Studio Out of Practice. 2020/2021

PRACTICEOUTOF2020/2021

It is my pleasure to recommend Katarzyna Wasniowska as a future Katarzyna has since August 2020 been my student in the advanced Practice” at the Royal Institute of Technology School of Architecture academic year she has distinguished herself as a highly creative appreciation for precision both in her thinking and the execution exploratory work process makes her a pleasure to teach.

Katarzyna’s work in the context of the master’s design studio

OUT OF PRACTICE 2020 / 2021 OUT OF teachers Malin Heyman + Anders Berensson

KTH MSc Architecture, studio

Letter of recommendation

PRACTICE,

TAKING MEASURES WHOM

SHOOT! HOLDREVIEWINGSTOCKPICTURETHECHECKSTRUCTURESTHEREFERENCESCHOOLINGTOOLINGYOUROWN

ROOM FOR

MARIANNE BORK AARO BOJAN BORIC EMELIE GARBERS JAMES HAMILTON JOSÉ HERNANDEZ VARGAS KRISTINA JANSSON KATIE GUESTSMARIE-LOUISECECILIALLOYD-THOMASLUNDBÄCKHELENAMATTSSONSANTIAGOMOSTYNTHOMASPALTIELRICHARDSEINARRODHEROBERTRUNESSONRUTGERSJÖGRIMMICHAELWEBBHELENAWESTERLINDMALINZIMMTHANKYOU,&CONTRIBUTORS!

INTRODUCTIONSTUDIOKTHMScArchitecture,studioOUTOFPRACTICE,teachersMalinHeyman+AndersBerensson

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

STUDIO THEME

What are the elements that constitute architectural practice today, and how do we practice becoming practitioners? Out of Practice sets out to take a few close looks at an entangled contemporary architectural practice by isolating selected aspects for study in order to discern their potentials and pitfalls. Out of Practice argues first, that the tools and methods used in architectural practice have significant effects on the resulting architectures as well as on the consequences of their production, and second, that past and present structures of power are embedded within these tools and methods. By attentively and playfully using, discussing and attempting to challenge them, we hope to slowly start untangling our understanding of what agency we have as practitioners. By working an embodied perspective into all experiments and working out our imagination, we will practice making ourselves aware of our own points of view and exercise our empathy.

KTH-ARK ÅK 4-5, OUT Anders Berensson,KTH-ARK ÅK 4-5, OUT Anders Berensson,

Berensson, Malin Heyman

Projects will be short and focused over the course of the academic year. By isolating one fundamental aspect/method of practice at a time and providing frameworks for how our work oscillates between production and reflection, we aim to improve our command over each method as well as deepen our understanding of histories and effects that may otherwise be overlooked. On the topic of each method, we will learn both from a representative from within architectural/building practice and a guest from another field where the same method is applied. As both deliverables and manner of work will vary significantly between projects, we intend for different abilities, inclinations and previous experience within the student group to come to light at different points of the year.

Ralph Erskine drawing Lådan / Wes Andersson Budapest Hotel / SciFi k-lytics.com / Rumsbeskrivning static.byggtjanst.se / Look out lodge, Anders Berensson / Charles Jencks theory of evolution tree diagram,architectural review / Morphosis Model

TEACHING METHODOLOGY

Mary Jackson, NASA, 1977

OUT OF PRACTICE MANUAL

Berensson, Malin Heyman

OF PRACTICE MANUAL

OUT OF PRACTICE MANUAL

TEACHING METHODOLOGY

Projects will be short and focused over the course of the academic year. By isolating one fundamental aspect/method of practice at a time and providing frameworks for how our work oscillates between production and reflection, we aim to improve our command over each method as well as deepen our understanding of histories and effects that may otherwise be overlooked. On the topic of each method, we will learn both from a representative from within architectural/building practice and a guest from another field where the same method is applied. As both deliverables and manner of work will vary significantly between projects, we intend for different abilities, inclinations and previous experience within the student group to come to light at different points of the year.

Ralph Erskine drawing Lådan / Wes Andersson Budapest Hotel / SciFi k-lytics.com / Rumsbeskrivning static.byggtjanst.se / Look out lodge, Anders Berensson / Charles Jencks theory of evolution tree diagram,architectural review / Morphosis Model

KTH-ARK ÅK 4-5, OUT Anders Berensson, Loggers, Assemblymadeofwoodandstone.tumblr.comlinerobots_www.bigmarketresearch.com

Architecture imagines futures. In this project we imagine through collaging images and visualizing in detail 1:1.

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

Stock Check / Room Specifications

After revisiting processes for how land is surveyed, we will propose priorities for what and how to measure through the production of drawings to scale and 1:1 drawing on site.

Taking Measures / Site Survey

Room for Whom / Project Description

FALL SEMESTER

Shoot, the Picture! / Collage

The contemporary production of buildings is to a significant degree a matter of combining readymade products. We will study the architect as shopper and use room specifications as our tool.

We reflect on speculative project descriptions by composing our own science fiction manuscripts to be acted out on site in 1:1 using bodies and props.

OF PRACTICE MANUAL

What’s the Matter? / Building System

Hold Your Own / Your Choice

OUT OF PRACTICE MANUAL

Considering what aspects of architecture are habitually reviewed as well as used as reference, we look for variety in perspective through the production of written reviews on existing architectures.

Through work in groups constructing a (very) small building, we study a common building system in all its parts and functions by first building according to standard and then reconstruct.

Students individually make their own choice for an aspect of architectural practice to study, as well as decide on format for output.

SPRING SEMESTER

Curious about the effects modelling tools have on architectural production, we apply both traditional and recent methods to the making of models and mock-ups.

Surveyor Christine Drabwell

Reviewing the Reference / Architectural Review

Berensson, Malin Heyman

Schooling Tooling / Modelling

Diamondnet.ca & How to by a custom engagement ring

STUDIO GUIDELINESKTH-ARK ÅK 4-5, OUT Anders Berensson,

The secret history of woman in coding, New Yorks Times

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

Configurable logging in Angular projects

In order to learn more about the architect’s role in different design processes, we will be interfering with various methods, scales and formats. We will try to map out new ways for the architect to be an architect. How much and what type of architecture happens when drawing vs, surveying, shopping, imagining, construction, manufacturing or reviewing? How much architecture happens by architects or other key players? Who is the bad guy, who is the god guy and who is the architect in these processes? We ask you to take on the role of a detective in search of clues and evidence and build your case.

You will encounter other professionals that influence architectural work, and look in to architecture and design processes from other perspectives. We are certain that such knowledge will make you more confident and freethinking in your role as a designer. We ask you to put your previous agenda aside and use yourself as a data collecting research base. We believe it is a long-term investment where you will get plenty of new practical and analytical tools.

Diving into different aspects of architecture aims to give you access to a deeper understanding of your role in the profession but also to a versatile set of tools and design methods. When testing different ways to do architecture you will make mistakes and genius strikes to learn from as a designer. You will sometimes play both the role as provider and as user and have to negotiate between those roles. We want you to be brave in these exercises. Not to impress us as teacher but yourself as learning architects. This might be your last chance for a while to practice new methods to do architecture in a focused environment and get the chance to critically analyze and discuss what happened. Take that chance to strengthen both your strong and week architectural abilities. We prefer beautiful disasters in new territories rather than effortless success stories on well-known grounds!

OUT OF PRACTICE MANUAL

OF PRACTICE MANUAL

World war II airplain production_www.history.com

A traditional poster presentation might be suitable for a traditional project. You will do projects, but short focused ones where we try to maximize the use of one tool or method. The question for us is how to document these projects as focused exercises but also as a common research base for us, colleagues and future architects to study. We will therefore have few specific hand ins for each exercise. That gives us the chance to be focused on one architectural aspect and to develop one representation technique to a higher level. But to make these exercises comparable and easy to read for others we want to stick to a strict format.

THE EXERCISE

We will do focused exercises with few specific hand ins for each exercise. You will be given a strict format on what to hand in. We believe it will save you time and energy to focus on the architecture but also give us the chance to have comparable projects.

THE ANALYSIS

We want you to receive data on where and when decisions are made and how much time that is spent on different parts of the design process. Careful notes will make it possible to revisit and recall. We want you to write a short analysis of each project with a maximum of 3000 characters. Be smart and use a log to remember when summarizing your process.

We strongly believe that what we produce in this studio will be interesting for others. We therefore want to make a book. The book will be written during the year, project for project and printed at the end of the year in a large enough issue so each student get one plus that we have some extra books to share with collaborators, colleagues and schools. The book will also be published online. If you for some reason don’t want to be in the book please let us know in advance.

DOCUMENTATION

Berensson, Malin Heyman

THE BOOK

You are expected to spend 8 active hours involved in the project every day of the course, situated at the school only for meetings, you will work at Ithome.isyour responsibility to engage fully with the studio program. Self-directed learning is a key part of master’s level education and will be supported by the structures put in place by studio staff and the school. Students should balance direct learning opportunities such as desk-crits with self-directed learning through the design and project work.

CONTACT

We will meet with the whole studio on Tuesday mornings at 9:00. On Tuesdays we will primarily have whole studio meeting with lectures and seminars. These meetings will be on Zoom.

Anders Zoom Link: https://kth-se.zoom.us/j/8497225967

On Fridays we will primarily have tutoring according to a separate schedule. These meetings are planned to be at school but might happen on Zoom as well. You are asked to be prepared and present printed or built material (or on Zoom readable pdfs). Always notify us if you can’t be present. If you wish to consult us on other matters than project work, please make a separate appointment. We are regularly available on Tuesdays and Fridays.

Anders

CANVAS

Anders.Berensson@arch.kth.seBerensson: Tel 073 73 158 21 Malin Malin.heyman@arch.kth.seHeyman: Tel: 073 754 04 58 CONTACTS

ZOOM LINKS:

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, Malin

We try to communicate as much as possible through the KTH platform Canvas, The most up-to-date calendar is found here and you will submit your projects here.

Studios Zoom Link: https://kth-se.zoom.us/j/9076783905

ATTENDANCE

KTH-ARK ÅK 4-5, Anders Berensson,

Malins Zoom Link: https://kth-se.zoom.us/j/9076783905

Attendance is mandatory. Always give notice to both teachers if you need to be absent and why. In order to complete a course you need to have a record of 80% attendance. We expect you to be in time on both whole studio exercises and on tutoring. We can count attendance by the minute which means if you are always late or leave early you might not have 80% presence. It is your responsibility as a student to keep track of your own attendance.

TIME AND WORK HOURS

PRACTICE MANUAL Malin Heyman 4-5, OUT OF PRACTICE MANUAL Berensson, Malin Heyman platformsubmit

Door with a note by Anders Berensson

TEAM-MENTALITY

You will mostly be working with your own projects. We however see the whole studio as a team and some parts of projects will be team work. Dividing responsibilities and finding structures for collaboration is a part of the course. To have successful teamwork everyone must contribute, meaning everyone will work normal working hours nine to five, five days a week. The studio will be our meeting place during at least the fall semester. Let’s make it a good meeting place!

KTH-ARK ÅK 4-5, OUT Anders Berensson,

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

To avoid any possible perception of plagiarism, students should keep the course instructor apprised of the process as well as the products of their endeavors. The course instructor reserves the right to refuse submission of any work created entirely outside the instructor’s knowledge or review.

LANGUAGE

The course language is English. If working in a team with primarily Swedish speakers please speak English anyway so everyone can follow. On some occasions such as a site visits or a lecture, there might be people speaking Swedish, then we do our best translating.

PRACTICALITIES

LANGUAGE

PRACTICALITIES

The course language is English. If working in a team with primarily Swedish speakers please speak English anyway so everyone can follow. On some occasions such as a site visits or a lecture, there might be people speaking Swedish, then we do our best translating.

You will mostly be working with your own projects. We however see the whole studio as a team and some parts of projects will be team work. Dividing responsibilities and finding structures for collaboration is a part of the course. To have successful teamwork everyone must contribute, meaning everyone will work normal working hours nine to five, five days a week. The studio will be our meeting place during at least the fall semester. Let’s make it a good meeting place!

ACADEMIC INTEGRITY AND INTELLECTUAL PROPERTY

To avoid any possible perception of plagiarism, students should keep the course instructor apprised of the process as well as the products of their endeavors. The course instructor reserves the right to refuse submission of any work created entirely outside the instructor’s knowledge or review.

TEAM-MENTALITY

CORONA

When meeting in zoom we meet like this. We always have the camera on so we see who is in the classroom and not, also on lectures. We have mute on when not being in a tutorial or asking a question. Berensson, Malin Heyman

CORONA

ZOOM

We know that in these special times with an ongoing pandemic, we need to be extra flexible and humble. How to operate in the studio might shift during the year in both recommendations from KTH and Folkhälsomyndigheten (Public Health Agency of Sweden), but also from personal perspectives. Please let us know if there are things that are not working or are unsafe, so we can correct things fast and have a safe education. Also let us know if you have personal reasons or needs we need to adjust to and we try to do our best to do so. We will of course follow the recommendations from KTH and Folkhälsomyndigheten at all times.

OUT OF PRACTICE MANUAL

ZOOM

When meeting in zoom we meet like this. We always have the camera on so we see who is in the classroom and not, also on lectures. We have mute on when not being in a tutorial or asking a question.

OF PRACTICE MANUAL Berensson, Malin Heyman

We know that in these special times with an ongoing pandemic, we need to be extra flexible and humble. How to operate in the studio might shift during the year in both recommendations from KTH and Folkhälsomyndigheten (Public Health Agency of Sweden), but also from personal perspectives. Please let us know if there are things that are not working or are unsafe, so we can correct things fast and have a safe education. Also let us know if you have personal reasons or needs we need to adjust to and we try to do our best to do so. We will of course follow the recommendations from KTH and Folkhälsomyndigheten at all times.

1988Joyner-Kersee,Jackie SEMESTERFALLSCHEDULE

STUDIO 210202rev2021VÅR-PRACTICEOFOUT-gggggadåmmntisdaonsdatorsdafredaUJ3vANARI4vg5vINTRO:P3matterhandledninFEBRUARIgg6vruppmötehandledningg7vruppmötehandledningp8veer-reviewhandledning9vruppmöteGENOMGÅNGMARSg01vDOKUMENTATIONINTRO:P3reviewhandledninjg11vruppmötepeer-reviewmidseminarexobbg21vruppmöteGENOMGÅNGg31vDOKUMENTATIONINTRO:P4toolinPÅSKAPRILggg41vPÅSKeetarbeteeetarbeteeetarbetegg51vruppmötehandledning61vruppmöteGENOMGÅNGg71vDOKUMENTATIONINTRO:P4ownhandledninMAJgp81veer-reviewhandledning91vruppmöteKRISTIHIMMELSFÄRDjgp02veer-reviewhandledninfinalseminarex-obbg12vruppmöteGENOMGÅNGypdUJ22vDOKUMENTATIONDOKUMENTATIONDOKUMENTATIONDOKUMENTATIONNIilomadas

MEASURESTAKING

KTH MSc Architecture, studio OUT OF PRACTICE, course A42A13, project TAKING MEASURES teachers Malin Heyman + Anders Berensson

MEASURESTAKING:P1 200907rev2020FALL-PRACTICEOFOUT-SUSSUOMMNDAYTEDAYWEDNEDAYTHRDAYFRIDAY11-Sep10-Sep9-Sep8-Sep7-Sepyp(MH,AB)1oot01v3712inrstudiandE11011GMlwood&friend(MH,AB)oothercourses/worktime912PINUPE1(MH,AB)outside/studiogroups,gtseauddniiivilinviationsgyotce31115lurensurvein(AB)wworktimeworktimeowrktime 18-Sep17-Sep16-Sep15-Sep14-Sep(MH/AB)(MH,AB)oowv38rktime912GM+intrE2oothercourses/worktime912PINUPE2studioingroupsggoBAAnmeasurinroomsindividualinvestiations(MH,AB)owwrktime1317PINUPE2studioingroups SC81100HANDINE1ANVA 25-Sep24-Sep23-Sep22-Sep21-Sep(MH,AB)(MH,AB)oowv39rktime912GM+intrE3oothercourses/worktime912PINUPE3studioingroupsgygtaSSniaoMostnshowsworkindividualinvestiations(MH,AB)owwrktime1317PINUPE3studioingroups .81100HANDINE2CANVAS 30-Sep29-Sep28-Sep1-Oct2-Oct(MH/AB)(MH,AB)oowv40rktime912GM+intrE4oothercourses/worktime912PINUPE4ggooHMMnrientinbehindsindividualinvestiationsindividualinstudio(MH,AB)owwrktime1317PINUPE4studioinindividual .81100HANDINE3CANVAS 9-Oct8-Oct7-Oct6-Oct5-Oct(MH,AB)owv41rktime912GMoothercourses/worktimeworktimegtseauddniivilinviations(MH,AB)owrktime1317FINALPINUPstudioingroups meetinggroup-GM6800662070HeymanMalin-MH2158731073BerenssonAnders-AB SCHEDULE

THE PROJECT

consequence of the currently ongoing pandemic, we will not be working together in the studio. Instead, each of us will organize our own more or less temporary work space, and most of us will make this space in our home. This project intends to turn our attention to the situations of our work, surveying its environments in terms of matter, space and body.

