KTH-A 2015 2016: 'NEW SCHOOL'

KTH ROYAL INSTITUTE OF TECHNOLOGY

kth-a 2015-2016:

new school

The coming academic year at the KTH School of Architecture

www.arch.kth.se twitter: @KTH_A facebook: KTH Arkitektur issuu: KTH Arkitekturskolan youtube: KTH Arkitekturskolan KTH Royal Institute of Technology School of Architecture Osquars backe 5, Stockholm Designed and edited by Bjรถrn Ehrlemark, copy edit by Helen Runting Printed by Edita Bobergs AB in August 2015

INTRODUCTION: Welcome to a new School of Architecture The start of this academic year marks a decisive step in the evolution of the KTH School of Architecture. By the time this text goes to print, we will have completed our move into a brand new building, designed by the architecture office of KTH alumni Bolle Tham and Martin Videgård.

As architects, we take an active part in shaping the physical envrionment. But in turn, the environment shapes our lives and our actions, just as it does all of society. Given this, our new building will inevitably shape our relations, both within the school and with external parties, developing them in new ways.

During the process of settling in and making it our new home, we will likely learn much about ourselves as an institution. Many such moments will come as surprises, while others can be anticipated and welcomed. The school and its new spatial configuration will provide opportunities for closer links between students at Basic and Advanced Level, as groups at different years in the education will share the same studio floor, working more closely together in the same space. Both researchers and studio teachers will be able to interact more fluidly as we now have our workspace in the same room. Located at the very centre of the KTH Campus, the new school is also more accessible, facilitating interaction with other disciplines of the university and extending connections to the public-at-large.

A common commitment will now be to acknowledge these potentialities and turn them into actions. Even if we cannot predict the exact

outcome, it is clear that how we act at this turning point will be significant for the future development of our school. To fathom this and act accordingly constitutes a great, and shared, task for the year to come. By continuing to work with vitality and intensity, by continuing to be curious, we can move towards this end, with knowledge and art as our companions.

With all of this in mind, the current moment seemed a good occasion to also let the catalogue of ‘Studio Themes’ evolve. In past years it has primarily been produced at the start of each academic year as an introduction to Advanced Level studies, aiding fourth- and fifth-year students in their selection of studio. We now take the opportunity to include and present more of the activities taking place at the school in the year to come: in the architectural education at Basic and Advanced Levels, preparatory and professional courses, as well as in research and research education.

Our ambition is that as a student of architecture at KTH, you are presented with the possibility to navigate and critically assess the many possible paths which traverse this dynamic academic landscape. Your journey might lead you to venture far off in a specific direction, to assemble your own archipelago of ideas, or to explore previously unchartered territories. Each path, in its own way, offers ample opportunity to immerse yourself in architectural knowledge: producing it, analysing it, and putting it to use.

Welcome to a new academic year and a new School of Architecture!

Wishing you my very best, ANDERS JOHANSSON Head of the KTH School of Architecture

ANDERS JOHANSSON is the Head of the KTH School of Architecture since 2013. He is a co-founder of the architecture practice Testbedstudio, and President of Europan Sweden. He studied architecture at the KTH-A and the Architectural Association in London, and has a PhD from KTH.

CONTENTS:

pp. 4-5

orientation courseS in ARCHITECTURE AND URBAN PLANNING: kth-a in tensta

pp. 24-25

Leif Brodersen Teres Selberg Helena Paver Njiric

ELSA UGGLA STEFAN PETERSSON ERIK STENBERG pp. 6-7

basic level: FIRST-YEAR STUDIOS

pp. 26-27

basic level: second-YEAR STUDIOS

pp. 28-29

PER ELDE pp. 10-11

pp. 12-13

pp. 30-31

ADVANCED LEVEL: FOURTH- AND FIFTH-YEAR STUDIOS

STUDIO 1: FULL SCALE Anders Berensson Ebba Hallin Johan Paju malin åberg wennerholm

pp. 16-17

pp. 18-19

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS

pp. 34-35

STUDIO 5: fictions Ulrika Karlsson CECILIA LUNDBÄCK Einar Rodhe Veronica Skeppe CLAES SÖRSTEDT

INTERDISCIPLINARY MASTER’S PROGRAMme: SUSTAINABLE URBAN PLANNING AND DESIGN MEIKE SCHALK

pp. 36-37

PHD PROGRAMME: research education at kth-a HÉLÈNE FRICHOT catharina gabrielsson daniel koch

pp. 38-39

RESEARCH: architecture in effect and in the making HELENA MATTSSON

pp. 40-41

Charlie Gullström PABLO MARIANDA CORRANZA Ori Merom pp. 22-23

studio 10: global connections Alexis Pontvik Ingrid Svenkvist

STUDIO 3: ‘Lagom’ johan celsing josef eder Carmen Izquierdo

pp. 20-21

pp. 32-33

STUDIO 2: Workplace, Labour and Everyday Life Tor Lindstrand Karin Matz Anders Wilhelmsson

STUDIO 9: architectural infrastructure julien de smedt Kayrokh Moattar Jonas Runberger Elsa Wifstrand

PER FRANSON FRIDA ROSENBERG pp. 14-15

STUDIO 8: a common urbanity Sara Grahn Rumi Kubokawa Max Zinnecker

basic level: Third-Year Studios ERIK WINGQUIST

STUDIO 7: unnameables Elizabeth Hatz Peter Lynch

WERONICA RONNEFALK pp. 8-9

STUDIO 6: SEARCHING FOR MA

public programme: EVENTS, EXHIBITIONS AND PUBLICATIONS BJÖRN EHRLEMARK

p. 42

independent courses: continued education at kth-a

orientation courseS in ARCHITECTURE AND URBAN PLANNING: kth-a in tensta

KTH-A in Tensta

The School of Architecture in Tensta and its prepatory education in architecture and urban planning was founded in 2009. Its purpose is providing students with the possibility to develop knowledge and skills within the field, and guide them towards admission to higher education programmes in architecture and the build environment.

The school operates out of its premises at the Ross Tensta gymnasium upper secondary school in Tensta in north-western Stockholm. In addition to the preparatory orientation course in architecture and urban planning, activities at KTH in Tensta also include: collaborations with the secondary school, courses for Advanced Level students at the KTH School of Architecture engaging with the local community, research, exhibitions, seminars, and lectures. The ambition is to both reach into the local context of Tensta, and beyond that context into other spheres.

Long-term vision

The purpose with establishing KTH in Tensta is to diversify today’s homogeneity in the architecture programme. Investment made in the School of Architecture in Tensta has perhaps been marginal in economic terms, but the returns can be seen in social, cultural, and political effects coming from an institutional actor such as KTH working in a long-term manner with architecture and urban processes. In the long run, the hope is that the school contributes to positive shifts in the built environment profession, not least diversifying the backgrounds of those who decide to study architecture and urban planning.

In 2011, the KTH-A’s “pioneering” work in establishing and running the school of architecture in Tensta was rewarded with the annual Stockholm Association of Architects’ Award.

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An introduction to architectural thinking and doing

KTH in Tensta offers two orientation courses in architecture and urban planning, one in the Autumn and one in the Spring. The courses provide preparatory and introductory studies for students interested in architecture, urban development, and construction. Students’ diverse backgrounds, levels of knowledge and ages is met with variation in learning activities. Cross-disciplinary teaching element are frequent within the built environment field, and this is mirrored in the courses. Creating openings for reflection and a joy of learning is an important component in the pedagogy.

the orientation courses

In the first semester, the course is divided into distinct segments and is thereby mostly a way of introducing the different disciplines in the architecture and urban planning sector. The Spring semester is infused with a higher degree of design exercises and is more clearly aimed at preparing students for admission tests to enter schools of architecture and urban planning.

The courses give equal importance to preparing student for higher education within the field and to trying on independent studies. An ambition is to point out similarities and shared knowledge between the disciplines of architecture, planning, and construction engineering, but also to differentiate and point out distinctive traits.

Exercises relating to each discipline are geared towards being characterised by pedagogical activities most commonly occurring in higher education learning in that department. Typically, each course element is introduced with a lecture, followed by several practice-based exercises. The idea is to spark progression of learning in each such exercise. The courses concludes with projects that are set up to reach a learning situation of higher complexity, synthesising previously achieved knowledge and skills.

elsa uggla is an architect and Guest Teacher at the KTH School of Architecture, running the orientation course in Tensta in 2015-2016.

She studied at KTH-A and the Tokyo Institute of Technology, graduating in 2008.

She worked for Nivå Landskapsarkitektur for five years, before co-founding the office HORN.UGGLA in 2013 with the aim of exploring architectural projects in collaboration with people of all ages.

Stefan Petersson is an architect with his own practice (spad), a teacher at the KTH-A, and director of KTH in Tensta since 2008. He studied at Chalmers and UdK in Berlin, graduating in 2002. He is a member of ARKiS, a working group raising awareness, particularly in schools, about the impact of the built environment.

ERIK STENERG is an architect and teacher at the KTH School of Architecture, and initiator of KTH in Tensta. He was Head of Department in 2006-2013 and has been teaching studio and courses since 1999, with a special affinity for the foundation level. He received his B.Arch. in 1995 from the College of Architecture and Urban Studies at Virginia Tech.

Left: Students’ study models from a workshop on structural construction principles.

Above: ‘Tensta Museum: Reports from New Sweden’, where KTH in Tensta projects was shown, 2014.

Below left: Workshop on place and identity – students working with one thousand photos of Tensta.

Below: Students at work with school kids, re-interpreting Frederick Kiesler for a Tensta Konsthall exhibit, 2015.

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basic level: FIRST-YEAR STUDIOS the first year at kth-a

The First Year is divided into 5 studios, each of which comprises of 20 students and 3 teachers (2 architects and 1 artist). Each studio operates in accordance with its own distinct pedagogical framework, which is developed in concert with the general study plan for the year and objectives which are shared across the studios.

To produce architecture is to imagine and to describe that which does not yet exist, and to respond to a range of (often conflicting) aims in doing so. It is through the precision accorded to such descriptions of the ‘not-yet’ that architects are able to make the merely fabulous real – and to make it fantastically so. Conceiving of the ‘new’ in this way demands that we step outside of preconceptions and habits of mind, developing broader and deeper points of entry into the realities and contexts that we are immersed within. Through such shifts in our thinking, fantastic architectural projects become possible – projects which, through their own inner logic, specificity, and complexity are in turn able to affect the complex realities of the contemporary moment.

2015-2015 Theme: the fantastic, contexts, precision

In the First Year the coming acadmic year, students will gain an entry into the terminology, methodology, and tools of architecture through projects addressing ‘space’ and ‘expression’. They will produce a body of work which spans three focus areas: The Fantastic, Context and Precision.

Studio projects

Students starting their architectural education at KTH School of Architecture work with three studio project during their first year. ‘Assemblies, Geometries, Scales’ commences the Autumn semester in September and October. It is followed by ‘Landscapes, Structures, Movements’ at the second half of the semester. Starting in early 2016, the studios then take on the third project, with the theme ‘Living, Working, Climates’.

Artistic methods and tools

In addition to the studio projects the students also engages in week-long workshops, exploring artistic methods and tools to develop the students’ architectural thinking and skills. Each studio has a designated artist-teacher who develops these courses with their own specific themes.

The workshops are usually run at the start of the academic year, and are followed up with similar courses during the second year.

Architectural representation, technology, and history-theory

During the first year, students also take introductory courses in History and Theory of Architecture, Architectural Representation and Architectural Technology. These courses often combine lectures and reading seminars with group assignments and individual work, with theoretical and practical learning elements set up to complement eachother.

weronica ronnefalk is an architect and Lecturer at KTH School of Architecture. She is Head of First Year since 2014.

Andreas Helgesson Gonzaga Monika Lenkman Tobias Bernstrup (Studio 1:1) Elin Strand ruin Karin Saler Christin Svensson (Studio 1:2) Ulrika Gynnerstedt Björn Andersson Ebba Matz (Studio 1:3) Rickard Riesenfeld Rutger Sjögrim Birgitta Burling (Studio 1:4) Erik Stenberg Malin Heyman Mia Vendel (Studio 1:5) Leif Brodersen Sara Grahn (Introduction to the Discipline of Architecture) Mia Vendel (Artistic Methods and Tools) Erik Stenberg (Representation) Naia Landa David Wettergren (Architectural Tecnhology) anders bergström (History and Theory of Architecture)

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Below: First year students presenting their student housing projects for the Swedish Minister of Housing after inviting him to their exhibition.

Rest of page: Student work from all three project courses in the first year, as well as workshops in artistic methods and tools.

