Studio Themes 2016–2017 by KTH Arkitekturskolan

KTH ROYAL INSTITUTE OF TECHNOLOGY

KTH-A 2016-2017: THE COMING ACADEMIC YEAR, ADVANCED LEVEL, AT THE KTH SCHOOL OF ARCHITECTURE

CONTENTS:

pp. 3-4

STUDIO 1: FULL SCALE ANDERS BERENSSON EBBA HALLIN

pp. 5-6

STUDIO 2: SUPER PLUS 2+11 TOR LINDSTRAND ANDERS WILHELMSON JESÚS AZPEITIA KAROLINA KEYSER

pp. 7-8

STUDIO 3: ‘LAGOM’ – THE ESSENTIAL WITHIN THE MUNDANE JOHAN CELSING ANNA KARIN EDBLOM DANIEL WIDMAN

pp. 9-10

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS – ON THE WATERFRONT CHARLIE GULLSTRÖM ORI MEROM

pp. 11-12

STUDIO 5: IMAGINED REALITIES ULRIKA KARLSSON CECILIA LUNDBÄCK EINAR RODHE VERONICA SKEPPE

pp. 13-14

STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIME CHRISTIN SVENSSON LEIF BRODERSEN

pp. 15-16

STUDIO 7: ARCHITECTURE AND ITS DOUBLE FRAGMENT AND COHERENCE III ELIZABETH HATZ PETER LYNCH

pp. 17-18

STUDIO 8: SETTLEMENT & SYMBIOSIS SARA GRAHN RUMI KUBOKAWA MAX ZINNECKER

pp. 19-20

STUDIO 10: GLOBAL CONNECTIONS – THE HOUSE, NEIGHBOURHOODS AND THE CITY ALEXIS PONTVIKLISA MARIA ENZENHOFER

STUDIO 1: FULL SCALE STUDIO THEME

1 1: Factory trusses. Full Scale Studio Introduction, fall 2015. 2: Opening the house. Full Scale Studio Mobile Team, spring 2015. 3: Foldable pavilion. Full Scale Studio / Eva Dahlbäck and Ivette Solé Tasias, spring 2016. 4: Welding a lightweight frame. Full Scale Studio Mobile Team, spring 2015. 5: Transporting of cottage. Full Scale Studio Smartest Team, fall 2015. 6: Interior temple. Full Scale Studio / Björn Karlsson, spring 2016. 7: Burning the facade. Full Scale Studio Exterior Team, fall 2014.

Full Scale studio is dedicated to study building processes in relation to architecture. We address the politics, industries, production lines and craft that are involved in realizing buildings today. We question conventions and investigate how set standards can be influenced by an experimental approach. We re-think the architect’s role and test new ways of thinking and making architecture. We work with real projects, real tools and real clients to learn about architecture in an immediate way. The theme of the studio is actually a method. We call it hands-on research and it is all about learning by doing. The aim is to make buildings less abstract and to learn how to act through architecture. We believe the world needs more action-based architects. Studio 1 combines designing and building. We continue designing while building and we constantly improve along the process to go beyond representations and simulations. We want to make material perform in ways it never knew it could, we want to play architecture just like guitar or football, we want to study the art of making.

TEACHING METHODOLOGY

By jumping right into the game we feel and see all factors directly, we meet actors and review customs, encounter allies and opponents and get an understanding of the field. We know when and why we need drawings and renderings, we try every muscle that is needed to make buildings. Structural durability, materiality, and detailing become unavoidable topics early-on, rather than last-minute additions. Relations between resources, site, architecture, craft, and mass-production are exposed, feeding back into a critical approach and ultimately generating a more confident conceptual focus. The idea is to be a player before becoming a coach. During the year students will learn about architecture with eyes, ears and hands. Design tools will be tested in real-time, one to one. We believe that working in groups makes you reach further, learn more and be braver. Projects are analysed by actually being in them and testing them for real. The studio makes a book each year to capture the process and to pass on knowledge from the ground-breaking work of experimental full-scalers.

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LOCAL HEROES

A lot for a little place. The course sets out to make immediate improvements for Stockholm. We investigate the framework that direct building processes. We map rights and responsibilities through concrete installations and propose instant reformations for a better city. The course will include an introduction to basic tools and building techniques when constructing full-scale vessels to serve you in the field. You’ll work in small teams throughout the course. Studio Project 1, Course A42A13/A52A13

GLOBAL HEROES

A little bit for the world. A study of material resources to make inventions on a global scale. There is a difference to be made in the building sector. We investigate material properties, lifecycles and recycling, production lines, coasts and logistics. In parallel, we grow, harvest, refine, and run hard tests in the full-scale lab, in order to develop more intelligent building materials. You will work individually or in teams. Studio Project 2, Course A42B13/A52B13

SUPERHEROES

Combining the above knowledge and inventions we are ready for a real commission. The task is to follow a building through from idea to realization. You’ll learn to negotiate with a client and local powers, to plan a real project and finally to build what you designed. You’ll get an insight in building economy, tectonics, time planning and pure physics. You’ll learn a little bit of everything about making great architecture in full-scale. The project runs over two courses, first focusing on research and planning and later on construction work. The main part of the study is collaborative and all students will try different responsibilities within a smaller team. Exploring tools and methods of on-site construction work is central – an experience that will give you architectural super-powers. Studio Project 3, Course A42C14/A52A13 Studio Project 4, Course A42D14/A52B13

ANDERS BERENSSON is a lecturer at the KTH School of Architecture. He is the founder of Anders Berensson Architecture, co-founder of Visiondivision and a member of Svensk Standard. EBBA HALLIN is a lecturer at the KTH School of Architecture. She is co-founder of Himmelfahrtskommando. ANDERS and EBBA are architects and artists that both run award-winning practices with widely published projects. They are frequently hired as lectures and guest critics in Sweden and abroad. THE STUDIO’s work has also been widely published in Sweden and abroad. COLLABORATIONS Stockholm SBK, KTH Legal Department, KTH Building Services, NCC, Fredells, Haga Tegelbruk, Outokompu Stainless, Setra Group, Finja Betong, Strängbetong, Bromma Bygg, Butong, Mattson Svets och Smide, ABC Plåt, Föreningen Hem, Royal Court.

