S2 semester abroad portfolio

MARIYA LAPTEVA 110213503

PORTFOLIO A SEMESTER ABROAD

2

3

4

9 68

[FICTIONS]

PART 1

[TECHNOLOGICAL STRATEGIES]

PART 2

85

[WRITING] PART 3

95

[ORIENTATIONS] PART 4

99

[COMPETITION] PART 5

CONTENTS

5

6

[SELF APPRAISAL]

The semester abroad was challenging in many ways. What surprised me the most was how different actually the Swedish school of architecture is.

In the beginning I had trouble understanding the brief requirements, as the studio suggested a much more organic approach to design, as opposed to the more logical type of work that I usually do. This brought on difficulties within the group. Studio Fictions was split into 4 groups, each with a different topic for a scenario.

From day 1 there were difficulties within my group that originated in lack of desire to compromise or listen by all parties, which resulted in an extremely frustrating experience, the reason being that each of us had a very different vision about the direction in which the project should go – both in terms of representation styles and general argument. What didn’t help at all was that during the first half of the semester both my group mates had personal issues, and were rarely in studios, or attending tutorials. This resulted in a mid-term crit that made it clear that there were three very different projects presented as one on the wall. After that the decision was made to split the group and have an individual project each. Since that point, my experience completely changed. I was able to explore techniques and representations that were new to me.

Studio Fictions focused heavily on models, and how models can be used to generate design responses. I highly enjoyed this approach as it helped me find a more ‘go with the flow’ way of design. I do believe I have a need for total control over the design process, and even when I’m being impulsive, it is always aimed at a purpose. During this project I was encouraged to do things and let them lead me, instead of planning things ahead. Even though I was still thinking about the end goal, it was a great exercise that I believe gave me an insight into a very different design approach.

Writing a fictional scenario was a key element of the project. It was a fantastic exercise in the

[WHAT’S NEXT?]

possibility to create a convincing speculation that focuses of a small bit, and builds a whole world around it. Being given the general topic of automation, I engaged with researching current technological patterns, but also I took great inspiration from Science fiction films that relate to technological advancement, robotics, and automation. Following that, I was able to filter key elements that I liked and focus how to combine them into a scenario. This was combined with intuitive modelling experiments, that became key in deriving an aesthetic and also a material approach to the project. ¬

Looking back at my experience so far, not just the exchange semester, but my whole life in architecture school, I have discovered a pattern – the projects I enjoy most are usually the ones where there is material engagement of some form. I enjoy building models and experimenting with new techniques, especially casting and also combining them with other media, like carving, 3d printing, or just general workshopping. I believe that for thesis I would like to continue this pattern, only this time to engage with some real research, not just following hunches.

A particular interest could be durability, and how to make materials last longer, possibly forever, as today

From the beginning, the Studio Fictions brief we have issues with buildings’ shelf life. This could heavily emphasised the importance of two items that lead to a speculative and experimental design later on, were to be produced as final output – a supermodel at but in the beginning it will be based on a very specific 1:50, 1mx1mx1m, and a Veduta – a highly detailed view issue that we as archtects face every day: stopping a that depicts the nature atmosphere of the proposal. In building from aging. the timetable there were weeks designated to those 2 items, as well as tutorials in rendering and times for exploration of modelling techniques, that would define the production of the final output. I found this extremely useful, as it gave me the chance to pace myself and spend time thinking about composition, style, colour scheme, materiality. I believe that often in Newcastle these aspects are ignored in favour of quantity, rather than quality. Exploring the techniques beforehand allowed me to understand the way the image and model were constructed and gain control over the way they are done, allowing me to not be limited by the tools, which unfortunately happens quite often.

Overall, going on an exchange was a very rewarding experience. I learned a lot about myself and the way I do things, as it was often challenged. It helped me gain a clear perspective on my strengths and weaknesses both as a person and a designer, and gave me a clearer view onto what I need to work on. Also I explored new techniques and learned new softwares that I am excited to implement in my thesis.