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basic level: second-YEAR STUDIOS the second year at kth-a

In the Second Year, students at KTH-A deepen their studies in architecture through their introduction to processes of “articulation”. Over the course of the year, they examine the core processes and complexity of the field of architecture, with an emphasis placed on building technology and sustainability.

During the first semester, students focus on acquiring greater knowledge and understanding of the basic principles of architectural design and construction, by exploring concepts such as ‘structure’, ‘location’, and ‘activity’.

Design exercises, which build on the concepts and techniques introduced during the first year, encourage students to explore various approaches (methods) in response to a series of design parameters – including social, historical, political, environmental, and gendered contexts of architecture – and to develop and maintain a systematic process resulting in a finished design.

The second semester addresses the more complex concepts and principles of ‘tectonics’, ‘ornament’, ‘transformation’, as well as the problematisation of lifecycle perspectives, via a project that focuses on the conversion of an existing structure. These investigations are then further deepened via a consideration of materials and details. All architectural projects require the production of both physical models and digital techniques in their design and fabrication.

In addition, students also take courses in Architectural Representation, Artistic Methods and Tools, History and Theory of Architecture, and Architectural Technology. Collaboration between courses and between projects is emphasized, and knowledge, methods, and techniques acquired in courses and workshops are implemented in design projects.

2015-2015 Theme: sustainability in architecture

The overall focus of the Second Year architecture project is ‘sustainability’, a theme which is linked to the research conducted by Sara Grahn, Professor at the KTH School of Architecture and Partner at the practice White Architects. Work in the Second Year is also linked to partnerships with relevant actors within the strong research environments at KTH. The academic year culminates in an exhibition of the student’s physical wooden models at a scale of 1:50 during Diploma Days in early June.

Structure, Place, Activity

The first architectural project of the Second Year constitutes an examination of the role of the performing arts with particular reference to the opportunities they offer for the production of public space(s). Designing a complex building (renovation, extension, or new construction), students examine the relationship between ‘structural depth’ and ‘surface’, studying and problematizing these concepts at a range of scales and in relation to various locations and activities.

Tectonics, Ornament, Transformation

Following this first project, students then attempt a smaller re-modelling project, wherein they test lifecycle thinking in relation to structural material and system selection. The concepts of ‘time’, ‘tectonics’, ‘ornament’, and ‘transformation’ are advanced as central to the design of the various parts of the building and the way in which those parts meet. A lifecycle approach is also adopted in relation to the construction, alteration, and demolition of the structure.

material, space, detail

The third project focuses on ‘housing’ and ‘work’.

Through a small project examining the relationship between material, space, and detail, students address the specificities of wood as a building material, exploring its material properties and sensory qualities. Climatic conditions are also addressed, and their relation to architectural qualities, spatial context, and spatial effects are studied at a range of scales and in dialogue with the development of a clear rationale for the composition.

per elde is an architect educated at KTH and The Royal Institute of Art. He is a Lecturer at KTH and Head of Second Year since 2014.

Stefan Petersson Victor Edman Ebba Matz (Studio 2:1 ) Nina Taghavi Pelle Backman Tobias Bernstrup (Studio 2:2) Linda Högberg Andersson Andy Nettleton Birgitta Burling (Studio 2:3) Pål Röjgård Mikael Bergquist Mia Vendel (Studio 2:4) Erik Stenberg Malin Heyman Mia Vendel (Studio 2:5) Leif Brodersen Sara Grahn (Introduction to the Architectural Practice) Mia Vendel (Artistic Methods and Tools) Cecilia Lundbäck Veronica Skeppe (Architectural Representation) Markus Aerni (Architectural Tecnhology) Christina Pech (History and Theory of Architecture)

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Above: Proposal for art intervention on Blasieholstorg, by Malin Rosvall, Freya TigerschiĂśld, Emelie Frisk, and Lida Neishabourian, 2014.

Left: A student assembling laser-cut components in the KTH-A model workshop (photo by Tove Freiij).

Far left: Model studies of technical detailing.

Below: Exhibition of models from Second Year students’ summer house project, on display in May 2014.

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basic level: Third-Year Studios the second year at kth-a and the bachelor’s degree project

During the Basic Level’s third year, which starts with an introduction to urban theory and ends with the Bachelor Degree project, students develop their knowledge of the processes that shape the urban landscape, producing projects that relate to contemporary urban conditions.

Various aspects of urban planning are presented and discussed through a series of courses, and students are encouraged to work in a collaborative manner and test various urban strategies through their studio work. Using a wide range of techniques, ranging from fieldwork to GIS mapping, the aim of the Third Year is to stimulate an open-ended and diverse discussion about what type of built environment we need, long for, dream about, and fear.

In the final degree project, the students are required to respond to a defined brief and to relate their work to specific site conditions. The course focuses on developing and presenting a thoroughly designed, complex building.

2015-2016 theme: RING, DONUT, EDGE, OR BELT

The city of Stockholm is surrounded by ten municipalities: Ekerö, Jakobsberg, Sollentuna, Danderyd, Solna, Sundbyberg, Lidingö, Nacka, Tyresö, and Huddinge. Together, they form a political geography that is both constructed with legislative tools and a product of natural borders. Lidingö and Ekerö are islands, both politically and geographically. The area comprises of a variety of urban situations, ranging from 19th-century perimeter blocks to rural agricultural land, commercial big-box retail areas, and holiday homes in the archipelago.

In order to understand and operate in such a diverse urban context, different types of strategies and proposals are required. As such, students are required to develop specific projects based on local conditions.

The whole region of Stockholm is suffering from a decades-long housing shortage, and whilst there is mounting pressure to find ways to produce new residential areas, the accumulated wealth of the “urban” ring of the city acts as both a catalyst and an obstacle to meeting this challenge. At the same time, a clear shift can be observed away from large-scale urban schemes funded by public bodies to specific urban developments targeting a identified group and funded by private capital.

The work conducted in the studios will respond to these challenges.

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URBAN DESIGN

The objective of this design project is to introduce students to the theory and practice of the discipline of urban planning through a larger project at a comprehensive scale. The course applies fundamental practical and theoretical knowledge of urban design and its spatial, social, ecological, technical, and economic aspects. It gives a particular insight into municipal service systems and their environmental consequences. Intermediate assignments draw attention to topography, context, typology, morphology, and other aspects of the city. Exercises/studies/comparisons with international urban development examples are juxtaposed with the planning process in Sweden.

Studio Project 1 Course A31P1A

URBAN SPACES AND LANDSCAPES

This course devotes particular attention to the city’s in-between spaces and landscapes, in advance of the concrete building-design work of the Bachelor Degree project. The course gives students historical, theoretical, and practical knowledge about both natural and man-made landscape spaces—from farms to parks, urban green space, and roof vegetation.

The design project deals with urban environments. The course shows how important landscape architecture is to contemporary urban development.

Studio Project 2 Course A31P2D

BACHELOR’s DEGREE PROJECT

Building on previous urban projects at various scales, this course focuses on the task of developing and presenting a thoroughly designed, complex building project.

The assignment asks for interpretation of the potential of the building program and development of its functional organization into an architecturally designed whole. Students can choose between three parallel themes.

Bachelor’s Degree Project in Architecture A31KAX

ERIK WINGQUIST is and architect educated at the KTH School of Architecture, Paris La-VIllette, and Lund School of Architecture, and afounding partner of Testbedstudio. He is a University Lecturer at KTH-A and Head of Third Year since 2014.

Martin Öhman Konrad Krupinski (Studio 3:1 ) Ania Zdunek Måns Tham (Studio 3:2) Maria Papafigou Ori Merom Hanna Erixon (Studio 3:3) Lisa Deurell Stefan Raam (Studio 3:4)

Alexis Pontvik (Urban Theory) Claes Sörstedt (Architectural Representation) Naia Landa Ann Legeby David Wettergren (Architectural Tecnhology) Johan Örn (History and Theory of Architecture)

Top left: The belt of municipalities neighboring the city of Stockholm.

Above left: ‘Lyckliga Gatan’, urban design project by Anders Johnsson, Maria Öhman, Hans Tang and Elina Åberg.

Below left: ‘I Väntan’, 2015 Bachelor’s Degree Project by Daniel Backlund.

Top right: ‘Farsta Matstad’, urban design project by Marcus Göhle, Sofia Lindelöf, Magnus Persson, Elin Sundvall.

Above right: ‘ Muren’, urban design project by Caroline Günther, Carl Wallin, Ingrid Westermark, Axel Jogefalk.

Right: ‘Circular Knowledge’, student project by Nils Pyk. Below right: ‘Filtret’, 2015 Bachelor’s Degree Project by Helena Andersson.

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ADVANCED LEVEL: FOURTH- AND FIFTH-YEAR STUDIOS studying at advanced level

Students entering their final two years of studies in architecture at the KTH School of Architecture are faced with a wide array of possible study paths and design projects.

Overall, the KTH-Aaims to offer its students an education that encompasses the many different tasks that they can expect to encounter as architects – both today and in future, uncharted settings. The purpose of our studio teaching model is to ensure learning progression and an individual deepening of knowledge, skill, and judgment within architecture and related fields.

While undertaking studies in architecture at the Advanced Level, students are expected to complete six design courses, or “studio projects”, each of which provides an opportunity to apply and develop a range of analytical and design skills, as well as the tools needed to reflect on the learning process itself. At this level, one should demonstrate the ability (using adequate methods) to critically and independently evaluate and design an architectural project to completion.

Along the way, students are continuously supported by the pedagogical commitment of their studio teachers. Those teachers are briefly introduced in coming pages (alongside their respective studios), and are further introduced at the studio presentation event on August 31, launching the new academic year.

THE advanced level studios

The teaching at Advanced Level at KTH-A is structured around a studio system, meaning that groups of students join up with tight-knit teams of teachers to embark on their studies as a shared undertaking throughout the academic year.

Students develop a theme or research interest through group work as well as through individual projects. Each studio is structured around distinct pedagogical approaches, addressing their own specific topic of interest. As you can see on the following pages, KTH School of Architecture currently offers 10 different Advanced Level studios.

In addition, the KTH-A is a partner in the interdisciplinary Master’s program in Sustainable Urban Planning and Design (SUPD).

Although representing a diverse set of possible directions, all of the studios conform to a shared framework. Each term in the studio is structured around two studio projects (12 credits apiece), complemented by one orientation course (3 credits) and one elective seminar course (3 credits).

During their two years at the Advanced Level, students complete six studio projects, followed by the Degree Project (30 credits).

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Degree project and graduation

The student’s full final semester at Advaced Level is dedicated to the Degree Project, which tackles one specific design problem and is carried out independently but housed within a studio, with a studio teacher as supervisor. After completing the Degree Project, students may be awarded the Degree of Master of Architecture or the Degree of Master of Science (120 credits) with a Major in Architecture, depending on whether they are enrolled in the 5-year Degree Programme in Architecture or the 2-year Master’s Programme in Architecture.

In preparation for work on the final project, a synopsis outlining the Degree Project is prepared in the preceding term – the “thesis booklet.”

Diploma Days

The yearly Diploma Days at the KTH School of Architecture is where the next generation of architects exhibit and present their work. During an intense few days at the end of the academic year, Degree Project students are given the opportunity to demonstrate their academic and professional skills. Their Degree Projects are exhibited and presented in sessions open to the public. Whether you are friends and family of the examinees, a current student at the school, or an interested member of the public, this is an opportunity to appreciate, discuss, and celebrate the production of architectural knowledge at the KTH School of Architecture.

Following each presentation, the projects are assessed and discussed by an invited jury, consisting of prominent architectural practitioners and scholars. They bring to the discussion their own specific insights, contextualizing the students’ work in relation to contemporary practice as well as relevant academic discourse.

For thourough presentations of KTH-A’s Advanced Level Studio Themes for 2015-2016, please see the following pages.

PER FRANSON (Head of Advanced Level, Autumn 2015) is Vice Head of Department at the KTH School of Architecture., and teaches at the school since 2013. He is an architect and studied at the Parsons School of Design in New York City and at the Royal Institute of Art in Stockholm, where he graduated in 1998. In 2001 he co-founded the architecture office Franson Wreland, and since 2012 runs the practice as sole principal.

FRIDA ROSENBERG (Spring 2016) is Head of Advanced Level Studies at the KTH School of Architecture.

She is a practicing architect, educator, and researcher, with Master’s degrees from Chalmers and Yale Schoolof Architecture.

She is currently completing her PhD in History and Theory of Architecture at KTH, entitled ‘The Construction of Construction – making steel-building possible in postwar Sweden’.

Above: ‘Whatever happened to the Queens of PoMo?’ – Spring 2014 (re)orientations course, led

by Critical Studies in Architecture and Svensk Standard.