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STUDIO 2: SUPER PLUS 2+11 STUDIO THEME

1 1: Proposal for Henriksdalsberget by Wilhelmson arkitekter 2: At Work With, Nordic Pavilion, Venice Architecture Biennale 2010, Economy/Testbedstudio 3: Proposal for Pålsjö by Wilhelmson arkitekter 4: Taxingeplan, new public space in Tensta, 2010, International Festival/LLP 5: Arkitektur Stockholm, Karolina Keyzer 6: Stockholm Rio by Urban Design/Jesus Azpeitia 7: TN-huset, public area by Urban Design/Jesus Azpeitia 8: Exhibition for Bo.Nu.Då at Arkdes, Studio 2, 2016–17 9: ‘Remember the Future,’ 2014 Degree Project by Nils Sandström, Jakob Wiklander, Exhibited at Botkyrka Art Centre 10: Scandic Victoria Tower, Wingårdhs, Karolina Keyzer

Stockholm expanded rapidly during the 20th century and the neighborhoods in the southern parts of Stockholm tells the history of modern architecture, planning and the rise of the Swedish welfare state. Today these neighborhoods are faced with the challenges of densification, gentrification and shifts in everyday life. The assignments takes the modernist city as its starting point. We will study and discuss its phenomenas, properties and complexities in order to invigorate and push contemporary architectural concepts. This year Studio 2 will work with the new Studio 11, together we will focus on the large and ongoing changes facing the southern parts of Stockholm. The projects will range from large scale infrastructure and public space projects to housing. Apart from the practical work in the studio there will be a seminar and lecture series historically discussing contemporary issues about architecture, planning and democracy. Over the year, and besides individual assignments, we will work in groups making proposals for the transformation of the Motorway Örbyleden into a new urban district. In collaboration with the art centre Konsthall C and Hökarängens stadsdelsråd these proposals will later be part of the locally initiated Hökarängen building fair scheduled to take place in the autumn of 2017.

TEACHING METHODOLOGY

The work has a focus on the social dimension in architecture. How a design process is not merely about finding a method to create an object, but about engaging in the complex and contradictory field of relationships that inform our making and understanding of the built environment. It is about introducing questions about what we architects do and how we do it. Rather than a collection of tools, methods and positions, the aim of a design process is to question and reflect upon the fundamental conditions of what constitutes a contemporary practice. We provide students with down to earth but open ended assignments, and we encourage students to articulate and develop their own practice. We try to establish a working atmosphere that is open to discussions and about sharing knowledge. Through collaborations with public institutions we produce exhibitions and publications in order to present the work of the students to a wider audience.

1:4 HOUSE/HOME

The provision of new homes was a corner stone in the construction of the welfare state. Sweden went from having the lowest housing standard in Europe to the highest in the world in less than 40 years. Today housing is again the most important topic facing architecture. But what kind of housing, for whom and what society does it build? Studio Project 1, Course A42A13/A52A13

2:4 CENTRE/WORKPLACE

Söderort (southern part of Stockholm) was built around the idea of communities connected to the subway. Next to each station sits a centre with commercial and public services. Originally these were publicly owned, but many have been sold off and are now struggling economically. What can architecture do to reactivate these centres? Studio Project 2, Course A42B13/A52B13

3:4 URBAN ENVIRONMENTS/ EVERYDAY LIFE

Public, common and recreational spaces were central in the making of the modernist city. Today these spaces are often described as empty, unsafe and ugly, paving the way for densification and the privatization of the commons. Could we find other and different ways to describe and make proposals for the use of these spaces?

TOR LINDSTRAND is an architect and assistant professor at the KTH School of Architecture. He is a co-owner of the office of Larsson, Lindstrand and Palme and the co-founder of International Festival and Economy. He is an architecture critic for FORM magazine. ANDERS WILHELMSON is an architect and professor at the KTH School of Architecture, and has for ten years been professor at The Royal University Collage of Fine Arts in Stockholm. He is running his own practice, Wilhelmson architects AB. In 2006 he founded Peepoople AB, a company engaged in delivering hygiene and sanitation to the world’s urban slums, refugee camps and emergencies.

Studio Project 3, Course A42C14/A52A13

4:4 MOTORWAY/CITY

Örbyleden is a city-motorway connecting Sköndal with Älvsjö, because of the road and the power lines above there is a 5 kilometer long and 150 300 meter wide empty strip. The road is under used and the city are planning to put the power lines in the ground. This provides an opportunity to re-imagine this strip as a new urban district and perhaps a new urbanity. Studio Project 4, Course A42D14/A52B13

JESÚS AZPEITIA is an architect and teacher at the KTH School of Architecture since 2005. He served as director of studies and vice head of department 2014–15. His work at the office Urban Design focus on sustainable design and management strategies. He was awarded with ´teacher of the year´ prize at KTH year 2012. KAROLINA KEYSER was Stockholm City Architect between 2010—2016. Previously head of office at Wingårdhs in Stockholm, architect at Rosenbergs and Owe Hidemark Arkitektkontor. Board member at Färgfabriken, and The Arvidsson Foundation. In the Strategic Council at KTH-A, frequently in international

juries. Currently at OKK + friends.

