RE/06 by KTH Arkitekturskolan

RE/06

RE/06 RE-DIPLOMA 2021–2022

Edited by Thordis Arrhenius and Mikael Bergquist

KTH Royal Institute of Technology — School of Architecture Stockholm

COLOPHON RE-Master Studio is an advanced architectural

Acknowledgements

course run at KTH Royal Institute of Technology School of Architecture in Stockholm.

Thanks to our many guests, hosts and critics who joined us during the academic year 2021–2022

It is taught by Thordis Arrhenius and Mikael Bergquist

Philip Christou, Torun Hammar (Kulturmiljörådet, Sveriges Arkitekter), Sanna Hederus (KOD

Publication Design

Arkitekter), Peter Lynch, Christin Svensson

Matthew Ashton

(Christin Svensson Arkitekter), Cristina Monteiro (DK-CM), Johan Oscarson (Elding Oscaron

About the type

Arkitekter), Veronica Skeppe (Brrum), Mikael

Univers is used throughout this publication. The

Ling (Förstberg Ling Arkitekter), Elizabeth Hatz

typeface was designed by the Swiss typographer

(SAUL), Carmen Izquierdo (Carmen Izquierdo

Adrian Frutiger and released by Deberny &

Arkitektkontor)

Peignot in 1957 — the same year as Helvetica. © For all texts, drawings and images the respective authors, unless otherwise stated. All rights reserved. No part of this publication may be reproduced in any manner without permission from the authors and the publisher. ISBN 978-91-527-3659-3

CONTENTS

10 Hedvig Aaro

Restoring the Already Restored

16 Jim Andersson

Studying Historical Continuity

22 Yanshao Gu

A Female-friendly Community in Husby

28 Stellan Gulde

Small Observations

34 Kim Lidman

Densifying Sockenplan

40 Juntian Lin

Collective Memory: Metro Art Museum

46 Emma Lindén Building Systems

52 Rosanna Novo Senior and the City

58 Sissel Wincent

The Architecture of the Nightclub

64 Hedvig Carlin

Mapping Memories

70 Yu Lin

Adaptive Reuse for Hästen 21

76 Matilda Svensk

Stubborn Plans, Urban Buildings

82 Harald Forsmark

Permanence of the Ordinary

RE-DIPLOMA RE-Master studio addresses the notion of change, permanence and resilience through the means of re‑storation, re-use and re-pair. The overall methodological and pedagogical strategy is to explore the already present, the already built, the already thought and imagined. One central driving objective of the studio is to critically re-engage with the representational and documentary tools used in architecture—drawing, models, digital and photographic documentation—as well as the latest representational technology of scanning. Particular attention is paid to scale as an architectural and methodological tool with a specific focus on exploring how digitalisation has affected the architectural representation. The digital manipulation of analogue scale models and photographic images have been explored in the studio. The diploma project at KTH School of Architecture is an individual project concluding the masters degree, and students are free to formulate their own individual thesis projects. At the same time the students are still a vital part of the studio—through lectures, seminars and participation in formulating the studio’s agenda. Several diploma students thesis projects have directly related to the studio’s theme of reuse and repair, while others have not. The notion of economy of means however has been a consistent theme throughout all projects, steering design decisions and program, as students ask how we can pay attention to our common resources—material, spatial, social as well as aesthetic—in the present situation of the earth.

[6]

[7]

Hedvig Aaro’s Restoring the Already Restored is a careful study of how to approach and acknowledge previous interventions in the historical structure of Börshuset (The Stock Exchange) in Stockholm. Jim Andersson’s Studying Historical Continuity is an extensive survey of the historical architecture and building types of the town of Sigtuna, leading to proposals for three new building that acknowledge the historical continuity of the town. Yanshao Gu’s A Female-Friendly Community in Husby dwells on how to make a safer and more inclusive housing and communal environment in Husby through transformations and additions to an existing structure. Stellan Gulde’s Small Observations Around The Storage Site is a subtle proposal for smaller additions and adjustment of different storage buildings in Södertälje harbour, suggesting a continuity of program in a context that is soon to be developed into a new housing area. Kim Lidman’s Densifying Sockenplan is a carefully crafted proposal exploring how to respectfully add new housing to the existing building pattern in Enskede, in the suburbs of Stockholm. Juntian Lin’s Collective Memory - Metro Art Museum in Stockholm is a project for an underground Museum of art from Stockholm’s Metro system, reusing an existing structure of high complexity. Emma Lindén’s Building Systems is an investigation into the economy of a self-built timber construction system for housing projects. Rosanna Novo’s The Senior and the City explores public spaces around the Blomsterfonden project from the perspective of senior citizens.

