detailing in a wooden structure. Erika Vegerfors “There are three kinds of space that must be regarded as primary: functional, ornamental, and symbolic. The basic architectural formal values do not extend beyond the limits of the three kinds of concrete space. Within those three spaces architecture with its numberless forms and expressions is a composite.” (Kazuo Shinohara, The Three Primary Spaces, Japan Architect 6408)

Studio 5: Supervised by Ulrika Karlsson, Cecilia Lundbäck, Deputy supervisor Peter Lynch Contact: erika.vegerfors@gmail.com

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Volume study of wooden buildnings on top of Ormberget, Scale 1:800.

Background When I was a little girl, my grandfather told me how he, when he was a little boy, climbed the heaps of wooden planks at Ă&#x201E;ngsfors carpenter factory in SmĂĽland and helped the workers by laying straw. My grandfather always spoke with warmth and pride about the carpentry and wooden matter. His stories have influenced me in my career choices. After studies in carpentry at both elementary and university level followed by the present five years of architectural studies, I want to combine the knowledge and joy I gained from the carpentry with the art of architecture, both practical and theoretical. 231

Proposed waiting hall for the ship, at the foot of Ormberget. Scale 1:300.

Subject The subject I have worked with and dived into is the art of ornamental space. Shinohara talks about “the ornamental space” and Picon expresses himself as the marble wall of Mis van der Rohe in the Barcelona pavilion “ornaments the room”. In my thesis I discuss these questions and ask myself whether tectonic qualities and meetings can be my way of interpreting the ornament in a wooden building that spreads the pleasure of detailed structures. Also if Shinohara and Picon are important theoretical references, Erik Lundberg and Bengt Lindroos, with their studies in building art and forgotten warehouses and barns, have been important in the practical quest to create an ornamental space with the joy detailing. The large open space as found in the barn has been a significant inspiration in this work. Proposal I have concretized my studies in a proposal for a hall building near the water where you can wait for the ship at the foot of Ormberget in Gröndal. 232

Detail of a joint. Meeting and profiles are enhanced by means of colour. Scale 1:20

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Grassroots artistic community Siyu Wang This is a transform program for unfinished building in China.The original apartment program stopped in 2015 since the developer lack enough funds to continue it.During the gap period of finding and transferring it to other developers(estimated at least 7 years by local urban management officer),the building may spoil urban image and breaks communication between an urban village and a residential zone,so I tend to temporarily renovate the area in a flexible and sustainable way. I try to build an incentive system and rent the site of unfinished building for local wandering folk artists who donâ&#x20AC;&#x2122;t have enough space for production,display,and trading.Aside from the infrastructure,the artists will beautify the space and improve local image by themselves.Moreover the temporary artistic community help cure urban scar. Studio 1: Anders Berensson, Adria Carbonell Rabassa Contact: siyuw@kth.se 232

Siyu Wang: Site Plan. This is a caption Scale 1:3500.

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Siyu Wang: Picture of the site.

Siyu Wang: Second Floor Plan. This is a caption Scale 1:1000.

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Siyu Wang : Part of the south facade.

Siyu Wang: Part of the west facade.

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Collective habitat Agnieszka Wawrentowicz Cities are not stagnant, they modify and adapt with time. We live in times where the dialog has turned into the monologue - people are loosing the feeling of local scale of community. My thesis project is located in Berlin, city with unique and diverse social fabric, famous for its freedom, fights against rising rents. Kreuzberg is located in the centre of Berlin, once being a poor area, mostly populated by immigrants , now is a district known for its diverse cultural life and alternative lifestyles. My aim is to reestablish a living typology, create a collective living experience with a greater urban space and a link to existing structures.

Studio 6: Leif Brodersen, Teres Selberg Contact: contact.aggie@protonmail.com 236

Collective habitat. Axonometric view.

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Tillägg i stenstaden Henrik Westling In times like this when the building pace is accelerating, it becomes clear that buildings tend to be similar. I have always had a rational approach towards architecture and the expression “form follows function” has often been useful. Although when buildings with the same function are being built within a narrow time frame this logic tend to create the same kind of architecture in a large amount. Some modernists predicted this early on and now, almost a century later, I begin to realize this too. So in this project I do what many did back then, I look towards the specific site to search for another way to relate to architecture. This project investigates how a context driven architecture would relate to the homogeneous collection of 19th century architecture in the city center of Sundsvall. Studio 11: Claes Sörstedt, Malin Åberg Wennerholm Contact: hwestl@kth.se 238

239

Disrupting linear street life David von Martens With an ambiguous view on city life, I have investigated the block and the local street. Is it possible to disrupt the monotonous, linear street life with a reconstruction of the block, the street structure and the urban design rules for the surrounding architecture? I have been investigating spatial and programmatic conditions for how to create an active and inviting local street environment, aiming for a design proposal that creates a stronger relation between the life in the buildings and the life on the streets.