7

PART

01 FICTIONS

[FICTIONS/PROJECT BRIEF] “If (as the philosopher maintain) the city is like some large house, and the house is in turn like some small city, cannot the various parts of the house – atria, xysti, dining room, porticoes, and so on – be considered miniature buildings?” (Leon Battista Alberti, On the Art of Building in Ten Books (1443-1452)).

This semester architectural fictions will be studied through the development of explorative architectural future scenarios. Through precedent studies and text seminars the studio will research future societal changes and speculate on what architecture might be after for example an extensive automation, a drastic demographical change, or a radical climatic or economical turn. Each team of students will write their own scenario and develop a corresponding program for their design proposal. At the end of the semester, each team will present their project in an exhibition format with a super large model and a veduta, showing how the scenario has been translated to an explicit spatial and tectonic architectural fiction. The scale and scope of the super model should engage multiple or compound identities and articulated translations between these. In the creation of the Veduta, each student is encouraged to critically reflect on what a digital or post digital image might be.

During the project the students will be supported in formulating their own architectural position in relation to architectural culture and contemporary architectural discourse.

Each team will be assigned a starting point for their scenario corresponding to a possible future societal development. The first week will be dedicated to research, speculations and scenario writing with the help of Josefin Wangel, Associate Professor at the Division of Environmental Strategies Research at KTH. The scenario will result in a building program that includes the important components of an imagined future Stockholm. The program should somehow include spaces for living, production, education and recreation (culture and sport). When formulating the program, speculate on organisation principles, circulation and on which functions that could overlap and share spaces.

10

1. BAXTER - adapting to the existing environment, rather than adapting the environment 2. WATSON - Jeopardy winner and hypothesis generator on healthcare questions

2. Garry Kasparov - won against Deep Blue in 1996 4. Deep Blue - won against Kasparov in 1997

[AUTOMATION INITIAL RESEARCH]

making, they are out-competing humans in a way a mechanical muscle never could.

Automation, much like mechanisation, depends on machines to execute functions, many of which were first performed manually.

Mechanisation can be seen as the stepping stone between manual labour and automation - it eliminates the need for physical labour, but operators are still needed to oversee machine operations and provide maintenance and feedback

AUTOMATION SYSTEMS however, eliminate the need for an operator by including feedback and sensory programs.

[SCOPE OF AUTOMATION]

Human have spent the last thousands of years building tools that reduce physical labour of all nature. Replacing human labour with mechanical muscles frees people to specialise and that leaves everyone better off, even those still doing physical labour. This is how economies grow and standards of living rise. This allows for abundance and freedom of personal development.

EXAMPLES: Cars took over horse labour after 1920s.

Agriculture machines ploughing and collecting instead of human labour.

CRANES, MASS FACTORY PRODUCTION, ____________________________________

Today humans are working on the creating of mechanical minds, which in turn makes human brain labour less in demand. Robots become cheaper and faster. Mechanical minds are capable of decision

1.

EXAMPLES: BAXTER: the robot smart enough to take over many low-skilled jobs. A general purpose robot capable of learning new tasks by itself.

SELF-DRIVING CARS: already on the market, better at not making mistakes. First area we will see the changes happening.

WATSON: the best doctor in the world. Learning from all data base, capable of understanding humans in their own words and issuing accurate diagnosis.

SOFTWARE BOTS: in the stock market, drafting documents, writing articles..

EMILY HOWELL: composer bot, writing music, that most humans can’t tell has been made by a bot. _________________________________________ INDUSTRIES AFFECTED BY AUTOMATION:

- Transportation industry

- White collar work

- Professions

- Creative Services

What if with the advancement of technology more humans become unemployable. History is full of examples where workers and unions fought against technology replacing them, but in the end they always lose because ECONOMICS ALWAYS WINS.

3.