[8]

Sissel Wincent’s The Architecture of The Nightclub makes a proposal for an underground club in central Stockholm, re-using an existing basement. Hedvig Carlin’s Mapping Memories — a Fragmented Representation is a personal investigation into maps and the history of Östermalms Torg in Stockholm. Yu Lin’s Hästen 21 Intervention is an investigation into the tectonics and architecture of Bengt Lindroo’s office building, suggesting a proposal that can preserve the façade and yet change the building. Matilda Svensk’s Stubborn Plans — Urban Buildings explores the concept of a ”gentle monumentality,” adding a new housing super block to Hammarkullen in Gothenburg, replacing one previously demolished. Harald Forsmark’s Permanence of the Ordinary explores notions of the specific and the generic through a flexible housing project in Barkabystaden—a new urban development on the fringe of Stockholm.

This booklet is the third collection of Diploma works from studio RE-. It is a selection of work from the extensive full material produced by the students.

Thordis Arrhenius, Mikael Bergquist Teachers Re Master Studio

[9]

RESTORING THE ALREADY RESTORED Hedvig Aaro

Restoration has long been a tool for enhancing selected parts of history, revealing the ideals of the time. Today most older buildings have already gone through several restorations or renovations. How should one approach and evaluate historical layers? The purpose of this thesis has been to study earlier restoration work and the different approaches and ideals. From this, interventions and design has been done through an alteration of Börshuset in Gamla Stan in Stockholm. The restoration proposal consists of three interventions done with three different approaches: reconstruction, alteration of the existing and an added function and element. Through this method, the project attempts to answer questions about how we can relate to existing buildings, not just as artefacts of their time, but as living things with a complex and layered history. My proposal is a suggestion to reintroduce lost qualities and value the historical layers that are, or have been present in Börshuset. By being aware of the difficulty in appreciating newer layers there is a possibility for a better assessment and decision-making that could save historical layers which might become our future cultural heritage.

[10]

[11]

[12]

[13]

[14]

[15] PRODUCED BY AN AUTODESK STUDENT VERSION

STUDYING HISTORICAL CONTINUITY Jim Andersson

The aspect of being historically conscious has become much more present in architectural debates during the past few years. Politicians, architects and the general public are all divided as to which direction to head. The goal of my thesis is to change the narrative of how to approach contemporary additions within a historical context. I believe in an architecture that balances between historical and contemporary, that creates an unclear friction between that which is existing and that which is added. A strategy I hope in the long run creates a wider complexity and depth to a sites architectural continuation. To achieve this requires knowing your history; the history seen in a larger context and in relation to the site specific. To dare proposing a building that relates to more than its direct neighbours. To have a lust in creating, finding forms, materials, colours—and to not forget the importance of enjoying, yet at the same time not to lose the serious goal of finding what’s appropriate. The thesis is tested through three sites in the historical core of Sigtuna, showcasing the diverse outcome which can be produced through a combination of local and wider historical knowledge.

[16]

[17]

[18]

[19]

[20]

[21]

A Female-friendly Community in Husby Yanshao Gu

With Reference to Swedish collective housing, this project is an extension from Beate Holmbakk’s project Four Houses, Four women to a community for five typical women. The aim is to study if architecture can act as an intervention of different women’s identities in household situations when combined with the urban context of a specific site. The chosen site is in Husby—a district with an ongoing project of feminist urban planning which investigates city planning from women’s perspectives. The Building Oslo 1 and Oslo 9 are included in the planning proposal to be renovated as a residential community. The main problem for women in Husby is that they lack specific gathering spots and generally feel unsafe in public places. So the main concept of this project is to create a community that can be a safe place for women’s gatherings. Redesigned public spaces with reorganized functions in the ground floor and characterized public kitchens in residential buildings are main parts of the whole project. It could be an experiment to study if a household’s public places can be the medium to enable more visible activities of women, so as to improve the safety and discourse of women in a family or in the city.

