P O R T F O L I O Maiken Strømgren Skogstad
M A IKE N STR ØMG R E N SKO GSTAD Email maikenskogstad@hotmail.com Website https://issuu.com/maikenskogstad Phone +47 450 33 109 Address Brennavegen 18, 7540 Klaebu, Norway
EDUCATION February 2018 - December 2020 August 2019 - December 2019
The University of Melbourne University of Maryland
(Bachelor) (Exchange)
TABLE OF CONTENTS
RELEVANT WORK EXPERIENCE November 2020 - present February - July 2020
TAG Arkitekter STUDIOFANG
(Junior Architect) (Intern)
09 02 DETAILED CONSTRUCTION DESIGN Large-Scale Commercial Building
SKILLS Grasshopper Revit Navisworks Manage Fusion Team Model Making
Adobe Photoshop Adobe Illustrator Adobe InDesign Enscape Rhinoceros 3D
EXHIBITIONS / SCHOLARSHIPS 2019 2019 2018 2018
Melbourne Mobility Award MSDx Exhibition, MSD Melbourne International Undergraduate Scholarship FoD:R Exhibition, AFLK Gallery
LANGUAGES Norwegian English
03 01 CONCEPTUAL DESIGN Multi-Residential
Swedish Danish
15 03 SCHEMATIC DESIGN Library 19 04 DIGITAL DESIGN AND PARAMETRIC MODELLING Queen Victoria Garden Pavilion 24 05 PHYSICAL MODELLING Gallery
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THE ART OF (CO-)LIVING Conce ptua l D esign Location: Project: Level of Study: Date: Supervisor:
Northcote, Melbourne, Australia Individual, Academic Third Year, Second Semester July - November 2020 Dr Djordje Stojanovic (d.s@unimelb.edu.au)
This was the capstone subject for the Architecture major in the Bachelor of Design at the University of Melbourne, integrating previous coursework in the major. The focus of this subject was architecture that deals with design issues at the urban scale. The site and accompanying projects deal with a development of up to 100,000m2, or a combination of sites at this scale. The project examined the design within the context of an urban morphology and studied and explored the consequences of individual projects to their surrounding context. The project engaged with historical, theoretical, structural, and environmental ideas relevant to the specific project through the lectures and various design exercises. This particular project is designed for artists. In order to create suspense in the project, I exercised the notion of designing for a community as well as for its residents and their needs. Consequently, all students had to take on the role of a resident in addition to the one of an architect. As a resident, I was expected to create a fictional character, and answer questions on this character’s behalf. In this capstone subject a high degree of design resolution and comprehensive presentation of the project was expected. The completed project forms the centrepiece of my undergraduate portfolio.
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P R E C E D E N T A N A LY S I S
ALANYA VERTICAL VILLA Architect: Mado Architects Location: Alanya, Antalya, Turkey Project Year: 2017 Category: Private Houses The vertical villa is a residential complex in one of the most exquisite spots of Alanya, and its site is of great scenery surrounded by a green mountain range. The pattern language of Alanya was considered during the design process, and as a result, sloping roof became a substantial item to the project. A coherent form was generated, with shapes created alongside the slopes of the site, turning toward various views around the site. It is a combination of cubic floors and sloping roofs, which allows every unit to have a sense of owning a unique individual roof.
VÅLER CHURCH Architect: Espen Surnvik AS Location: Våler, Norway Project Year: 2015 Category: Church The main inspiration for the Art of (Co-)Living proving, is Våler Church located in Våler, Norway. Its main challenge was to make something meaningful for the community as their old church burned. As a result, the project’s theme became resurrection symbolising a new beginning. The vast skylights make up the most important elements in the project, which let daylight come into the church from different openings. This serves a symbol of hope, and that “light defies, darkness”.
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D E SIGN INTENT Apartment and House By stacking units of various sizes on sloped shards, the most scenic and inspiring views of the surrounding landscape are enhanced, allowing studios, apartments and town houses to all have the same quality views and level of transparency, ultimately engaging the artists at any point of the day.
Adaptability and Intelligence By creating an intelligent design and layout leading to the building being a sculpture in itself, the community shall give inspiration to the residents by offering them the possibility to venture between unique individual and public spaces, resulting in spontaneous occupation.
Collaborative Housing Due to the increasing numbers of artists living alone, as well as the growing shortage of housing and studio space, the change towards collaborative housing for artists is critical in order to foster creativity and a generous, communal spirit.
Inside and Outside Applying visually permeable views through consistent material selection and thorough placement unifies the inside and the outside, which creates an open and intriguing community for both residents and visitors.
Individual and Collective While to some, the house represents a space for private relaxation, the goal is for the community to offer both individual and communal spaces for interaction, learning and tranquillity.