STUDIO 3: ‘LAGOM’ – THE ESSENTIAL WITHIN THE MUNDANE STUDIO THEME

3 1: Brick tower in Malmö by Johan Celsing 2: Interior Ljungdalen by Daniel Widman 3: Yellow house in Stockholm by Johan Celsing 4: View of garden pavilion on the Philoppapou Hill, Athens, Greece, by Dimitris Pikionis 1

5: Interior of Malmö Östra kyrkogården Chapel, by Sigurd Lewerentz

The studio work in the academic year 2016/2017 will be framed within the concept : ”Lagom”. This term, or position, is often spoken of with irony in Sweden. Lagom, it seems, is ridiculed as a position lacking radicalism or a vigorous spirit. In fact this concept denotes profound philosophical issues central to the intellectual and moral history of the western world. Decorum is a related concept elaborated on by, among others, Aristotle in the 4th century BC. The appropriate is a contemporary term for this concept. As we know, what is appropriate to a certain aim, or to a certain context may be erroneus in another. However, what is crucial is how the projects fulfil its aims, and relate to its physical or circumstational context. Thus we expect the student projects to range from the elementary to the fantastic. The shape and conditions of the public and the private are subject to constant redefinition and adaption as society evolves. The redefinition of our ways of living affects, and is materialized in, architecture. The challange of giving shape to our surroundings in this state of flux call for a thorough understanding of the tools of architecture and of the forms of the past to be able to imagine the buildings of tomorrow.

TEACHING METHODOLOGY

The aim is that the students may forge architectural solutions ranging from the detail to the whole. To keep the visual appearance of buildings (so dear in our contemporay culture) at some distance the initial assignements will focus on the parts, the details, as protagonists in the architectural designs. The detail as necessity The detail as an invisible but tactile reality The detail as a creator of atmospheres The detail as a sign of an attitude The detail as part of a family of tectonic solutions To deepen our understanding of the nuances of buildings, of the role of the parts in the whole, we will make a measuring survey of an extraordinary 20th century building. For overview in the design task we will make case studies of a selection of related buildings. The design work will elaborate the contemporary issues that pertain to chosen sites and programs.

A SPACE FOR CONTEMPLATION, A CHAPEL – SMALL

At a strategic location between the domestic and the bustling city, at a site overlooking the waterways, a pavillion will be inserted next to existing structures. Protected in its location it has a wide view of Stockholm. The atmosphere for a calm and reflective environment is to be developed in the interior and on the exterior yard or terrace. Studio project 1. Course A42A13/A52A13

A PUBLIC SPACE FOR LEARNING – MEDIUM (PART I)

We will design a primary school in an urban area in a city in the vicinity of Stockholm. The municipal aims include multi-purpose hall for use throughout long days. In Project 2 the focus will be the exploratory programming of this public institution related to pedagogics, forthcoming physical and social context, as well as developing its over-all shape withing the future built fabric. Studio project 2 &3, Course A42B13/A52B13 (part 1) week 45-51/ Course A42C14/A52C14 (Part 2)

A PUBLIC SPACE FOR LEARNING – MEDIUM (PART II)

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

‘STORA RUM’, A PUBLIC MULTI PURPOSE HALL – LARGE

A facility for an expanding city, the Hall serve the public for Meetings, Sports or Logistics. The measures call for technical and architectural solutions not needed in the previous projects. The leap from the initial small project over to this structurally demanding building will widen the perception of the scope of our discipline. Studio project 4 Course A42D14/A52D14

JOHAN CELSING is a Professor at the KTH School of Architecture and Principal of Johan Celsing arkitektkontor in Stockholm. His work has been awarded the Kasper Salin Prize tin 1999 and 2014 and has been shortlisted for the Mies van der Rohe Award. Celsing has acted as guest critic and lecturer at universities in Europe and overseas. ANNA KARIN EDBLOM Is a guest teacher at the KTH School of Architecture and director of AEOW arkitekter AB. A great interest in art and architectural history has led her practice to a focus on reconstruction and historic preservation. She has been a practicing architect for 25 years and current commissions are for example ongoing partial reconstructions of Rafael Moneo´s Moderna Museet in Stockholm. DANIEL WIDMAN Is a lecture at KTH school of architecture, and co-founder of Lowén Widman Arkitekter architect studio in Stockholm. His works have been shortlisted for the Wood price 2016 for Ljungdalen and project “Kyrksjöbacken” is currently nominated for Falu Rödfärgspriset 2016. Daniel studied at KTH and ETH and his final thesis at KTH was awarded with the TU Wiens Blue Awards and Swedish Byggopus best final thesis of 2011.

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STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS – ON THE WATERFRONT STUDIO THEME

For us, Master Studio 4 is a platform for architectural investigations closely connected to research. Our studio seeks to push the boundaries of what architecture is, by exploring what architecture can be. We choose design themes that relate to ongoing research and invite our students to discuss how architecture, both as a profession and a discipline, is affected by recent developments in society. To meet the challenges of global warming and our planet’s limited resources, we have explored new materials and innovative technologies that are applicable to extreme living conditions in different parts of the world. This year, we turn to the urgent matters of migration and rapidly urbanizing landscapes across Europe, which very quickly have become a top priority for local politicians – north and south. Migration has created new challenges for several coastal towns in recent years, resulting in poorly controlled expansions and short-term planning. Very often, these cities turn to their waterfront and harbour areas in order to find new viable land for exploitation and experimentation. We are interested in exploring alternative architectural strategies that are applicable to European coastal towns – the two Studio Projects of the autumn term will address these concerns. Our target this year is Bari, a city of one million inhabitants and the capital of Puglia in the south of Italy. Bari has a large harbor and is the local government seat. Our main interest will be the seam between the city’s coastal zone and the Mediterranean Sea. As the capital of Puglia, Bari plays a critical role and leads the development for the rest of the region.