...situating knowledge relevant to your work - where is our knowledge; who knows it and in relationship to what?

...making yourself aware of your position - what are your previous experiences and how does that effect how you understand what you are looking ...observeat?orientations

To survey existing conditions is a crucial aspect of building, whether it concerns siting a freestanding structure in a landscape or adding to existing built spaces. Through this project, we will exercise surveying as it is traditionally executed within our current context. We will apply various techniques of measuring space and matter, and site three rooms into a landscape, using things as measures of inhabitation. All measuring and drawing will be done by hand and you are to test your siting in full scale on Assite.a

situate, position, orient

- how do things around us and the tools we use orient the way we look at and understand our object of study?

We ask you to try..

week 1, exercise 1: points in space & perimeter - landscape

Measure three distinct stations/sites of your work by defining the extent of their containment as well as relevant elements in spatial relationship to each other. This measuring is easier to do with the help of a partner, but you’ll be able to figure it out on your own if preferred/necessary. Represent in plan and sections 1:20.

week 3: exercise 3: things

THE EXERCISES

Measure things that to you define your landscape and your rooms respectively. Represent in plan and section 1:1, and draw the things into your representations of landscape and rooms. This can be done without the help of a partner.

Site your rooms in your landscape by testing 1:1 on site, as well as by drawing rooms into landscape 1:50 and landscape into rooms 1:20. You will need a partner to help you measure and document.

week 2, exercise 2: containers and elements - rooms

week 4 & 5: exercise 4: cross reference

Choose a site that will serve as your landscape. Together with a partner, study your site by defining a perimeter and measuring points in spatial relationship to each other. Represent your survey in plan and sections 1:50.

THE TOOLS

equipment for measuring: folding measuringruletape, min 10 m readings:

Ahmed, S., 2006. Queer Phenomenology : Orientations, Objects, Others. Durham :Duke University Press.

Haraway, D., 1988. Situated Knowledges : The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, Inc, pp.575-599.

equipment for drawing: plywood sheet 600 x 400 x 12 mm (provided) sandpaper (provided) brushgesso for applying gesso your paper of choice for drafting 1200 x 800 mm (can be tiled) ledpinsholder 2 mm led: 3 kinds, (example: 2H, HB, 2B) A4compasstrianglesstraightedge(s)binderforprint out material

Etymology: Anglo-Norman and Middle French mesurer to find the measure of something (c1100 in Old French), behave with moderation (c1180 in Old French), evaluate (c1220 in Old French), distribute (c1225 in Old French), play music according to measure (1377), make proportional with something else (1597), look a person up and down (1630), compare oneself with another person (1636), govern wisely (one’s words, actions; 1611)

62. To devise, contrive; to set in order, arrange, array

44a. fig. To take or obtain from a source; to derive.

d. transitive. With out. To make (preliminary) measurements of, as a basis for making or building something; to mark out (something) according to measurements. Frequently with intended creation or construction as object.

4a. transitive. To travel over or traverse (a certain distance, route, area, or place). Chiefly b.poetic.transitive. to measure back (also backward): to retrace (one’s steps, one’s way, etc.).

5a. transitive. To encircle, encompass.

THE WORDS

48. To deduce, infer (a conclusion, etc. from premisses).

60a. To make (a picture or representation of an object) by drawing lines; to design, trace out, delineate; formerly also, to mould, model.

Etymology: A Common Germanic strong verb of 6th ablaut series: Old English dragan , dróg (dróh ), dragen = Old Saxon dragan , Old High German tragen , Old Norse draga , Gothic (ga)dragan : only in Old English and Old Norse with the sense ‘draw, pull’; in the other languages with that of ‘carry, bear’.

draw (extract from OED)

1a. trans. To cause (anything) to move toward oneself by the application of force; to pull.

measure (extract from OED)

1a. To apportion or distribute in particular quantities. a. transitive. To apportion by measure; to mete or deal out in a specific or regulated quantity. Frequently used of immaterial things (as mercy, punishment, etc.).

- 1 photograph of drafting tools. Printed A4 in binder.

- be convenient for you to get to several times over the course of the project, preferrably without using public transportation

Documentation:

Pin up all deliverables on Friday September 11th. Submit all documentation material in the assigned folder on Canvas by 18.00 Monday September 14th.

- be possible for you to move around, stay at for a little while and install (very) temporary structures (without going against recommendations from Folkhälsomyndigheten / Public Health Agency of Sweden)

Equip yourself and choose your site.

- have enough topographical differentiation to read at 1:50 scale

Find a place where you would like to define your landscape site. The extent of your site in plan will be a circle with a 10 m radius (20 m diameter). The place you choose must:

Deliverables:

Make sure you have all the materials required for the project. Plywood sheet and sandpaper will be provided by teachers, other materials are available at Mattonbutiken, Panduro, IB Wahlström, hardware stores etc.

Photograph your collected drawing tools. Pin your place for site in a shared Google map.

- 1 Google pin

SET YOURSELF UP

b. A tract of land with its distinguishing characteristics and features, esp. considered as a product of modifying or shaping processes and agents (usually natural).

4. a. To look at from, or as from, a height or commanding position; to take a broad, general, or comprehensive view of; to view or examine in its whole extent.

b. spec. The background of scenery in a portrait or figure-painting.

c. The object of one’s gaze.

2. To determine the form, extent, and situation of the parts of (a tract of ground, or any portion of the earth’s surface) by linear and angular measurements, so as to construct a map, plan, or detailed description of it.

Etymology: Dutch landschap (= Old English landscipe masculine, Old Saxon landscepi neuter, Old High German lantscaf , modern German landschaft feminine, Old Norse landskap-r masculine), < land land n.1 + -schap (see -ship suffix). The word was introduced as a technical term of painters; the corrupt form in -skip was according to our quots. a few years earlier than the more correct form.

1a. A picture representing natural inland scenery, as distinguished from a sea picture, a portrait, etc.

3. To look carefully into or through; to view in detail; to examine, inspect, scrutinize; to explore.

WEEK 1 / DAY 1

survey (extract from OED)

Etymology: Anglo-Norman surveier, -veir, = Old French so(u)rv(e)eir (present stem sorvey- ) medieval Latin supervidēre

1. transitive. To examine and ascertain the condition, situation, or value of, formally or officially, e.g. the boundaries, tenure, value, etc. of an estate, a building or structure, accounts, or the like; more widely, to have the oversight of, supervise. spec., to examine the condition of a property on behalf of its prospective buyer.

landscape (extract from OED)

2a. A view or prospect of natural inland scenery, such as can be taken in at a glance from one point of view; a piece of country scenery.

POINTS IN SPACE & PERIMETER

During the studio meeting close to KTH on Tuesday September 8th, pick up your plywood sheet and find a studio colleague to help you measure your Treatsite. your sheet with a coat of gesso. Allow to dry before bringing the sheet to your site.

On site, choose a center point and one point on the periphery of your circular site. Triangulate the position of these points in relationship to a minimum of 5 elements within your radius. These elements/things are what “grounds” your survey, your center and periphery, and should be relatively easy for you to find again on your coming visits to the site. Work with your partner to measure out your points and elements in spatial relationship to each other and in relationship to the cardinal directions in plan. Notate your survey in plan on your plywood sheet. Measure and draw (on the same side of the sheet as your plan) two height profiles, both crossing your chosen center point as well as the periphery of your site on both sides of the center. Notate the position of your height profiles in the plan.

Notate/draw on one and the same side of your sheet, orienting it horizontally (landscape), north directed upwards in your drawing. Scale 1:50. You are to draw the relationships you have measured only and nothing else: points in spatial relationship to each other.

Pick up your plywood sheet and find a measuring partner. Measure and draw your site.

Make a panorama photograph showing the site from the point of view of your chosen center, camera at your eye level. From the point of view of your chosen periphery point, photograph your center. Moving from your point along your periphery (where it’s possible), photograph your center point at roughly every 2 meters. Hold your camera at your eye level for all Documentphotographs.your chosen elements/things by photographing them. Photograph your drawing at the end of each workday.

Deliverables:

- ca 30 photographs of your center from the point of view of your periphery Printed A4 in binder

- 1 panorama from the point of view of your center. Printed A4 in binder

Documentation:

WEEK 1 / EXERCISE 1

Pin up all deliverables on Friday September 11th. Submit all documentation material in the assigned folder on Canvas by 18.00 Monday September 14th.

- 1 plan of site, 1:50 on plywood sheet

- photograph(s) of your drawing. Printed A4 in binder

- 5 photographs of 5 elements. Printed A4 in binder

- 2 sections of site, 1:50 on plywood sheet

Introduce approximation by lines, i.e. connect your points in order to represent continuous edges. Represent cut surfaces using color fields (poche: black, white or other).

WORKSTATIONS : Through drawing, define the extent and form of three rooms within which your work for this project takes place - we will call them your three workstations. Several workstations may be located in the same spatial container (for example your living room). When you measure and represent different workstations within the same container, consider and convey how your relationship with this same container shifts as you shift workstations. In other words, draw the same container differently in your representations of the respective workstations.

All drawings represent cuts - plans and sections - and will be drawn at 1:20 scale. Measure and draw points in spatial relationship to each other. Choose placement of both plan and section cuts carefully to explore both container and elements (see “container” and “element” below).

CONTAINERS & ELEMENTS

Turn your drawing board around to draw on the side you have not drawn on previously, and draw directly on the brown MDF surface without applying gesso. Your drawing space is limited, we encourage you to experiment with overlaps as part of your exploration of both measuring and drawing.

Draw 3 rooms of your place(s) of work on the flip side of your drawing board. The rooms will be drawn in use over time. You have a total of three full workdays for this exercise. Only draw what you measure.

2

THE CONTAINER : Define the edge of the spatial containment of each workstation and represent it with one continuous line in plan and section. Include, if possible, a door or operable window, and allow it to break your containing line. Construct your line by measuring several points and connect the dots.

Measure and construct in drawing the following: the workstation where you draw, the workstation where you Zoom, and a third relevant workstation of your choice (fika and conversation? cooking and thinking? reading and people watching?).

THE ELEMENTS: Define at least three elements involved in the work at each workstation and draw them into your plan and section cuts in measured spatial relationship to your containing lines. These elements form traces of (situate) your physical presence. A chair situates your sitting body, table situates your hands working. At least two out of three elements per station are to be explored/represented at several points in time.

POINTS IN TIME : Draw each workstation at several points in time as you use them. For example, draw your operable window in several positions/ degrees of open as the days warm or cool. All points in time are to be represented in the plans and sections already constructed, so that plans and sections show one space at several points in time. Pay attention to the relationship between the position of elements and your body; if you are drawing the chair at your work table, measure and draw its position when you sit in it, as well as its position after you get up from it.

WEEK / EXERCISE

2

Documentation:

Photograph your drawing at the end of each workday

- 1 text positioning your work on this exercise, ca 500 words. If you want to make time for it, write about your experiences of the exercise in relationship to Donna Haraway’s text on situated knowledges (available under “files” on Canvas)

Pin up all deliverables on Friday September 18th. Submit all documentation material in the assigned folder on Canvas by 18.00 Monday September 21st. File names as follows: first name_last name_E2_name of deliverable

Deliverables:

CONTAINERS & ELEMENTS

- minimum 3 photographs of your drawing. Printed A4 in binder

- 1 plan of each workstation, 1:20 on MDF sheet

Reflection:

- minimum 2 sections of each workstation, 1:20 on MDF sheet

WEEK 2 / EXERCISE 2 Proposal B, Salter and Collingridge, 2018

3 WORKSTATION THINGS : Choose one thing that is essential to your activity in each of your three workstations from exercise 2. One thing per workstation - a total of three things. Some or all of these things may already be represented in your 1:20 drawings.

3 LANDSCAPE THINGS : Choose three things that are meaningful to your reading of the landscape site. If you like, all or some of these things can be the same as the five “elements” from your survey in exercise 1.

Measure and draw the selected six things in a parallel projection view on your 1200 x 800 paper, in 1:1 scale. Orient your paper vertically, in portrait things into your 1:20 and 1:50 drawings, either into the plan/ section cut or the view (elevation) of each drawing in scales 1:20 and 1:50, Makerespectively.sureyou draw all things in measured spatial relationship to all previously measured and drawn elements.

Drawformat.your

Draw 3 things from your landscape site and 3 things from your sites of work in 1:1 scale on one sheet of paper, then draw your selected things into your existing drawings on the MDF board. You have a total of three full workdays for this exercise. Only draw what you measure.

THINGS SCALE & RESOLUTION

-

- 1 photograph of each thing

3

on Friday September 25th. Submit all documentation material in the assigned folder on Canvas by 18.00 Monday September 28th. File names as follows: first name_last name_E3_name of deliverable

- plans and sections of workstations with things drawn in, 1:20 on MDF sheet

Documentation:

Reflection:

- plans and sections of landscape with things drawn in, 1:50 on MDF sheet

- 1 parallel projection view of each thing (six things), 1:1 on 1200 x 800 portrait format paper

- minimum 3 photographs of your drawing. Printed A4 in binder

Deliverables:

Document your chosen things by photographing them, camera lens at the position of your eyes as you use/interact with each thing respectively. Photograph your drawing at the end of each workday.

WEEK 3 / EXERCISE

- 1 text positioning your work on this exercise, ca 500 words. If you want to make time for it, write about your experiences of the exercise in relationship to Sara Ahmed’s text on orientations (available under “files” on PinCanvas)upalldeliverables

Site your workstations in your landscape. Explore your situating in 1:1 at your landscape site as well as your workstation sites, and by working in your drawings 1:50, 1:20 and 1:1. You have a total of five full workdays for this exercise.

SITUATIONlandscape.1:20

Consider and test placement in all three spatial dimensions, as well as in time. Original spatial relationships between workstations DO NOT need to be retained - place each workstation individually. Explore positions in 1:1 until you are satisfied with an exact location for each workstation in your

+ 1:50 : Once they are sited, measure the exact position of your workstations and things in your landscape and draw them into your 1:50 plan and sections on the mdf board. Draw your site into your 1:20 drawings of workstations on the mdf board.

CROSS REFERENCE

SITUATION 1:1 : Start siting your workstations by bringing your workstation things to your landscape site and your landscape things to your workstation sites, in order to test spatial relationships in full scale on both locations. If you prefer (or have to), find a way to use your 1:1 drawings (or copies of them) instead of the things themselves for all or some of your things. Use thread/rope and sticks/poles to draw full scale in all three spatial dimensions if you would like to test containing boundaries of your workstations on site.

each workstation installed on site by photographing from a relevant point of view.

Documentation: INSTALLATION :

-respectively.Document

PROJECT : This is your project now. Define what parameters guide your decision making and make sure we can read these in your drawings. Keep measuring and adding to all drawings as you develop your project.

- Document the relationship between the installation as a whole and your landscape through one photographic panorama, photographs from four different points on the periphery of your site and additional relevant points of DRAWINGSview.

Photograph: at least one of your drawings at the end of each workday (different drawings on different days depending on where your work has focused) and upload to Miro.

- Document all six things at their new positions (work things in landscape, landscape things at your place of work) by photographing them, camera lens at the position of your eyes as you use/interact with each thing

SITUATION 1:1 : Define at least one relationship in your re-siting that is relevant to your 1:1 thing-drawing and update this drawing accordingly.

ROOM FOR IMPROVEMENT : If in re-situating your workstations you would like to make other small adjustments to them, we won’t stop you. Be sure to differentiate added/changed from existing in your drawings.

WEEK 4 + 5 / EXERCISE 4

- plans and sections of landscape site in relationship to workstations, 1:50 on MDF sheet

- 1 photograph of each thing in new position

- updated plans and sections of workstations in relationship to landscape site, 1:20 on MDF sheet

- 1 photograph of one drawing uploaded to Miro at the end of each

- 1 panorama : landscape site with installation

- 1 text positioning your project, making use of your previous writings and adding new. Maximum 3000 words.

- updated drawing of thing in relationship to landscape, 1:1 on 1200 x 800 portrait format paper

- 1 photograph of each workstation in new position

Reflection:

CROSS REFERENCE

-workday1finalphotograph of each drawing (3 photographs). Printed A4 in binder

Deliverables:

Pin up all deliverables on Friday October 2nd and finally on Friday October 9th. Submit all documentation material on Canvas by Thursday October 8th. File names as follows: first name_last name_E4_name of deliverable. Submit your text on Canvas by Monday October 12th.