Studio 6: Teres Selberg, Leif Brodersen Contact: david.von.martens@gmail.com 240

Plan of street architecture, the corner mini-squares and bridges over the bioswale network. Scale 1:400.

241

Design proposal of street tissue and plot divisions. Scale 1:1000.

-4

30 0m

11 m (vary between 7.5-13.5 m ca 2-4 floors)

1m 2m

min 4.5 m

6.5

max 1 m 6.5

1m 2m

1m 6.5

How to divide a block? Which buidling guidelines are important to enhance street activities?

242

Speculative sketch showing diagonal connections between two mini-blocks.

Abstract model over Gulbenkian Park (Research).

Process model investigating diagonal sightlines.

243

The new columbarium in the Woodland Cemetery Yue Wu The Woodland Cemetery is one of 15 World Heritage Sites in Sweden. As a student from China, I was obsessed with the tranquil atmosphere, sacred chapels and beautiful landscape in the woodland cemetery, which is quite different from the cemetery in China. After visiting it several times and doing some research, I found that there is a urgent problem about how to meet the demand of the growing graves, while protecting the precious trees and respect the world heritage site. I think the columbarium is a good solution to this problem. Itâ&#x20AC;&#x2122;s like a compact graveyard in vertical which provides a place for people to mourn and also saves the earth for trees. And then I chose my site at the main entrance of the cemetery as an extension of the old columbarium, which is also a non-functional place and should be improved. Studio 3: Johan Celsing, Anna Karin, Daniel Johansson, Daniel Widman Contact: yuewu@kth.se 244

Site Model Photo

Section A 1:600.

Section B 1:600.

245

Architecture of skateboarding Bartosz Zabiega Skateboarding is growing in popularity more than ever. Stereotype of noisy, pot smoking outlaws is gradually vanishing, people enjoy watching skaters efforts and appreciate life they can bring to otherwise dull or unsafe areas. That results also in new challenges for the designers, not only in form of dedicated facilities- skateparks. As far as they are needed objects and their quality is crucial for safety of users and investment success they are also purpose built and therefore fake. They lack some of the most important aspects inscribed in skateboarders culture such as various, exciting and sometimes harsh city experience or improvisation and reinterpretation. Skateboarders will always oppose to use only dedicated areas or objects as they treat a whole city landscape as a playground. Studio 8: Teachers: Rumi Kubokawa, Sara Grahn Contact: barzabie@gmail.com 246

A bike crossing manual all along Bike path sign jump over Snow patch jump over / ride through

A curb jump up

Infoboard let the board go under

Bench / Infoboard slalom between Bench slide / grind the edge jump over / go under

Traction pole go around Wet smooth asphalt slide with all wheels Bike path border slalom between the sides

Top left: Screenshots from skate video. Above: Skateboarders perception- â&#x20AC;&#x153;Skatefriendly Design Manualâ&#x20AC;? fragment.

247

2000 new houses in Tallkrogen Maria Ă&#x2013;hman Tallkrogen is an EgnahemsrĂśrelsen (own home movement) area built in the 1930â&#x20AC;&#x2122;s. Through small changes in many steps, the characteristics of the houses have gradually changed; from a general point of view to a movement towards individuality. Through this evolution, a slow stretching of what the area allows has developed Tallkrogen. How would rooms, houses and the master plan take shape in a new interpretation of the area, originated from the development that has taken place since the area was built? By connecting to the DNA of Tallkrogen and furhter elaborate on the existing evolution, the project proposes two new houses on a plot in Tallkrogen, Big Sister and Little Brother. A mutation that could affect the entire area and eventually become 2000 new houses in the future. Studio 2: Anders Wilhelmsson Contact: ohman.maria@gmail.com 248

Axonometric

249

Layers of Office Hannah Ă&#x2013;stergren Some projects have lower status than others. Designing an entire custom building is an architectural opportunity while interior projects in existing, generic structures, have a tendency to leave architects disappointed. Instead of designing the whole we must contend with the existing, making a seemingly decorative addition. The architectural potential in these projects is often discarded - I believe it shouldnâ&#x20AC;&#x2122;t be. This thesis investigates possibilities in office transformations. I combine an existing column-beam structure with a colourful interior of spatial modules and use AR to add a virtual layer to a physical office. A flirt between the permanent, transient and virtual. The project aims to create what Sylvia Lavin describes as an architectural kiss: qualities, tension and surprising moments in the merge between multiple systems of architecture, or other medium of art, that are not perfectly aligned. Studio 5: Ulrika Karlsson, Veronica Skeppe 250

Previous page: perspective section, scale 1:50. This page: isometric drawing, scale 1:50.