Top right: At work in Studio 6 (photo by Tove Freiij).

Right: Studio 8 at Bo Bardi’s SESC Pompéia, São Paulo, 2015.

Below right: Student and teacher discussing a project, Studio 2.

Bottom: Assembling a CNCmilled wall, Spring 2015 seminar course (photo by Tove Freiij).

Below left: Staffan Svensson’s 2014 Degree Project model under construction in the KTH-A workshop (photo by Tove Freiij).

Left: Petter Jysky presenting his Degree Project to the 2015 Diploma Days jury.

Above Left: Diploma Days examination ceremony, June 5 2015 (photo by Tove Freiij).

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Above: The workspace that the studio designed and constructed on the KTH Campus last year, named Friggatto. It consists of two non-permit building types, an “Attefallshus” and a “friggebod”, where the latter can slide on railway tracks to form one large or two seperate volumes.

Far left: Students welding the frame of ‘1 to 1 Mobile’, a foldable classroom on wheels produced for HEM, a local NGO working with the EU migrant community.

Left: Charring of facace boards for the Frigatto, using a traditional japanese chimney technique.

Below: ‘Micromobile’, a small home moveable by bicycle, 2015 Degree project by Adils Runkvist.

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STUDIO 1: full scale STUDIO THEME

The primary focus of Studio 1 is to test new ways to approach and create architecture. We believe that there are many unexplored parts of our profession and that the most beautiful, functional, affordable, fair, breath-taking, godlike, sustainable, and amazing buildings have not yet been built.

Studio 1 attempts to reach higher through a straightforward and fairly unexplored method: to design and build. To design something and then just do it, to continue designing while doing it, and to constantly make improvements throughout the whole process, going beyond representations and simulations. To make material perform in ways it never knew it could, to play architecture just like a guitar or like football. Studio 1 is a study in making, an investigation of building processes.

By jumping right into the game, we feel and see all factors directly, we meet actors and review customs, we encounter allies and opponents, and we gain an understanding of the field. We come to know when and why we need drawings and renderings, and we to try every muscle that is needed to make buildings. In this, we experience the potential of and barriers to making the architectural masterpieces of tomorrow.

The studio’s aim is not to adapt to the current conventions, but to investigate and improve contemporary building practices, from material use to politics, for the sake of architecture. Being part of an academic context, we have a great amount of freedom to do so, and a liberating lack of money, which keeps us focused and inventive.

TEACHING METHODOLOGY

By taking an active part in building processes at various scales, students will gain personal experience and a better knowledge of the production chain, encountering constructions in real-time, rather than through simulated cases. Structural durability, materiality, and detailing become unavoidable topics early on, rather than last-minute additions. Relations between resources, site, architecture, craft, and mass-production are exposed, feeding back into a critical approach and ultimately generating a more confident conceptual focus.

The idea is to be a player before becoming a coach.

During the year, students learn about architecture with their eyes, ears, and hands. Design tools will be tested in real time, at 1:1. We believe that working in groups makes students reach further, learn more, and be braver. Projects will be analysed by actually being in them and testing them for real. Studio 1 is a collaborative ongoing research project. We will meet last year’s students and visit their projects, discussing intention in relation to outcome, use, and durability.

World Record Ville

What makes a house? To find out, the studio will realise a couple of case study projects for allotment gardens, following an architectural idea through to realised construction. The projects will have real clients and must meet real needs and desires. Three teams will be working in different thematic directions with the goal set to world record in each field.

The theme runs over Project Courses 1 and 2 with a focus on research and planning in the former and construction work in the later. The main part of the study is collaborative and all students will try different responsibilities within a smaller team.

The design process will be linked to comfort, timing, and economy in a very practical sense. Experiencing tools and methods of on-site construction work is central. During the first course, we will visit different manufacturing industries in our search for the “world class” and visit professionals and experts in each theme. The semester will give an insight into building components and material production, building lifecycles and general recycling principles, economy and logistics at construction sites of different scales, prefabrication, traditional craft, and the art of architectural building physics.

Studio Project 1, Course A42A13/A52A13 Studio Project 2, Course A42B13/A52B13

Full Scale Act (Part I)

The built environment is drawn through boundaries, regulations, and conventions. To better understand this context, Project 3 addresses the political management and planning structures that set the standards for building processes. Which agreements and rules are relevant, and who gets to make that decision? Which boundaries are actual and which are possible to change? Through concrete cases, the course aims to map rights and responsibilities within building processes, to propose new models for immediate improvement, and new visions for public space.

Studio Project 3, Course A42C14/A52A13

Full Scale Act (Part II)

ANDERS BERENSSON is an architect (MSA) and a Lecturer at the KTH School of Architecture. He is the founder of Anders Berensson Architects, a co-founder of Visiondivision, and a member of Svensk Standard.

EBBA HALLIN is an architect (MSA) and a Lecturer at the KTH School of Architecture. She is a co-founder of Himmelfahrtskommando. johan paju (Co-teacher) is a landscape architect (MSA) and a Lecturer at the KTH School of Architecture. He is co-founder of N.O.D. and Paju Architecture and Landscape, and Studio Manager of Landscape at Fojab Arkitekter. malin åberg wennerholm is an architect (MSA) and Program Director at the KTH School of Architecture. She is also building houses and working with developing the pedagogy at KTH-A.

Using previous investigations to build a programme, Project 4 asks students to create an intervention in public space, and to study spatial performance by making full-scale installations.

The course is an opportunity to process a structure for public use, and to improve common spaces. As in preceding projects, the issue is to relate architectural design to production, and students are encouraged to work in teams to realise a fullscale, real-time architectural masterpiece that has relevance in the built environment of today.

Studio Project 4, Course A42D14/A52B13 15

Top left: Studio 2 on walking tour in Northern Botkyrka with architecture collective Stalker from Rome, Italy.

Top right: Guest lecture

by Nooshi Dadgostar.

Above: Civic Centre student project.

Below right: ‘Remember the Future,’ 2014 Degree Project by Nils Sandström, Jakob Wiklander (photo by Tove Freiij)

Below left: ‘Scan, Cut, Unfold’, 2015 Degree Project by Stella Reijo.

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Right: ‘The Vegetable Program’ at the Multicultural Centre in Fittja.

STUDIO 2: Workplace, Labour and Everyday Life STUDIO THEME

If the contemporary city can increasingly be seen as an integrated extension of an overarching marketisation of society and a shift from politics to economics, then neighbourhoods like Fittja, Alby, Hallunda, and Norsborg stand as physical reminders of a different society.

Since the spring of 2013, the studio is working in collaboration with Botkyrka municipality on a series of projects in the neighbourhoods of northern Botkyrka. These residential areas were all primarily constructed as part of the Million Program and have, since their completion in the mid-seventies, been heavily criticised in mainstream media.

Late-modernist architecture and planning marked a paradigm shift in the history of Swedish architecture, which remains a reoccurring topic in almost every discussion about architecture and planning today. This year, the studio will concentrate on projects related to ‘work’. In the 1967 General Plan for these neighbourhoods, over 10,000 workplaces was envisioned, however these failed to materialize and today most people commute over long distances to get to work. Together with the municipality of Botkyrka, Botkyrka art centre, local organisations, and other art and architectural education institutions, we will map the current forms of the workplace and labour in order to make architecture and planning proposals that address the lack of job opportunities within the area and at the same time imagine how work can be organised in the future.

Whilst the projects are down-to-earth and straightforward, the overall theme engages with difficult questions regarding the future of latemodernist communities, politics, the organisation of everyday life, and the role that architecture can play in counteracting a segregated city.

TEACHING METHODOLOGY

Studio 2 focuses on the social dimension in architecture. We are less about what architecture looks like and more oriented towards what architecture does, what it performs.

A design process is not merely about finding a method to create an object, but about engaging in the complex and contradictory field of relationships that inform our making and understanding of the built environment. It is about introducing questions and uncertainties right before consensus is established: about what we architects do and how we do it. Rather than a collection of tools, methods, vantage points, and positions, the aim of a design process is to question and reflect upon the fundamental conditions of what constitutes a contemporary architecture practice – to unravel the very ground on which we stand.

Fittja Centre

Many neighborhood centers from the Million Program era are struggling economically. In Fittja in northern Botkyrka, the owners Fittja Centrum Fastigheter AB together with the municipality are currently developing plans for extensive refurbishment, new housing and civic and commercial services.

The assignment will be to respond to the current plans, developing alternative proposals.

Studio Project 1, Course A42A13/A52A13

Local community organisations

Fittja has en impressive number of local cultural organisations active in all kinds of activities – from sport and culture to religion and youth clubs. This small-scale project aims to engage with local community life. The task will be to map these organisations, identify needs and develop concepts for how architecture can help them becoming even more successful.

Studio Project 2, Course A42B13/A52B13

Motorway Office Space

In the 1960’s when northern Botkyrka was planned, the E4 highway was designed as a City Motorway. Driving past the neighbourhoods today these ambitions are hard to detect. Instead the motorway is working as a barrier between neighbourhoods and the surrounding urban fabric. The assignment is to make proposals for what a city motorway could be in the 21st century.

Tor Lindstrand is an architect and assistant professor at the KTH School of Architecture. He is a co-owner of the office of Larsson, Lindstrand and Palme and currently working in the collaborative research project on ‘Power, Space and Ideology’ at KTH-A and Södertörn University. He is also the co-founder of International Festival and Economy.

Karin Matz is an architect working at Vera Arkitekter and running her own office Karin Matz Arkitekt. Karin is a member of the Swedish Architecture collective Svensk Standard and has had her work published in numerous international magazines.

Studio Project 3, Course A42C14/A52A13

Northern Botkyrka Book

This assignment will be to collectively make a publication about the work the studio have done in Northern Botkyrka so far. Together the studio will gather information, create content and design a book that will be presented at Botkyrka Art Centres upcoming Art and Architecture biennale in the fall of 2016.

Studio Project 4, Course A42D14/A52B13

Anders Wilhelmson is an architect and professor at the KTH School of Architecture, and has for ten years been professor at The Royal University Collage of Fine Arts in Stockholm. He is running his own practice, Wilhelmson architects AB. In 2006 he founded Peepoople AB, a company engaged in delivering hygiene and sanitation to the world’s urban slums, refugee camps and emergencies.

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Top left: Facade detail, Domkyrkoforum, Lund, by Carmen Izquierdo Arkitektkontor

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Top right: Model photo of Ravinen Cultural center, proposal for Norrviken gardens, Båstad, by Johan Celsing Arkitektkontor

Above: Interior view of Domkyrkoforum, Lund, by Carmen Izquierdo Arkitektkontor

Below left: View of garden pavilion on the Philoppapou Hill, Athens, Greece,

by Dimitris Pikionis

Below right: Handrail detail, Malmö Östra kyrkogården Chapel, by Sigurd Lewerentz

STUDIO 3: ‘Lagom’ – The essential within the mundane STUDIO THEME

The studio work in the 2015-2016 academic year will be framed by the concept “lagom”. This term, or position, is often spoken of with irony in Sweden. Lagom, it seems, is ridiculed as a position lacking radicalism or a vigorous spirit. In fact, this concept denotes profound philosophical issues central to the intellectual and moral history of the western world. Decorum is a related concept elaborated on by, among others, Aristotle in the 4th century BC. “The appropriate” is a contemporary term for this concept.

As we know, what is appropriate to a certain aim, or to a certain context may be erroneus in another. However, what is crucial is how the project fulfils its aims, and relates to its physical or circumstantial context. Thus, we expect student projects to range from the elementary to the fantastic.

The shape and conditions of ‘the public’ and ‘the private’ are subject to constant redefinition and adaption as society evolves. The redefinition of our ways of living affects, and is materialized in, architecture. The challenge of giving shape to our surroundings in this state of flux calls for a thorough understanding of the tools of architecture and of the forms of the past to be able to imagine the buildings of tomorrow.

TEACHING METHODOLOGY

The aim is that students forge architectural solutions ranging from the detail to the whole. To keep the visual appearance of buildings (so dear in our contemporary culture) at a distance, the initial assignments will focus on the parts, the details, as protagonists in the architectural designs.

The detail as necessity The detail as an invisible but tactile reality The detail as a creator of atmospheres The detail as a sign of an attitude The detail as part of a family of tectonic solutions To deepen our understanding of the nuances of buildings, of the role of the parts in the whole, we will make a measuring survey of an extraordinary 20th-century building. To provide the design task with an overview, we will make case studies of a selection of related buildings. The design work will elaborate the contemporary issues that pertain to the chosen sites and programs.