- 4 photographs of landscape with installation, from point of view of

-peripheryadditional photographs documenting relevant relationships between installation as a whole and your landscape site

WEEK 4 + 5 / EXERCISE 4 Architettura Virtuale, Ettore Sottsass, 1973

TAKING MEASURESTAKINGTAKINGMEASURESMEASURES

ELLINOR KARLANDERELLINORELLINORKARLANDERKARLANDER

TAKING MEASURESTAKING MEASURES

ELLA LUNDBLADELLA LUNDBLAD

TAKING MEASURES

TAKING MEASURESTAKING MEASURES

FILIPPA HALLSTENSSONFILIPPA HALLSTENSSONFILIPPA HALLSTENSSON

DRAWING 1:50 / E4 CROSS REFERENCE / HANNA

TAKING MEASURES

HANNA STOHNE HANNA STOHNE STOHNEHANNAREFERENCECROSSE4/1:50DRAWINGSTOHNEHANNA/REFERENCECROSSE4/1:20DRAWING STOHNEHANNA DRAWING 1:20 / E4 CROSS REFERENCE / HANNA STOHNEHANNA STOHNE

TAKING MEASURESTAKINGTAKINGMEASURESMEASURES

IDA PETTERSSONIDAIDAPETTERSSONPETTERSSON

TAKING MEASURES TAKINGMEASURES

TAKINGMEASURES

JONAS JANSSON JONASJANSSON JONASJANSSON

TAKING MEASURESTAKINGTAKINGMEASURESMEASURES

KATARZYNA WASNIOWSKAKATARZYNA KATARZYNAWASNIOWSKAWASNIOWSKA

TAKING MEASURESTAKING MEASURESTAKING MEASURES

KLARA HALLBERGKLARA HALLBERGKLARA HALLBERG

TAKING MEASURESTAKING MEASURESTAKING MEASURES

MARTIN GABRIELSSONMARTIN GABRIELSSONMARTIN GABRIELSSON

TAKING MEASURES

TAKING MEASURESTAKINGTAKINGMEASURESMEASURES

MINNA SCOTTMINNAMINNASCOTTSCOTT

TAKING MEASURESTAKING MEASURESTAKING MEASURES

ROSE HALLGREN

ROSEROSEHALLGRENHALLGREN

TAKING MEASURES TAKINGTAKINGMEASURESMEASURES

VERA AREDAL RUNDBOM VERA AREDAL RUNDBOM drawing - day three - workspace VERA AREDAL RUNDBOM drawing - day three - workspace

TAKING MEASURES

DANIEL LANDSTRÖM

TAKING MEASURES

ELLA ENGSTRÖM

ROOMWHOMFOR

KTH MSc Architecture, studio OUT OF PRACTICE, course A42A13, project ROOM FOR WHOM teachers Malin Heyman + Anders Berensson

WHOMFORROOM:P1 20201008rev2020FALL-PRACTICEOFOUT-SUSSUOMNDAYTEDAYWEDNEDAYTHRDAYFRIDAY16-Oct15-Oct14-Oct13-Oct12-Oct42vworktime910WORKSHOP(MH,AB)oothercourses/worktime912SEMINAR(MH,AB)studioingroupsgoOSSOJ01112EMELIENNnAniaraindividualinvestiations(MH,AB)OSO31115WRKHPZOOMoneveryone1317SEMINAR(MH,AB)studioingroups23-Oct22-Oct21-Oct20-Oct19-Octg43vworktime912GM+SEMINAR(MH,AB)oothercourses/worktime917FINALdiscussionandsharinA123inEveryonegZOOMoneveryoneiindividualinvestiationsooC5117MIHAELWEBBnwrkZOOMoneverone

SCHEDULE

The production of architecture relates to futures in several ways. Buildings - in the context we are situating this project within - are conceived and realized through a process dependent on speculative representation: projections. Most buildings also have a projected lifespan, and consequently we conceive of them as performing not only in the now, but also in multiple future time contexts.

THE PROJECT

The science fiction genre is interesting in that it oftentimes both provides entertainment and offers critical reflections on present-day society. American science-fiction author and engineer Robert A. Heinlein wrote that “A handy short definition of almost all science fiction might read: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method.”(1), while Donna Haraway states: “...science fiction writing becomes not illustrations of arguments or thinking, but the thinking itself (...) it IS the theoretical practice. (...) some of the best thinking is done as storytelling“(2)

Speculative architecture project descriptions are produced for a variety of purposes and by authors who have different roles and stakes in the architecture described. Architects describe their proposals to clients and juries, to each other and to future readers through publications. We tend to use a specific language, acquired though interactions with other players in architectural practice and discourse.

Speculative Projections

Novel: Imagination and Social Criticism, Heinlein, Robert A.; Cyril Kornbluth; Alfred Bester; Robert Bloch, 1959

week 1, Tuesday: seminar 1, project descriptions and sci-fi

week 2: Tuesday: seminar 3, film + utopian architectures

Bring a first draft of your own (individual) sci-fi manuscript to share and receive feedback. Hand in draft on Canvas. If you haven’t already, watch La Jetée with your studio partner.

Prepare to show your film to the studio in A123 or A108. Your physical drawings will also be present in the space.

2. Donna Haraway:

Prepare by reading assigned texts, watch assigned film, find a speculative project description and take notes on all the above. We will reflect together via Zoom and discuss the film Aniara with lead actress Emelie Jonsson. You will be assigned a collaboration partner from the studio.

1. The Science Fiction

week 2 Friday: final seminar 4

Study the work of Michael Webb (founding member of Archigram) and prepare two questions. Hand in questions on Canvas. Prepare to show a first draft of your own film on Zoom to share and receive feedback. Participate in conversation with Michael Webb about his work.

Storytelling for Earthly Survival, Fabrizio Terranova, 2019

THE WORK

week 1, Friday: seminar 2, manuscript

Prepare for the seminar on Tuesday October 13th by reading a text, watching a film, finding a speculative project description and taking notes on all of the above.

Deliverables:

- Read Marie-Louise Richards’ The Location From Where One Speaks, and take notes. The text is available on the studio Canvas page.

Notes on all above mentioned materials.

- Search out at least one architectural speculative project description, read it and take notes. What aspects of the proposed architecture are singled out? What language is used and who does it belong to?

- Watch Aniara, 2018 Swedish film adaptation of Harry Martinson’s epic science fiction poem from 1956. Take notes and prepare to participate in conversation with lead actress Emelie Jonsson when she talks to the studio on Tuesday. The film is available on Viaplay.

- 1 found speculative project description

Sveriges arkitekter’s website is a good source to find competition entries, for example.

- Notes on all above mentioned materials

Have all deliverables at hand when the workshop starts on Zoom Tuesday October 13th.

PREPARE YOURSELF

Documentation:

Butler, O.E., 1993. Parable of the Sower. Four Walls Eight Windows. Haraway, D., 1988. Situated Knowledges : The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, Inc, Martinson,pp.575-599.H., 1956. Aniara : en revy om människan i tid och rum. Bonnier. Marker, C., 1962. La Jetée. Argos Films.

WEEK 1 / DAY 1

reference:

09.00 : group meeting & introduction Room for Whom

SCHEDULE :

09.15 : discuss Aniara in groups of 3-4 and prepare to share

09.45 : BREAK

10.00 : conversation with Emelie Jonsson on Aniara

13.30 : sharing with everyone 14.00 : BREAK

14.15 : share your notes on found project descriptions in groups of 3-4 and prepare to share some ideas with everyone. 14.45 : sharing with everyone

15.00 : THANK YOU AND GOOD BYE!

13.00 : discuss The Location From Where One Speaks in groups of 4-5 and prepare to share some ideas with everyone

ca 11.30 : LUNCH

& SCI-FI

SEMINAR : DESCRIPTIONS

1

(c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens

WEEK 1 / DAY 2

In your film, you are to include the following visuals : - one brief motion-picture shot - photomontage in rhythm (may be a varying rhythm) constructed from the photographic material you have produced thus far in the project. sound : - one dialogue segment - voice-over narration

You will be meeting with an assigned partner Meet with your partner to touch base and help eachother at least once before each Friday seminar (October 16th and final on October 23rd). We also suggest you work together during your half day at KTH on Friday October 16th.

You will be exploring, developing and describing your project through the production of a science fiction photomontage short film (photographs shown in chronological sequence). Use the photographic material you have produced over the course of the project, add a short motion-picture shot and write a manuscript which is narrated as a continuous sound element for your film. Our main reference in terms of photomontage short film as tool, is the 28 minute long film La Jetée (available on youtube).

PHOTOMONTAGE STORYTELLING

Make a speculative project description of your project in the form of a narrative sci-fi photomontage short film. Develop and use a manuscript to narrate your story.

Friday October 16th

DELIVERABLES :

Tuesday October 20th

- 1 first draft of your photomontage short film in MP4-format

Submit your questions to Michael Webb in the assigned field on Canvas by 18.00 Monday October 19th, and prepare to engage in the conversation following his presentation. Prepare to share your draft film on Tuesday October 20th.

- 1 draft of sci-fi manuscript as text only, in PDF-format (maximum 5 minutes when it is presented/read out loud)

WEEK 1 + 2 / THE EXERCISE

Prepare to share your draft manuscript on Friday October 16th. Submit your draft in the assigned folder on Canvas by 18.00 Friday October 16th.

Friday October 23rd

- 2 questions for Michael Webb on his work

Prepare to share your film with the studio on Friday October 23rd. Submit your film on Canvas by 18.00 Thursday October 22nd. Your physical drawings will be present in the space.

- reflections/questions on La Jetée (watch on youtube, 28 mins)

- 1 final version of photomontage short film in MP4-format (maximum 5 minutes when played)

ROOM FOR WHOM

GUNNAR WIKBOM

ROOM FOR WHOMROOM FOR WHOM ROOM FOR WHOM

Det krävs blott att gnida med sida mot sida två ting eller sammanslå två, att gnistor därur skola gå.

WHERE IS (GralstänkGRAAL?-Gustaf Fröding)

Var Gral är vet ingen, men djupast i tingen bo gnistorna hemligen kvar av ljus, som i livsdrycken var.

Och stundom det flammar ur murknade stammar en ljusglimt, fast flyktig och sval - en kvarstod av ljuset från Gral.

MATILDA FRANZÈN

Låt bräkandet vara och sluta med vanan att gläfsa och tjuta, var man, icke ulv eller lamm, låt vara det djuriskt låga, men akta dock ej som förspillda det lammlika, tåliga, milda, det ulvhärdigt starka, fast vilda, som kanske likt byggande tåga haft del i den höga stam av vilken som krona du själv gått Defram!djur, du i dig bär fångna kanhända från tider gångna, då framåt du drog över varats mark i skalet och fällen och huden på färden från cellen till guden,

Låt feghet och falskhet vara, var modig i nöd och fara, var sann, visa inget sken. Men därför ej allt förkasta hos hare och räv, tag fasta på snarfyndigheten hos räven och minnes att gott är även det snabba i harens ben!

Som guldgrävarn guldfyndigheten kan ana av märken, I veten om sökandet närmar sig Gral av gnistornas ljusmängd och tal.

Och stundom det flammar ur murknade stammar en ljusglimt, fast flyktig och sval - en kvarstod av ljuset från Gral.

Var Gral är vet ingen, men djupast i tingen bo gnistorna hemligen kvar av ljus, som i livsdrycken var.

MATILDA FRANZÈN

Som guldgrävarn guldfyndigheten kan ana av märken, I veten om sökandet närmar sig Gral av gnistornas ljusmängd och tal.

WHERE IS (GralstänkGRAAL?-Gustaf Fröding)

Och sök, skall du finna att också ur kvinna och man som ur trä eller sten går Gralgnistans flyktiga sken.

MATILDA FRANZÉN

Och sök, skall du finna att också ur kvinna och man som ur trä eller sten går Gralgnistans flyktiga sken.

Låt bräkandet vara och sluta med vanan att gläfsa och tjuta, var man, icke ulv eller lamm, låt vara det djuriskt låga, men akta dock ej som förspillda det lammlika, tåliga, milda, det ulvhärdigt starka, fast vilda, som kanske likt byggande tåga haft del i den höga stam av vilken som krona du själv gått Defram!djur, du i dig bär fångna kanhända från tider gångna, då framåt du drog över varats mark i skalet och fällen och huden på färden från cellen till guden,

Det krävs blott att gnida med sida mot sida två ting eller sammanslå två, att gnistor därur skola gå.

Låt feghet och falskhet vara, var modig i nöd och fara, var sann, visa inget sken. Men därför ej allt förkasta hos hare och räv, tag fasta på snarfyndigheten hos räven och minnes att gott är även det snabba i harens ben!

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

a folding rule trying to make its way up the tree. Hushed by fright it passed by the rock and came dead against the tree, rushed up into the bare branches and looked for the abnormal company.

Thenwas.the

The sun was standing over Vanadislunden, throwing sheaves of rays towards the east; they flashed across Brunnsviken, climbed to the heights of Hjorthagen, flung themselves on to the Wennergren Center, sparkled in the many windows of the skyscraper, illuminated the woods of the Place and died away in a rosy cloud far, far away in the distance where the sea

Thenwas.the wind came and travelled back by the same way, over Vaxholm, past the fortress, , forcing its way in behind the Lidingö, glancing at the Poseidon; then out again and on, onto the place; Where it took fright and dashed away in a headlong career along the cliff noticed again the unfamiliar presence, swept over the grass and buffeted against

The wind was frightened and needed comfort. From the space between the sänka and the cliff it found the chair to rest with. Joined then by the jug the two things and the wind could clearly see in a somewhat human form their new acquaintance. The Site.

a folding rule trying to make its way up the tree. Hushed by fright it passed by the rock and came dead against the tree, rushed up into the bare branches and looked for the abnormal company.

VERA AREDAL RUNDBOM

wind came and travelled back by the same way, over Vaxholm, past the fortress, , forcing its way in behind the Lidingö, glancing at the Poseidon; then out again and on, onto the place; Where it took fright and dashed away in a headlong career along the cliff noticed again the unfamiliar presence, swept over the grass and buffeted against

The Site

The wind was frightened and needed comfort. From the space between the sänka and the cliff it found the chair to rest with. Joined then by the jug the two things and the wind could clearly see in a somewhat human form their new acquaintance. The Site.

The Site

VERA AREDAL RUNDBOMVERA AREDAL RUNDBOM

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

it’s 2050, I’m a missing soul. i got separated from my vessel, my human, as most of her kind got transferred from earth earlier this year. she really didn’t want to go. but the fires are so many now, and her island is under water.

relationship between the celestial bodies were in perfect theharmony.planets would exist in symbiosis. perhaps that is why I got stuck here. it must be the messed up gravity. it’s like they’re instructions in the kind of language architects use. spaces between the shapes, dots and lines meeting objects as i finally figure it out i’m thinking that maybe our memories are clues back to ourselves, clues of who we are. and that by finding the right position from this puzzle, maybe that’s how I will find my human again.

Leaving the blue

it’s 2050, I’m a missing soul. i got separated from my vessel, my human, as most of her kind got transferred from earth earlier this year. she really didn’t want to go. but the fires are so many now, and her island is under water.

as time goes by, the flickering of memories start to physically move out of the memories themselves. it’s like being caught in a deja vu limbo, familiar, yet once,strange.thespacial

drawings of circles, and images of displaced objects. i try to look for my human to come back. i think these drawings might be clues, but they feel so scattered, so fragmented that sometimes i get lost in them. and yet they are so precise that they must carry some valuable information about this place.

Leaving the blue

ROSE HALLGREN

drawings of circles, and images of displaced objects. i try to look for my human to come back. i think these drawings might be clues, but they feel so scattered, so fragmented that sometimes i get lost in them. and yet they are so precise that they must carry some valuable information about this place.

ROSE HALLGREN

as time goes by, the flickering of memories start to physically move out of the memories themselves. it’s like being caught in a deja vu limbo, familiar, yet once,strange.thespacial relationship between the celestial bodies were in perfect theharmony.planets would exist in symbiosis. perhaps that is why I got stuck here. it must be the messed up gravity.

it’s like they’re instructions in the kind of language architects use. spaces between the shapes, dots and lines meeting objects as i finally figure it out i’m thinking that maybe our memories are clues back to ourselves, clues of who we are. and that by finding the right position from this puzzle, maybe that’s how I will find my human again.

ROSE HALLGREN

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

MINNA SCOTTMINNAMINNASCOTTSCOTT

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

ROBIN JOHANSSON

ROBINROBIN JOHANSSON

I think the reason I worked partly with axonometry, as well as elevation has been due to what is best suited to represent the object, as well as the relationship to the size of the paper. Since some objects contain a higher degree of complexity, I have simplified the volumes into smaller components to be able to easily draw the shapes within the framework of the parallel projection.

I worked with sketch paper. An idea from the beginning was to work with overlaps to be able to build up different layers of information, due to lack of time, I worked with a sheet. The advantage of sketch paper personally, I think, is that it creates a more indefinable representation due to the paper’s structure and transparency. Therefore, I tried to work with the sketch as part of the representation with different degrees of clarity in the lines. An example is that I press harder where I find information of interest and leave certain lines blank on the paper.

JOHANSSON

I worked with sketch paper. An idea from the beginning was to work with overlaps to be able to build up different layers of information, due to lack of time, I worked with a sheet. The advantage of sketch paper personally, I think, is that it creates a more indefinable representation due to the paper’s structure and transparency. Therefore, I tried to work with the sketch as part of the representation with different degrees of clarity in the lines. An example is that I press harder where I find information of interest and leave certain lines blank on the paper.

I think the reason I worked partly with axonometry, as well as elevation has been due to what is best suited to represent the object, as well as the relationship to the size of the paper. Since some objects contain a higher degree of complexity, I have simplified the volumes into smaller components to be able to easily draw the shapes within the framework of the parallel projection.

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

MARTIN GABRIELSSON

They had been searching for weeks when they finally arrived. It had been difficult to find at first. Much had changed since the drawing was made. But it was no doubt about it, this was the right place. The only place to guarantee their survival. Some doubted the idea and dismissed the drawings as simple speculations, an exercise or even a joke. But here it was, a sloped piece of land in between two major roads.