Just the salary of the human workers comprises 1/3 of the total industry cost. If the machines are smart enough and cheap enough to make humans unemployable through no fault of their own. Where is the balance between automation and human labour? As with the industrial revolutions humans educated themselves to do more highly-skilled jobs, what is the next level of development for humans?

2.

4.

11

1. A diagram bringing key film events together in order to analyse the relationship between technological developments and architectural expression.

[FILM TIMELINES AND EVENTS ANALYSIS/ BINARIES]

private residence

her

ex machina

automation 150,000BC

LIFE AS WE KNOW IT

1996

2016

2006

2036

2026

2046

2056

2066

2199

2076

automation

the matrix

terminator

i, robot

robocop

battlestar galactica

terminator

i, robot

A.I. present Destroyed built environment

repo men

NEGATIVE POSITIVE

very close to architecture as we know it

High level of architectural progress A.I. present

a space odyssey

film universe film universe

great technological architecture incorporates the advancements to technological advancements accommodate robots in robotics

human architecture is completely destroyed

built environment is destroyed

A Timeline of Possible Events: a comparison between lms and science

14 GC3 GA2.1

GA2.2

GC5

GC7

GC8

GC9

machine city

1.

2,3. Key spaces in both positive and negative scenarios depicted in the films, where technology is shown to be a key participant in the film’s plot.

4,5. Indicative timeline development of the scenario depicting full automation. A decision is made to focus on the positive aspects of automation around the year 2060.

eóéçí ÜÉí áÅ~ä=^f =ÅêÉ~í áçå

INCORPORATION AND DEVELOPMENT TOGETHER WITH MACHINES / SYMBIOTIC EXISTANCE

LIFE AS WE KNOW IT

2006

2016

2026

2036

2046

eóéçí ÜÉí áÅ~ä=^f =ÅêÉ~í áçå

SEPARATION BETWEEN HUMAN AND MACHINE WORLDS / DESTRUCTION OF HUMANS

2.

2056

2066

2076

2096

2116

4.

A Timeline of Possible Events: a comparison between films and science

3.

5.

15

1. 1:500 model exploration of relationship between rigid and organic elements

[MINI-SCENARIO/STACKING, CASTING]

Following the film analysis, a series of model experiments were conducted. In this case very different types of spaces are considered - rigid and clearly defined spaces for living accommodations, and a more organic spice, that supplies the accommodation with serviced, and also houses the circulation of the development. This mini-scenario explores the possibility of two very different types of spaces, working together to create a whole system.

1.

16 GC3 GA2.2

GA2.4

2-5. 1:500 casting experiment, aiming at studying the possibility to have organic elements that span across spaces, supporting and connecting.

[MINI-SCENARIO/STRETCHING, CASTING]

This experiments explores the possibility of structural elements that connect at two end, but maintain an organic form, almost resembling a growing structure.

2.

3.

4.

5.

17

3. 1:500 model, exploring the relationship between controlled and loose structures, stacking and modularity.

1,2. An experiment with stretched moulding and casting

[MINI-SCENARIO/STRETCHING, CASTING, STACKING]

The model is a continuation of the previous experiment of stretching and creating connection and structural elements with a more organic look, that contrast rigid and controlled elements, creating a lively composition. Key ideas that drive this exploration are modularity, growth, control, free.

1.

18 GC3 GA2.2

GA2.4

2.

19

3.

1. A stretched cast test - supply line 2. 1:200 model exploring contrast between rigid and loose structures

3. 1:200 test model, depicting a growing structure, that is self building a grid and expanding modularly, with automatic supply of needed materials through the fluid structures.

[MINI-SCENARIO/STRETCHING, CASTING, STACKING]

The final two experiments in the set explored the idea of contrasting fluid and rigid structures, where the fluid contains services and circulation, and the rigid is accommodation. It is a self-building system that analyses its needs at a given time and supplies itself with everything it needs through the organic structure.

1.

2.

20 GC3 GA2.2

GA2.4

21

3.