A SPACE FOR CONTEMPLATION, A CHAPEL – SMALL

At a strategic location between the domestic and the bustling city, at a site overlooking the waterways, a pavilion will be inserted next to existing structures. Protected in its location, it has a wide view of Stockholm. The atmosphere for a calm and reflective environment is to be developed in both the interior and the exterior yard or terrace.

Studio Project 1, Course A42A13/A52A13

A PUBLIC SPACE FOR LEARNING – MEDIUM (PART I)

We will design a primary school in a yet-to-bedesigned urban area. The municipality’s aims for this facility include multi-purpose use throughout long days. In Project 2, the focus will be the exploratory programming of this public institution related to pedagogics, the forthcoming physical and social context, as well as developing its overall shape within the (future) built fabric.

Studio Project 2, Course A42B13/A52B13

A PUBLIC SPACE FOR LEARNING – MEDIUM (part II)

Building on the proposal in Part 1, this stage will involve studies of particular spaces as well as spatial sequences within the school. Materials and details will be elaborated and exploratory models will be built to challenge and test the layouts. Highly articulated drawings of complex spaces and elevations are expected.

Studio Project 3, Course A42C14/A52A13

‘STORA RUM’, A PUBLIC MULTI-PURPOSe HALL – LARGE

A facility for an expanding city, the Hall serves the public for meetings, sports, or logistics. The scale calls for technical and architectural solutions not needed in the previous projects. The leap from the initial small project over to this structurally demanding building will widen the perception of the scope of our discipline.

Studio Project 4, Course A42D14/A52B13

johan celsing is a Professor at the KTH School of Architecture and Principal of Johan Celsing arkitektkontor in Stockholm. His work has been awarded the Kasper Salin Prize in 1999 and 2014 and has been shortlisted for the Mies van der Rohe Award. Celsing has acted as guest critic and lecturer at universities in Europe and overseas.

Josef Eder is a guest teacher at KTH-A and co-founder of General Architecture, Stockholm.

Among his work are Headquarters for Skellefteå Kraft and design for massive wood buildings. He has been a jury member in architectural competitions and his work has been awarded and published in Sweden and internationally.

Carmen Izquierdo is a guest teacher at KTH-A and Principal of Carmen Izquierdo Arkitektkontor. She has designed the building Domkyrkoforum in Lund, awarded with the Kasper Salin Prize in 2012. As an employee at Tham & Videgård Arkitekter she acted as Project Architect for the new KTH School of Architecture 2007-2015.

Her work has been published in Sweden and internationally.

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Above: ‘Unfolded Relief’, 2015 Degree Project by Dženis Džihić. A folded system for temporary rescue centres, based on an exploration of new materials.

Far left: Axel Zedell presenting ‘Mycelium Connection’ at Diploma Days Jury in June 2015.

The studio encourages Degree Students to a process-oriented approach in order to make the most of their final semester.

Left: The exhibition ‘Another Earth’, produced by the students in Studio 4, will inaugurate the Dome of Visions on KTH Campus in September 2015. The winning pavilion from the ‘Inspired-by-space competition’, by Stefania Dinea, has been erected inside the dome.

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STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS – From Sami to OSTUNI STUDIO THEME

Studio 4 seeks to push the boundaries of what architecture is, by exploring what architecture can be. We will continue developing the theme that we initiated last year, however with a slightly different approach. We begin the year by designing a Nature Experience Centre (“Naturrum”) for Sami culture in the vast and beautiful landscape of the far north in Sweden. Then we move from north to south (and from rural to urban) in order to design a small public building in Sicily, Italy.

Here, we will be challenged by a completely different setting, an extreme environment shaped by geology and a hot climate, with a long history as a battlefield for migrating cultures.

As per previous years, we remain interested in the concept of materiality in architecture. As a basis, we approach this from a Bauhaus perspective, asking students to use their eyes and hands to see and represent an architectural experience.

To meet the challenges of global warming and our planet’s limited resources, we are also interested in what researchers from different fields are developing in terms of new materials and technologies.

These innovations can be applied to architectural design and we therefore ask students to try them out. What are their qualities and how do they compare to traditional materials in architectural design, such as stone, wood, glass, and steel? In short, the studio explores new materials that are applicable to extreme living conditions in order to make this planet a better place.

TEACHING METHODOLOGY

At Advanced Level, students already have an individual approach to their design thinking. Our view is that although architectural training has equipped them with various design tools and methodologies, they still need to sharpen their personal artistic voices. It is our job in the studio to help our students mature, step by step, by scrutinising design intentions in a way that allows students to position themselves in a broader context—always facing the challenges of our future society. We want to ensure that the Degree Project becomes a personal landmark and a springboard for students’ future careers as architects.

For this reason, we sometimes make slight adaptations of the course design, allowing our 5th-year students to work in preparation for their Diploma Degree Project.

At the Diploma Days in June 2014, Studio 4 was awarded the Jury’s Mention in recognition of our teaching methodologies and the way we coach our students to take risks (even in the last term), encouraging them to formulate design problems outside the conventions of architecture.

NATURE EXPERIENCE CENTRE FOR SAMI CULTURE

Hälsingland in northern Sweden needs a Nature Experience Centre and our students will design it. Students will meet representatives from the Sami culture and there will be a given site and a programme for the building. They will be asked to study a building material of their choice, to explore it and push it way beyond its conventional usage, by modelling and testing. At which point does it change character? How can its qualities and limitations be described and represented? Students will produce a thorough account of the potential of the material, through physical, artistic expression.

Studio Project 1, Course A42A13/A52A13

PUBLIC SPACE TRANSFORMATION IN APULIA, SOUTHERN ITALY

Like many Mediterranean shores, southern Italy has been exposed to cultural clashes since the beginning of our civilisation. Addressing these contrasts, the studio will explore Ostuni, in the Valle d’Itria in Apulia, a region of great historic and architectural interest where pearls of ancient cultures are packed within framing city walls. The Apulian dilemma is how to also develop society outside the walls. The studio will collaborate with an Italian architect to make proposals for a sustainable urban future and revitalized cultural development.

Studio Project 2, Course A42B13/A52B13

SMART SPACES AND RESPONSIVE ENVIRONMENTS

Our interest in new materiality includes digital technologies and interactive media components that make it possible for people to interact although they are in different parts of the world, and thus perhaps to travel less and thereby reduce their environmental impact on our planet. Studio Project 3 will explore how shared mediated spaces can be created from combining real space with virtual space, an area of research that is called presence design. Students will design a mixed-reality space by integrating live media streams to the physical environment, combined with software components and tools that empower users to actively control features in local end remote spaces (embedded actuators, sensors, iBeacons, etc.).

Studio Project 3, Course A42C14/A52A13

A COMPETITIVE EDGE

As in previous years, the students of Studio 4 will participate in an architectural competition. We will coach them through the adventures of developing a winning project, in a national or an international competition.

CHARLIE GULLSTRÖM is an architect and a University Lecturer at the KTH School of Architecture. She has a PhD in Architecture and combines teaching with design-driven research in architecture and interactive media. Her research group, KTH Smart Spaces, works in in EU-funded projects relating to presence design and the future of connected media.

PABLO MARIANDA CORRANZA Is an architect who traded his drafting board for a text editor and compiler 16 years ago, and has since been programming architecture rather than drawing it. His work and research includes generative processes, simulation, and analysis, as well as interaction and physical computing. He is currently a researcher and PhD Candidate at the KTH School of Architecture.

ORI MEROM is an architect with an extensive architectural practice, Merom Architects, and is an expert advisor on design management strategies. He is a University Lecturer at the KTH School of Architecture.

Studio Project 4, Course A42D14/A52B13 21

Left: ‘Descendants of Ancestors’, 2015 Degree Project by Aron Fidjeland.

Below left: ‘Misunderstandings,’ 2014 Degree Project by Gerda Persson.

Below right: Five-axis robot at Konstfack, (photo by Einar Rodhe).

Bottom left: Studio 5 student project by Axel Bodros Wolgers.

Bottom middle: ‘How can a process that form the site also form architecture?’, 2015 Degree Project

by Love Liljeqvist.

Bottom right: Historical example of “spolia” in Athens, Greece (photo by Einar Rodhe).

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STUDIO 5: fictions STUDIO THEME …truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future’s counselor. 1

The author Menard, according to the narrator of the story, defines history not as an inquiry into reality, but as the source of reality. “Historical truth, for him, is not what has happened; it is what we judge to have happened.” 2 This year, Studio 5 will further last year’s theme, translations, and engage in fictions – architectural fictions. Fictions imply the fabrication or construction of histories or narratives. The studio will explore different connections between translations and fictions; modes and technologies for their fabrication; and their relationships to history, architectural history, time, the present, and to future projections. Through the sequence of projects material fictions, local fictions and architectural fictions the studio will involve processes of architectural documentation, reuse and scenario-making.

Throughout the year, we will work with robots in architecture, both as tool for fabrication (Project 1 & 2) and in relation to automation and its impact on our society (Project 3 & 4). Fictions will be addressed from various perspectives: materialised in an architectural design or methodologically as a way of imagining future scenarios or retelling fictions of the past.

TEACHING METHODOLOGY

How we work affects what we produce. Studio 5 will continue its interest in the development of rigorous design research, and will establish new ways of thinking about the negotiation between digital and material processes for design and fabrication, theory and history, professional practice, teamwork and the cultural impact of contemporary architecture. Through iterations of drawings, models, and 1:1 scale prototypes, students will develop design techniques and sensibilities, enabling the design of innovative architectural proposals. Contrary to a linear design approach where technological processes are applied in the interest of optimisation, this studio adopts a bi-directional approach where technological processes are incorporated as drivers of design innovation. Through design, the students’ work will contribute to contemporary architectural discourse and its dialog with society, art, and aesthetic theory.

MATERIAL FICTIONS

The notion of ‘spolia’ refers to an adaptive reuse of old and often symbolically charged building elements in new build structures. In the first project, studies of historical examples of spolia will be coupled with an introduction to contemporary design and fabrication techniques including 3D-scanning and the use of a 5-axis robot. Each team of students will develop their own tools for robotic fabrication as well as an aesthetic response to adaptive reuse in architecture, resulting in a parti study or maquette.

Studio Project 1, Course A42A13/A52A13

LOCAL FICTIONS

The second project searches for ways of materialising stories – real and fictive – that relate to a specific location in the surroundings of Stockholm. Students will trace fragments, narratives, or events from the site and explore ways of translating them to a site-specific spatial intervention.

In the project, the fifth-year students are encouraged to explore methods and design techniques that relate to their individual diploma projects.

Studio Project 2, Course A42B13/A52B13

ARCHITECTURAL FICTIONS

For the spring, the studio shifts scale and perspective. Through precedent studies and text seminars, the studio will research future societal changes and speculate on what architecture might be after an extensive automation or a radical ecological turn. Each team of students will write their own scenario that includes a program for their design. At the end of the semester, each team will present their project in an exhibition format with large models and vedutas3 showing how the scenario has been translated to an explicit spatial and tectonic architectural fiction. During the project the students will be supported in formulating their own architectural position in relation to architectural culture and contemporary architectural discourse.

Studio Project 3, Course A42C14/A52A13 Studio Project 4, Course A42D14/A52B13

1: Borges, Jorge Luis, ‘Pierre Menard, Author of Don Quixote’, 1939, translation Irby, James E. 1962 2: Ibid.

3: Veduta (Italian for “view”; plural “vedute”) is a highly detailed, usually large-scale painting or, actually, more often a print, of a cityscape or some other vista.

ULRIKA KARLSSON is a partner at the research and design studio Servo Stockholm. She is a Professor at the KTH School of Architecture, as well as a Professor at Konstfack.

CECILIA LUNDBÄCK is an architect at sandellsandberg arkitekter, Stockholm, and has collaborated with Ulrika Karlsson and Veronica Skeppe in various projects since 2014.

EINAR RODHE is a partner at the Stockholm-based studio Norell/Rodhe and a Lecturer at KTH School of Architecture.

VERONICA SKEPPE is an architect and Lecturer at KTH School of Architecture and has collaborated with Ulrika Karlsson and Cecilia Lundbäck in various projects since 2014.

CLAES SÖRSTEDT is an architect, occasional writer for Arkitektur (the Swedish Review of Architecture) and a Lecturer at KTH School of Architecture.

COLLABORATIONS Konstfack University College of Arts, Crafts & Design: Interior Architecture & Furniture Design, and Industrial Design.

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Above:’The Moral Institute of Higher Fiction”, 2014 Degree project by Olga Tengvall (co-supervised with Hélène Frichot, Critical Studies in Architecture).

Top right: Step notification, an investigations of sound and space.

Second from top, right: Aerial view of Stari Grad Plains on the Island of Hvar.