If it wasn’t for the pipes still sticking up out of the ground or the steel hatches it would be hard to recognize. The first drawing was found over three years ago and at first they didn’t think much of it. Perhaps it was some sort of ancient writing or a depiction of everyday objects at the time. It wasn’t until the second drawing, the board, was found a year later that they started believing. The two drawings somehow referred to each other and it took the group many months to decipher the true meaning of the drawings. This is it! Said the oldest woman of the group as she shoved her walking stick into the ground as to mark a centerpoint. She proceeded to take ten full steps out from the center and began walking around it in a perfect circle...

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

On behalf of the university, my students and I have traveled to planet earth to investigate and research the extinct human race. A er almost a week on the planet, we have managed to discover a completely intact basement. (It is located in an otherwise rather decayeded area where the vegetation has taken over.)

It is autumn now. The planet has succeeded in recreating the climate it once had. The same autumn wind, the same rain, the same sun. The sky, which was once colored pink by the pollution, has now returned to its usual blue color.

The only thing missing - the humans. Humans no longer exists. And of the environment that the humans have created, not much is le . Most of it has been destroyed by the bombs or by the extreme weather. The other animals have taken over the human’s cities and settled in its ruins.

The Planet

On behalf of the university, my students and I have traveled to planet earth to investigate and research the extinct human race. A er almost a week on the planet, we have managed to discover a completely intact basement. (It is located in an otherwise rather decayeded area where the vegetation has taken over.)

The Planet

The basement has thick walls and inside the air is heavy. We have managed to connect an old generator that is compatible with the old mains. The rooms are ﬁlled with the strangest objects. Some that we can recognize from our own planet but some - completely without clear function or value.

The only thing missing - the humans. Humans no longer exists. And of the environment that the humans have created, not much is le . Most of it has been destroyed by the bombs or by the extreme weather. The other animals have taken over the human’s cities and settled in its ruins.

It is autumn now. The planet has succeeded in recreating the climate it once had. The same autumn wind, the same rain, the same sun. The sky, which was once colored pink by the pollution, has now returned to its usual blue color.

KLARA HALLBERGKLARA HALLBERG

KLARA HALLBERG

ROOM FOR WHOM ROOMFORWHOMROOMFORWHOM

JONAS JANSSON JONASJANSSONJONASJANSSON

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

Trough the process of measuring I noticed the important use of your own gaze and your bodily experiences as a tool. To measure is both a physical and a mental practice. Your perception is ground for the reduction you use to make the drawing. The drawing is a representation of reality and the representation is off course colored by your own former experiences. Time and movement has also been crucial in the work process. The drawings are not frozen in time, showing only one action, instead you can read overlaps of different moment at the same time. This way the drawing becomes a more true representation of how we live our life, in constant movement. In the plan and sektion it is shown as overlapping, an ongoing timeline.

IDA PETTERSSON

IDA PETTERSSONDITT NAMN

IDA PETTERSSONDITTNAMN

Islands in the suburbs

Trough the process of measuring I noticed the important use of your own gaze and your bodily experiences as a tool. To measure is both a physical and a mental practice. Your perception is ground for the reduction you use to make the drawing. The drawing is a representation of reality and the representation is off course colored by your own former experiences. Time and movement has also been crucial in the work process. The drawings are not frozen in time, showing only one action, instead you can read overlaps of different moment at the same time. This way the drawing becomes a more true representation of how we live our life, in constant movement. In the plan and sektion it is shown as overlapping, an ongoing timeline.

Right now just outside my window they are blasting away an ancient mountain. The site used to give me an open view of the sky, now all I see is the excavators move stone back and forth. Sorting them in sizes.

Islands in the suburbs

My project site is an anonymous rocky forest grove that is soon going to face the same fate as the plot outside my window. The land area was left over when residential areas in the suburbs were planned. Despite its origin of non purpose it is not a wast land, instead it is used a great deal for play and for recreation for the residents of all ages. It is also home for plats and animals adapted to this mini-forest environment. If you just look on a map it can seam like these green islands in the suburbs are dividing the residential areas but in fact they are the glue that sticks them together. I have chosen this site because it does not have a specific identity. There are many places like this but they are now rapidly disappearing. When new residential houses are built on these sites, the suburb gets filled upp, all planed and no space is left for play and the unpredictable.

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

“If there is anyone else out there - please know that you are not alone. The number of survivors in the southern city area is reportedly more than 10.000. We are a group gathered at the central station welcoming anyone feeling that there is strength in numbers. I repeat, come to the central station. Please know that you are not alone.”

HANNA STOHNE

At those times I reached a hand over the fence and stroked a furry neck. In hindsight I realize that he must have been hoping for food. And all he got in return for all his troubles were pats on the head. He must have been disappointed. Not that it matters now. Like everyone else he has disappeared.

I used to think that I claimed too much space here due to the glances and comments from the people passing by. Now my things are spreading out in all directions without barriers of any kind. There is no one to question me now so the possibilities are endless. But the novelty has worn off. No matter if it would mean listening to endless complaints and whining I long to hear the voice of another person. Talking to yourself can only take you so far.

HANNA STOHNEHANNA STOHNE

I used to sit here with the trees at my back. Watching and listening. There were many passing by. As a pastime I could count dog walkers per minute. The trees are still standing but no one has walked by in almost a week. I haven’t seen a soul.

At those times I reached a hand over the fence and stroked a furry neck. In hindsight I realize that he must have been hoping for food. And all he got in return for all his troubles were pats on the head. He must have been disappointed. Not that it matters now. Like everyone else he has disappeared.

I remember when the radio broadcasted news of elections and economy. And I thought that was overwhelming.

I used to sit here with the trees at my back. Watching and listening. There were many passing by. As a pastime I could count dog walkers per minute. The trees are still standing but no one has walked by in almost a week. I haven’t seen a soul.

I used to think that I claimed too much space here due to the glances and comments from the people passing by. Now my things are spreading out in all directions without barriers of any kind. There is no one to question me now so the possibilities are endless. But the novelty has worn off. No matter if it would mean listening to endless complaints and whining I long to hear the voice of another person. Talking to yourself can only take you so far.

“If there is anyone else out there - please know that you are not alone. The number of survivors in the southern city area is reportedly more than 10.000. We are a group gathered at the central station welcoming anyone feeling that there is strength in numbers. I repeat, come to the central station. Please know that you are not alone.”

I remember when the radio broadcasted news of elections and economy. And I thought that was overwhelming.

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

FILIPPA HALLSTENSSON

The points in her memory. Were not traces of preserving. She had been weaving the future. She hadn’t been the last person to leave. She was the first to arrive.

FILIPPA HALLSTENSSON

Quote from sci-fi movie:

FILIPPA HALLSTENSSON

What she didn’t know was that it was all being created. Glimpses of time of the world as it once was. The points in space.

The points in her memory. Were not traces of preserving. She had been weaving the future. She hadn’t been the last person to leave. She was the first to arrive.

What she didn’t know was that it was all being created. Glimpses of time of the world as it once was. The points in space.

ROOM FOR WHOMROOM FORROOMWHOMFOR WHOM

ELLA LUNDBLADELLA LUNDBLAD

Then one day, I was not alone on the site anymore. And it appeared - not allowed either.

Every time I visited, the structures had developed, changed placements, changed form.

With time, traces began to appear in the landscape I was alone but I could feel the presence of others

ELLA LUNDBLAD

Then one day, I was not alone on the site anymore. And it appeared - not allowed either.

With time, traces began to appear in the landscape I was alone but I could feel the presence of others

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

ELLINOR KARLANDER

Let me take you to a small place of stones and trees in a city built on mountains and islands. The city is old and there’s still some places left which are barely changed since the Stone Age. The stones are still there. You can see them and touch them. The trees change from time to time and so does the Whensurroundings.youfirstenter the place you feel happy. This is the perfect place for your project. You start looking around. It is really noisy from the wind and the highway, yet peaceful. The wind catches your hair and you can feel the smell of leaves and soil. Traces of children playing in the dirt. Can anyone see me here? Windows of homes, a gym, a store, but you don’t see Aanyone.manwith

”I”Apartment?”livehere.Ican explain. Would you enjoy a cup of coffee?”

”I started noticing changes in my walls. The trees were taking over. My view from my window was suddenly no window, just view.”

”Oh, what are you doing here?”

Let me take you to a small place of stones and trees in a city built on mountains and islands. The city is old and there’s still some places left which are barely changed since the Stone Age. The stones are still there. You can see them and touch them. The trees change from time to time and so does the Whensurroundings.youfirstenter

”I started noticing changes in my walls. The trees were taking over. My view from my window was suddenly no window, just view.”

In the next moment, there is no noice. The wind has stopped and the traffic stands still on the highway. You are indoors, but outdoors at the same time.

You feel confused, but not scared. You feel that you should be scared. You accept the coffee.

a dog shows up. He stops when he sees me and stares at me.

ELLINOR KARLANDER

You feel confused, but not scared. You feel that you should be scared. You accept the coffee.

The man talks to you again.

In the next moment, there is no noice. The wind has stopped and the traffic stands still on the highway. You are indoors, but outdoors at the same time. The man talks to you again.

”Oh, what are you doing here?”

”I work on a project..” you answer ”A project? This is my apartment”

the place you feel happy. This is the perfect place for your project. You start looking around. It is really noisy from the wind and the highway, yet peaceful. The wind catches your hair and you can feel the smell of leaves and soil. Traces of children playing in the dirt. Can anyone see me here? Windows of homes, a gym, a store, but you don’t see Aanyone.manwith

a dog shows up. He stops when he sees me and stares at me.

”I work on a project..” you answer ”A project? This is my apartment”

ELLINOR KARLANDER

ROOM FOR WHOMROOM FOR WHOMROOM FOR WHOM

ELLA ENGSTRÖMELLA ENGSTRÖMELLA ENGSTRÖM

Movie

ROOM FOR WHOM

In one. They have renounced the hive mind system, and every ant tries to find meaning in life within in the colony. The other one queen has killed all the other queens and rules as a dictator.

A fictional story of an ant colony reaching III-minus on the Kardashev civilization scale

Zooming out even more. This colony is part of a super colony of ants. Were every colony has independence but work together. This union was form because they were threatened by two other super colonies.

Here we find the queen, the core of the bureaucracy that is the current ruler of this place. Ants are part of a hive mind, they share the same thoughts, values.

of resources, centers grows, they are then transferred trough and infrastructure towards the capitol, were production and refinement of resources are the maintained.

Born out of within chaos, the ant colony grows its civilization just like our human systems. By using the cores of how, society evolves we can speculate how and ant civilization would built its urban Fromfabric.areas

DANIEL LANDSTRÖM

In the center of the capital, the heart of the civilization, lies the main centers for resources management, existential facilities and administration of power.

WE

ROOM FOR WHOM

During the second world war, seven sniper rifles were built on the top of Tantolunden in Stockholm in order to defend Årstabron and Liljeholmsbron. In April 1940, during the invasion of Denmark and Norway, the combat units were grouped in the defensive positions. Totally, the facility was manned by 47 soldiers. What happened that day is still unclear but what is known is that only 46 soldiers returned home.

LINNEA WETTERSTRÖM ENGMAN

KTH MSc Architecture, studio OUT OF PRACTICE, course A42B13, project SHOOT! THE PICTURE... teachers Anders Berensson + Malin Heyman

SHOOT!

THE PICTURE...

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, Malin SHOOT THE PICTURE!/COLLAGE Tip Top Göteborg 2020, Anders Berensson

Images are often used in the architectural production, most often as a visualizations of the proposed final outcome based on existing drawings. Image making has become considerable easier to make due to moderns tools. Especially collages due to the invention of the copying machine and later through digital cameras and computer programs. Can these powerful tools be used for more than just visualizing a final result of a drawing process? Can these tools provide a powerful design process in them self. Can a design process start with speculating in images that becomes more and more describing?

THE PROJECT

OF PRACTICE MANUAL Malin Heyman

The act of collaging often include taking something already existing and putting it in a new context. This act often includes copying or borrowing others work. In this course we will both study the technique of collaging as well as study copying and try to define that fine line of when honoring by borrowing becomes steeling.

Week 2: Friday November 6 (On zoom / At School)

9:15 Kristina Jansson will lecture about her work as an artist making images. (on Zoom)

13:00ages, Tutorial on how to easily Photoshop a collage

9:30 Lecture Anders Berensson Tibro Train Tracks

10:00 Lecture by Rutger Sjögrim, Architect and im-

10:30Project.Present your montages for the studio via zoom in 5 to 10 minutes each. See schedule nr 1.

See schedule nr 1.

9:15 Introduction to assignment 1

SCHEDUAL WEEK

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, Malin

Introduction to assignment 2

Week 1: Tuesday October 27 (On Zoom)

10:30 Tutoirng draft assingment 2 (At School)

Week 1, Friday October 30 Alla helgonas afton, Public holliday.

9:15 Group meeting

Week 2: Tuesday November 3 (On Zoom)

9:15 -16:00 tutoring at school, See schedule nr 2

Week 4 : Friday 20th (At School)

The final show 9:15 -17:00

Deliverables: print you’re your work on one A0 sheet in landscape. Fit all your montages in one final images showing your process, and your proposal, prepare a 5 minute slide show.

16:00 summarizing discussions and snacks. See schedule nr 2

WEEK 1-4

Week 3: Friday 13th (At School)

OF PRACTICE MANUAL Malin Heyman

Week 4 : Tuesday 16th (On Zoom)

Group meeting on zoom at 9:15 After the group meeting we do tutoring for those who wants. We make a list together after the zoom meeting.

Week 3: Tuesday 10th (On Zoom)

9:15 Lecture with Rober Runesson from Embark Introduction to assignment 3, After the group meeting we do tutoring for those who wants. We make a list together after the zoom meeting.

A sequel is a work of literature, film, theatre, television, music or video game that continues the story of, or expands upon, some earlier work. In the common context of a narrative work of fiction, a sequel portrays events set in the same fictional universe as an earlier work, usually chronologically following the events of that work

Collage nr 2: Do a cover of a favorite building, thing or site that would fit your site, how would Parthenon look at your site in 2020?

When other professions do homages, samples, sequels and covers architects just steal. Or why do we never see any of the above expressions in architecture. In this exercise we will test all of them by the method of collaging. Find a site to improve that is a close enough to reach at any time during this corona pandemic. Make an improvement in form of a photomontage/collage, meaning add your improvement as a picture into a photograph of your site. The montage should clearly show the existing context and what is new, Make one collage with each method below in focus.

Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, “Singin’ in the Rain” was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929. The famous Gene Kelly version was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin’ in the Rain. In 1978, it was covered by French singer Sheila, accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently “Singin’ In the Rain” has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen.

Collage nr 1: Do a sequel on the previous great intention of the site, Photoshop your site into 2020.

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

1 COPY AND PASTE

Collage nr 4: Do a homage to a favorite architect, What would they have done here? Photoshop something that would honor your idol.

Collage nr 5: Just improve the site with a Photoshop collage of a well needed improvement.

In music, sampling is the reuse of a portion (or sample) of a sound recording in another recording. Samples may comprise elements such as rhythm, melody, speech, sounds, or entire bars of music, and may be layered, equalized, sped up or slowed down, repitched, looped, or otherwise manipulated. They are usually integrated using hardware (samplers) or software such as digital audio workstations.

Collage nr 3: Do some sampling architecture by using portions of other things that would improve your site, it could be everything from architecture to a banana.

Homage (/ˈhɒmɪdʒ/ or /ˈɒmɪdʒ/) is a show or demonstration of respect or dedication to someone or something, sometimes by simple declaration but often by some more oblique reference, artistic or poetic. The term is often used in the arts for where one author or artist shows respect to another by allusion or imitation; this is often pronounced like the French hommage (/oʊˈmɑːʒ/).[1]

Deliverables: 5 photomontages In one pdf, with one collage per side with a very short explanation (max 20 words) of each proposal. Plus a short text showing what proposal to continue and why. Hand in your pdf on canvas at the latest 18:00 on Monday November 2nd

OF PRACTICE MANUAL Berensson, Malin Heyman

2 MAKE IT INTO ARCHITECTURE3

Pic what you think is the best architectural improvement for your site from assignment 1 and argue for your decision. Make this improvement into a readable project by collaging one plan view, one exteriors view and one interior in some sort of measurable images.

KTH-ARK ÅK 4-5, OUT Anders Berensson,

Deliverables: 3 photomontages In one pdf, whit one collage per side. 1 exterior images, 1 plan image and 1 interior view plus a short text explaining your project. Hand in your pdf on canvas at the latest 18:00 on Monday November 9th

OF PRACTICE MANUAL Berensson, Malin Heyman

ARCHITECTURE3 SHOOT THE WHOLE PICTURE

Continue Photoshoping your project. Refine one or two of your earlier montages into a super montage explaining your whole project, make this image measurable and readable for a client and a builder, zoom in and do two exact image details in 1:1 placed somewhere in the grand image, Make a poster presentation in one A0 your grand image.

Deliverables: 1 Millon dollar shot of your project with two details and a explaining text integrated in your image printed and mounted on one A0. Your previous pictures printed as A4s in a folder next to your images. Prepare a 5-10 minute slideshow about your project.

SHOOT! THE PICTURE...SHOOT THE PICTURE!