[22]

[23]

Housewives/Househusbands

Young women

Working wives

Widow/Divorced women

A mother and a child

Kitchen typologies

[24]

Young women

Axonometric

[25]

Façade A

[26]

Façade B

[27]

SMALL OBSERVATIONS AROUND A STORAGE SITE Stellan Gulde

The state of the unfinished is something I am fascinated by, and in the course of this engagement my ambition has been to examine how an understanding of the unfinished can contribute to a re-evaluation in both planning habits and in our interaction with existing buildings. For example, can it help challenge our conception of aesthetics and completeness? At the storage site, I also became curious to investigate how we as a community store, what we store and how we can build connections around storage facilities. To study and also emphasize the historic layering of a site, I implemented the yellow/red method of drawing. Yellow represents the past, black the present and red is the future. Lastly, I have in debt studied the spaces through occasions. The occasions (a definition originally coined by Jan De Vylder) are born out of small observations that can give a decisive turn to the design. It’s a moment in which the thresholds between the existing and the new blurs. In that moment when a confrontation between the new and the old occurs, I believe permanence can emerge. The occasions I have depicted are often small acts of greater significance, perhaps neither more nor less than the mere rearrangement of what already existed. Can amplifying those small observations from a storage site generate a collective interest, consideration and appreciation for our built environment and its maintenance?

[28]

[29]

[30]

[31]

[32]

[33]

Densifying Sockenplan Kim Lidman

Sockenplan is located about 4 km south of Stockholm. The place today—with its metro station and its commercial supply, which includes a grocery store and a several simpler restaurants—functions as a node in the area. Densification around Sockenplan and along Enskedevägen began a few years ago. Housing prices in Enskede are high and the small amount of undeveloped land that is available is sought after. This project takes a closer look at one of these plots and proposes an alternative densification strategy. How can Sockenplan be developed in a consistent way, which takes impression of the culturally and historically important surrounding areas, while at the same time becomes an architectural entity that can stand on its own?

[34]

[35]

Site plan

[36]

[37]

[38]

[39]

Collective Memory: Metro Art Museum Juntian Lin

Stockholm metro stations have the longest gallery in the world and are one of the most significant things in the entire city. The artworks of each metro station are unique and related to the city context. In addition, taking the subway is an important way of transportation in Stockholm. People take the subway to other parts of the city in a hurry, but most of them ignore the beauty of the artworks and also don’t have a deep understanding of the story behind it. So I think that a museum space that can evoke people’s feeling about the artworks in metro station and touch the collective memory is needed. The site of the art museum is located in a central part of the city. Orgelpipan 4 & 5 have a deep relationship with the construction of the T-Centralen metro station, especially the basement part of the Orgelpipan 4 has six huge arch structure from the metro station. So my main focus is to reuse the basement space as the art museum, trying to open the space to the public. When people stand in front of the metro artworks in the museum, people may be familiar with some artworks that can recall the memory of the station and the place. And also maybe they can find some interesting artworks they never seen that can give people some motivation to look at the artworks at the real site—the metro station. In this way, people can have a closer relationship to the Stockholm city.

[40]

[41]

[42]

[43]

[44]

[45]

Building Systems Emma Lindén

This diploma project investigates serial produced housing and the possibilities of type house construction. In spring 2020 the Government report Building and living at lower cost — proposals for better competition in housing construc‑ tion was published. It proposes a change in the building law that would allow planning permissions for serial produced multi-family houses despite the projects violating the detailed plan or area regulations. I used this report as a starting point for an analysis of affordable housing in Sweden. As a part of that analysis I have focused the research around Kombohusen by SABO. For the development of my proposal I have drawn inspiration from looking at self built structures in the past as an alternative way of creating affordable homes. Both the research of the serial and the self built revealed to me that their core architectural concepts lie in the detail drawing. That is why this diploma focuses on the construction details of a house that could potentially be mass produced. It proposes a system based on a lightweight sandwich unit made of timber. The unit forms the basis for larger elements that can be transported on site and erected rapidly. The design evolved around a belief that one of the challenges of an architect lie in drawing and redrawing buildings that can serve society beyond the life cycle of their original form. That is why the units, the larger elements, and the whole house should be easy to assemble, adjust and dismantle to allow long-term maintenance or re-usability.