TEACHING METHODOLOGY

2 1: Beatriz de Una Boveda, Studio 4, was awarded the Jury’s Honorary Mention for her Diploma Degree project Entropia – A Tale from the North, June 2016. 2: Sketching is key in Studio 4. Snapshot from Jean-Philippe Guignard’s sketch book 3: Studio 4 produced four public exhibitions in the last academic year, three for the Dome of Visions and one for the Ostuni City Council in Puglia, June 2016.

At Advanced Level, our students already have an individual approach to design thinking. Although architectural training has equipped you with various design tools and methodologies, there is still space for improvement in terms of sharpening your personal artistic voices. It is our job in the studio to help our students mature, for example by scrutinizing work processes and in helping you position the project in a broader context — always seeking to address the challenges of our future society. In Studio 4, we focus on process but also expect our students to excel in the way you present ideas, sketches and designs. The studio projects often result in public exhibitions produced by the students in collaboration with external parties. We also collectively produce a studio catalogue every academic year. We always seek to ensure that the Diploma Degree Project becomes a personal landmark and a springboard for students’ future careers as architects. For this reason, we sometimes make slight adaptations of the course design, allowing our 5th-year students to work in preparation for their Diploma Degree Project.

DESIGN A WATERFRONT BUILDING (INDIVIDUAL PROJECT)

The semester starts with a trip to Bari, where we will investigate the local history, cultural heritage, city planning transportation and other issues. We will meet with city planners (and other experts) to observe how a local regulatory system (or, lack of respect for regulations) has resulted in very expressive “local phenomena” along the seafront, where a series abandoned and abusive projects furnish the south part of the city shore. Back in Stockholm we will discuss waterfront strategies as a point of departure for your individual project to design a building that relates to a local issue, closely conneced to the urban fabric. Studio Project 1, Course A42A13/A52A13

WATERFRONT PROPOSAL FOR THE URBAN EXPANSION OF BARI (GROUP PROJECT)

In this project you will work in teams in order to explore and understand the local problems. The project will result in a proposal for an architectural strategy for the new waterfront expansion of Bari towards the south. Final presentations will take place in mid-December and based on the results from the two projects, students will collaborate to produce a public exhibition that will open in Bari in February 2017. Studio Project 2, Course A42B13/A52B13

CONCRETE EXPERIMENTS

Our interest in materiality and tectonics will mark the third studio project, inspired by the architecture of Léonie Geisendorf (1914-2016), renowned for her expressive treatment of concrete. Geisendorf forms part of Le Corbusier’s diaspora across Europe and brought International Style to Sweden, where she counts among the most prominent architects of late modernity. You will zoom in on the conditions for castin-place concrete – then and today – by studying the detailed work drawings for the entrance hall of St Görans Gymnasium, originally a domestic sciences college in Stockholm (1961), now refurbished to student housing; as well as Villa Delin in Djursholm (1970). Your work will result in concrete experiments and real-life prototypes.

CHARLIE GULLSTRÖM is an architect and a University Lecturer at the KTH School of Architecture. She has a PhD in Architecture and combines teaching with design-driven research in architecture and interactive media. Her research group, KTH Smart Spaces, works in in EU-funded projects relating to presence design and the future of connected media. ORI MEROM is an architect with an extensive architectural practice, Merom Architects, and is an expert advisor on design management strategies. He is a University Lecturer at the KTH School of Architecture.

Studio Project 3, Course A42C14/A52A13

A COMPETITIVE EDGE

As in previous years, the students of Studio 4 will participate in an architectural competition. We will coach you through the adventures of developing a winning project, in a national or international competition. Studio Project 4, Course A42D14/A52B13

STUDIO 5: IMAGINED REALITIES STUDIO THEME

4 1: Axonometric drawing by Mariya Lapteva, student project, Studio 5: Fictions, 2016 2: Exhibition view of Architectural Fictions, student projects, Studio 5, 2016. Photograph by Mikael Olsson

3: Drawing by Kristina Barniskyte, diploma project, Studio 5, 2016 4: Plan drawing by John Bergman, Alexandra Christmansson, Max Spett, student project, Studio 5: Fictions, 2016 5: Odham’s Walk Estate, Covent Garden, London, the Greater London Architects Department, 1981 6: Models by Anna Weglin Elenius, diploma project, Studio 5, 2016

7 :Visit at the Bartlett School of Architecture, study trip to London, 2016

Studio 5 will further last year’s theme on fictions, through a closer engagement in architecture and its representations. Imagination can be described as the production of images or recombination of experiences in the creation of new images. Images have the power to convey stories, or perhaps even claim truths. But they can be both alluring and deceitful. Today images are everywhere and all the time, calling for our attention and influencing our behaviour as well as political decision-making. Through the construction of fictional images, focusing on film and animations, the studio will explore the role of architectural imaging that may modify, augment and expand our knowledge of the real. The studio will make use of technologies for mediating between the physical and the digital, the real, augmented and the fictive. Tools for machine vision, pattern recognition, 3d scanning, photogrammetry, game design software, film processing tools and cnc techniques for fabrication will be introduced. These techniques will be used to gather, explore and design architectural sites and structures and their physical and digital representations. Swiss art historian Heinrich Wölfflin has written on the concepts of clearness and unclearness in painting and architecture. He differs between styles that aim for “exhaustive revelation of the form” and those that are “only incompletely apprehensible” and in whose work “the degree of distinguishability fluctuates”1. Throughout the year we will further explore the notions of clearness and unclearness in architecture. Engaging in the ambiguities and misconstrued translations found when going between digital information and physical objects and processes, the studio will look into the role of images and the relation to architectural objects.