ELLA ENGSTRÖMELLA ENGSTRÖM

SHOOT! THE PICTURE...SHOOT THE PICTURE!

ELLINOR KARLANDERELLINOR KARLANDER

SHOOT! THE PICTURE...SHOOT THE PICTURE!

ELLA LUNDBLADELLA LUNDBLAD

SHOOT! THE PICTURE...SHOOT THE PICTURE! ImprovementSamplingSequel HomageCover

HANNA STOHNEHANNA STOHNE ExteriorInterior

SHOOT! THE PICTURE...SHOOT THE PICTURE!

“Thegeodomesgreenhouse(1976)Modernaexhibition,“Arrarat”museetdude”from the movie “The Big Lebowski” (1998) cut out body parts

8 appartments with two bedrooms and kitchen, first floor common greenhouse, second and third floor living area, forth floor common sociable area,1040m2 in total.

Enskede trädgårdstad (Garden City) 1920 -1930 plan

“Instant City”, Peter Cook (1970) “Les Ballets C de la B and Lod”, De Vylder

Enskede trädgårdstad (Garden City) 1920 -1930 plan

Located 6 km south of Stockholm City,15 min by subway

GARDEN CITY COMMUNITY - living close to nature, charing life and space

Located 6 km south of Stockholm City,15 min by subway

GARDEN CITY COMMUNITY - living close to nature, charing life and space

“Thegeodomesgreenhouse(1976)Modernaexhibition,“Arrarat”museetdude”from the movie “The Big Lebowski” (1998) cut out body parts

8 appartments with two bedrooms and kitchen, first floor common greenhouse, second and third floor living area, forth floor common sociable area,1040m2 in total.

“Instant City”, Peter Cook (1970) “Les Ballets C de la B and Lod”, De Vylder

IDA PETTERSSONIDA PETTERSSON

“HON - en katedral” by the artist Niki de saint Phalle, Jean Tinguely and P.O. Ultvedt (1966)

happenings and sculptures by the artist Yayoi Kusama (1968 - 2010)

facade

“Markuskyrkan”, Sigurd Lewerentz (1960), Fredrike Mayröcker (f.1924)Vinck Taillieu (2008)

facade

“smalhus plan” ca 1:20brick1930facadeA3

“HON - en katedral” by the artist Niki de saint Phalle, Jean Tinguely and P.O. Ultvedt (1966)

happenings and sculptures by the artist Yayoi Kusama (1968 - 2010)

“smalhus plan” ca 1:20brick1930facadeA3

“Markuskyrkan”, Sigurd Lewerentz (1960), Fredrike Mayröcker (f.1924)Vylder Vinck Taillieu (2008)

SHOOT! THE PICTURE... SHOOTTHEPICTURE!

JONAS JANSSON JONASJANSSON

SHOOT! THE PICTURE...SHOOT THE PICTURE!

KATARZYNA WASNIOWSKAKATARZYNA WASNIOWSKA

SHOOT! THE PICTURE...SHOOT THE PICTURE!

KLARA HALLBERGKLARA HALLBERG

SHOOT! THE PICTURE...SHOOT THE PICTURE!

LINNEA WETTERSTRÖM ENGMANLINNEA WETTERSTRÖM ENGMAN

SHOOT! THE PICTURE...SHOOT THE PICTURE!

MARTIN GABRIELSSONMARTIN GABRIELSSON

SHOOT! THE PICTURE...SHOOT THE PICTURE

MATILDA FRANZÉNMATILDA FRANZÈN

SHOOT! THE PICTURE...SHOOT THE PICTURE!

MINNA SCOTTMINNA SCOTT

SHOOT! THE PICTURE...SHOOT THE PICTURE!

The site brings together all the fun activities that exist in Heby. Everything from football to rallies, equestrian sports and even truck pulling. Why eat a piece of cake, when you can eat the whole cake yourself?

Heby square is expanding and new functions are added. The square is not only an important part for the residents and the activities that belong to the countryside but is also an important gift to the city dwellers. The square, like a rural amusement park, offers activities city dwellers would sacrifice their hands to experience.

ROBIN JOHANSSONROBIN JOHANSSON

SHOOT! THE PICTURE...

Using what we learnt from evolving the ant civilization. Can re imagine how our civilization can reach 4-minus on the Kardashev civilization scale. What would we need to improve, to take the next step?

This project is an in depth research into how the Swedish state operates, its bureaucratic evolution and how it generates its city. Starting from its center point.

DANIEL LANDSTRÖM

SHOOT! THE PICTURE...SHOOT THE PICTURE! ICAbeeingjustaconstructionsite.Whatifthesteelbeamstructurewaskeptasitwasandcouldcontainaculturecentreofsomesort.Insteadofjustanotherplace aesthetSwedishthebyinfluencedstronglywasIone.havewehereButplayground.ourasworldwholethehavewesinceplaygroundtheirindotowantsadultswhatknowsoneNoadults.forplaygroundaisThiscommerce.for ics of the sixties so what is better suited for a playground than Aldo van Eyck? Here you can place whatever you wish. Right now, the Soonsbeck Pavillion Is exhibited. SHOOT THE PICTURE! ICAnewaofpremisestheseecanyoushotViewStreetGoogleoldanFromspaces?forgottentheinhappensWhatin-between.placeabutoutsidenotplaceainside,notplaceameet,toopeopleforplaceAunfolded.Architecturebeeingjustaconstructionsite.Whatifthesteelbeamstructurewaskeptasitwasandcouldcontainaculturecentreofsomesort.Insteadofjustanotherplace aesthetSwedishthebyinfluencedstronglywasIone.havewehereButplayground.ourasworldwholethehavewesinceplaygroundtheirindotowantsadultswhatknowsoneNoadults.forplaygroundaisThiscommerce.for ics of the sixties so what is better suited for a playground than Aldo van Eyck? Here you can place whatever you wish. Right now, the Soonsbeck Pavillion Is exhibited.

AREDAL RUNDBOMVERA AREDAL

AREDAL

VERA RUNDBOMVERA RUNDBOM

SHOOT! THE PICTURE...SHOOT THE PICTURE!SHOOT THE PICTURE!

ROSE HALLGRENROSEROSEHALLGRENHALLGREN

KTH MSc Architecture, studio OUT OF PRACTICE, course A42B13, project STOCK CHECK teachers Anders Berensson + Malin Heyman + Marianne Bork Aaro

CHECKSTOCK

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, STOCK CHECK frankjewelers.com , stonefactory.se, mattspeciali sten.se, beijerbygg .se, Ikea Catalog 2015, With guest star Marianne

OF PRACTICE MANUAL Berensson, Malin Heyman

The contemporary productions of building is to significant degree a matter of combining ready made products. Products that in a large extent is market to architects who help selling the products through specifying them in draw ings and room specifications. What are the specific quality in a product that we want to put in our buildings and we want our clients to choose. In this course we will study the architect as a shopper through shopping and reflecting on how we shop. We will use the most common architec tural tools for shopping and selling. We will do phone calls and googling to fill our room specifications, shopping’s lists and the sample board/mood boards. After an extensive shopping round we will sale our project through a readable and saleable display window of your architecture.

Marianne Aaro

THE PROJECT

9:15 - 16:45 tutoring on zoom

Week 1, Friday Novemer 27 (On Zoom)

We look at assignment 1

We make a schedual in the zoom chat after the Group meeting

See Schedule 1

Thesis tutoring, we go through your thesis drafts.

9:15 Introduction to assignment 2

Week 2: Friday December 4 (On zoom)

9:15 Introduction to assignment 1

9:15 -16:45 tutoring on zoom

5th year students Hand in their thesis booklets drafts.

9:15 Group meeting

9:30 Lecture Marianne & Björn Aaro, Interiors

SCHEDULE

Week 2: Tuesday November 30 (On Zoom)

Week 1: Tuesday November 24 (On Zoom)

15:00 (CET) Lecture by Katie Lloyd Thomas

See Schedule 2

9:15 - 16:45 tutoring on zoom

Week 4 : Tuesday December 15 (On Zoom)

See Schedule 2

zoom finall semester party!

‘

Week 3: Friday December 11 (On Zoom)

9:15 - 16:45 tutoring on zoom

See Schedule 1

The final show 9:15 -17:00

See Schedule 2

Week 4 : Friday December 18 (On Zoom)

See Schedule 1

SCHEDULE WEEK 1-4

Week 3: Tuesday December 8 (On Zoom)

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, Malin

You will work in teams of four via zoom, The same teams you had tutoring with in the previous course. Pick one of the team members project from Shoot the picture to con tinue develop it, You can pick and ad from several projects from the team or just stick to one project or a part of one project that you all think is worth transforming and developing further. When decide on one project, agree within the team on how your space will feel and look like through filling the attached room specification. You don’t need specific materials at this point, The feel, look and per formance is good enough for this assignment.

With guest star Marianne

About team work. You will meet 9:00 every morning and have a group meeting and divide the work. You are ex pected to work from 9:00-17:00 every day that is scheduled for studio work.

1 PICK A PROJECT AND MAKE A SPECIFICATIONROOM

Take a day and a night pictures of your diorama.

Make a diorama in a box of cardboard 60 x 60 x 60 cm Fill the diorama with the elevations and samples with price tags on them. See this diorama as a display window selling your project to people passing by, Make it sell! (This exer cise will be done of one of the team members, we strongly suggest that you don’t meet in person during this course)

Continue developing your room specification into real products through talking to producers. When knowing what products to use make exact elevations of the floor, each wall and roof with the materials and specifics from your room specifications.

2 MAKE A SELLING DIORAMA

PRACTICE MANUAL Malin Heyman Marianne Aaro

Gather as many material samples as possible, (Through our excellent post service, we don’t want you to run around town during the coming weeks)

Handin: 1 Night picture, 1 Day picture, One drawing with all elevations, 1 room specification.

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, With guest star Marianne

OF PRACTICE MANUAL Berensson, Malin Heyman Marianne Aaro

STOCK CHECKSTOCKSTOCKCHECKCHECK

DANIEL LANDSTRÖM, ELLA LUNDBLAD, PARIA SHOAEI, LINNEA WETTERSTRÖM ENGMAN DANIEL LANDSTRÖM, ELLA LUNDBLAD, PARIA SHOAEI, LINNEA WETTERSTRÖM ENGMAN

STOCK CHECKSTOCKSTOCKCHECKCHECK

DANIEL LANDSTRÖM, ELLA LUNDBLAD, PARIA SHOAEI, LINNEA WETTERSTRÖM ENGMAN DANIEL LANDSTRÖM, ELLA LUNDBLAD, PARIA SHOAEI, LINNEA WETTERSTRÖM ENGMAN

STOCK CHECKSTOCK CHECK 00,51 2 5meter Elevation AA Skala 1:50 A a a a a a a a a A a = 1765 (CC-mått)mm 00,51 2 5meter BB Elevation BB Skala 1:50 KORREKT MÅTTSÄTTNING TEGEL ILLUSTRATIV DEL a Murförband 1-7 = D43 Petersen Murförband 15- = D43 Petersen Murförband 8-14 = Glaserat Stiltje bcd a = 1350 mm b = 450 mm c = 1200 mm d = 600 mm 00,51 2 5meter Elevation CC Skala 1:50 C C TEGEL ANTAL KAKELPLATTOR Murförband 1-7 = D43 Petersen a = 4 st b = 3 st x = 8 st y = 10 st a b b b b bx x x x y Murförband 15- = D43 Petersen Murförband 8-14 = Glaserat Stiltje 00,51 2 5meterD D Elevation DD Skala 1:50 (SeTEGELSÄTTNING”ElevationBB”)00,512 5meter Elevation AA Skala 1:50 A a a a A a = 1765 (CC-mått)mm 00,51 2 BB BB ILLUSTRATIV DEL a = 1350 mm b = 450 mm c = 1200 mm d = 600 mm 2 CANTALC KAKELPLATTORa=4stb=3stx=8sty=10st b bx 00,51y 5meterD D Elevation D-DC-CB-BA-A STOCK CHECK 00,51 2 Elevation AA Skala 1:50 A a a a a a a a a A a =(CC-mått)1765 00,51 2 5meter Elevation BB Skala 1:50 KORREKT MÅTTSÄTTNING TEGEL ILLUSTRATIV DEL a Murförband 1-7 = D43 Petersen Murförband 15- = D43 Petersen Murförband 8-14 = Glaserat Stiltje bcd a = 1350 mm b = 450 mm c = 1200 mm d = 600 mm 00,51 2 5meter Elevation CC Skala 1:50 C TEGEL ANTAL KAKELPLATTOR Murförband 1-7 = D43 Petersen a = 4 st b = 3 st x = 8 st y = 10 st a b b b b bx x x x y Murförband 15- = D43 Petersen Murförband 8-14 = Glaserat Stiltje 00,51 2 5meterD D Elevation DD Skala 1:50 (SeTEGELSÄTTNING”ElevationBB”)00,512 5meter Elevation AA Skala 1:50 A a a a a a A a = 1765 (CC-mått)mm 00,51 2 5meter BB BB Skala 1:50 MÅTTSÄTTNING ILLUSTRATIV DEL bcd a = 1350 mm b = 450 mm c = 1200 mm d = 600 mm CANTALC KAKELPLATTORa=4stb=3stx=8sty=10st b b b bx x x 00,51y 5meterD D Elevation D-DC-CB-BA-A

HANNA STOHNE, MATILDA FRANZÉN, PONTUS BELING & UROS ALEKSIC 00,51 2 Planritning5meterSkala1:50 00,51 2 MonteringsriktningSkalaTakritning5meter1:50MoelvenstakpanelUtgångspunkt, placering av första takbrädanTakplanPlan HANNA STOHNE, MATILDA FRANZÉN, PONTUS BELING & UROS ALEKSIC 00,51 2 Planritning5meterSkala1:50 00,51 2 MonteringsriktningSkalaTakritning5meter1:50MoelvenstakpanelUtgångspunkt, placering av första takbrädan(CC-mått)1:50AA5meter1765mm5meter BB 5metermmmmmmmm C KAKELPLATTOR TakplanPlan

STOCK CHECKSTOCK CHECKSTOCK CHECK

HANNA STOHNE, MATILDA FRANZÉN, PONTUS BELING & UROS ALEKSIC HANNA STOHNE, MATILDA FRANZÉN, PONTUS BELING & UROS ALEKSIC

STOCK CHECKSTOCK CHECKSTOCK CHECK

ANNA ELINDER, IDA PETTERSSON JONAS JANSSONBERGER, PETTER FRISENDAHL ANNA ELINDER, IDA PETTERSSON, JONAS JANSSON & PETTER FRISENDAHL ANNA ELINDER, IDA PETTERSSON JONAS JANSSONBERGER, PETTER FRISENDAHL

STOCK CHECKSTOCKSTOCKCHECKCHECK

ANNA ELINDER, IDA PETTERSSON JONAS JANSSONBERGER, PETTER FRISENDAHL PLANANDELEVATIONTHEWHOLEBUILDING PLANANDELEVATIONTHEWHOLEBUILDING ANNA ELINDER, IDA PETTERSSON, JONAS JANSSON & PETTER FRISENDAHL ANNA ELINDER, IDA PETTERSSON JONAS JANSSONBERGER, PETTER FRISENDAHL PLANANDELEVATIONTHEWHOLEBUILDING PLANANDELEVATIONTHEWHOLEBUILDING

STOCK CHECK STOCKSTOCKCHECKCHECK

KLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERG KLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERGKLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERG

STOCK CHECK STOCKSTOCKCHECKCHECK

KLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERG KLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERGKLARA HALLBERG, ELLINOR KARLANDER, ROSE HALLGREN & ALEXANDER HALLBERG

STOCK CHECK

STOCK CHECKSTOCKSTOCKCHECKCHECK

FILIPPA HALLSTENSSON, ROBIN JOHANSSON, MINNA SCOTT, KASIA WASNIOWSKA FILIPPA HALLSTENSSON, ROBIN JOHANSSON, MINNA SCOTT, KASIA WASNIOWSKA

STOCK

STOCK CHECK STOCKCHECKCHECKSTOCKCHECK

HALLSTENSSON, ROBIN JOHANSSON, MINNA SCOTT, KASIA WASNIOWSKA FILIPPA HALLSTENSSON, ROBIN JOHANSSON, MINNA SCOTT, KASIA WASNIOWSKAFILIPPA HALLSTENSSON, ROBIN JOHANSSON, MINNA SCOTT, KASIA WASNIOWSKA

FILIPPA

STOCK CHECKCHECKSTOCK CHECK

STOCK

VERA AREDAL RUNDBOM, ELVIRA ANSHELM, ELLA EGNSTRÖM OCH RAYAN AHMAD VERA AREDAL RUNDBOM, ELVIRA ANSHELM ELLA ENGSTRÖM & RAYAN AHMADVERA AREDAL RUNDBOM, ELVIRA ANSHELM, ELLA EGNSTRÖM OCH RAYAN AHMAD

STOCK CHECK STOCKCHECKCHECK

STOCK

VERA AREDAL RUNDBOM, ELVIRA ANSHELM ELLA ENGSTRÖM & RAYAN AHMAD VERA AREDAL RUNDBOM, ELVIRA ANSHELM, ELLA EGNSTRÖM OCH RAYAN AHMAD VERA AREDAL RUNDBOM, ELVIRA ANSHELM, ELLA EGNSTRÖM OCH RAYAN AHMAD

KTHSTRUCTURESMScArchitecture,studioOUTOFPRACTICE,courseA42C14,projectSTRUCTURESteachersAndersBerensson+MalinHeyman

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

From top left:Pouring farben_blog, Aluminium cast, pruned_blog, truffle house ensamble, 3d printing sculteo.com, Ensamble studio, Ensamble studio, John Pawsson wooden chapel dezeen, Car Henge Jim Reinders, Kengo Kuma Swedishwood.com, La libelia, wikipedia, Gordon Matta Clark conical intersect, Wooden cave tenon architectur, Nedklippta buskar foto Anders Johansson

STRUCTURES

Whenever creating a new physical object we need to add or remove something. In what fashion we do this is an architectural aspect in itself worth exploring. In what way things grow or shrink could be seen as the DNA of a design process. In this project we will approach the field of architecture through the simple fashion of adding or removing. We will later refine our experiments into fully grown proposals of structures on a site with a purpose. For five weeks we will study, test and raise a structure from its first building stone into an object we can call Architecture.

