STUDIO FOR APPLIED ARCHITECTURE
STOCKHOLM FAÇADES • AUTUMN 2021
KTH Royal Institute of Technology - School of Architecture
STUDIO FOR APPLIED ARCHITECTURE, MATS FAHLANDER, TOBIAS NISSEN
May 2022, layout Jim Andersson
4
STUDIO THEME
Architecture distinguishes itself from other art forms in that the discipline is influenced to a higher degree by limitations which the architect cannot control: Besides the simple fact that a building cannot be realized without a client/investor there are social conventions, topographic, legal, functional and technical factors we must take into account. One of the skills necessary to succeed as an architect is thus the ability to react to a given framework in a creative and intelligent manner. Instead of perceiving limitations as unwelcome obstacles we would like to welcome them as a kind of resistance which can release creative forces. A central subject in the studio work is the relationship between construction and architectural expression. In order to focus on the connection between these categories we collaborate with structural engineers who participate in the studio work as lecturers, supervisors and critics. Over the course of one year the assignments stretch from a small scale refurbishment to the geographic scale in a project for a large building placed in a landscape. In every task we focus on the building techniques associated to one specific construction material. This publication contains the documentation of the studio’s second task, an apartment building with commercial facilities on Storgatan in central Stockholm, conceived as a prefabricated concrete construction.
5
6
INTRODUCTION TO THE PROJECT
In central Stockholm one can find many fine examples of residential architecture from the late 19th century to the 1960s. As an introduction to the task we visited 27 buildings in contexts similar to the project site and let every student document one building by collecting basic facts (address, name of the architect, year of construction) as well as making drawings of the street facade and the typical floor plan. The case studies were not only meant to remind ourselves (and the reader of this pamphlet) of our potential home blindness, not seeing the quality of the architecture we have around us in our daily life, but also to look at buildings as physical objects and trying to understand their underlying structure, thus counterbalancing the tendency of a superficial “consumption” of architecture that has been made possible through the flood of architectural images from all over the world which architecture students have constant access to online.
7
LUDVIG HEDIN - STUREGATAN 28, 1875 8
UNKNOWN ARCHITECT - GREV TUREGATAN 76, 1882 9
HAGSTRÖM & EKMAN - GREV TUREGATAN 7, 1904 10
HAGSTRÖM & EKMAN - GREV TUREGATAN 75, 1905 11
GEORG A NILSSON - REGERINGSGATAN 88, 1906 12
AXEL KUMLIEN - BLASIEHOLMSTORG 12, 1907 13
SIGURD WESTHOLM - GÄSTRIKEGATAN 17, 1912 14
HÖÖG & MORSSING - ERIK DAHLBERGSALLÉN 13, 1913-15 15
HALLSTRÖM & EKMANN - STORGATAN 10, 1916 16
HAKON AHLBERG - HORNSGATAN 54, 1924-34 17
JOSEF ÖSTLIHN - SKEPPARGATAN 55, 1925 18
JOSEF ÖSTHLIHN - ERIKSBERGSGATAN 4, 1927 19
BJÖRN HEDVALL - ULRIKAGATAN 11, 1928 20
PAUL HEDQVIST - FOLKUNGAGATAN 65, 1929 21
SVEN MARKELIUS - JOHN ERICSSONSGATAN 6, 1935 22
N W LARSSON - BANÉRGATAN 48, 1937-38 23
ERNST GRÖNWALL - STORGATAN 6, 1938-39 24
ERNST GRÖNWALL - KARLAPLAN 4, 1945-46 25
ARVID BJARKE - KARLAVÄGEN 67, 1947-53 26
B ALFREDS & G LARSÉN - UPPLANDSGATAN 49, 1963-74 27
B KARLEN & R WIKNER - ÖLANDSGATAN 42, 1965 28
HANS ASPLUND - KUNGSGATAN 71, 1965-66 29
BENTELE & CO - HORNSGATAN 148, 1975-76 30
31