TEACHING METHODOLOGY

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

IMAGING SITE

During the fall the studio will develop design research into the recording, modulation and design of grounds and objects. Through techniques of machine vision - such as image processing and 3d scanning - an existing site will be captured, manipulated and re-designed. The constructed ground with its existing, augmented and fictive qualities will spur further architectural speculations. Studio Project 1, Course A42A13/A52A13

ARCHITECTURAL SUPPLEMENTS

The transformed site from the previous project will act as grounds for architectural additions developed in the second part of the semester. By introducing the concept of architectural supplements, new layers of information and relations, mass, figures, atmospheres and augmentations will be added. Through persistent production and processing of image and film, the projects will speculate on alternative or imagined realities. Throughout the semester the fifthyear students will be supported and are encouraged to explore methods and design techniques that relate to their individual diploma projects. Studio Project 2, Course A42B13/A52B13

IMAGINED REALITIES PART II

Continuing the architectural research on the role and construction of moving images in architecture, the spring will focus on dwelling and different perspectives on collective living. As the urgency and shortage of housing is pressing, the studio will explore the possibility of architectural imaginations to spark the collective imagination, through the design of speculative proposals and perspectives on collective living. At the end of the semester, the studio will present the projects in an exhibition format with large models and animated vedutas2, showing how the scenario has been translated to explicit spatial and tectonic architectural proposals. During the project the students will be supported in formulating their own architectural position in relation to architectural culture and contemporary architectural discourse. Studio Project 3, Course A42C14/A52A13 Studio Project 4, Course A42D14/A52B13

ULRIKA KARLSSON is an architect and landscape architect and a partner of the architectural studio Skrrak as well as of the research and design studio Servo Stockholm. She is a Professor at the KTH School of Architecture, and a Professor at Konstfack. CECILIA LUNDBÄCK is an architect and partner of the architectural studio Skrrak, and has collaborated with Ulrika Karlsson and Veronica Skeppe in various projects since 2014. She has previously worked for Sandellsandberg arkiteter. She has taught at both KTH School of Architecture and at Konstfack at both bachelor and master level. EINAR RODHE is a partner at the Stockholm-based studio Norell/ Rodhe and a Lecturer at KTH School of Architecture. He has previously worked for Ghilardi+Hellsten in Oslo and Anders Wilhelmson and taught at Konstfack. Einar is on parental leave during 2016/17. VERONICA SKEPPE is an architect and partner of the architectural studio Skrrak, and has collaborated with Ulrika Karlsson and Cecilia Lundbäck in various projects since 2014. She is a Lecturer at KTH School of Architecture and a Lecturer at Konstfack, teaching at both bachelor and master level.

1: Quotes from “The principles of art history”, Heinrich Wölfflin, 1915. 2: Veduta (Italian for “view”; plural “vedute”) is a highly detailed, usually large-scale painting or, actually, more often a print, of a cityscape or some other vista.

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

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Industrial Design.

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

2 1: The Alhambra lionscourt, dwg by James Cavanah Murphy 2: Pattern detail from Alhambra Lions Court 3: Kunio Mayekawa, House 1942 4: House NA by Sou Fujimoto

5: Student project by Adam Bergendal

The theme of this year could be described as a journey from order to chaos. Studies of symmetry will be followed by complexity, dissolution and contradictions ending up in chaos theory. We will start by investigating symmetrical composition, geometrical form and mathematical patterns as generators for architectural space in selected architectural masterpieces - and propose design projects for alterations and deconstructions. Then we will make and excursion to Andalusia in order to study architecture and urban design related to the Studio Theme. In the second project we will develop design proposals for the new Cervantes Institute Library in Stockholm, using the studies made in the first project. The third studio project will focus on housing issues – where we will develop new housing typologies with specific qualities, in the design of a new housing development project in Nacka, east of Stockholm. The last project investigates what we can learn from the Japanese context, examining diversity, differentiation, metabolism, interactivity, flexibility, and conceptions of space and time (at the urban scale as well as in smaller scales). Based on studies of the relation between filmmaking and architecture, we will design a Film Studio Residence within the urban fabric of Tokyo. In MarchApril the studio plans a trip to Tokyo, where we have developed contacts with various Japanese architects and institutions.

TEACHING METHODOLOGY

This studio investigates different experiences of architecture and conceptions of space in relation to the synthesizing design process. We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, color, tactility, etc. We have developed a methodology wherein students and teachers collaborate in a kind of research-by-design structure. The students define and formulate their own projects from a given topic and self-program their projects to reflect on the problems and possibilities described in the analysis and definition of the context. The aim is to provide tools and methods in order to give the students an independent, innovative, artistic, professional, ethical, and scientific identity. Every project is specific and independent, but also relates to the general theme. We think it is important to work with different topics, problems, and scales at the same time. Every project starts with a research phase in groups – collecting relevant theory and information, defining the different options, and understanding the context. Students discuss, evaluate, reflect, and make decisions. We want them to feel involved in a larger overall research-by-design movement, where the different parts and projects are important but where the research outcome as a whole—and the multitude of different approaches and projects—is the most important thing.