OF PRACTICE MANUAL Berensson, Malin Heyman

THE PROJECT

Stacking: Stacking elements, stacking long strong things? Stacking short strong things? What likes being stacked and in what way?

Pouring: Pouring things in a cast? Pour it for free hand? What can be poured and become stiff? What materials likes being poured and on what or in what?

Carving: Carving space from removing volume, what likes being carved and subtracted and how do you remove thing?

Hand in: At least 3 sketch models per student to be built and presented on the tutorial on Friday, and to be refined on Monday.

KTH-ARK ÅK 4-5, OUT OF Anders Berensson,

ASSIGNMENT 1: PRINCIPLESDESIGN

There are two ways of changing a physical object, to add or remove. In what order and with what tools and materials this is done is the foundation for what the outcome of the structure will be. In the first assignment we want you to investigate some typical design principles that either adds or removes. These exercise will be done individually within the group framework of one topic. One group of four people will get one of the themes bellow. We want each student to test different building methods from the theme given your group. We want you to test these themes by building models of materials that are accessible in your homes or from a close supermarket. Keep it simple, don’t rush into architecture. Your first sketch models do not need to take into account real building methods or scales.

ASSIGNMENT 2: STRUCTURE

OF PRACTICE MANUAL Malin Heyman

We want you as a team to figure out which of your test that seems most suitable to continue for the next assignment. Could any principle used in your models be up scaled into a structure big enough to host a space for humans? Pick one or a couple of your team member’s experiments to continue working on. How would a bigger structure be built and in what materials and by what tools. Continue as a team to build individual models but this time as if it is representing a sketch of a bigger structure with some kind of real materials.

Hand in: At least 1 sketch models per student proposing a sketch of a real structure with real materials in a precise scale to be built and presented on Friday, and to be refine on Monday.

In this assignment we want you to boil your different test models down to one proposal. What will your structure do and where will it be situated, Give your structure a useful function for a place in Stockholm. Adapt it to its new function and context.

KTH-ARK ÅK 4-5, OUT Anders Berensson,

ASSIGNMENT 3: FUNCTION

Hand in: At least 1 sketch model in a precise scale showing the whole project on a site model. At least 3 Sketch models in a precis scale showing different essential parts of your structure. A draft should be presented on Friday.

3 important details in drawing or model.

What extra is needed for your functional structure to work? Does it need paint an envelope or detailing? Please go thought the necessary details for your structure to work.

3 Sketch models in a precis scale showing different essential parts of your structure.

1 Final model in a precise scale showing the whole project on a site model.

OUT OF PRACTICE MANUAL Berensson, Malin Heyman

Final hand in:

ASSIGNMENT 4: BUILDING PHYSICS

1 Photomontage of model on site in its real environment

Friday februari 12 (On Zoom)

9:15 - 12:00 tutorials according to schedule 2

SCHEDULE WEEK

Week Tuesday1: februari 2 (On Zoom)

Week Tuesday2: februari 9 (On Zoom)

Friday februari 19 (On Zoom)

Friday februari 5 (On Zoom)

KTH-ARK ÅK 4-5, OUT OF Anders Berensson, Malin

9:15 Introduction to assignment 1, and semester

Week Tuesday3: februari 16 (On Zoom)

9:15 - 12:00 tutorials according to schedule 2

9:15 - 12:00 introduction assigment 2 and tutorials according to schedule 1

9:15 - 12:00 introduction assigment 3 and tutorials according to schedule 1

PRACTICE MANUAL Malin Heyman WEEK 1-5

Every scheduled activity above is mandatory to participate in. You need to participate at least 80% in mandatory activity’s to be able to pass the course. When entering the meeting you check in by writing your name at the chat. When leaving the meeting you check out by writing your name in the chat. Participating means being in the meeting with your camera on. If this is not possible please let us know why and we will try to find a solution.Allzoom meetings for this course will be at Anders zoom room: Meeting ID: 849 722 5967 Password: 216928

9:15 - 12:00 last questions regadring assigment 4 and tutorials according to schedule 1 Friday Mars 5 (On Zoom)

Week Tuesday4: februari 23 (On Zoom)

9:15 - 12:00 tutorials according to schedule 2

Week Tuesday5: Mars 2 (On Zoom)

Friday februari 26 (On Zoom)

9:15 - 12:00 Pear tutorials according to schedule 2, Each group gives feedback to the group before them in Shedual 2.

9:15 - 12:00 Final review according to schedule 2

STACKING STRUCTURES STACKING STRUCTURES STACKING

VERA AREDAL RUNDBOM, JONAS JANSSON, ELLA LUNDBLAD & KATARZYNA WASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA

(A3)

STACKING STRUCTURES STACKING STRUCTURES STACKING

VERA AREDAL RUNDBOM, JONAS JANSSON, ELLA LUNDBLAD & KATARZYNA WASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA

STACKING STRUCTURES STACKING STRUCTURES STACKING

VERA AREDAL RUNDBOM, JONAS JANSSON, ELLA LUNDBLAD & KATARZYNA WASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA VERAAREDAL,JONASJANSSON,ELLALUNDBLAD, KATARZYNAWASNIOWSKA

POURING STRUCTURES

MATILDA FRANZÉN, FILIPPA HALLSTENSSON & MINNA SCOTTMATILDA FRANZÉN, FILIPPA HALLSTENSSON, MINNA SCOTT

POURING STRUCTURESSTRUCTURES

MATILDA FRANZÉN, FILIPPA HALLSTENSSON & MINNA SCOTT MATILDA FRANZÉN, FILIPPA HALLSTENSSON, MINNA SCOTT MATILDA FRANZÉN, FILIPPA HALLSTENSSON, MINNA SCOTT

POURING STRUCTURESSTRUCTURES

MATILDA FRANZÉN, FILIPPA HALLSTENSSON & MINNA SCOTT MATILDA FRANZÉN, FILIPPA HALLSTENSSON, MINNA SCOTT MATILDA FRANZÉN, FILIPPA HALLSTENSSON, MINNA SCOTT

Model 1:50

CARVING

STUDIO OUT OF PRACTICE • SPRING 2021

STRUCTURESCARVING

SKALA 1:200 0 12 5 1010 20 m

Model 1:50

STRUCTURES - TEAM

STRUCTURES • TEAM CARVINGSTUDIO OUT OF PRACTICE • SPRING 2021 CARVING

GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERGGUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG STRUCTURES • TEAM CARVINGSTUDIO OUT OF PRACTICE • SPRING 2021 Section 1:200 GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG STRUCTURES • TEAM CARVINGSTUDIO OUT OF PRACTICE • SPRING 2021 Section 1:200Plan 1:200 modelsSketch CARVINGCARVING

STUDIO OUT OF PRACTICE • SPRING 2021 STRUCTURESCARVING STUDIO OUT OF PRACTICE • SPRING 2021

CARVING

Section

of outdoor shower 1:20 STUDIOOUTOFPRACTICE•SPRING2021STUDIOOUTOFPRACTICE•SPRING2021STRUCTURES OUT OF PRACTICE

STRUCTURESCARVING

GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERGGUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG GrasshoppermodelleringSTRUCTURES•TEAMCARVINGSTRUCTURES•TEAMCARVINGKonceptskisserExperimentmodeller,täljsten GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG STRUCTURES • TEAM CARVING GrasshoppermodelleringSTRUCTURES•TEAMCARVINGSTUDIOOUTOFPRACTICE•SPRING2021 STRUCTURES•TEAMCARVINGSTUDIOOUTOFPRACTICE•SPRING2021 KonceptskisserExperimentmodeller,täljstenSTRUCTURES•TEAMCARVINGSTUDIOOUTOFPRACTICE•SPRING2021

STUDIOOUTOFPRACTICE•SPRING2021

CARVING STRUCTURES

STUDIOOUTOFPRACTICE•SPRING2021

STRUCTURESCARVING

Site plan 1:1000

GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG STRUCTURES•TEAMCARVINGSTUDIOOUTOFPRACTICE•SPRING2021

Site plan 1:1000 GUNNAR WIKBOM, HANNA STOHNE, IDA PETTERSSON & KLARA HALLBERG STRUCTURES•TEAMCARVINGSTUDIOOUTOFPRACTICE•SPRING2021

Plandiagram

REVIEWING

courseKTHREFERENCETHEMScArchitecture,studioOUTOFPRACTICE,A42C14,projectREVIEWINGTHEREFERENCEteachersMalinHeyman+AndersBerensson

REFERENCETHEREVIEWING:P3 20210309rev2021SPRING-PRACTICEOFOUT-SUSSUOMNDAYTEDAYWEDNEDAYTHRDAYFRIDAY12-Mar11-Mar10-Mar9-Mar8-Mar10vworktimeworktimeothercourses/worktime915945INTRO:REFERENCEgtseauddniivilinviations94512SEMINARZOOMoneveryoneoO61411INTRREVIEWwrktimeZOOMoneveryone19-Mar18-Mar17-Mar16-Mar15-Mar11vworktimeworktimeothercourses/worktime91512PEERREVIEWZoomoneveryonegtseauddniivilinviationso:.1141515LECTUREMALINZIMMwrktimeSOU5117TTRIALZoomongroups26-Mar25-Mar24-Mar23-Mar22-Marq12vworktimeworktimeothercourses/worktime9.1515FINALcritiueZoomonEveryonegtseauddniivilinviations&RichardsMarie-Louise:Guests.4111517TUTORIALSMalinZimmZOOMonindividual SCHEDULE

COURSE PM

content

Starting with a survey (to survey = to look carefully into or through; to view in detail; to examine, inspect, scrutinize; to explore) of contemporary reviews, we will attempt to discern relationships between content, form and perspectives. Moving on to examine four different references (an authority or standard referred to; a touchstone, model, or reference point) embedded within architecture discourse of and on our current localitythe Stockholm region - we are hoping to probe questions about exclusion in terms of historiography and contemporary discourse.

Over the course of this project, we will examine what forms reviewing can take (printed text, images online, etc) and what consequences the form might have on the content and impact of the piece. We will consider the role reviewing plays in the writing of architecture history.

Researching what actors and events were involved in the conception of the chosen references as well as what perspectives and voices have been given privilege in the writing of their histories, we will consider what aspects of the references consequently have been included, as well as excluded.

The practice of reviewing - examining or inspecting something again / looking back in retrospect over events / revising or going over material already studied (OED, paraphrased) - provides a platform for the exchange of ideas within and around the architecture community. From glossy magazine puff pieces to cynical satire on instagram or carefully researched podcasts, reviews present reflections on spatial production that effect the development of spatial discourse and practice.

Students will work on this project individually and participate in frequent peer-reviews. Students will present and discuss the final version of their reviews with each other, teachers and guests at a seminar at the end of the course.

“Complete and evaluate advanced architectural design tasks critically, creatively and independently, in such a way that a progression of knowledge and understanding; competence and skills; judgement and approach is demonstrated, in relation to projects previously carried out as part of the programme.”

Through reading and analyzing examples of review within a broad architectural context and studying the subjects of the review, this project aims at helping students make themselves more aware of what critical evaluation within architectural discourse is and why, by asking what subjects are studied, by whom, using what parameters.

Making the individual work a review in a format of choice encourages the students to apply their findings and analyses in such a way that the students situate their own ideas within a relevant discourse, position themselves within their chosen framework of thought and start to identify what orients them in their reading of places and architectures.

REVIEWING THE REFERENCE

“Present, visualize and discuss the completed project within a relevant discourse and a broad architectural context, by using appropriate representation techniques.”

intended learning outcomes (passages in italic from course syllabus)

Computer for word processing and learning activities online via Zoom. In the event that students choose a format other than text, additional equipment may be necessary.

Reading and analyzing examples of review within a broad architectural context, studying relevant subjects of review (architectures, places) and producing a review in a format of choice. For further information, see project schedule and exercises.

course disposition

COURSE PM

Bachelor’s degree in architecture, or similar to the Basic Level of KTH Degree programme in Architecture (180hp)

specific prerequisites

literature GENERAL REFERENCE

https://www.instagram.com/johnsonstudygroup/?hl=enZimm,Richards,Frichot,newspaper-mimi-zeiger/https://www.dezeen.com/2021/03/01/abolish-architecture-critics-H.(2018).CreativeEcologies:TheorizingthePracticeofArchitecture.M-L.(2017).Hyper-visibleInvisibility:TracingthePolitics,PoeticsandAffectsoftheUnseen.FieldJournalVol.7.M.(2005).Losingtheplot:architectureandnarrativityinfin-desièclemediacultures(PhDdissertation).https://failedarchitecture.com/

equipment

Stockholmsutställningen 1930

REVIEWING THE REFERENCE

Mattsson, H., Wallenstein, S., & Schneider, N. (2009). 1930/1931 : Den svenska modernismen vid vägskälet = Swedish modernism at the crossroads = der schwedische Modernismus am TracingHübinette,https://www.filmarkivet.se/movies/stockholmsutstallningen-1930/Scheideweg.Asplund,E.(1931).Acceptera.Stockholm.T.,Lundström,C.(2015).ThreePhasesofHegemonicWhiteness:RacialTemporalitiesinSweden.SocialIdentities:JournalfortheStudyofRace,NationandCulture.

REFERENCE PLACES

LOG Anyone Corporation

danke-fluxthinkbeltlloyd wright

Norra Djurgårdsstaden

Kontext press

ArchDaily

SOURCES OF EXAMPLE REVIEWS

1960shttps://www.kth.se/aktuellt/nyheter/sa-ska-norra-djurgardsstaden-bli-en-http://www.mossutstallningar.com/konst/stockholmstidningenhttps://www.youtube.com/watch?v=Rs-_1LTve90&authuser=0succe-1.85178CUPERS,KENNY,CATHARINAGABRIELSSON,andHELENAMATTSON,eds.NeoliberalismontheGround:ArchitectureandTransformationfromthetothePresent.Pittsburgh,Pa.:UniversityofPittsburghPress,2020.AccessedMarch8,2021.doi:10.2307/j.ctvzxxb75.

Tidskriften Arkitektur

TracingHübinette,pa-Konstfack-har-inget-med-rasism-att-gora/pressmeddelanden/2021/Med-anledning-av-DN-artikeln-Nej-Vita-havet-https://www.konstfack.se/sv/Aktuellt/Nyheter-och-T.,Lundström,C.(2015).ThreePhasesofHegemonicWhiteness:RacialTemporalitiesinSweden.SocialIdentities:JournalfortheStudyofRace,NationandCulture.

COURSE PM

We ask you to try..

...situating knowledge relevant to your work - where is our knowledge; who knows it and in relationship to what?

...making yourself aware of your position - what are your previous experiences and how does that effect how you understand what you are looking ...observeat?orientations

- how do things around us and the tools we use orient the way we look at and understand our object of study?

The anatomical theatre in Uppsala Rudbeck, Olof d.ä. (1679). Atlantica. Dahl, Per. (1995). Svensk ingenjörskonst under stormaktstiden: Olof Rudbecks tekniska undervisning och praktiska verksamhet. Hahr, August. (1930). Olof Rudbeck d.ä. som arkitekt.

Vita havet, Konstfack

reference (extract from OED)

1.a. The action or an act of sending a matter to an authority for decision or consideration; spec. (in legal use) the submission of a dispute to an arbitrator or higher authority.

2 b. Chiefly Philosophy and Linguistics. The action or fact of applying words, names, ideas, etc., to an entity; the relation between a word or expression and that which it denotes; the entity or entities denoted by a word or expression, a referent (frequently contrasted with 6sense).a.An authority or standard referred to; a touchstone, model, or reference point. rare before 20th cent.

c. In scientific and technical use: an object, physical property, value, etc., used as a basis for comparative measurement or standardization.

Etymology: < refer v. + -ence suffix. Compare difference n.1, preference n., conference n., deference n., inference n., and their models in Latin and French. Compare French référence (19th cent.).

REVIEWING THE REFERENCE

- Who is the author?

- What is the subject of the review and how is this subject studied and presented by the author(s)? What tools are used?

Sign up for two different sources in allotted slots on the Google sheet provided through the studio Canvas page. Find a third source (that can’t be found on the Google sheet) on your own. Choose one article, podcast, etc from each of your sources and study your total of three pieces of reviewing. Consider the following, take notes and prepare to present your reflections to your peers :

- What aspects of the subject of review are highlighted through the piece?