[46]

Research – JSB Kombohus Bas

VIKINGASTADEN Margaretagatan 32, Söderköping

KYLLE 1:236 Björkvägen 2, Sandhem

KAPLANEN 7 Skolgatan 3, Kungsör

TENNISPARKEN Apoteksgatan, Vingåker

VIKINGASTADEN Margaretagatan 32, Söderköping

SKIFTINGE 3:1 Utmarksvägen 6, Djursta

[47]

2 500

GSEducationalVersion

System – additional principles

System - Additional principles

[48]

GSEducationalVersion

Assembly – prefabricated elements

Assembly- Prefabricated Elements

[49]

Assembly – modular grid GSEducationalVersion

[50]

Working models – 1:50

[51] Working models 1:50

Senior and the City Rosanna Novo

Senior and the City investigate the question: what does it mean to age with dignity in the city? With recent years of pandemic precautions, as senior citizens were subdivided into a high-index group and a greater focus was set upon their living conditions due to their protection. The protective isolation bore discussions about loneliness and the value of social contact arose. In my thesis project I have made a case study of the senior living home The Flower Fund. Through my research and the pre-conditions of The Flower Fund I have made three public gestures with the aim to link the activity within the buildings to the public life of the street-scape. Proposing architectural means which are effective in creating public spaces that are somehow generous and beneficial for both seniors and the city.

[52]

1932

2022

Photo: https://blomsterfonden.se/100/nu-byggs-husen-pa-ringvagen/

[53]

[54]

A A

Plan: 1. Assembly hall, 2. Conservatory, 3. Square

[55]

[56]

Plan: 1. Bazaar, 2. Market, 3. Péntaque court

[57]

THE ARCHITECTURE OF THE NIGHTCLUB Sissel Wincent

Nightclubs are temporary by nature, seemingly as found, and the interior of the nightclub is often referred to as background or scenography. Most of the time, nightclubs are located in and adapted to existing buildings and it’s rather common that the building’s previous functions become a part of the clubs identity. And it’s also not unusual that the legacy of the club is used in communications regarding later redevelopment of the premises, as were the case when Hacienda in Manchester and Docklands in Stockholm were knocked down in order to give room for residential buildings. Nightclubs are also not very well documented in an architectural sense, but intended or not—the architecture of the venue affects the whole clubbing experience. Electronic music started in warehouses, and its aesthetic is deeply tied to concrete, steel and whatever materials you find in such premises. But as these former underground movements turn into legal institutions, its aesthetics remain the same. How do you refrain from repeating a cliche and instead create some-thing new?

[58]

Axonometric of upper floor

[59]

Box office

Box office and cloak room

[60]

Dance floor

[61]

Plan — upper floor

[62]

Plan — lower floor

[63]

MAPPING MEMORIES Hedvig Carlin

I call my project Mapping Memories, a fragmented representation. I used the freedom that the map implies as a tool. I have created a map of Östermalmstorg, a square in Stockholm situated in the district called Östermalm. With this map, or drawing, I question what defines a site. What stories do I choose to tell? Could my reading change the present perception and prepare for an alternative route? I have challenged and reconstructed the already staged, trying to look past this sites popular narrative. I have given form to things that are not immediately seen, known or experienced. My drawing combine the present with archival material together with a mix of stories, memories and imaginations. Hierarchies and fragments have been examined. What happens when we observe parts of a story? Could new ideas appear? What relations appear? Some parts are combined intuitively, some are stories from distant connections. Parts of my drawings are not planned, they just appear more interesting to draw when compared to others. I am sure that your story of this square would look different from mine, just like the drawing we make on a napkin when we talk in the bar. Simply a type of memory.

[64]