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MATHEMATICAL PATTERNS AND GEOMETRICAL FORM

Through deeper studies of selected emblematic buildings and their specific beauty and spatial qualities, we will develop an understanding for symmetrical composition, geometrical form and mathematical patterns as generators for architectural space. In the first part of the project we will document, re-represent and analyze existing architectural masterpieces. In the second part of the project we will develop individual architectural projects by making alterations/additions to the studied buildings. The project definition is optional (deconstruction, studies of mannerism, reinterpretation, paraphrase etc). Studio Project 1, Course A42A13/A52A13

NEW LIBRARY FOR THE CERVANTES INSTITUTE IN STOCKHOLM

By using the studies from the first project, we will design a new Library for the Cervantes Institute in Stockholm – hosting collections by the Spanish author Francisco Ayala and many others. The site is located on Djurgården in a historical context close to the water. We will develop individual small-size projects using different architectural conceptions and design methodologies (symmetry, narratives, specificity, light, geometry, contextuality etc). The project starts with an excursion to Andalusia 26 Oct-1 Nov. Studio Project 2, Course A42B13/A52B13

NEW HOUSING TYPOLOGIES WITH SPECIFIC QUALITIES

New housing areas in Sweden, have been criticized for being too generic and homogenous, with few specific qualities. The orthogonal urban block structure has become a new paradigm. In this project we will compare the Swedish context with the organic urban fabric of Tokyo - in order to understand differences and develop new strategies. Could we produce high quality housing areas with more specificity and variety, and develop new typologies meeting totally new demands? The answers will be applied in the design of a new housing project in Nacka.

CHRISTIN SVENSSON is an Adjunct Lecturer at KTH Architecture. Since graduating from KTH in 2004, she has worked abroad in design leading positions for international offices such as OMA, XDGA and BIG. Currently based in Stockholm, with her own practice – Christin Svensson Arkitektur. LEIF BRODERSEN started teaching at the KTH School of Architecture in 1996. He is an Associate Professor at the school since 2004 and served as Head of School 2005-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter (formerly A1 Arkitekter), established 1999. STUDY TRIPS Excursion to Andalusia are scheduled for October 26 – 1 November. In MarchApril the studio plans a trip to Tokyo.

Studio Project 3, Course A42C14/A52A13

FILM STUDIO RESIDENCE IN TOKYO

In this project we will study Japanese traditional and contemporary culture and architecture, including important concepts such as ‘Ma’ and ‘Oku’. The brief has its starting point in the understanding of the diverse urban fabric of Tokyo Metropolitan Area as well as in the concept of film-making (directing, editing, and producing) in relation to architecture and contemporary cultural movements. These studies will be applied in the design of a Film Studio Residence in Koenji. Study trip to Tokyo in March/April 2017. Studio Project 4, Course A42D14/A52B13 14

STUDIO 7: ARCHITECTURE AND ITS DOUBLE FRAGMENT AND COHERENCE III STUDIO THEME “work first upon sensation then slowly leak back into fact” Francis Bacon

1 1: Tobia Rapelli]: communal housing for Lövholmen. Tobia Rapelli, Spring 2016 “Hesperides Gardens” project. 2: Amanda Rehn]: Model photo of perforated window, Amanda Rehn, Spring 2016 “Hesperides Gardens” project

3: Wellcome Images,licensed under Creative Commons Attribution 4.0 International]: Padua anatomical theatre. 4: Arvid Jansson, Studio 7 years 2014-2016, thesis exhibition Studio 7 at Academy of Fine Arts Stockholm. Foto: Elizabeth Hatz 5: Anders Stenholm]:Facade study, Katrineholm Town Hall, Anders Stenholm, Spring 2015 “Cevic Rooms” project.

6: Juliette Contat]: Adjusted Typology in Stockholm, Juliette Contat, Fall 2015 “Typologies of Adjustment” project

The relationship between a source of inspiration and the work it inspires can be measured in different ways. A relationship characterized by strength of attraction or intimacy, we call doubling. A double is a deeply explored bond between a “prime” source and an original work. It is one-on-one, like a relationship of strong friendship or love. Examples of doubles: Hagia Sophia, Istanbul and San Vitale, Ravenna, or Asplund’s Law courts in Gothenburg. A relationship characterized by genealogical depth, we call a microhistory. A microhistory is a conversation, displaced through time, between different people who are thinking about the same problem or working with the same theme. Their reflections are materialized, not in words, but in an open-ended chain of works.Example of a microhistory: meditations on “congregated” urban planning—beginning with Hadrian’s Villa and extending to Piranesi, Kahn, Hejduk, and contemporaries. The contemporary city, understood through the lens of “typologies of adjustment,” is defined by gaps and disjunctions, characterized by places of transition. However, dwelling suggests an appropriation in which a longer reciprocal commitment is implied and necessary. Lateral connections between architecture and its cousins (literature, art, music) may help introduce, into the temporary,a sense of place and belonging.

TEACHING METHODOLOGY

Studio 7 is directed to students who wish to explore architecture in depth. A work of architecture gains depth in many ways--from sources of inspiration, particularly other works of architecture; from its status as original artistic work; through its appeal to our senses, relationship to our body, and congeniality; through its contextual implications; and by its internal resolution and complexity. Our first semester will focus on architectural sources and inspiration. The second will be dedicated to the design of a single building and its urban context, resolved to a high level of detail. Hand-drawing, physical model-making, material exploration, and development of craft skills are paramount concerns. Students are expected to complete 1-2 pages of readings per week and participate energetically in biweekly seminar discussions.At each semester’s end, studio work is presented in a public exhibition. Participation in layout, logistics, installation, and de-installation is part of the course.