- What is reviewing in each particular piece? Comparing the three pieces, would you define reviewing differently from the point of view of the different authors?

Deliverables: - Documented notes

Documentation: Photograph/save your notes as a PDF.

Find three pieces of reviewing from given sources. Study, reflect and take notes before sharing with your peers.

EXERCISES

Have your chosen pieces of criticism as well as your notes at hand during the group discussion on Friday March 12th. Submit documented notes on Canvas by 18.00 Friday March 12th.

REVIEWING : A SURVEY

Etymology: Anglo-Norman surveier, -veir, = Old French so(u)rv(e)eir (present stem sorvey- ) medieval Latin supervidēre

Etymology: review n., partly after Middle French reveoir, Middle French, French revoir to view a second time (end of the 10th cent. in Old French as revedeir ), to examine or inspect (something) again (13th cent., originally and frequently with specific reference to reexamining a text), to look back in retrospect over (events, a period of time) (1651), to revise or go over (material already studied or learnt) (1686). Compare classical Latin revidēre to pay another visit (to), to revisit, in post-classical Latin also to see (a person or thing) again (6th cent.), to inspect, examine (14th cent.),

review (extract from OED)

3. To look carefully into or through; to view in detail; to examine, inspect, scrutinize; to explore.

4. a. transitive. To look over or through (a document, book, etc.) in order to correct or improve it; to revise.

6. a. transitive. To write a critical appraisal of (a book or, in later use, a play, film, etc.), typically for publication in a newspaper or magazine; to appraise (a writer, artist, or the like) in this way. Also in extended use: to assess, appraise critically (a service, product) for the information of consumers.

1. transitive. Law. To subject (a decree, act, judgment, etc.) to examination or revision, esp. by a higher court or authority.

survey (extract from OED)

4. a. To look at from, or as from, a height or commanding position; to take a broad, general, or comprehensive view of; to view or examine in its whole extent.

5. a. transitive. To look at or over, to survey; to take a survey of (something). Now chiefly with immaterial object. Occasionally intransitive. b. transitive. To look back upon (a period, event, etc.); to regard or survey in retrospect. c. transitive. To examine or assess (legislation, a policy, a procedure, etc.) formally or officially with the intention of instituting change if necessary. e. transitive. To subject (a person or piece of work) to peer review; = peer review v.

Choose one of the four given references and produce a review in a format of your choice.

4.format.Start your research. What material can you find and where/how? What perspectives do you find to be represented in the discourse about the

EXERCISES

Review (etymology : examine or inspect something again / look back in retrospect over events, a period of time / revise or go over material already studied) your reference and develop your own perspective. Use a method of your own choice for observing and relating (presenting) to others.

Studying references embedded in architectural discourse of our current locality - the Stockholm region - we are hoping to probe questions about inclusion/exclusion in terms of historiography and contemporary discourse. Researching what actors and events were involved in the conception of these references as well as what perspectives and voices have been given privilege in the writing of their histories, we ask you to consider what aspects of the references consequently have been included, as well as excluded.

STEPS TO FOLLOW

2. Without reading anything about your reference, write down what your understanding/perception/vague idea of the place is already. Document and save your notes.

1. Sign up for one of four reference places in allotted slots on the Google sheet provided through the studio Canvas page.

3. Decide on method and format for your review: film, podcast, images, model, text, etc (can be a combination). Find a reference for your chosen

Friday March 26th

Have all deliverables at hand during the tutorials on Tuesday March 16th.

- Final version of your review

- Second draft of review in your chosen format

Tuesday March 16th

Friday March 19th

- First findings through research

reference? What can you find out about the conception and raison d’être of your reference, who was involved and what was the context?

Prepare to share your review during the final reviews on Friday March 26th. Submit your review on Canvas by 18.00 Friday March 26th.

DELIVERABLES

REFERENCE : A REVIEW

- Decision on method and format for your review and a reference for this

6. Develop your own review of the reference as you study it.

- First draft of review in your chosen format

Prepare to share your draft review and present your research during the peer-reviews on Friday March 16th. Submit draft review on Canvas by 18.00 Friday March 19th.

5. Consult the supplied reference material for your chosen place. Consider these and what perspectives are represented.

Tuesday March 23rd

- Notes on your previous understanding of reference

Prepare to share your second draft review and present during the tutorials on Tuesday March 23rd.

REVIEWING

STOCKHOLM ROYAL SEAPORTTHE REFERENCEREVIEWING THE REFERENCE

ELLA LUNDBLADELLAELLALUNDBLADLUNDBLAD

ROYAL SEAPORTREVIEWING

STOCKHOLM THE REFERENCEREVIEWING THE REFERENCE

KLARA HALLBERGKLARAKLARAHALLBERGHALLBERG

STOCKHOLM EXHIBITION 1930 REVIEWING THE REFERENCE OBDUKTIONSTÅLRÖRBÖJDTRÄ MORDSVAPENMISSTÄNKTASÂr var orsakade av: S L Ö J D S T R I D E N VEM DODA TRADITIONEN VILLE 1 2

KATARZYNA WASNIOWSKA 4VITTNENMLN BROTTSPLATS ÅKLAGARE MISSTÄNKTA INSIDE JOB? SERIEVAPENPRODUKTION Bildk‰llor: Svensk Form websida, Wikipedia 3 4 1 2 3 4 5 5 1 5 KATARZYNA WASNIOWSKA

STOCKHOLM EXHIBITION 1930REVIEWING THE REFERENCEREVIEWING THE REFERENCE

FILIPPA HALLSTENSSONFILIPPAFILIPPAHALLSTENSSONHALLSTENSSON

VITA HAVET - KONSTFACKREVIEWING THE REFERENCE

REVIEWING THE REFERENCE

VERA RUNDBOM

VERA RUNDBOMVERA RUNDBOM

AREDAL

VITA HAVET - KONSTFACK

An Exhibition of room through differentExhibition of room through

locations VITA HAVET REVIEWING THE REFERENCE An

different locations VITA HAVET REVIEWING THE REFERENCE

MINNA SCOTTMINNAMINNASCOTTSCOTT

UNFOLDING MEMORY

REVIEWING THE REFERENCE

UNFOLDING THE ROOM WITH DRAWING AND MEMORY

UNFOLDINGUNFOLDING THE ROOM WITH DRAWING AND MEMORY

REVIEWING THE REFERENCE

UPPSALA ANATOMICAL THEATREREVIEWING THE REFERENCE

STRUCTURE DIAGRAM

POWER DIAGRAM

COMMONOFTHEBOURGEOISACADEMIA,HOUSE,ROYALCHURCH,THEBODYSOCIETYROOMMEMORYBUILDINGCITYBODYTHE

IDA PETTERSSONIDA PETTERSSON

POWER DIAGRAM

REFERENCE

STRUCTURE

THE HANDS AND MINDS OF THE CHURCH, ROYAL HOUSE, ACADEMIA, NOBILITY, BOURGEOIS

REFERENCE

COMMONOFTHEBOURGEOISACADEMIA,HOUSE,ROYALCHURCH,THEBODYSOCIETYROOMMEMORYBUILDINGCITYBODYTHE

REVIEWING THE

POWER DIAGRAM

BODY OF THE COMMON

DIAGRAM BODYSOCIETYROOMMEMORYBUILDINGCITY REVIEWING THE REFERENCE

STRUCTURE

STRUCTURE DIAGRAM

BODY OF THE COMMON

POWER DIAGRAM

REVIEWING THE

THE HANDS AND MINDS OF THE CHURCH, ROYAL HOUSE, ACADEMIA, NOBILITY, BOURGEOIS

IDA PETTERSSON

DIAGRAM BODYSOCIETYROOMMEMORYBUILDINGCITY REVIEWING THE REFERENCE

UPPSALA ANATOMICAL THEATRETHE REFERENCEREVEWING THE REFERENCE

REVEWING

MATILDA FRANZÉN FRANZÈNMATILDA FRANZÈN

MATILDA

UPPSALA ANATOMICAL THEATREREVIEWINGTHEREFERENCE REVIEWINGTHEREFERENCE

JONAS JANSSON JONASJANSSONJONASJANSSON

KTHSCHOOLINGTOOLINGMScArchitecture,studioOUTOFPRACTICE,courseA42D14,projectSCHOOLINGTOOLINGteachersAndersBerensson+MalinHeyman

phy-form-matter-gilbert-simondons-critique-of-the-hylomorphic-scheme-part-1madeofwoodandstone.tumblr.com.Fromtop:https://amandhadge.wordpress.com/2020/03/25/the-future-of-automation.https://thefunambulist.net/architecture/philoso-

COURSE

PM KTH-ARCH YEAR 4-5 OUT Anders Berensson, Malin Heyman, Helena

Robotsindustry.have

A brick is typically a mass-produced building block manufactured according to standardized dimensions. Methods of mass-production involve filling clay in predetermined molds or extruding clay through a standardized profile and cutting blocks to length. According to the logic of industrial standardization: ‘the more identical copies we make, the cheaper each copy will be’ (Carpo 2018)

ROBOTIC TOOLS FROM PROTOTYPE TO PRODUCTION

OUT OF PRACTICE Helena Westerlind, José Hernandez Vargas

been used for a long time in the manufacturing industry, how do we use them in the building industry and how can we use their potential to invent new architecture?

In this course we will investigate the potential role of the architect in digital fabrication through reinventing one of the most traditional building components, the brick. With the help of 3d programs, 3d printers and an industrial robot we will try to maximize the benefits of digital fabrication in different scales and representations from drawing to modeling to real prototypes. What can a brick do when “3d printed”? How can the method of digitally fabricate a brick teach us new potential ways to generate architecture?

Curious about the effects modelling tools have on architectural production, we apply both traditional and recent methods to the making of models and mock-ups.

Brick is one of the oldest materials used for buildings. It’s most often a standardized straight building stone. Today bricks is often used as a decorative building piece in the Swedish building

-3D printing slicing software: Cura for Ultimaker. Can be downloaded via this https://ultimaker.com/software/ultimaker-curalink:

-3D-Computermodelling

software: Rhino 6 (or later). Trial version can be downloaded via this link: https://www.rhino3d.com/download/

COURSE PM

-Familiarization to 3D printing workflow

Equipment

KTH-ARCH YEAR 4-5 OUT

Anders Berensson, Malin Heyman, Helena

Intended learning outcomes

-Insights about the possibilities and limitations of robotic fabrication

Westerlind,

-Fabrication of a full-scale brick (robotic 3D printing)

-Introduction to robotic control

-Design proposal with custom-made bricks

ROBOTIC TOOLS PROTOTYPE TO PRODUCTION

BernardREADING:Cache, “Towards a non-standard mode of production“ in Architecture Words 6: Projectiles. Architectural Association, 2014, p Mario60-73.

Carpo, Republics of Makers: From the Digital Commons to a Flat Marginal Cost Society

http://emergingobjects.com/project/planter-bricks/http://emergingobjects.com/project/cool-brick/Emerginghttps://www.sabinlab.com/polybrick-1Jennyhttps://www.3dwasp.com/en/3d-printed-house-tecla/Wasphttps://gramaziokohler.arch.ethz.ch/web/e/forschung/152.htmlhttps://gramaziokohler.arch.ethz.ch/web/e/forschung/210.htmlhttps://gramaziokohler.arch.ethz.ch/web/e/forschung/229.htmlGramazioONLINEhowGramazio,positions/175265/republics-of-makers/)(https://www.e-flux.com/architecture/F.,Kohler,M.,Willmann,J.(Eds.),2014.Therobotictouch:robotschangearchitecture.ParkBooks,Zurich.REFERENCES:Kohler3DSabinLabObjects

OUT OF Westerlind,PRACTICEJoséHernandez Vargas

FROM

literature

KTH-ARCH YEAR 4-5 OUT

Anders Berensson, Malin Heyman,

EXERCISE

Helena

To think about….

What does the brick do? – what are the functions of the brick? What are its material qualities? Is it solid, porous or perforated?

How does the brick fit in a larger wall? – How does the brick connect to the next brick? Is the brick a complementary piece in a standardized system or is every brick unique within a system?

A new type of 3d printed brick and its use in a larger architectural element. We want you as a team of 2 people to think about the bricks shape and function when 3d printed and how this brick fits in a larger building element.

To design

In this exercise we ask you to reconsider the brick as a non-standard building component. What new opportunities to modify the character and properties of a brick arise when manufacturing is not restricted by a standardised format. In robotically controlled 3D printing it is not a static mould that determines the shape of the clay but the programmable motion of the robot along which the clay is extruded and built up in layers. Because the dimeter of the nozzle is smaller than the brick itself material can be strategically placed only where it is needed. The design of the print path determines both the shape and the structure of the brick.

Non-standard Bricks

Design task:

ROBOTIC TOOLS

FROM PROTOTYPE TO PRODUCTION OUT OF Westerlind,PRACTICEJoséHernandez Vargas

Knitting Clay” Helena Westerlind, José Hernández (2019)

KTH-ARCH YEAR 4-5 Anders Berensson, Malin Heyman, Helena

In a conventional 3D printing workflow, design and manufacturing are distinctly separate processes in which fabrication only happens after the completion of a design. A design is developed in a 3D modelling environment and then processed in a separate program that automatically derives the print paths for fabrication. In this step the 3D model is divided into equally spaced horizontal sections in a so-called slicing operation and translated into the necessary code that is required by the machine to fabricate the part. When following this workflow, design is always restricted to the overall shape of the artefact to be manufactured while the procedural build-up of material is determined by slicer algorithms outside the reach of the architect. In this project we therefore introduce a digital tool that allows for print paths to be created and visualized directly in the 3D modelling environment. By this method, the fabrication process is designed simultaneously with the overall design of the part.

EXERCISE

Workflow

We will work in two physical scales. Desktop 3D printers (Ultimakers) will be used to materialize and evaluate print paths in scale 1:5 before making full-scale 1:1 prototypes of bricks in clay.

ROBOTIC TOOLS FROM PROTOTYPE TO PRODUCTION

OUT OF PRACTICE Helena Westerlind, José Hernandez Vargas

Monday -Complete29/3atest run with the robot. Set a position and follow a path.

DELIVERABLES:

-First design proposal and miniature prototypes. Show your first draft of your brick and how it is assembled in a wall.

Tuesday -Fabrication20/4of full-scale brick (1:1) with robotic clay tool.

Tuesday -Complete30/3aminiature 3D print of a brick (scale 1:5) with the UltimakTuesdayer. 13/4

Friday Present23/4your project in a final review with the following material: -one presentation slide with an explaining text of your wall innovation -one 1:1 brick fabricated by the robot -one 1:5 3d printed prototype of a part of wall showing your bricks put -onetogether.1:20Axonometric drawing of the whole wall -one explaining detailed, axonometric drawing of bricks and joints -at least one slide showing your process

EXERCISE

KTH-ARCH YEAR 4-5 OUT Anders Berensson, Malin Heyman, Helena

OUT OF Westerlind,PRACTICEJoséHernandez Vargas

SCHEDUAL:

FROM PROTOTYPE TO PRODUCTION

ROBOTIC TOOLS

SCHOOLING TOOLINGSCHOOLING TOOLINGSCHOOLING TOOLING

FILIPPA HALLSTENSSON, JONAS JANSSONFILIPPA HALLSTENSSON, JONAS JANSSON

SCHOOLING TOOLINGSCHOOLINGSCHOOLINGTOOLINGTOOLING

ELLA LUNDBLAD KLARAKLARAELLAHALLBERGLUNDBLADHALLBERGELLA LUNDBLAD & KLARA HALLBERG

SCHOOLING TOOLING

DETAIL OF JOINT 210mm 350mm210mm 105mm 105mm STUDIO OUT OF PRACTICE - SPRING 2021 ROBOTIC TOOLS - BRICK EXAMPLES OF POSSIBLE ASSEMBLIES SCHOOLING TOOLING STUDIO OUT OF PRACTICE - SPRING 2021 DETAIL OF JOINT 350mm210mm STUDIO OUT OF PRACTICE - SPRING 2021 EXAMPLES OF POSSIBLE ASSEMBLIES

SCHOOLING TOOLING

(A3)1:10SKALA BRICKTHE MATILDA FRANZÈN, IDA PETTERSSON

SCHOOLING TOOLING SCHOOLINGSCHOOLINGTOOLINGTOOLING

AREDAL RUNDBOM & MINNA SCOTT VERA AREDAL

VERA RUNDBOM OCH SCOTT

MINNA

VERA AREDAL RUNDBOM OCH MINNA SCOTT

SCHOOLING TOOLINGSCHOOLING TOOLINGSCHOOLING TOOLING

HANNA STOHNE KATARZYNA WASNIOWSKA HANNA STOHNE KATARZYNA WASNIOWSKA

KTH MSc Architecture, studio OUT OF PRACTICE, course A42D14, project HOLD YOUR OWN teachers Malin Heyman + Anders Berensson

YOURHOLDOWN

OWNYOURHOLD:P4 20210503rev2021SPRING-PRACTICEOFOUT-SUSSUOMNDAYTEDAYWEDNEDAYTHRDAYFRIDAY30-Apr29-Apr28-Apr27-Apr26-Aprygyg17vdocumentintheeardocumentintheearworktime9.151215GROUPTUTORIALSZOOMongroupso.1141516INTROSETTINGITUPwrktimeZOOMoneveryone7-May6-May5-May4-May3-May18vworktime9151715THESISREVIEWSworktime9.1512.15TUTORIALSZoomonindividualowrktime g.8100SUBMISSIONsettinitup14-May13-May12-May11-May10-May19vworktimeworktimeKRISTIHIMMELSFÄRDKRISTIHIMMELSFÄRD.411517TUTORIALSZOOMongroups21-May20-May19-May18-May17-May20vworktimeworktimeworktime9.1512.15TUTORIALSZoomonindividual((TEACHERSATFINALSEMINAR)worktime28-May27-May26-May25-May24-May21vworktimeworktimeworktime9.1517FINALREVIEWZoomonEveryone&HamiltonJames:GuestsPaltielThomas.4111517OPTIONALTUTORIALSZOOMonindividual SCHEDULE

The project Hold Your Own is set up with the ambition to give students time to reflect on and discuss the work that gets done by their teachers during the first 9 semesters of the architecture education, as well as space to try it out for themselves before finally getting the opportunity to develop work according to their own interests and inclinations. The hope of the teachers is that this exercise will further develop the students’ critical and confident understanding of their academic context and its structure for teaching and learning, bracing them with a greater sense of control and individual agency in regards to their own work. We consider this an attempt at collectively understanding the reason for, requirements of and possibilities presented by the Degree Project.

content

COURSE PM

The project based pedagogy prescribed by all studio courses offered by the Department of Architecture at KTH School of Architecture and the Built Environment, produce a process where the teachers set up studio projects and the students respod to this given framework through their own work. Teachers tend to frame content, disposition and discursive reference as well as write exercises (method) where parameters and limitations are defined in order to guide the students’ learning process.