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

19 ALNAR

DIORAMA

20 ALNAR

NEW STREET LINE 1880 NEW STREET LINE 1880 NEW STREET LINE 1880 NEW STREET LINE 1880

20 ALNAR

40 FAMNAR 120 ALNAR 40 FAMNAR 120 ALNAR

40 FAMNAR 120 ALNAR

19 ALNAR 19 ALNAR 19 ALNAR

19 ALNAR

19 ALNAR 19 ALNAR

40 FAMNAR 120 ALNAR

19 ALNAR

19 ALNAR 19 ALNAR

19 ALNAR

19 ALNAR 19 ALNAR

19 ALNAR

19 ALNAR 19 ALNAR

19 ALNAR

19 ALNAR 19 ALNAR

19 ALNAR

STORGATAN

21 ALNAR

19 ALNAR

21 ALNAR

19 ALNAR

21 ALNAR

HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN

21 ALNAR

19 ALNAR

HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN

40 FAMNAR 120 ALNAR

HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN HUMLEGÅRDSGATAN

40 FAMNAR 120 ALNAR

Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom

Siri Derkert

ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 1:50 1:50 1:50

SIBYLLEGATAN

SIBYLLEGATAN SIBYLLEGATAN SIBYLLEGATAN

Siri Derkert

SIBYLLEGATAN

SIBYLLEGATAN SIBYLLEGATAN

NYBROGATAN NYBROGATAN

SIBYLLEGATAN SIBYLLEGATAN

NYBROGATAN

NYBROGATAN NYBROGATAN

NYBROGATAN

NYBROGATAN 18.5 ALNAR

NYBROGATAN

18.5 ALNAR

18.5 ALNAR NYBROGATAN

18.5 ALNAR

NYBROGATAN

18.5 ALNAR

21 ALNAR

NYBROGATAN

21 ALNAR

NYBROGATAN

21 ALNAR

18.5 ALNAR

NYBROGATAN

21 ALNAR

18.5 ALNAR

NYBROGATAN

18.5 ALNAR

21 ALNAR Siri Derkert

21 ALNAR

Siri Derkert

21 ALNAR

Siri Derkert

ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 1:50 1:50 1:50

Siri Derkert

50 FAMNAR 150 ALNAR

Siri Derkert

50 FAMNAR 150 ALNAR

ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 ÖSTERMALMSTORG 1:50 1:50 1:50 1:50

50 FAMNAR 150 ALNAR

21 ALNAR

Siri Derkert

50 FAMNAR 150 ALNAR

21 ALNAR

Siri Derkert

50 FAMNAR 150 ALNAR

21 ALNAR

18.5 ALNAR 4

18.5 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

50 FAMNAR 150 ALNAR

21 ALNAR

NYBROGATAN

Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom Jan Gezelius & Holger Blom

tockholm

Stories combined into the 24 grid. ”Classic” folding map

[65]

NEW STREET LINE 1880

DIORAMA

19 ALNAR

40 FAMNAR 120 ALNAR

19 ALNAR

HUMLEGÅRDSGATAN

Nybrogatan

[66] 3

nybrogatan

1:5

The square read through models: each model is an extraction from a drawing, pushing fragments that I found important when mediating my story Jan Gezelius & Holger Blom

[67]

50 FAMNAR 150 ALNAR

market Market

[68]

FRAGMENT

fire station Fire Station

[69]

Adaptive Reuse for Hasten 21 Yu Lin

Passagenhuset is a historical building with a green heritage listing by Stockholm City Museum. It is to be demolished and replaced with a 14-storey glass building. The development of Norrmalm unavoidably matches in a violent way. Therefore, Hästen 21, where Passagenhuset sits in, has become the object of the adaptive reuse experiment. To introduce contemporary function to the building, a new system of tensegrity membrane is implanted into its chassis. With the strong comparison of new and old generation of construction technique being made, the experiment opens a question: who (what language, what form, what technique) is the inheritor?

[70]

[71]

[72]

[73]

[74]

[75]

Stubborn Plans, Urban Buildings Matilda Svensk

Our large-scale post-war estates have historically often been subject to paradigms of obsolescence or change from, rather than caring attitudes and transformative processes seeking to enable change with. This thesis is essentially a typological exploration, seeking to address the matters of Studio RE — permanence, change, and resilience — in relation to the urban dimension of ‘the big plan’. Setting out to re-introduce 176 apartments, demolished in the mid-nineties, the ambition is to engage with the urban conditions of the chosen site: Hammarkullen, in outer Gothenburg. The proposed building (of buildings) draws on strategies found in a selection of European references, aiming for an addition that accepts (stubborn) decisions made before, but attempts to negotiate them in a non-radical manner.

[76]

Buildings of buildings

[77]

A gentle monumentality

[78]

A loggia-like kitchen

[79]

[80]

[81]

PERMANENCE OF THE ORDINARY Harald Forsmark

A project about working with permanence. This constant struggle to find a balance between the general and specific. There is a very strong contemporary tendency to shun the general, to be very afraid of it, and to work against it. The tension between the two is a core architectural question. A tension that comes to a head in the everyday ordinary building. The following project is about finding a harmony between the general and the specific in a building and site from the detailed zoning plan of the fourth phase of Barkabystaden.

[82]

South building as housing

South building as office

[83]

Ground floor of north building

Ground floor of south building

[84]

SITE PLAN 1-1000 A2

MAIN STREET FROM EAST

Immediate surroundings, 2. BUS STOP 1-1000 3. MAIN STREET

1. SUBWAY ENTRANCE

4. PART OF OLD AIRFIELD RUNWAY

5. SCHOOL

View along main street facing west

[85]

SECTION THROUIGH COURTYARD 1-200 A1

Typical floor plan, without partitions

Section through courtyard facing east

[86]

[87]

[88]

[89]