Above right: ‘House for the Last Man on Earth’, Studio 6 student project

by Adam Bergendal.

Bottom Right: Kanagawa Institute of Technology Workshop, Kanagawa, Japan, by Junya Ishigami Architects.

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STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIME STUDIO THEME

We will study how different interdisciplinary artistic tools and methods can be transformed into architectural design processes, creating new kinds of spatial platforms for sound experiments in Stockholm. Then we will investigate an area of UNESCO heritage in the beautiful but depopulated context of Hvar in Croatia. We will work with a mixeduse programme linking present to past through sustainable typologies and design interventions.

Excursion to Split and Hvar are scheduled for October 24-31. The third studio project will focus on specificity and narrativity – students will create a story about a real or fictive person as a foundation for the development of a very specific design for a very specific home. The last project investigates what we can learn from the Japanese context, examining diversity, differentiation, metabolism, interactivity, flexibility, and conceptions of space and time (at the urban scale as well as in smaller scales).

Based on studies of the relation between filmmaking and architecture, we will design a Film Studio Residence within the urban fabric of Tokyo. In March-April the studio plans a trip to Tokyo, where we have developed contacts with Atelier BowWow, Tezuka Architects, SANAA, Junya Ishigami, Tetsuo Kondo, and Tokyo Institute of Technology.

TEACHING METHODOLOGY

This studio investigates different experiences of architecture and conceptions of space in relation to the synthesizing design process. We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, colour, tactility, etc. We have developed a methodology wherein students and teachers collaborate in a kind of research-by-design structure. The students define and formulate their own projects from a given topic and self-program their projects to reflect on the problems and possibilities described in the analysis and definition of the context.

The aim is to provide tools and methods in order to give the students an independent, innovative, artistic, professional, ethical, and scientific identity. Every project is specific and independent, but also relates to the general theme. We think it is important to work with different topics, problems, and scales at the same time. Every project starts with a group research phase – collecting relevant theory and information, defining the different options, and understanding the context. Students discuss, evaluate, reflect, and make decisions. We want them to feel involved in a larger overall research-by-design movement, where the parts and projects are important but where the research outcome as a whole—and the multitude of different approaches and projects—is the most important.

Space for Experimental Music and Sound production in Stockholm

Through deeper studies in various contemporary artistic disciplines (film, literature, dance, music, art) and their immediate discourses, we will develop different artistic interdisciplinary tools and methods to experiment with acoustics, music, and sound as generators within the design process. With model making as our primary architectural communication tool, we will develop individual architectural projects, designing new kinds of interactive public spaces for experimental music and sound at Hornstull Strand in Stockholm.

Studio Project 1, Course A42A13/A52A13

Design Strategies for Hvar Island

By re-defining contemporary interpretations of different architectural conceptions, we will seek to revitalize a dynamic but problematic context with huge potential, located on Hvar Island outside the Dalmatian Coast. The site is part of the ancient Greek system of agriculture (the Stari Grad Plain) and a UNESCO World Heritage Site. Linking the present to history, we will work with a mixed-use programme, comprising of local production, small houses, temporary housing, agriculture, education, and tourism.

Studio Project 2, Course A42B13/A52B13

House for an Extremely Unique Person

How could the conception of ‘narrativity’ be transformed into very specific architectural expressions in a tectonic project? We will study and discuss narrativity through various theories and architectural case studies. The students will choose a real or fictive client and develop the client’s needs and personality into an architectural project, making a building (a home) as an expression of that person’s character, thus creating a narrative for that specific person. Where is the borderline between the generic and the specific?

Studio Project 3, Course A42C14/A52A13

Film Studio Residence in Tokyo

In this project we will study Japanese traditional and contemporary culture and architecture, including important concepts such as ‘Ma’ and ‘Oku’. The brief has its starting point in the understanding of the diverse urban fabric of Tokyo Metropolitan Area as well as in the concept of film-making (directing, editing, and producing) in relation to architecture and contemporary cultural movements. These studies will be applied in the design of a Film Studio Residence within the urban fabric of Tokyo.

LEIF BRODERSEN started teaching at the KTH School of Architecture in 1996.

He is an Associate Professor at the school since 2004 and served as Head of School 2004-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter (formerly A1 Arkitekter), established 1999.

TERES SELBERG is an architect, artist, and dancer based in Stockholm. Along with architectural design projects, she also works artistically with video, installation, performance, and painting. She is co-founder of and an active member in ASF – Architectes Without Borders.

Helena Paver Njiric (affiliated teacher, collaborator in the project ‘House for an Extremely Unique Person) is a Professor in Architecture at the University of Zagreb and TU Graz, as well as founder of Njiric & Njiric Architects and HPN Architects in Zagreb. She has designed several prize winning buildings, housing areas, interiors and exhibitions

Studio Project 4, Course A42D14/A52B13

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Top left: Studio 7 exhibit at the Royal Academy of Fine Arts. Models by Max Lindgren, Arvid Forsberg, Zhengiang Chen and Henrik Sagen.

Above: staircase for new town hall, Katrineholm by Måns Björnskär, Studio 7 ‘Civic Rooms/Town Hall’ project 2015.

Left: Cast-plaster model, Palatin vaulting, Frida Körberg Turhagen, for Studio 7 ‘Choisy’ project 2014.

Below: Equirectangular panoramic photo of Roma church, Gotland, by Lennart Möllerström (www.4pisr.se).

Below left: Cast-plaster model, Minerva Medica vaulting, Andreas Nyström and Birkir Ingibjartsson, 2014.

Bottom: ”Contraption” at Limerick train station; device for train maintainance (photo Elizabeth Hatz).

STUDIO 7: Unnameables – Fragment and Coherence STUDIO THEME

Architecture is a play of regularity and contingency, clarity and ambiguity, rationality and instinct, freedom and accident. Contingencies of site and program recast and reshape the a-priori intentions of the architect. The search for an architectural solution never begins as a tabula rasa, but rather with a palimpsest of half erased or altered traces. To unravel and re-assess these layers is part of a creative projective process. We take an interest in both established and potential architecture, in deliberate and accidental choices, in design as a process of coming-into-being.

Our starting point this year will be the region between the rational and irrational: what Irish writer Samuel Beckett calls a zone of semi-consciousness, “forms without parallel”. This is a place where study and projective speculation fuse and feed each other. From this starting point students will follow two paths: uncovering an own idea of a particular architectural modus, an own architectural direction; and developing a singular, idiosyncratic, highly contingent work.

The world of built rooms, interior and exterior, where we seek our models, is a realm for interaction, confrontation, and musing. The trip this year is to Ireland and Dublin – where architecture and landscape meet literature in a unique way. We will explore remarkable buildings and places and meet Irish architects and architecture programs.

TEACHING METHODOLOGY

Accumulated archive – study and speculation.

The studio will build an archive of knowledge and projects in the form of studies, speculations and designs. This collective inventory, organized in territories of research, will be exhibited and discussed with an extended audience inside and outside the school. The process will draw on seminars and fieldwork. Hand-drawing, physical model-making, material exploration, and development of craft skills will be paramount concerns.

Students are required to complete 1-2 pages of readings and participate energetically in the discussion each session for fortnightly seminars.

The seminar will convene in different locations throughout the city. The first seminar is ‘The Night’, the second ‘Myth of Progress’.

This year we will explore the city of Stockholm through fieldwork—sketching and photographing, uncovering the city’s “forgotten architects”.

At end of each semester, studio work will be presented in a public exhibition. Participation in layout, logistics, installation, and de-installation is part of the course.

Adjusted typologies

Working in pairs, students will study selected churches in Sweden – architectural sites of maximum intensity – and make cast-plaster analytical models. These buildings are notable for their additive and subtractive character. In a single church radically different spatial conceptions are juxtaposed. Details play a decisive, enigmatic role. The emphasis of the analysis is not on formal reduction. The study will resolve in a miniature utilitarian addition, interior or exterior.

Studio Project 1, Course A42A13/A52A13

Unstable typologies

Students will investigate typologies that are inherently incomplete and unstable – more like “contraptions” than ideals: Janus facades, corner solutions, terraces, forecourts, stairs… Each negotiates a spatial circumstance – rectifying changes of level, misalignments, etc. Each student will research one type, document Stockholm examples, and develop a schematic design proposal. All this work will be added to the archive.

Studio Project 2, Course A42B13/A52B13

Tertium Quid (Part I)

Enclave within Stockholm. On one of three possible sites, chosen for topographic irregularity and historical depth, students will introduce a small, composite program incorporating interior and exterior spaces. We will use the “unstable typologies” researched in the fall as a design starting point, and the “adjusted typologies” as clues to an impure design method. An in-depth survey and exploratory study of the site and its layers is part of the project, as are interventions at a detailed scale.

Studio Project 3, Course A42C14/A52A13

Tertium Quid (Part II)

Intensive development. This is where each student will refine an architectural signum, both in terms of direction and in terms of formal expression. In other words, this is where the particular becomes architecturally explicit. The power of each artefact, model, drawing, will add to the archive and lend itself to reaction and discussion.

We envisage urban plans and models, complete plans and sections, in-depth studies of select interior and exterior spaces in detailed models, investigating light, materiality, texture and colour.

Key details will be refined in sketches, models and prototypes.

ELIZABETH HATZ is a practising architect, art curator and Associate Professor at the KTH School of Architecture. As chairman of the Swedish Association of Architects, she co-founded Färgfabriken, where she is a board member. She teaches part time at SAUL, Ireland, and has lectured and acted as external examiner at architecture schools throughout Europe.

She also leads practice-based research in architecture and writes about architecture and art.

PETER LYNCH is a practising architect and co-director of Lynch+Song, with projects in sustainable agriculture and new methods of timber and block construction. He was Head of the architecture program at Cranbook Academy of Art 19962005 and Visiting Professor and Chair of Design at Penn State University in 2014-15.

He has tught at Harvard, City College NY, RISD, Columbia, Parsons, and Dalhousie.

Studio Project 4, Course A42D14/A52B13

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V V E E R R TT II C C A A LL U U R R B B A A N N

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Top left: ‘Urban Incision São Paulo’, collective site model by Studio 8 students.

FF A A C C TT O O TopRRright: ‘Elevado São Paulo’ , Y Y by Michal Kotvan. graph

Middle left: ‘Vertical Urban Factory’ urban incision by Alexander Fosch and Doris Eckert.

Middle left: ‘Vertical Urban Factory’, urban incision by Alexander Fosch and Doris Eckert.

Bottom left: ‘Reinterpretation of Sala kalkbruk’, Degree Project by Pi Hedberg.

Bottom right: ‘Great Northern Warehouse’, 2015 Degree Project

by James Britton.

photo-

STUDIO 8: a common urbanity STUDIO THEME Asserting the value of incomplete form is a political act architects should perform in the public realm. This means asserting not only the beauty of unfinished objects but also their practicality. It is a political act because it confronts the desire for fixity; it asserts, (...) that the public realm is a process.

– Richard Sennett

This year, Studio 8 will explore the concept of a common urbanity. At varied speeds cities are in transformation, be it a process of becoming sustainable or the need to sustain itself. A new type of urbanity is forming in cities that may be a result of many tipping points, where social production responds directly to the various needs of their territories, from the urgency of providing for basic physical needs of housing to the creation of new kinds of cultural and social spaces.

The individual has gained unprecedented importance because of their role amongst the many, with their connectedness their most important asset. At the same time, having shifted to the east, modes of production and manufacturing promote greater and greater independence from geographical location. In this context, we would like to re-consider the city and re-invent it as the space of production for the future, of forms of manufacturing products and of the artistic production of culture that can inform and construct the collective.

Teaching Methodology

Studio 8 is supported by three teachers with different experience and expertise who offer students a wide field in which to test and reflect their ideas. We focus on the development of each individual student rather than a specific methodology and ask students to formulate their personal design strategies and to position their projects within the contemporary architectural discourse. Students are encouraged to examine the relationship between architectural design and environmental performance, with the opportunity to go deeper into specific questions within the context of the studio. We will introduce components of sustainable design through a series of seminars, providing the critical basis for design research and practice. Research and development is an important part of the studio culture in order to enable each student to formulate critical and relevant design questions.

Collaboration with a range of experts in the field will help students develop interdisciplinary, integrated design strategies in the search for innovative sustainable design.

Dissent – Space for Homeless Art

Through a study of topography, its manipulations and constructions, we will identify sites that can be read as faults or gaps in the urban fabric of central Stockholm, resulting from the city’s processes and historical transformations.