During the four last semesters of the Degree Programme in Architecture, the students are asked to complete six project based studio courses with identical course syllabi (see intended learning outcomes below) before spending the last semester of the programme on the Degree Project where the students themselves set up content, disposition and method in response to the course syllabus.

HOLD YOUR OWN

Mayweek.28th : Final review with guests.

...situating knowledge relevant to your work - where is our knowledge; who knows it and in relationship to what?

“To conceive a project – rather than a building that most often has a raison d’être – implies establishing the ground where an architectural idea can grow and take form. This is not to be understood as the project site, it is the realm – fictional or realistic – wherein the project exists. The quality of this groundwork depends on the potency of the field; on its capabilities as fertilizer for architectural thinking.” - Beate Hølmebakk.

Week 1 : Analysis of previous course PMs with special attention to schedule and exercises will be followed by the individual writing of exercises and schedules. Work to be submitted on Canvas and discussed at seminar. Week 2-5 : Students work through the exercises written during the first week and develop their individual projects. Group tutorials, peer reviews and individual tutorials with teachers will alternately help guide the work every

We ask you to try..

...making yourself aware of your position - what are your previous experiences and how does that effect how you understand what you are looking ...observeat?orientations

- how do things around you and the tools you use orient the way you look at, understand and develop our object of study?

course disposition

As you try to follow the lead of your reference, consider it and formulate your own opinions about it. Be prepared to share your thoughts as well as your exercises with the studio on Friday April 30th at 9.15.

- Schedule, exercises and title for your project. PDF-format.

EXERCISES

Continue working on a project of your choice and start by writing exercises, defining a schedule and choosing a title for your project.

Choose one out of the seven projects previously completed over the course of this academic year that you wish to continue working on. Also, briefly go over all seven project PMs and choose one to use as reference for the exercises you yourself are to write.

Deliverables:

Submit deliverables on Canvas by 18.00 Monday May 3rd.

Use the exercises and the schedule from your reference PM as templates for your own. Make a schedule for your work and write at least three exercises for yourself. Include dates for delivery of all exercises in your schedule. Give your project a title.

Within the framework of your project, define what a plan drawing, a section drawing, a model and a detail are for you. Establish a format for your work.

Your final project submission on May 28th must include (but is not limited to) the following : one plan drawing, one section drawing, one model, and a detail. Take this into consideration as you write your brief.

action or process of training or drilling scholars, troops, etc.; an instance of this. Const. of. camp of exercise: a camp established for the purpose of training troops. (Obsolete)

b. The use of or method of using (a weapon).

1. a. The action of employing in its appropriate activity (an organ, a faculty, or power), of giving practical effect to (a right), of exerting (influence or authority); the state or condition of being in active operation.

4. The practice and performance of rites and ceremonies, worship, etc.; the right or permission to celebrate the observances (of a religion). †Formerly also elliptical = ‘exercise of †5.worship’.a.The

SETTING IT UP

8. A task prescribed or performed for the sake of attaining proficiency, for training either body or mind, or as an exhibition or test of proficiency or skill.

exercise (extract from OED)

3. The practice (of virtues or vices); the habitual carrying out (of any particular kind of conduct); the practice or fulfilment of the duties of (a profession, office, etc.); the execution of (functions).

6. a. Practice for the sake of training or improvement, either bodily, mental, or spiritual.

Etymology: Middle English exercise , < Old French exercice = Provençal exercici , exercisi < Latin exercitium , < exercēre to keep at work, busy, employ, practise, train (compare exercise v.), < ex- (see ex- prefix1) + arcēre to shut up, restrain. The etymological notion of exercēre is obscure: it is often regarded as having meant primarily ‘to drive forth (tillage beasts),’ and hence ‘to employ, set to work’.

c. Disciplinary suffering, ‘trial’; an instance of this. Also, a state of distress or anxiety, a painful mental struggle. (Now rare)

Consider what it is you are asking with your project. Try to formulate this project question in words. Revisit it as your work progresses.

EXERCISES

on your exercises to Canvas according to your schedule. Submit final deliverables on Canvas by 18.00 Monday May 31st.

Develop your project through working on your exercises according to your schedule. Write an abstract.

Write an “abstract” of maximum 500 words. Describe how your work reflects on the question the project is asking through the method(s) you have developed and your own previous experiences and preferences, as well as through discourse your project may be relating to.

Deliverables: - Plan - Section - Model - DetailUploadAbstractwork

Get to work on your project as you have set it up for yourself. Deliver your exercises according to your schedule on Canvas (the “assignment” will be open throughout the project and you can upload to it several times).

Share your work digitally every week at tutorials. Present your project (including relevant work from the previously “completed” project that you have chosen to develop) at the final review on May 28th at 9.15.

2. a. A planned or proposed undertaking; a scheme, a proposal; a purpose, an objective.

b. A mental conception, idea, or notion; speculation. Obsolete.

Obsolete.†6.Geometry.

†1. a. A plan, draft, scheme, or table of something; a tabulated statement; a design or pattern according to which something is made. Obsolete.

b. Education. An exercise in which school or college students study a topic, either independently or in collaboration, over an extended period; a piece of research work undertaken by a student or group of students.

d. North American. An urban block of apartments built and administered by the government for low-income tenants, typically perceived as dangerously crime-ridden. Frequently as the

projected or thrown out; a projection, an emanation (of some being or thing).

Etymology: Apparently partly < classical Latin prōiectum projecting structure (2nd cent. a.d.), in post-classical Latin also something uttered (4th or 5th cent. in Jerome; use as noun of neuter singular of prōiectus , past participle of prōicere project v.), partly (as in sense 4) < classical Latin prōiectus fact of extending beyond a surface or edge, projection ( < prōiect, past participial stem of prōicere + -tus , suffix forming verbal nouns), and partly directly < classical Latin prōiect-, past participial stem of prōicere; none of these, however, account fully for sense 1 (and senses derived from it), and this is perhaps after Middle French projetter , projecter to plan (see project v.), or perhaps (in spite of the chronology) after either project v. or Middle French proiect , projet plan (1470 as pourget ; French projet , †project ; < projetter ). Compare Italian progetto (1553; < Middle French proiect , projet ), Spanish proyecto plan (mid 16th cent.).

project (extract from OED)

†3.projects.Something

WORKING IT OUT

The projection (projection n. 2) of a figure on to a surface. Obsolete. rare.

c. In business, science, etc.: a collaborative enterprise, frequently involving research or design, that is carefully planned to achieve a particular aim.

HOLD YOUR OWN

FILIPPA HALLSTENSSON & ELLA LUNDBLAD HAPPINESSOFTEMPLE/TEMPELLYCKANS section.andPlanCLUB.YACHTBRUNNSVIKENON/WATERIN

HOLD YOUR OWN

GUNNAR WIKBOM

HOLD YOUR OWNHOLD YOUR OWN EXPERIENCE KVARTERSBIO RUSSIN HOLD YOUR OWN EXPERIENCE KVARTERSBIO RUSSIN

HANNA STOHNEHANNAHANNASTOHNESTOHNE

HOLD YOUR

Process - A COVER measuring movement in kitchen by action

BODYDRAWING...

THE ORGANIC LIFESYSTEM

DISCOVERY OF BASIC HOUSING NEEDS

THE ORGANIC LIFESYSTEM

within the 600mm module

OBJECT + BODY = ROOM

YOUR OWNHOLD

DISCOVERY OF BASIC HOUSING NEEDS

MOVEMENT AS PROGRAME

OBJECT + BODY = ROOM

OWN

BODYDRAWING...

Process - A COVER measuring movement in kitchen by action

within the 600mm module

IDA PETTERSSONIDA PETTERSSON

PRIVATE ZONE

CHARING OBJECT PRIVATE OBJECT OTHER OWNER

MODIFIED 48” MODULE OBJECT + ROOM + BODY = UNIT

HOME UNIT FOR WORK OBJECT + FUNCTION = ROOM

PRIVATE ZONE

CHARING OBJECT PRIVATE OBJECT OTHER OWNER

MODIFIED 48” MODULE PRIVATE ZONE CHARING OBJECT PRIVATE OBJECT OTHER OWNER

HOLD YOUR OWNHOLD YOUR OWNHOLD YOUR OWN

MINNA SCOTTMINNAMINNASCOTTSCOTT

HOLD YOUR OWN HOLDYOUROWNHOLDYOUROWN

JONAS JANSSON JONASJANSSONJONASJANSSON

HOLD YOUR OWNHOLD YOUR OWN 1500HOLD12003300 YOUR OWN 1500 12003300

KLARA HALLBERGKLARA HALLBERG !"#$%&'$()*(+,(+%-#$'./(.-%$',-(0'".1#, KLARA HALLBERG !"#$%&'$()*(+,(+%-#$'./(.-%$',-(0'".1#,

HOLD YOUR OWNHOLD YOUR OWNHOLD YOUR OWN

MATILDA FRANZÉNMATILDAMATILDAFRANZÈNFRANZÈN

HOLD YOUR OWNHOLD YOUR OWNHOLD YOUR OWN

VERA AREDAL RUNDBOMVERA AREDAL RUNDBOMVERA AREDAL RUNDBOM

KTH MSc Architecture, studio OUT OF PRACTICE, course A52ARX teachers Malin Heyman + Anders Berensson

PROJECTSDIPLOMA

EXAMENSARBETE 210115rev2021VÅR-PRACTICEOFOUT-gggggadåmmntisdaonsdatorsdafredaUJ3vFM:STARTMÖTE13:zoomsnackANARIg4vEM:individuellt13:zoomsnackinlämnin1U5vEM:GRUPP13:zoomsnackFEBRARI6vEM:individuellt13:zoomsnackg7vEM:individuellt13:zoomsnackinlämnin28vHELDAG:GRUPP13:zoomsnackS9vEM:individuellt13:zoomsnackMARg01vEM:individuellt13:zoomsnackinlämnin311vEM:GRUPP13:zoomsnackMIDSEMINARMIDSEMINAR21vEM:individuellt13:zoomsnackg31vEM:individuellt13:zoomsnackinlämnin4PÅSKAPRIL41vPÅSK51vEM:GRUPP13:zoomsnack61vEM:individuellt13:zoomsnackg71vEM:individuellt13:zoomsnackinlämnin5MAJ81vHELDAG:GRUPP13:zoomsnack91vEM:individuellt13:zoomsnackKRISTIHIMMELSFÄRD02vFINALSEMINARFINALSEMINAR13:zoomsnack12vEM:individuellt13:zoomsnackUJ22vEXAMINATIONDIPLOMADAYSDIPLOMADAYSDIPLOMADAYSDIPLOMADAYSNI SCHEDULE

DIPLOMA PROJECT

The characters in the project are Lady Sculptress and Miss Torso from the movie Rear Window (1954), by Alfred Hitchcock. I have crawled under the skin of these characters in order to develop the design of their homes. Through tools such as drawings, 3D-modeling and physical model, I have been able to study different aspects of architecture from different points of view. By seeing the building through new perspectives, new hierarchies arise, the furniture emerges in a new way and level differences becomes clearer.

LINNEA WETTERSTRÖM ENGMAN

The gaze has a considerable role for the experience of architecture. Perspective, time, space and who’s gaze affect the reading of space and places. This is an attempt to investigate the role of the gaze in architecture through characters, narrative and different representation techniques.

The Speculative Gaze of Architecture

DIPLOMA PROJECTDIPLOMADIPLOMAPROJKECTPROJKECT

ROSE HALLGREN

The project is an investigation of contemporary technologies where I try to understand my tool through a series of experiments.

This thesis is about exploring art and artificial intelligence, specifically machine learning, which is the study of computer algorithms that improve through experience. The core thing of what machine learning does is to find patterns in data to then use those patterns to in some way predict the

Ifuture.define a machine which works and generates images according to the given rules. The rules are set in time and in data. The decision, however, as in all creative processes, is up to the creator (in this the architect) so it is as much a part of the creation as the setting up of the data. The method is a mix of my own personality and imagination and the impersonal machine (my computer). With me during the process, I found inspiration from other creators working with machines in different experimental ways that diverge from the original purpose of their machine/tool.

This thesis is about exploring art and artificial intelligence, specifically machine learning, which is the study of computer algorithms that improve through experience. The core thing of what machine learning does is to find patterns in data to then use those patterns to in some way predict the

Machine Dreaming

ROSE HALLGREN

Can I create my own design companion? My own design AI? How far do I go using the machine? What are the poetics of machine learning?

Ifuture.define a machine which works and generates images according to the given rules. The rules are set in time and in data. The decision, however, as in all creative processes, is up to the creator (in this the architect) so it is as much a part of the creation as the setting up of the data. The method is a mix of my own personality and imagination and the impersonal machine (my computer). With me during the process, I found inspiration from other creators working with machines in different experimental ways that diverge from the original purpose of their machine/tool.

ROSE HALLGREN

Machine Dreaming

Can I create my own design companion? My own design AI? How far do I go using the machine? What are the poetics of machine learning?

The project is an investigation of contemporary technologies where I try to understand my tool through a series of experiments.

DIPLOMA PROJECT HIDEOUTTHEEMBRYOTHESUNTHECLOUDTHETHEATELIER MACHINE DREAMING PLAN AXONOMETRIC VIEW SECTION HIDEOUTTHEEMBRYOTHESUNTHECLOUDTHETHEATELIER MACHINE DREAMING PLAN AXONOMETRIC VIEW

ROSE HALLGREN

PLAN INTERIOR

SECTION SHADOW VIEWSHADOW VIEW

SECTION

“I TO MAKE MY NICE FOR EVERYONE” DESIGN, BUILDING COMBINED TO MAKE THE BEST POSSIBLE.

SQUARE

CITY CENTER

DANIEL LANDSTRÖM

INFRASTRUCTURE, DEVELOPMENT AND PUBLIC

JUST WANT

TRAFFIC SOLUTION, LANDSCAPE

24 OPTIONS TESTED, BEST SOLUTION PRESENTED.

DANIEL LANDSTRÖM

DIPLOMA PROJECTDIPLOMA PROJECTDIPLOMA PROJECT

ELLINOR

ELLINOR KARLANDER KARLANDERKARLANDER

ELLINOR

DIPLOMA PROJECT

DIPLOMADIPLOMAPROJECTPROJECT

MARTIN GABRIELSSON

As the population increases in the city of Stockholm, so does the demand for space. The value of once neglected or inefficiently used land in the city therefore needs to be re-evaluated with time. One such example of space is the winter storage of recreational boats often occupying what today has become attractive land by the water. My investi gation has focused on the potential of the strong seasonal variation in these spaces.

I’ve choosen to look at one of these situations on the island of Södermalm and propose a building that will enable not only boat storage in the winter, but also function as a community center with a multitude of potential uses during the other parts of the year.

MARTIN GABRIELSSON

As the population increases in the city of Stockholm, so does the demand for space. The value of once neglected or inefficiently used land in the city therefore needs to be re-evaluated with time. One such example of space is the winter storage of recreational boats often occupying what today has become attractive land by the water. My investi gation has focused on the potential of the strong seasonal variation in these spaces.

MARTIN GABRIELSSON

I’ve choosen to look at one of these situations on the island of Södermalm and propose a building that will enable not only boat storage in the winter, but also function as a community center with a multitude of potential uses during the other parts of the year.

DIPLOMA PROJECT DIPLOMADIPLOMAPROJECTPROJECT

KTH MSc Architecture, studio OUT OF PRACTICE, teachers Malin Heyman + Anders Berensson

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