251

Studios

Studio 1 Anders Berensson Adrià Carbonell Studio 2 Anders Wilhelmson Studio 3

Johan Celsing Anna Karin Edblom Daniel Johansson Daniel Widman

Studio 4 Charlie Gullström Hughes Ori Meirom Studio 5 Ulrika Karlsson Veronica Bröderman Skeppe Cecilia Lundbäck Studio 6 Leif Brodersen Teres Selberg 252

Studio 7 Peter Lynch Nina Lundvall James Payne Studio 8 Sara Grahn Rumi Kubokawa Maximilian Zinnecker Studio 9 Pablo Miranda Carranza Annie Lockie Sherer Studio 10 Alexis Pontvik Sepideh Karami Studio 11 Malin Åberg-Wennerholm Claes Sörstedt External supervisor Jesús Azpeitia

Diploma jury

Jury for the Diploma Days 29th of May to 1st of June Cecilie Andersson, Architect and Head of Bergen School of Architecture Ahmed Belkhodja, Architect, Fala Atelier John Billberg, Architect, General Architecture Katharina Bonnevier, Architect, Mycket Gabriele Heindl, Architect, GABU-Heindl, Vienna and at TU Graz Carmen Izquierdo, Architect, Carmen Izquierdo Arkitektkontor David Knight, Architect, DK-CM Tommi MĂ¤kynen, Architect, Helsinki/Zurich Alejandra Nararrete, Architect Nami Studio / Lecturer at Pratt Institute Susanne Ramel, Architect, Marge Arkitekter Lars Raattamaa, Architect/Writer Frida Rosenberg, Architect and researcher, KTH Roi Salgueira Barrio, Architect and Asssociate Prof at MIT Amy Thomas, Architect and Associate Prof at TU Delft Malin Zimm, Architect and Head of Research, White Arkitekter 253

Diploma students

Emil Almesjö Emilia Almqvist Jansson Therese Andersson James Anstey Hugo Barcelona Bergenwall Anna Barenghi Johan Bjärnström Hanna-Thea Björö Kajsa Blohm Josefin Borg Helene Boström Eric Bölin Sara Deurell Arram Eckerbom Artur Edman Linn Efvergren Marie Ekblad Ellinor Eklund Emma Ekman André Eriksson Anna Eriksson Emma Eriksson Therés Forsberg Adnan Gacanin 254

Filip Grzesiak Mimmi Gustafsson Caroline Gynther Marcus Göhle Gustav Hallström Gustaf Hammerbo Anna Hansson Brusewitz Mirja Henriksson Pia Victoria Hocheneder Fredrik Holmér Kisoo Hwang Lukas Johnell Philip Junaeus Carlo B. Kauffmann Marija Kinkel Martinoski Patrycja Komada Sebastian Krautzer André Kullmar Albin Landström Johan Lange Robin Larsson Joel Larsvall Morong Lin Sofia Lindelöf

Victor Linden Nicklas Lindersköld Calle Loftén Xiao Lu Matilda Lundmark Malin Lydén Emma Mierse Ramina Mirzaie Sara Mohlin Marylou Musat Mathew Newton Teodor Nilson Johanna Nordin Johanna Permert Oskar Person Matilda Persson Siyana Petrova Isabelle Pohjanen Chen Qi Pontus Restadh Hanna Sander Stefania Sir Sarah Själander Åse Skaldeman

Zuzanna Skwarlo Anna-Vera Solala Arvidsson Max Spett Elin Stensils Tolla Stuart Dahlgren Elin Sundvall Viktor Söderlind Viktoria Söderman Sofie Tidstrand Felicia Troedsson Friberg Vasilis Tzoumpas Malin Valuskova Najib Marieke van Dongeren Erika Vegerfors David von Martens Emil Wadeskog Johan Wallhammar Siyu Wang Agnieszka Wawrentowicz Henrik Westling Yue Wu Bartosz Zabiega Maria Öhman Hannah Östergren 255

About

This is a publication published on the occasion of the Diploma Days at the School of Architecture KTH in spring 2018. A note on the format: students have done the selection of material and they have been able to present it on either one or two spreads.

Editor: Claes Sรถrstedt, acting head of 4th and 5th year Printed in June 2018 MK1 256

Diploma Days 2018​

Diploma Days 2018