Exploring the dichotomy between old and new and the complexity this relationship affords, we will stand in between the physical materiality of place and the transient qualities of light, working for a collision in order to craft a new type of beauty. The project will propose spaces that have a highly precise handling of daylight, and addresses both art and the public in order to house a collection of forgotten artworks owned by the Swedish Worker’s Union.

Studio Project 1, Course A42A13/A52A13

THERMODYNAMICS – SEAWATER BATHS

We will engage in the ongoing discussion on how to use the main resource of Stockholm, water, for the public, through the design of an adaptive outdoor baths at Djurgården, responding to a rapidly changing urban realm that is under huge public pressure. We will investigate the relationship between convection, conduction, radiation, and the human body and how their ephemeral qualities can inform an architecture.

We will work in an iterative collaboration with engineering and project management students from the KTH departments of Building Technology and Construction Management in order to develop conceptual ideas based on analytical calculations to inform the design.

Studio Project 2, Course A42B13/A52B13

SÃO PAULO COMMONS

São Paulo, the world’s 12th largest city by population, has experienced in the last ten years a rise in popular movements for housing, culminating in the occupation of some of the estimated five hundred empty buildings in the city centre. The ocupação is a desperate act by the urban poor as much as it is a new kind of cultural production, an act of resistance that creates self-made, counter geographies in the city. In collaboration with Escola da Cidade, we will expand on previous urban resources research and in spring we will travel to São Paulo to participate in a workshop, exploring ideas and proposals that address the notion of incomplete form and a reformulation of public spaces as commons.

Studio Project 3, Course A42C14/A52A13 Studio Project 4, Course A42D14/A52B13

SARA GRAHN studied architecture at Aarhus School of Architecture and graduated from KTH in 1995. She is a Professor at KTH School of Architecture since 2008 and partner at White arkitekter AB. RUMI KUBOKAWA graduated from the Architectural Association in London in 2001. She has been a Lecturer at KTH School of Architecture since 2012.

MAX ZINNECKER graduated from ETH Zurich in 2002. He has been teaching in studio 8 since 2010 and is a practicing architect at White arkitekter AB. CONTRIBUTORS pecialists within the field of sustainability and architecture will be invited for workshops and seminars, including researchers Marja Lundgren (PhD Candidate at KTH) and Marie Claude Dubois (Associate Professor in energy and building design at LTH).

COLLABORATIONS The KTH Departments of Building Technology and Construction Management will collaborate on the Seawater Baths. In the spring term we will continue our collaboration with Escola da Cidade in São Paulo.

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Above: ‘Aloftments’, project by Ulf

Right: ‘FAD (Fabrication Aware

Edgren, Studio 9, *Structures of

Design) for Stadsgårdskajen’, 2015

Temporal Permanence’ 2015.

Degree Project by Petrus Lindström.

Below: ‘Buenos Aires Bicentennial

Bottom: Full-scale pavilion by

Gate’, a proposal for a bridge with

Felipe Franco, Giulia Malesani and

an added mixed-use program,

Francesca Pernigotti, exhibited at

by JDS Architects.

Diploma Days, June 2015

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STUDIO 9: Architectural Infrastructure – Addressing Stockholm’s Growth STUDIO THEME

On the Tram Route

Stockholm faces a drastic challenge in the next 15 years: to house half a million new inhabitants.

This condition presents Stockholm with the possibility of overtaking London as the fastest growing city in Europe. It also, however, raises serious questions regarding how our profession will approach this challenge and how we will take part in shaping the future of Stockholm, the largest Scandinavian metropolis.

Addressing large-scale development through a pragmatic and environmental approach, we will propose research and projects that aim to combine infrastructural needs with architectural outcomes. We will study and design new ways to connect the tremendous efforts (and expense) currently being made in the infrastructural sector with the building sector in an attempt to redefine “urban development”. If infrastructure can literally set the foundation for architecture to occur, we will join our efforts and explore ways to densify the urban geography, in order to create new experiences of the city and achieve higher levels of efficiency for society. This approach of Architectural Infrastructure may better balance expenses and new values for society and the environment – and address environmental concerns in a new way.

In Project 1, the planned Kista extension of Tvärbanan, the circle tram line of Stockholm, will provide a selection of sites for urban intervention.

Students will select sites ranging from urban to rural, including a new link to Bromma Airport, in the design of small-scale residential development linked with services.

Computational design approaches will include modeling, structural evaluation, and graphic representation of information.

TEACHING METHODOLOGY

In Project 3, selected locations on the road network will become sites for new urban environments. This may include turning existing bridges into habitation, or architectural interventions on new planned routes such as Förbifart Stockholm or the Danvikslösen tunnel.

Computational design approaches will include advanced design techniques, advanced fabrication and noise simulation.

Studio 9 explores the critical integration of planning, design, and computational techniques within architectural design practice. This year the studio takes on the question of how architecture can use new potentials in infrastructural situations.

Using diagrammatical mapping techniques, iterative model-making, and advanced digital design, simulation and fabrication techniques, the studio will critically investigate how scenarios can be developed into built structures, supported through direct links to digital fabrication technologies, and informed by expertise in other fields.

Design strategies will be based on in-depth research. Design proposals will span from the organization of urban life to tactile relations to human interactions. Structure, materiality, fabrication, and detailing will relate to scale and context. Particular concerns include the new roles of scenarios, design and prototyping techniques and fabrication strategies in architectural practice.

Experienced and 5th year students may define their own agendas within the studio. Previous knowledge in design and modelling software is not compulsory, but preferred – computational design is supported by experienced tutors. Further support will be provided for structural engineering (Tyréns) and urban planning (the Stockholm Planning Office).

Studio Project 1, Course A42A13/A52A13

In the Subway Network

Project 2 will take on the Stockholm subway, including the existing network as well as new extensions. Students will select sites appropriate for densification along the lines, including the planned Blue Line extension to Slakthusområdet (“the Meatpacking District”) and Nacka, combining residential development with small-scale industries and services.

Computational design approaches will include digital fabrication, daylight evaluation and performance simulation.

Studio Project 2, Course A42B13/A52B13

On the Road

Studio Project 3, Course A42C14/A52A13

Into the Wide Open

Project 4 provides the option of a novel infrastructural/architectural design project, or the design and development of the yearly full-scale installation. The design project will take on new infrastructural modes in relation to urban development. The full-scale installation will explore computational design, material performance, and structural capacity in relation to infrastructure, and serve as a showcase of the work of the complete studio.

Studio Project 4, Course A42D14/A52B13

Julien De Smedt is founder and director of JDS Architects based in Brussels, Copenhagen, Shanghai, and Stockholm (2016) and co-founder of Makers with Agendas. He was co-founder of PLOT and has held visiting professorships at RiceSchool of Architecture and Lexington University.

Kayrokh Moattar is an architect and a computational design specialist, running his own practice HitchStan Arkitektur. He has been an assistant teacher in the studio since 2013, and is a co-founder of the Wood Would research project.

Jonas Runberger is a Lecturer and Adjunct Professor at the KTH School of Architecture, and the Director of Dsearch, a digital design environment within White arkitekter. His interests include collaborative aspects of computational design, and he has previously taught at the Architectural Association and the ETH Zurich.

Elsa Wifstrand has been a guest teacher in the studio since 2015 and is an architect at Berg CF Moller Architects. She is a former assistant teacher in digital tools at KTH School of Architecture and studied at ETH Zurich and KTH-A. 31

Left: Workshop with students from KTH-A and Cairo University, April 2015.

Below left: French School in Damascus, Syria, Yves Lion, 2008.

Below right: Windcathers in the city of Yazd, Iran, from 2007 KTH-A study trip.

Bottom: Plan of Meidan Emam and Esfahan Grand Bazaar, in Esfahan, Iran.

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STUDIO 10: GLOBAL CONNECTIONS – dwelling, house, neighbourhood and city STUDIO THEME

Article 25 of the Universal Declaration of Human Rights recognises the right to housing as part of the right to an adequate standard of living. According to the UN Refugee Agency, by the end of 2013, 51.2 million individuals were forcibly displaced worldwide as a result of persecution, conflict, generalised violence, or human rights violations. Today, 783 million people do not have access to clean water and 2.5 billion do not have access to adequate sanitation facilities. Migration and informal settlements are on the increase, not only in developing countries but also as a part of the Swedish landscape. We need to analyse these phenomena, to understand their drivers and structure. We will attempt to identify values and investigate the basic built environment in geographical areas with varying cultures, climates, and building techniques. The Austrian architect Hans Hollein defined architecture as being twofold: both regulating body temperature and acting as a sign. The former, which is contained within the notion of a primary “dwelling” which provides mankind with necessary shelter, forms the point of departure in this year’s investigation in Studio 10.

Production techniques and the availability of materials will be studied through group collaborations. Informal housing projects will be analysed and the lessons learned from these studies will inform the studio work. Students will also critically analyse development projects on their merits and develop own sustainable proposals in a variety of scales, from the house to the city.

TEACHING METHODOLOGY

The practice of the architect is increasingly complex and much of it consists of team collaboration rather than single-handed performance. We believe that group collaborations are an interesting method for learning. To live in a more common and shared environment, irrespective of where we find ourselves on our planet, requires that we must maintain an ongoing dialogue with other countries and cultures.

Our studio has been testing collaborations in Istanbul, Rabat, and last year in Cairo. Large demographic changes in North Africa and the Middle East are in focus for the EU. Our working method is to be curious, to ask pertinent questions and to avoid preconceived ideas about aesthetics or what the final result may be. We believe decision making in architectural and urban design to be rational. The skills of the architect are dependant on adequate work processes and methods. These methods can be learned and become a central tool in practice.

The Basic Dwelling

The dwelling, its precise and conscious position in the landscape and its capabilities to provide adequate shelter in various extreme climates without relying on advanced technology will be explored.

Its construction techniques and materials and its potential as a place to live will be investigated.

Our starting point is to study primitive buildings and techniques and gradually develop alternative but informed proposals.

Studio Project 1, Course A42A13/A52A13

Questions About Informal Housing

Informal settlements are growing at an enormous rate worldwide. Over 900 million people live in slums. Which mechanisms are behind these figures? How do they differ and which additive systems allow them to expand? Which strategies have been used in the fight against them? What can we learn from them? Can this knowledge generate alternative design for housing?

Studio Project 2, Course A42B13/A52B13

Compact Cities

The extreme growth of cities worldwide demands discussion and analysis regarding urban form.

More than half of the world population live in cities. The third studio project investigates and develops sustainable and compact urban city block typologies, and patterns of larger compact urban environments. A limited amount of parameters such as transportation, public space, daylight, urban green, etc., will be introduced and tested in various climates. The project is a collaborative project with teams of students working together.

Studio Project 3, Course A42C14/A52A13

City Extensions

We will continue our collaborations around the southern and eastern borders of the EU and work with either a city in the Middle East or North Africa. The study trip will give us first-hand experience. The central idea is to test and apply the outcomes of Studio Project 3, Compact Cities, on a site with local topography, culture, climate, and other specific parameters. The study and understanding of the local conditions will be compared with a few projects undertaken within the local conditions of Sweden.

Alexis Pontvik is a practising architect (SAR/MSA AIS RIBA KA) and teacher, who received his professional education at HBZ, Bern, Staatliche Kunstakademie Düsseldorf, and at the Architectural Association, London. He has run an architecture and urban design practice in his own name since 1981 and is Professor of Urban Design at the KTH School of Architecture.

Ingrid Svenkvist is a practising architect (SAR/MSA) and former chairman of Architects Without Borders, Sweden.

She received her professional education at Chalmers in Gothenburg and École Nationale Supérieure d’Architecture de Paris-Belleville, Paris, with a Postgraduate Degree from MejanArc at the Royal Institute of Art in Stockholm.

COLLABORATIONS UN-Habitat, Architects Without Borders, SIDA – the Swedish International Development Cooperation Agency – and other governmental agencys and NGO’s.

Studio Project 4, Course A42D14/A52B13

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INTERDISCIPLINARY MASTER’S PROGRAMme: SUSTAINABLE URBAN PLANNING AND DESIGN the SUPD MASTER’S PROGRAMme

SUPD is an interdisciplinary Master’s programme, which takes advantage of world-leading interdepartmental competence at the KTH School of Architecture, the KTH Department of Urban and Regional Studies, and the KTH Department for Sustainable Development. Studio pedagogy emphasises task-based learning, whereby each member of the studio, with her/his competency and background, contributes situated knowledge to the studio theme.

The SUPD studio works with interdisciplinary, practice-led design research for developing critical as well as projective proposals. Projects involve collaborative and individual work supported by lectures, seminars, workshops, reviews, and group and individual tutorials with tutors and external consultants. Each term combines research-led investigations and strategic design proposals. In particular, we emphasise research in the field, by design and through participation.