22

23

NYA SLAKTHUSOMRÅDET Background Information

were added processing, b expansion co building was with Yngve F house’s vario facades. The enclosed bric above the w façade with one of the f technology. T period that re

1. Historic plan of the site 2. Historic aerial photo of the site

[SLAKTHUSOMRÅDET]

Slakthusområdet an industrial area in southern Stockholm. Currently the total area is around RE-DEVELO 300,000m2. Approximately 125 out of 200 companies on site are food companies. The complex offers around 3500 workplaces.

In 1864 free trade was introduced in Sweden.

This meant that the authorities lost control over the slaughterhouses in Stockholm. This resulted in bad care and supervision of the products. A law was introduced in 1897 that was to allow meat inspections and control over production. In 1906 Stockholm Abattoir was created to regulate the handling and slaughter of livestock in Stockholm. The Slaughterhouse area was designed by architect Gustaf Wickman, and built between 1906 and 1912. The style of the buildings was unusual for industrial buildings in Sweden – Art Nouveau. The facility Background Information consisted of a variety of buildings, made of reinforced concrete and light grey sand-lime. They included living 1. quarters, offices, cold stores, market halls and a water tower. In total there were twenty buildings in the north section of the estate, which reserved the south section HISTORY OF DISTRICT for future growth and development. An oval loop railway network connected the Slaughterhouse line to the Slakthusområdet an industrial area in southern 1912. The style of the buildings was unusual Western main line. It was, for its time, an efficient facility. Stockholm. Currently the total area is around for industrial buildings in Sweden – Art Nouveau.

In October 1944, a new city plan for the 300,000m2. Approximately 125 out of 200 The facility consisted of a variety of buildings, area was aiming at developing the southern part of companies on site are food companies. The made of reinforced concrete and light grey sandlime. They included living quarters, offices, cold the complex. In the 1950s and 60s new functions were complex offers around 3500 workplaces. added – not only slaughter, but also meat processing, stores, market halls and a water tower. In total bakeries, coffee roasters, etc. This expansion consisted In 1864 free trade was introduced in Sweden. there were twenty buildings in the north section of red brick facades. One building was designed by This meant that the authorities lost control over of the estate, which reserved the south section Ralph Erskine, along with Yngve Fredriksen, and built in the slaughterhouses in Stockholm. This resulted in for future growth and development. An oval loop 1955. The house’s various functions are readable in the bad care and supervision of the products. A law railway network connected the Slaughterhouse line facades. The lower stock building consist of enclosed was introduced in 1897 that was to allow meat to the Western main line. It was, for its time, an brick facades and the office buildings above the warehouses are glazed. The glass façade with parapets inspections and control over production. In 1906 efficient facility. of coloured glass was one of the first buildings in Stockholm Abattoir was created to regulate the Stockholm with this technology. This is the only building handling and slaughter of livestock in Stockholm. In October 1944, a new city plan for the area 2. from this period that received protection (blåmärkning). The Slaughterhouse area was designed by architect was aiming at developing the southern part of the

NYA SLAKTHUSOMRÅDET

Gustaf Wickman, and built between 1906 and complex. In the 1950s and 60s new functions research document - automation

24 GC5 GA2.2

GA2.3

GC7

3-6. Site photos of the meat packing plant on site. The historic building presents an opportunity to play with the relationship between old and the new developments around it.

3.

4.

5.

6.

25

1. A view onto the site 2. Meat packing plant spaces and functions as they are

[ORIGINAL]

2.

1.

26 GC5 GA2.2

GA2.3

GC7

[WHAT IF WRITTEN SCENARIO]

This project is based on the assumption that around year 2060 a new type of machine will be created, which has the capability to perform any human task, given the right programming. The design will be based on humans themselves, giving the machines a humanoid appearance and the unique desire to learn.

These A.I. will be the base of full automation and will relieve humans of all labour, except the one which is purely voluntary. Freed from the need to work, by the year 2060 90% of humanity was able to enjoy unlimited supplies and free time to explore their interests. The project deals with the question of how these humanoids will live.