THE DOUBLE

In architecture, as in art, invokes duality - and inversion. It may involve symmetry or suggest complementarity, substitution, or similitude. What we are after here is nuance, refinement, and subtle insight. Copying is an art, can be an art. We work with the Double, in plaster reliefs on a given facade, emphasizing facial encounter/façade, but reflecting associations to inner conditions or traits of character; extracting essential genetic elements. Double may be interpreted here as very close, but may include complementarity, substitution, inversion, similitude etc. It could be a particular detail,a relation of transitions to interior rooms, a shift of balance, a sprezzatura or a spolia… microhistory: We use this trait as an opening, a “way in” to an examination of the building in all its complexity and history. Identify underlying motives and sources. We are isolating a “microhistory” within architecture, an architectural problem in the truest sense. Make a proposition, in sketches/sketch models, that contributes to this microhistory. Studio Project 1, Course A42A13/A52A13

BODY

Initially we visit, draw, and measure the anatomical theatre in Uppsala. A study trip to Italy (Spring semester) will follow up on anatomical theatres, the Scrovengi Chapel, San Vitale, urban arcades, urban squares... Design problem: propose, in plan, section, and model, a dwelling for a contemporary Stockholm family, working from the inside out. Specify the program, configuration, dimension, proportion, color, materiality, and implied external reality of the rooms. Establish the type; become familiar with precedents. Studio Project 2, Course A42B13/A52B13

TYPOLOGIES OF ADJUSTMENT

Typologies of adjustment are incomplete urban ensembles that rectify changes of level, misalignments, cross-purposes, etc. As per last year, we will use a survey of these typologies as a starting point for urban analysis, to gain a deeper understanding of the historically-evolved character of a place. Studio Project 3, Course A42C14/A52A13

URBAN CONTINGENCY

Dwelling: an alternative template for city dwellings, digging deep into the idea of urban inhabitation, which may include squat, alterations, extensions, new types, using the adjusted typologies, doubles and microhistories. The interface between Facade and its Double, city life, reflects into the interface of City and Dwelling, invented and unfolded as rich architectural negotiations, adjustments and alterations into the existing city fabric.

ELIZABETH HATZ is an architect in private practice, a senior lecturer and an art curator. As chairman of SAR, Swedish Association of Architects, she was cofounder of Fargfabriken where she is board member. She teaches part time in Ireland (SAUL) and has numerous assignments for lecturing and external examination in schools throughout Europe. She also leads practice-based research in architecture and writes about architecture and art (for instance Grafton Architects, Peter Märkli, Wilhelm Hammershøi and Hans Josephsohn). PETER LYNCH is an architect in private practice. Current research: new methods of roundwood timber construction. Head of graduate architecture program at Cranbrook Academy of Art 1996-2005; taught at Harvard GSD, RISD, Columbia, City College of NY, Parsons, and Dalhousie University; led urban design workshops in Japan, Argentina, Korea, and Spain. Received a Rome Prize in 2004. Spring 2015 Visiting Professor/ Chair of Design at Penn State University. COLLABORATIONS London Met, through Florian Biegel & Philip Christou TU Delft, through Daniel Rosbottom (DRDH London) SAUL, Ireland, through Ger Carty Guest critics have been Tony Fretton, Mark Pimlott, Dominic Stevens, Carl Wärn, Katarina Lundeberg and others.

Studio Project 4, Course A42D14/A52B13 15

STUDIO 8: SETTLEMENT & SYMBIOSIS STUDIO THEME “… time is not linear, it is a marvellous tangle where at any moment, points can be selected and solutions invented without beginning or end.” Lina Bo Bardi

This year Studio 8 will work with the periphery as project. Despite the ever-increasing urbanization of the peripheries of Stockholm, the area of Östberga, in close proximity to central Stockholm, was relegated to the periphery by history. This area is now at the centre of a transformation. In collaboration with residents, Stockholm City planning authority, the Commission for Social Sustainability and the City Museum, Östberga will be our testing ground in developing ideas for an architecture that examines the area through its edges; with an understanding of the topographical, social and material conditions we aim to instigate processes that may contribute to positive change, in the context of an uncertain future. We recognize the urban periphery as the city’s most pliant part with qualities and significance that broadens the scope of urbanization and suggests a reaction to the expansion of a city with critical housing deficit. We will underlie the qualities proper of the periphery and work with the existing as resisting figures in challenging an architecture that responds with a vision for these new territories.

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TEACHING METHODOLOGY

6 1: The Future Now, Årstafältet by Andreas Nyström & Alienor Durand 2, 5 & 8: Space for Homeless Art, Stockholm by Silja Glomb 3: Seawater Bath, Djurgården by Ana del Rio del Olmo, Jakob Lundkvist & Silja Glomb 4 & 7: Space for Homeless Art, Stockholm by Karl Lindstrand 4 17

6 & 9: Housing the Project, São Paulo by Alexandra Rosengren & Karl Lindstrand

We focus on the development of each individual student and help students to formulate their personal design strategies based on a critical understanding of sustainability and to position their ideas and projects within the contemporary architectural discourse. Students are encouraged to examine the relationship between architectural design and environmental performance, with the opportunity for specific individual research and development within the context of the studio. Research is an important part of the studio culture. Formulating individual relevant design questions based on research results is considered an integrated part of the design process. The design ideas are to be explored through the drawing, the model and the diagram, in order to reach a well grounded holistic architectural synthesis. Studio 8 is supported by three teachers with various and different experience and expertise who offer students a wide field in which to test and reflect their ideas.

INOCULATED PARASITE

A temporary architectural intervention will probe the edges of Östberga, considering material and fabrication from a lifecycle perspective. We will engage the notion of a pavilion or folly as foil to its immediate context, a building for which its only use is revealing latent possibilities and predispositions, making intelligible discontinuities that may become the starting point for Östberga’s coming mutualism with its surroundings. Studio Project 1, Course A42A13/A52A13

SYMBIOTIC INTERMEDIATION

SARA GRAHN studied architecture at Aarhus School of Architecture and KTH where she graduated in 1995. She is a Professor in Sustainable Design at the KTH School of Architecture since 2008 and partner at White arkitekter.