Parallel to Project 3, we offer a module in Theories and Research Methodologies addressing social sciences and design research through lectures and seminars.

2015-2016 THEME: DIY URBANISM

Do-It-Yourself (DIY) Urbanism can be seen as a testing ground for social innovation and an opportunity for social change instigated on grassroots levels. Much discussed in American cities such as San Francisco, which since the onset of the recession in 2008 have struggled through a period of economic decline and drastically reduced public resources, DIY Urbanism happens here in form of activating stalled construction sites, building temporary public plazas and parks, and urban farming, etc. Berlin is seen as another example for successful DIY Urbanism, where the specifically isolated location of the city has furthered diverse economies, an abundance of space, and a spirit of do-it-yourself that has beentolerated by the authorities since the late 1980s.

Although the context in Stockholm is entirely different, DIY initiatives such as the self-initiated cultural centre Cyklopen, Konsthall C, and the activities around Slakthusområdet have sprung up in recent years. The city of Stockholm has started to encourage a Swedish form of DIY urbanism, which taps into traditions of social entrepreneurship and activism. This year, we will explore the meeting grounds between the bottom-up approach of DIY urbanists and the traditional topdown planning process.

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NACKA – WHAT IS?

Our site will be the municipality of Nacka. In research groups, we will explore the pilot project under konstruktion in Kvarnholmen, which applies tactical urbanism as city development strategy. We will regard disparate power positions of DIY urbanisms and critically inquire, i.e.: who are the actors, creators, drivers, and beneficiaries of DIY urbanism? And: what are DIY urbanism’s long-term effects?

NACKA – WHAT IF?

We will test spatial appropriations and see what new forms of social relations they have generated; search for socio-economic spatial concepts such as the widely discussed commons and develop possible contemporary notions of it; we will engage in questions of critical participation and its impact and consider the contribution of diverse economies to urbanities in our design proposals.

ÅRSTA FIELD – WHAT IS?

Årsta Field is designated as the site for a new housing area. We will learn about various claims by citizen initiatives and stakeholders in relation to current top-down planning and design processes. We will study Årsta Field in relation to other contested sites such as Tempelhofer Field, Berlin; Buckit Brown Cemetery, Singapore; and Gezi Park, Istanbul.

ÅRSTA FIELD – WHAT IF?

In urban struggles, artifacts such as maps, stories, images, and scenarios play important roles in articulating different understandings and possible futures. Based on our previous mappings and research findings, we will develop affordable housing proposals, rethinking conventional planning instruments and relations between designers, planners, authorities, and citizens through future scenario techniques, alternative masterplan concepts, and different modes of visual representation.

Meike Schalk (SUPD Program Chair) is an architect and Assistant Professor in urban design and urban theory at KTH-A. Åsa Drougge & Göran Lindberg (Autumn Term) are principals of Nivå Landskapsarkitektur.

Maria Håkansson (Autumn Term) is Associate Professor at KTH Urban & Regional Studies.

Johan Paju (Autumn Term) is a principal of Paju Architecture and Landscape and Lecturer at KTH-A. Bettina Schwalm (Autumn Term) is an experience designer and researcher at KTH School of Architecture.

Sofia Wiberg (Autumn Term) is a political scientist and PhD Candidate at KTH Urban & Regional Studies.

Hanna Erixon (Spring Term) is an architect and PhD Candidate at KTH-A. Tove Wallsten (Spring Term) is an architect at the Swedish Association of Architects.

Maria Ärlemo (Spring Term) is an architect and PhD candidate in Critical Studiesat KTH-A.

Above: ‘Between two Seas’, 2015 Istanbul study trip tour with Serkan Taykan.

Right: ‘City and Human – Structures for the Co-Created CIty’, 2015 Degree Project

by Anders Bergström.

Below: ‘Action Archive’, exhibition and event series at Tensta Konsthall, by Sara Brolund Carvalho, Helena Mattsson and Meike Schalk, 2014.

Left: ‘To dwell and grow on Årstafältet’, mapping by Justina Jakubaite.

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PHD PROGRAMME: research education at kth-a Doctoral programmes at KTH-A

The KTH School of Architecture hosts two Doctoral Programmes: the Doctoral Programme in Architecture, and the Doctoral Programme in Art, Technology and Design – a co-operation between KTH and Konstfack.

The doctoral programme in architecture at postgraduate level manages, develops, and communicates knowledge of architecture. The subject treats the concepts and theories of architecture and their relationship to planning and design of the built environment. Postgraduate studies in architecture at KTH contain five areas of specialization: architectural design, architectural technology, critical studies in architecture, history and theory of architecture, and urban design.

A PhD in Architecture consists of four full years of study, within which there is a set of compulsory courses, including one which is tied to the specialization of choice. Additionally, doctoral students follow a range of elective courses as well as studies at other departments or universities, adapting the studies to the individual project. The coursework part of a PhD consists of roughly one year of studies, leaving three years for research and thesis production. Doctoral students can also be expected to work with other duties, such as teaching within the Bachelors’ or Masters’ programmes.

Art, Technology and Design

The doctoral programme in Art, Technology and Design is a joint venture between KTH and Konstfack (University College of Arts, Crafts and Design), launched in 2014 with the aim to strengthen the exchange between artistic and scientific forms of knowledge. Art, Technology and Design is an emerging research area shaped by dynamic encounters between different perspectives with a strong focus on interdisciplinary exchange and concrete materialisations.

Doctoral research and education within the programme may draw on theories and methods from a wide variety of fields – architecture, the fine arts, crafts, design, planning, technology, engineering, materials science, etc. – to advance innovative and critical new approaches towards the many challenges riddling societies in the 21st c.

The programme resides in the belief that we need to rethink the relationship between the individual, society and the environment in order to create the means for a sustainable future development.

The political, social, and philosophical imaginaries inherent to this visionary call constitute the backbone of the programme, where the practices of making combine with advanced epistemological and methodological perspectives in holistic and process-oriented investigations.

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The SWEDISH RESEARCH SCHOOL IN ARCHITECTURE

The Swedish research school ResArc is a collaboration between the schools of Architecture at KTH, Chalmers, LTH, and Umeå University with the aim of strengthening architectural research, education and collaborative projects at national and international levels. ResArc was launched in February 2012 and is coordinated and administered by the Department of Architecture and Built Environment at Lund University. ResArc received funding from the Swedish Research council FORMAS 2011 in a total effort that also includes the two strong research environments Architecture in Effect and Architecture in the Making.

resarc: Tendencies, Approaches, Philosophies, Communications

Recurrent thematic research courses (7,5 credits each) are offered and arranged by ResArc. These courses are designed to meet and support temporary and conditional interests of research and are developed and run in close working relation with the strong research environments Architecture in the Making and Architecture in Effect.

The overall format of a thematic ResArc course includes four courses: Tendencies (Lund University); Approaches (Chalmers); Philosophies (KTH-A); Communications (Umeå University).

ResArc courses encourage the students to create their own research agenda. The course curriculum is therefore set up like a design process, where the understanding of the field (problem settings, approaches, theories, and methods) are in focus all the way through. Each course in the cycle contributes with different kinds of input but this knowledge is always related to the practice of the researcher as a whole. This means, for example, that theories and methods are presented in the context of different kinds of inquiries and approaches. The four recurrent courses represent four rounds of successively deeper understanding of the whole of architectural research. They are basic in the meaning that they concentrate on the joint core of the field.

Active research students

As of 2015, KTH-A has 25 active PhD Candidates: Mania Aghaei Meibodi; Adam Bergholm; Luis Berrios-negron; Bojan Boric; Anna-Christina Borstedt; Brady Burroughs; Eunyoung Choi; Maja Frögård; Nina Hällgren; Ann-Kristin Kaplan; Behzad Khosravi Noori; Marja Lundgren; Anna Lundh; Eva Minoura; Pablo Miranda Carranza; Daniel Norell; Karin Rosberg; Helen Runting; Sara Sardari Sayyar; Erik Sigge; Héléne Svahn Garreau; Ola Svenle; Helena Westerlind; Jenny Wiklund; Maria Ärlemo.

Hélène Frichot is the Director of Research Training at KTH-A. She is is an Associate Professor and Docent in Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy, and, while her first discipline is architecture, she also holds a PhD in philosophy from the University of Sydney.

Catharina Gabrielsson is Assistant Professor in Urban Theory at the KTH School of Architecture since 2011, and teaches in urban economics theory, architecture history and theory, and research methodologies. She is Director of the PhD Program Art Technology Design, a collaboration between Konstfack and KTH. Daniel Koch is a researcher, teacher, and Deputy Director of Research Training at KTH-A and a practicing architect at Patchwork Architecture Laboratory.

His research focuses on relations between spaces as an integral part in architecture, examining borders, boundaries, relations, spaces-within-spaces, disjunction and heterogeneity.

Left: LO-RES is an international architectural theory journal, publishing essays on architecture that resonate at lower resolutions. Hailing from Sweden, LO-RES is published biannually in English, and is supported by ResArc, the Swedish National School of Architectural Research. Editors of LO-RES are PhD Candidates Helen Runting (KTH-A), Erik Sigge (KTH-A), and Fredrik Torisson (LTH).

Below left: Cover of Ann Legeby’s PhD thesis “Patterns of co-presence – spatial configuration and social segregation”, published in 2013.

Below right: First seminar of the PhD programme Art, Technology and Design, established

by KTH School of Architecture and Konstfack in 2014.

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RESEARCH: architecture in effect and in the making Architectural research at KTH-A

Research within the KTH School of Architecture is currently sustained by five research domains: History and Theory of Architecture; Critical Studies in Architecture; Architectural Technology; Architectural Design; and Urban Design.

They provide both investigative breadth and a depth of focus. Research seeks to provide analytical and projective perspectives on the history, development, and future of the built environment and of the architectural profession, in terms of technology, culture, criticism, and aesthetics. In the near furture the five domains will be reoganised into three Research Areas composed of several smaller research units, which will support a diversity of research projects.

History and Theory of Architecture

This domain is responsible for teaching history and theory at Basic and Advanced levels, and for PhD studies in the field. The subject is part of the core curriculum which gives good conditions for integrating research and education. It also generally attracts public interest and thereby ample opportunity for research dissemination through monographs, professional and mainstream press, guide-books, exhibition catalogues, and lectures.

Three main research directions have been developed over the last ten years: Swedish 20th century architecture; architecture history in the light of globalization; and conservation and heritage preservation (ideologies and practice). The most recent externally funded projects are ‘The Architecture of Stockholm Public Library’ (2008-2010); ‘Architecture of Deregulations’ (2011-2014); and ‘The Swedish Museum of Architecture and Historiography of Swedish 20th Century Architecure’.

critical studies in architecture

Critical Studies in Architecture investigates the theories and practices, histories and discourses of architecture. We believe that architecture is not only a profession and a discipline, but also a form of cultural expression, which can be explored by way of speculative projects and critical fictions informed by critical theories and philosophies.

Our research and teaching is concerned with the influence of different ideologies and power relations on architecture and, conversely, how architecture itself can reproduce ideological systems and power structures. Our research methods are interdisciplinary and relate to broader shifts in the humanities, including the emergence of studies in the post-humanities, post-structural and continental philosophies, feminist theories, critical cultural studies, anthropology, as well as artistic methods of investigation.

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Architectural Technology

The research domain Architectural Technology investigates the implication and potential of technological development for architectural design and practice. Architectural Technology experiments with digital tools, production technology, and interdisciplinary methods in the context of collaboration. Its aim is to create a critical perspective on how building cultures operate.

Architectural Design

Architectural design manages, develops and communicates knowledge in the field of design. Of central interest are research questions about the production of ideas, creativity, visualization and quality assessment of architectural projects. Methodologically, architectural design has its main focus in design theory, research-bydesign, and innovation. Architectural Design is a key profile in Basic, Advanced Level, and research education, supported by a strategy to recruit excellent faculty that span between research, teaching and practice.

The work of the group contributes to four major fields of research and development: studies in design process, studies in sustainability, studies in digital methodologies and studies in experimental architectural practice and media.

Urban Design

As the development of society establishes new conditions and possibilities to create a meaningful environment for its citizens, cities are subjected to a state of constant change. Today we witness a society and environment in rapid transformation in which cities play an even more important role than before. Hence Urban Design is confronted with a unique challenge that KTH School of Architecture is keen to address, through both research and education.

Architecture in Effect – Rethinking the Social in Architecture

Architecture in Effect is a strong research environment in Architecture Theory and Methodology funded by The Swedish Research Council FORMAS 2011-2016, hosted at KTH School of Architecture. It accentuates a critical understanding of the built environment and its societal context. It engages faculty, researchers, and students from all four architecture schools in Sweden, and further engages strong interdisciplinary and international collaborations in the field.