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WALKER STREET
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FIRST FLOOR PLAN
SIXTH FLOOR PLAN
GROUND FLOOR / SITE PLAN
LOWER LEVEL FLOOR PLAN
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CONCEPT Forms were generated in the shape of steep shards as a response to the sloping topography of the site. The concept plays upon the amalgamation of traditional habitable space; the box, and untraditioanl inhabitable space; the triangle. By mixing the opposite geometries, original shapes with distinct corners are created whose intents are to capture the inspiring views of the site. Additionally, by stacking boxes and rotating them thoroughly, the most distinct views of the site are captured at every part of the journey in the building. The shards are cut and angled towards the Australian sun, in order to capture daylight through the seven distinct skylights. The key goal is to allow the artists to be inspired throughout the day, creating spontaneous occupation and fostering creativity.
REFLECTION Not only has this subject taught me how to communicate with other architecture students, functioning as colleagues, and hypothetical residents, it has taught me to always question my every move and ensure every design decision has a meaning and a reason behind it. It has taught me the value of precedents and the inspiration and guidance they give, as well as the importance of conducting questionnaires in order to communicate with the actual people who will be living their lives in the proposed design. Last but not least, it has opened my eyes to what architecture is supposed to do. Not only be a building that is aesthetically pleasing, but a building that relates to its context, to the site and the landscape, that accommodates its residents’ needs for adaptability and functionality, and sometimes for inspiration and interaction. Additionally, it has taught me the value of creating drawings that set a scene and tell a story. Drawings that make the viewer picture themselves in the space the architect has created specifically for them.
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D ETA ILED CONS T RUC T ION D E S IG N
Large -S cale Co mmerc ial B u il ding
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VC A SS - S EC TI O N B D etail ed Co n s t r uc t i o n D e s i gn Location: Project: Level of Study: Date: Supervisor:
Southbank, Melbourne, Australia Individual, Academic Third Year, First Semester February - June 2020 Blair Gardiner (b.gardiner@unimelb.edu.au)
This subject articulated the idea of construction as a process requiring cultural and technical choices while moving from the analysis of specific architectural ideas to arrive at the evaluation and selection of implementation solutions. Mixing built examples and project proposals, I identified, evaluated and engaged with the technological underpinnings of architecture and was introduced to construction documentation. The subject offered an introduction to general principles and topic-related issues and contributed to developing an understanding of the design thinking that goes into a building and how construction technology contributes to the resolution, performance and delivery of a design response. The language of building communication has been investigated through construction drawing.
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THE TASK Each student was given a section of an already existing building in Melbourne along with a set of structural and civic documentation, architectural drawings, geotechnical reports and environmental assessments. The building was referred to as “VCASS”, which stands for the Victorian College of Arts Secondary School. I was assigned section B and expected to read the given drawings and documentation, and fully recreate it with all its construction details, down to every single nail and bolt. As a result, certain materials, components and elements are “peeled back” in order to show the various details more clearly.
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PROJECT DETAILS
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ROOF SYSTEM PRECAST CONCRETE PANEL CONNECTION PURLIN, CLEAT AND KEY CONNECTION LOCKING KEY ON TOP CROSS RAIL COLUMN AND BEAM CONNECTION FLOOR SYSTEM WITH SCREED, HOLLOWCORE AND GROUND BEAM BEAM CONNECTION AND 7 M20 8.8/S BOLTS EDGE BEAM (B102-SP x 450) 1100 x 1050 WITH REINFORCEMENT AND HOLLOWCORE AND SCREEN CONNECTION
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ABOUT VCASS VCASS is a large-scaled commercial building built and design by Williams Boag Architects and Irwinconsult. It offers a broad range of dance, music and visual and theatre arts programs. As described by WG Architects on their own website: “William Boag were engaged by the Education Department in October 2006 to design and document a new facility for the School in Miles Street Southbank. The new 5460 m2 VCASS facility occupying the whole of its 3,5000 m2 site over two floors, was completed in June 2009 and is among the most unique secondary school buildings in the world with its inner urban setting and specialist teaching facilities. These include tertiary institution quality Dance Studios with sprung floor and acoustically design Music Practice and Ensemble Rooms”.
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REFLECTION Reflecting upon this subject and its objectives, I have learned to develop research skills, demonstrate an understanding of systems and technologies, of the language and conventions of construction documentation, and to understand how a building design is resolved, detailed, communicated and built. I have developed skills to expedite the decision-making process required in construction, in response to budget, time constraints and construction practices. Last but not least, I have obtained and demonstrated an understanding of project imperatives regarding client, site, brief, cost, time, quality, contractor, performance and maintenance.