Study trip - Venice Architecture Biennale

The expected migration towards the area through the development of Årstafältet can be seen as an opportunity for Östberga. Regarding public spaces insufficient in themselves, this project will create a center for leisure, sports and culture, testing the potential of a shared architectural intervention to foster a new urbanity to the entire area. Aiming for integration through collective space, we will propose buildings that celebrate a coexistence of differences. Studio Project 2, Course A42B13/A52B13

A NOURISHING HABITAT

Study trip - timber manufacturing

The housing shortage in Stockholm demands a reconsideration as to the role of housing in our shared urban ecosystems. The question of housing is not a building or technical problem, but one of designing the city. We will investigate the possibilities that housing might bring to Östberga, questioning the normative standards and exploring typologies to create a catalogue of proposals. Studio Project 3, Course A42C14/A52A13

A RESILIENT BIOTOPE

RUMI KUBOKAWA studied architecture at the Architectural Association in London, where she graduated in 2001. She has been a Lecturer at KTH School of Architecture since 2012. MAX ZINNECKER studied architecture at ETH Zurich where he graduated in 2002. He joined studio 8 in 2010 and is a practicing architect at White arkitekter. CONTRIBUTORS We will introduce components of sustainable design through a series of seminars, providing the critical basis for design research and practice. Specialists within the field of sustainability and architecture will be invited for workshops and seminars

Studio Project 4, Course A42D14/A52B13

STUDIO 10: GLOBAL CONNECTIONS – THE HOUSE, NEIGHBOURHOODS AND THE CITY STUDIO THEME

About dwelling Article 25 of the Universal Declaration of Human Rights recognises the right to housing as part of the right to an adequate standard of living. According to the UN refugee Agency were at the end of 2013, 51.2 million individuals forcibly displaced worldwide as a result of persecution, conflict, generalized violence, or human rights violations. Migration and informal settlements are in the increase worldwide, not only in developing countries but also a part of the Swedish landscape. We need to analyse this phenomena, understand their drivers and structure. In Studio 10 will attempt to identify values and investigate the basic built environment in some geographical areas with varying cultures, climates and building techniques. The Austrian architect Hans Hollein defined architecture as being twofold, one to retain the body temperature the other architecture acting as a sign. The first aspect, the primary dwelling, which gives this necessary shelter to mankind, is the beginning of this year’s investigation. As starting point for future sustainable developments the Sustainable development goals, SGDs and the COP 21 signed in Paris 2015 will be discussed to outline new ways of engagement through architecture and urban design.

TEACHING METHODOLOGY

1: Sanaa Yemen vernacular practises - The dwelling 2: Cerda´s Plan Barcelona – Compact Sustainable Cities 3: Rocinho Favela Rio de Janeiro - Informal housing

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Collaborations The practice of the architect is increasingly complex and much of it consists of team collaboration rather than single-handed performance. We believe that group collaborations are an interesting method, for students to learn and become inspired by also crossing disciplines. The consciousness to live in a more common and shared environment, leads to the conclusion that we must have an on-going dialogue with other countries and cultures. Our studio has been testing collaborations in Istanbul, Rabat and Cairo. The focus of our work on the large demographic changes in North Africa and the Middle East are relevant for the political and economic developments for Europe and our future. Thus our working method is to be curious, ask pertinent questions and avoid preconceived ideas about aesthetics or what the final result may be. We believe that decision-making in architectural and urban design is essentially rational. The skills of the architect are dependant on adequate work processes and methods. These methods can be learned and become a central tool in practice.

THE BASIC DWELLING

The dwelling, its precise and conscious position in the landscape and it capabilities to create adequate shelter in various extreme climates without relying onto advanced technology will be investigated. Its construction techniques and materials, as well as its potential as a place to live will be challenged. Our starting point is to study primitive buildings and techniques and gradually develop alternatives but informed proposals. Studio Project 1, Course A42A13/A52A13

QUESTIONS ABOUT INFORMAL HOUSING

Informal settlements are growing at an enormous rate worldwide. According to (who) over 900 million people worldwide live in slums. In-group works we will study the mechanisms, which are working behind these figures. How do these settlements differ and which additive systems allow them to expand? Which h strategies have been used to transform them? What can we learn from these settlements for urban design in general? Could this knowledge generate alternative ideas for housing? Studio Project 2, Course A42B13/A52B13

COMPACT SUSTAINABLE CITIES

Today more than half of the world population lives in cities and in the constantly growing agglomerations. We will discuss these trends and analyse the forms, metabolisms and drivers of exemplary cities. In this project sustainable urban city block typologies and patterns of large compact urban environments will be analysed and developed further. A limited amount of parameters such as communications, public space, daylight and the role of urban green will be introduced. This project is a collaborative task with teams of students working together.

ALEXIS PONTVIK, ARCHITECT SAR/MSA AIS R.I.B.A KA Practising architect and teacher, received his professional education at HBZ, Bern, Staatliche Kunstakademie Düsseldorf, and the Architectural Association, London. Own architecture and urban design practice since 1981. Professor of Urban Design at KTH School of Architecture. LISA MARIA ENZENHOFER, DIPL. ING. is a practising architect and researcher. She has realized several projects in various scales and her work has been published widely and awarded among several Awards. She is Co-Founder of ecosphere.institut. Before she has been teaching at University of Technology in Graz at the Institute of Architecture and Landscape.

Studio Project 3, Course A42C14/A52A13

SUSTAINABLE CITY EXTENSIONS

All Compact Cities projects will be shared and set the basis for the last design task. As a continuation we will study one city in the Middle East or North Africa. A study trip and contact with local university will give us first-hand and local experiences. Compact cities will be tested and applied on a site with local topography, culture, climate and other more specific parameters. This site-specific study and design proposal will be compared with projects developed within the local conditions in Sweden.

COLLABORATIONS UN Habitat Local University study trip Spring Term not yet decided Sida and other governmental and NGO’s.

Studio Project 4, Course A42D14/A52B13

4: Rabat, Anna Wallström – Sustainable City Extensions Spring 2016 20