This Strong Research Environment is composed of four specific research areas: Architects in Formation; Critical Historiography; Critical Projections; and Material Conditions.

helena mattsson is Director of Research and Vice Head of the KTH School of Architecture. She is an architect, researcher and Associate Professor in History and Theory of Architecture at KTH-A, and a docent in Architecture.

Mattsson is a member of the Steering Committe for the Strong Research Environment (FORMAS) ‘Architecture in Effect’, and an editor for the culture periodical SITE.

PLACE IMAGE(S) HERE

Top left: History and Theory of Architecture – photos of prêt-à-porter house by Erik Friberger, 1932.

Left: Architectural Technology: – ‘The Cloud,’ full-scale installation by Studio 9 students Laura Eckstein, Maxime Bolieau, Jessica King, Björn Johansson, and Tom Steeg.

Top right: Architectural Design – ‘Vector Interference’

by Ulrika Karlsson.

Above: Urban Design – ‘Divided City’, research project by Ann Legeby et al.

Below: Critical Studies in Architecture – ‘Moral Institute of Higher Fiction’, 2015 Degree Project by Olga Tengvall.

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Public programme: EVENTS, EXHIBITIONS, AND PUBLICATIONS PUBLIC PROGRAMme

As part of KTH-A’s efforts to ensure that the production of architectural knowledge has impacts outside of academia, the school cultivates a programme of public events, exhibitions, and publications. It is one way of opening the school up, and engaging in debates and the exchange of ideas.

This academic year commences with the school moving into its new building. It will pose new questions about how KTH-A interacts with the outside world. The new school is located at the centre of attention on the KTH Campus, and – given that the façade acts much like a glass vitrine – passers-by will have direct a view of what goes on: workshops, lectures, digital fabrication sessions – all the day-to-day ongoings of our school. What we do will, in a new way, be seen and noticed.

Furthermore, the new building will in its own right attract additional attention and media coverage. How do we make the most of this opportunity? A new school of architecture implies progress in architectural thinking and doing, teaching and learning. As an institution, in what ways can we live up to that?

The public events at KTH-A will continue to explore an interest in architecture and pedagogy, which started with last year’s series ‘Learning Environments’. In 2015-2016 this theme will be developed further. Under the title ‘New School’, institutions founded or recast in the past decade will be invited to present and argue for new models for learning architecture and other spatial practices. How can our own “old” school – founded back in 1877 – continue to pursue the advancement of contemporary conditions? The question and many ways of answering it will evolve over the coming year.

THURSDAY NIGHTS AT KTH-A

Throughout the academic year the KTH School of Architecture is host to a programme of Thursday evening events, which are open to the public.

Most often they consist of lectures by international guest, but on occasion the school also organises film screenings, book launches, or panel debates.

There, our students, faculty, and an architecture audience from outside of the school have the opportunity to experience and partake in the discussions of architectural matters.

Hopefully, new insights and arguments raised here can expand and deepen the discourse already evolving at the school. We also see it as a great way to just meet and talk with friends and collegues. When possible, the Thursday events are accompanied by the student-run bar, where guest are invited to continue the conversation in an informal setting.

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EXHIBITIONS

Work produced at the school is regularly shown in the form of exhibitions, housed both within our own building and at other venues. The past year, for example, exhibits of KTH-A student projects have been displayed at Tensta Konsthall, the Royal Academy of Fine Arts, the National Museums of World Culture, the KTH Library and at the Fittja Pavilion at the Venice Architecture Biennale, among other venues.

Please check our website for updates on current and upcoming exhibitions.

björn ehrlemark directs the programme of public events, exhibitions and publications at the KTH School of Architecture. He is an architect and editor, and co-founder of Neighbours of Architecture.

PUBLICATIONS in print AND online

website An overview of what is going on at KTH-A, and detailed info on studies and research, is always available at www.arch.kth.se

The school also produces and co-sponsor a number of print publications. Be it student projects or scholarly research, the aim is always to show what architectural knowledge can be, how it is produced, and what impact it can have on society at large.

One such publication is the catalogue you are now reading, which presents the themes and projects different groups within the school will develop during coming semesters. At the end of the academic year, another important catalogue is published, namely that of the Diploma Days. In it, our graduating Degree students briefly presents their final projects and give an introduction to the exhibits, public presentations and jury sessions of Diploma Days.

Many of the publications are also made available in digital form online. In addition, reports and updates from KTH-A is put out through our website and social media outlets, and video recordings of many of our public events are published online.

some SPECIAL EVENTS

A number of special occasions stand out in the calendar for the year to come. The fall term starts with a presentation of the year’s studio themes, essential for fourth and fifth year students who are about to decide which studio to opt for in their Advanced Level studies (see the second half of this catalogue).

This year, on October 12, the school will also host an inauguration ceremony of our brand new building. An occasion for cutting of ribbons, this event will also include an extensive programme presenting all parts of KTH-A. The academic calendar concludes with the aforementioned Diploma Days, on May 30 through June 3, when work by our students is presented, celebrated, discussed – and put on display for the world to see.

TWITTER For quick updates and reports on the daily life at the school, follow the account @KTH_A on twitter.

FACEBOOK Our FB page is a good source for news and event postings, but also an easy way to intect with the KTH-A community of students, faculty and administrators. It is called ‘KTH Arkitektur’ ISSUU A pdf archive of Studio Themes, DIploma Days catalogues and other publications is available via issuu.com/ kth-arkitekturskolan YOUTUBE Many of the guest lectures and other public events at KTH-A are recorded and published at youtube.com/ KTHArkitekturskolan

Above: ‘Haptic Mapping’, large-scale charcoal drawings by first year students on display in the Triangeln exhibition space, autumn 2013.

Right: Laser-cut posters promoting Diploma Days, the KTH-A end-of-year exhibition and graduation event, posted across Stockholm in May 2014.

Below: Beatriz Colomina giving a lecture on ‘Radical Pedagogies’ as part of the public event series ‘Learning Environments’, December 2014.

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independent courses: continued education at kth-a Contemporary International Architecture

The course is analysing trends within contemporary international architecture and discusses them in relation to formal aspects, technical and structural solutions, political and social factors and other cultural forms. A series of lectures and seminars deals with different aspects of contemtprary international architecture. We investigate the roles of critics and icons of architecture and we study the spaces where social and political norms are created or questioned through architecture.

Architecture and Gender: Introduction

The course aims at providing tools for pursuing feminist interpretations of architecture and by extension creating new architecture. In the course we will study contemporary feminist theory and architectural practices and investigate how buildings and other built or arranged structures relate to them. We will pursue a feminist critique of architectural culture and its relation to sexuality, ethnicity, class, and as preserving power in relation to ’masculinist’ aesthetics and taste. The course is structured around a series of concepts, such as for example hetero normativity, gender performance, and intersectionality, that are discussed in their relation to architecture.

The Modern Built Heritage

The main objective of the course is to provide basic knowledge of the modern built heritage and the problems connected to its preservation, with a focus on Sweden and Europe. The modern world heritage sites are included in the scope.

After the course, the participant should have a good overview of the field’s history and theory and be familiar with its key references in the form of buildings, restoration projects, historiography and source texts.

Concepts and Tools in Spatial Morphology

The aim of the course is to introduce and develop knowledge about contemporary theory and methodology on analytical urban morphology, especially urban morphology, density analysis and network analysis.

After completing the course the participants shall have a basic knowledge of the field and be able to individually discuss and analyse texts, plans and different types of analytical tools typical for the field. The participants shall also have developed basic skills in some of the analytical tools in the field as well as some basic GIS skills.

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Quality Issues in Architecture

This course has three overall objectives. Firstly, the student will learn about quality issues and be able to show how quality as a key-concept is used in architecture. Secondly, the student shall develop her/his capability to describe the use of quality criteria and the professional way of judging quality in architecture projects. Thirdly, the student will through an individual work (paper) get a deeper understanding of quality issues in architecture, that are of great importance for both the profession, client and the end-user.

Architecture and Gender: Advanced course

Through offering advanced studies of feminist theory and its applications in the field of architecture the course aims at developing tools for feminist interpretations of architecture and the advancement of alternative architectures. After completing the course students have received a basic orientation in feminist theories, design and writing-practices in the field of architetcure, and have initiated the development of an individual position in relation to feminist practices in the field of architecture and related spatial practices.

Architectonic Reconstructions

The objective of the course is to give an overview of the reconstruction as a working method within architecture.

After the course, students shall have a comprehensive knowledge of the role of reconstruction in old and modern architecture; be able to analyze reconstructions from a theoretical perspective; be able to problematize reconstructions from a cultural heritage perspective; and be able to discuss qualitative differences between original and copy.

Evaluating Architecture

The overall objective is to put forward, discuss and critically examine methods for analysing and evaluating architecture and urban design. After the course the participants shall be able to carry out a systematic evaluations based on theory and methods within the field of architecture.

The Architectural Competition: Theory and Professional Practice

The overall aim of the course is to provide knowledge of the architectural competition’s theory and professional practice.

After the course, students shall have knowledege of the architectural competition, its history and regulations, and be able to point out qualities in competition entries and show how these are made visible.

Victor edman (The Modern Built Heritage and Architectonic Reconstructions) is a Docent in Architecture at KTH-A. Ann Legeby (Concepts and Tools in Spatial Morphology) is a researcher at KTH-A. Helen runting (Architecture and Gender: Introduction; and Architecture and Gender: Advanced course) is a PhD Candidate in Critical Studies in Architecture at KTH-A. Magnus Rönn (Quality Issues in Architecture; Evaluating Architecture ; and The Architectural Competition: Theory and Professional Practice) is a teacher and researcher at KTH-A. Sigrid Zenger (Contemporary International Architecture) is an architect and teacher at KTH-A.

THE COVER

The figure on the cover of this publication is abstracted from the building footprint of the new KTH School of Architecture.

It is designed by KTH alumni Tham & Videg책rd Arkitekter and opened for the start of the 2015-2016 academic year.

THE SCHOOL

The Royal Institute of Technology School of Architecture was founded in Stockholm in 1877 and today offers architectural education at all levels, from a prepatory course in Architecture and Urban Planning in Tensta in northwestern Stockholm, to doctoral studies within the Swedish Research School in Architecture.

There are currently around 600 students enrolled in the professional programmes at Basic and Advanced level.

The school has a staff of around 80 teachers, professors and researchers, and 25 administrative and technical employees. It has a well-equipped workshop, a digital fabrication lab and an extensive collection of books and journals in the KTH Library.

orientation courseS in ARCHITECTURE AND URBAN PLANNING: kth-a in tensta ELSA UGGLA STEFAN PETERSSON ERIK STENBERG

basic level: FIRST-YEAR STUDIOS

STUDIO 6: SEARCHING FOR MA Leif Brodersen Teres Selberg Helena Paver Njiric

STUDIO 7: unnameables

WERONICA RONNEFALK

Elizabeth Hatz Peter Lynch

basic level: second-YEAR STUDIOS

STUDIO 8: a common urbanity

PER ELDE

Sara Grahn Rumi Kubokawa Max Zinnecker

basic level: Third-Year Studios ERIK WINGQUIST

ADVANCED LEVEL: FOURTH- AND FIFTHYEAR STUDIOS

STUDIO 9: architectural infrastructure

PER FRANSON FRIDA ROSENBERG

julien de smedt Kayrokh Moattar Jonas Runberger Elsa Wifstrand

STUDIO 1: FULL SCALE

studio 10: global connections

Anders Berensson Ebba Hallin Johan Paju malin åberg wennerholm

Alexis Pontvik Ingrid Svenkvist

STUDIO 2: Workplace, Labour and Everyday Life

INTERDISCIPLINARY MASTER’S PROGRAMme: SUSTAINABLE URBAN PLANNING AND DESIGN MEIKE SCHALK

Tor Lindstrand Karin Matz Anders Wilhelmsson

PHD PROGRAMME: research education at kth-a

STUDIO 3: ‘Lagom’

HÉLÈNE FRICHOT catharina gabrielsson daniel koch

johan celsing josef eder Carmen Izquierdo

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS Charlie Gullström PABLO MARIANDA CORRANZA Ori Merom

STUDIO 5: fictions Ulrika Karlsson CECILIA LUNDBÄCK Einar Rodhe Veronica Skeppe CLAES SÖRSTEDT

RESEARCH: architecture in effect and in the making HELENA MATTSSON

public programme: EVENTS, EXHIBITIONS AND PUBLICATIONS BJÖRN EHRLEMARK

independent courses: continued education at kth-a