DESIGN TASK SITE Mentioned in historical sources for the first time in the 17th century, Storgatan was the first path crossing what later became Östermalm, back then called Ladugårdslandet. With its width of about 12 m and a building height of 3 to 4 stories, Storgatan was a typical 19th century street dimensioned for traffic with horse drawn carriages. In order to improve sanitary conditions and adapt the traffic network to the automobile as the new means of transportation, the city of Stockholm elaborated a new masterplan for Östermalm during the 1930s in which Storgatan, like many other streets in this part of town, was to be widened to 18 m by replacing all buildings on the northern side of the street. The pre-war transformation of the city by demolition of 19th century buildings came to an end with the outbreak of World War II. Later, after a phase of substantial economic growth, expressing itself in a wave of demolition in the historical center of Stockholm, the belief in a tabula rasa strategy was slowly but surely replaced by a more respectful attitude towards the historical townscape, leading up to today’s cultural heritage legislation which protects basically all pre-war buildings in central Stockholm against demolition or major transformation. Storgatan is a testimony of this shift in attitude towards the city’s cultural history, the buildings from the 1930s and the 1960s on the northern side of the street being aligned in accordance with the masterplan from 1935 whereas all the other buildings follow the street line defined in the 19th century.
32
PROGRAM, BUILDING RESTRICTIONS The apartment building has to accommodate at least two flats on each floor. The ground floor is reserved for commercial purposes with direct access from the sidewalk and must be laid out in a manner allowing changing types of functions/activities over time. The staircase(s) has (have) to be situated and organized in a way that allows access from both the street and the courtyard. To guarantee the accessibility of the existing backyard by car/truck a (an outdoor) passage (minimal measurements h=4,5 m, w=4 m) has to connect the street to the courtyard. The maximum façade height towards the street is 19 meters. Volumes exceeding this height have to be recessed within an angle of 45 degrees. The building is meant to fill the site on its entire length between the two neighboring fire walls.
ARCHITECTURAL THEME The task presents an opportunity to reflect on the appearance of a building in the public space, defining it’s degree of integration into (or contrast to) an existing architectural context. Given the fact that the building, integrated in a city block, is not perceivable as a volume, the design work circles around the theme of the façade as an interface between the public and the private sphere, investigating aspects like proportion, plasticity, materiality, symmetry/ asymmetry, degree of openness etc..
33
34
STORGATAN 23-25 35
PROPOSAL 36
JIM ANDERSSON 37
PROPOSAL 38
ADRIAN ANDERSSON MARTVALL 39
PROPOSAL 40
YINGNAN CHEN 41
PROPOSAL 42
TESSA DELAEY 43
PROPOSAL 44
ZOE DURAN 45
PROPOSAL 46
SOFIA EKLUND 47
PROPOSAL 48
ÞÓRBERGUR FRIÐRIKSSON 49
PROPOSAL 50
DANI GEORGOS 51
PROPOSAL 52
HJALTI GUÐLAUGSSON 53
PROPOSAL 54
VERONIKA JALAS 55
PROPOSAL 56
DAVID JANSON 57
PROPOSAL 58
ALBIN JONSSON 59
PROPOSAL 60
KLARA KINDAHL 61
PROPOSAL 62
SIMON KRONHOLM 63
PROPOSAL 64
AMANDA LANDÉN 65
PROPOSAL 66
ASTRID LINDÉN 67
PROPOSAL 68
MARTIN LÄTTMAN 69
PROPOSAL 70
RUI MATIAS 71
PROPOSAL 72
EINAR PALMBERG STRENGBOM 73
PROPOSAL 74
ANDREAS PETERSSON 75
PROPOSAL 76
LIDIA PROYKINA 77
PROPOSAL 78
PHILIP REIMERS 79
PROPOSAL 80
ELÍAS BECK SIGURÞÓRSSON 81
PROPOSAL 82
FREDRIK SKYLLBÄCK 83
PROPOSAL 84
BENJAMIN TENGZELIUS 85
PROPOSAL 86
TORBJÖRN WINROTH 87