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0 3 S C H E M A T I C D E S I G N Librar y
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CO RTEN LIBR ARY S c he m atic D esign Location: Project: Level of Study: Date: Supervisor:
China Town, Melbourne, Australia Individual, Academic Third Year, First Semester February - June 2020 Dennis Prior (priord@unimelb.edu.au)
The focus in this design studio was on issues of organisational sophistication and the consequence of planning. A critical understanding of how architectural design, planning and spatial order deal with the social, political and civic relationships that define a community, and how architecture transforms or assists (or resists) the transformations of these communities. Particular emphasis was placed on awareness and critical appreciation of the consequential nature of architectural production, that is, how the control and use of architectural effects are a means of architectural production. The design studio focuses on complex buildings on sites with a development scope of up to 3,000m2. The designated site was located within the urban or inner suburban area of Melbourne with the emphasis on speculative undertakings.
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The Web Library is set in 124-140 Little Bourke Street in Chinatown, Melbourne. The design consists of a traditional box with a Corten steel web wrapping around it, symbolizing safety. The web creates distinct fractures, which again results in study hubs, fractured atriums, angled rooms and more. While the web creates particular views for each space and therefore different feels of the building throughout, it also functions as a brise soleil for the interior spaces, as the traditional glass box allows for light to shine in. In addition, the web creates shadows and allow light entering the building differently throughout, creating an interesting play of shadows.
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The web creates fractures, and on the roof, some of these fractures have been used to create a main entrance as well as internal atrium. In the same way, fractures have been protruded inwards into the library, creating little study hubs for visitors to use at their own wish. These hubs house seating such as chairs and tables, while others have toys for kids or comfortable seating on the floor for relaxed reading.
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SEC T I ON P ERS P EC T IVE The section perspective shows the library in its entirety from the rooftop cafe, elevator placed for disabled or elderly people, fractured atriums throughout, a green terrace facing Little Bourke Street and an open and inviting main entrance and foyer.
PARTI D IAGR AM With the main concept being wrapping, the Corten steel ribs wrap around the library, enhancing the feel of the library being a space for safety. It symbolizes a safe hub, allowing all visitors to feel both welcome and secure in the space, regardless of their intent for their visit. The ribs wrap vicariously around the whole building, creating new views of the city wherever you go. The computer room has one view, the main library has another, and so on. It is designed to create distinct places throughout.
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D IGITAL D E S IGN A ND PA R A ME T R IC MO D EL L I N G
Q ueen Vic to r ia G arden Pav il io n
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PA R A M E T R I C MO D E L L I N G I N G R A S S H O P P E R
BOUNDING BOX (5x5x5m)
Guidelines given for the project said the pavillion was to be no more than 5 x 5 x 5 meter in volume. Therefore, Grasshopper was used to set up a bounding box to assure the pavilion met the requirements.
PAVILION STRUCTURE
Pavilion iterations; structure can be changed and manipulated with the paramter component. Mirroring the triangulated surface to create pavilion structure.
Dividing the ground into horizontal and vertical lines to be able to gain access to points. The parameter moves the lines in order to create the origami structure. Diagnal lines are tweaked and changed.
ROOF By using the triangulated panels created in Grasshopper, the roof structure was further developed as an individual element.
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QU EEN VIC TORIA GAR D EN PAVILIO N D i gi tal D esign an d Paramet r ic M o del l ing Location: Project: Level of Study: Date: Supervisor:
Queen Victoria Garden, Melbourne, Australia Individual, Academic Second Year, First Semester February - June 2019 Paul Loh (paul.loh@unimelb.edu.au)
This subject examined rule base thinking in digital design through processes of modelling and fabrication. The ability to develop this thinking through contemporary techniques of abstraction, evaluation, formulation, and transformation of information as ideas and knowledge is critical in digital design. Furthermore, the subject allowed me to develop an understanding of design process and workflow through modelling of information. Focus was key on using digital and physical modelling as iterative, progressive and generative techniques in developing form and design content. As part of this subject, I was expected to fully model and design a pavilion to be set in the Queen Victoria Gardens in Melbourne. The task was completed from initially working with parametric modelling in Rhino and Grasshopper, until completing the final physical model with the help of laser cutting and 3D printing.
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0 5 P H Y S I C A L M O D E L L I N G G aller y
Location: Fictional Project: Individual, Academic Level of Study: Second Year, Second Semester Date: August - October 2019 Supervisor: Michael Abrams (mabrams4@umd.edu)
While on exchange at University of Maryland, I acquired knowledge and experience in creating handcrafted and conceptual study models and finalised models in detail. I was offered the opportunity to operate a laser cutter on a daily basis and had my own studio space to create the models. Furthermore, University of Melbourne offered me the opportunity to process 3D-models into 3D objects and to prepare them for 3D printing (as seen in project 04).
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