Seeking to develop themselves, the robots will look at the only reliable source of tangible information – the humans. They will be driven by the desire to

create of their own and learn. The project is based on imitation and adaptation - meaning functions and appearances will be analysed and adapted to the robots needs. Robots imitate human design and craftsmanship, pulling it through the barrier of digitalisation. At first the human additive way of construction is questioned, replacing it with a complete opposite – a building that is completely carved in the ground. It is then turned upside down in order to assist with the new functions that are placed within. The functions themselves are reflections of the human needs. Starting from the meat plant, its programme is adapted to the needs of the robot’s food - energy. The robots create their own social rituals and the architecture to accompany it. Instead of eating and sleeping, the robots created spaces for charging and hibernating. Spaces of maintenance and meetings. Sometimes they are limited by their own tools, the same way humans are often limited

by the development of their skills. Starting as an energy plant, meant to supply the human world above with renewable sources of electricity, the robot workers create a community of their own, based on observations and interpretations of their creators, which is accompanied by their own take on architecture. Humans are a frame of reference, but their choices are challenged and questioned. Why do we do things the way we do them, and maybe, they can be done differently? The robots will become our reflection in the way they live.

This projects looks at people as outsiders. It is a polemic design rationale that seeks to learn more about humans, through the eyes of someone else. The way human do things is questioned, and a different way to utilise resource is looked for. The agenda is based on imitation and adaptation.

27

1. For every space in the meat packing plant an robot equivalent was created 2. 3D view of equivalent spaces - adapted copies corresponding to existing space

3. 1:200 massing model, depicting the relationship between existing and new - the new is not an exact copy of the existing, The levels and relationships between spaces are adapted to suit the new purpose.

[CREATING EQUIVALENTS/ ADAPTED COPY]

1.

2.

28 GC5 GA2.1

GA2.2

GC7

29

3.

3. Uncontrolled excavation - cast plaster/ hammer and chizzle 4. Uncontrolled dissolving/melting - foam/acetone

1. Controlled excavation - cast plaster/drill 2. Uncontrolled drilling- foam/drill

[SUBTRACTIONS - EXPERIMENTS]

1.

3.

2.

4.

30 GC8

GC3 GA2.2

GA2.3

GA2.4

GC9

5. Controlled/Uncontrolled excavation - cast plaster/random form-work/acetone 6. Uncontrolled stabbing - foam/sharp instrument

7. Controlled/Uncontrolled excavation - cast plaster/random form-work/acetone 8. Controlled/Uncontrolled cutting and dissolving foam/wire/acetone

5.

7.

6.

8.

31

1-3. Exploring the relationship between clean cut surfaces and loose formations and their ability to create an exciting and varied spatial relationships

[CONTROLLED AND LOOSE SUBTRACTIONS]

1.

32 GC1 GA2.1

GC3 GA2.2

GC8

2.

3.

33

1. ORIGINAL - surface of model 3. ORIGINAL - brick facade on site

2. COPY - surface of model, 3D printed. Loss of information is clearly visible 4. COPY - surface is now one whole component, some loss of information is observed

[DIGITALISATION OF INFORMATION - 3D SCANNING]

1.

2.

3.

4.

34 GC1

GC3

GA2.1

GA2.3

GC8

5. A demonstration of the surface treatment

[LOSS OF INFORMATION]

Following the initial 3D scanning experiments, a surface treatment was decided for the interior walls of the building. By 3D scanning, some information was lost, and this will be carried though to the copied building, letting the digital tool’s limitations decide the final look. The image on the left is an example of this principle. A wall is scanned, and reproduced with missing information, which creates a completely new surface.

This principle will be used throughout the whole building - copying and then CNC milling the new surfaces out the bedrock on site.

5.

35

1-4. 1:200 model - demonstration of relationship between controlled and loose spaces

36 GC1 GA2.1

GC5

GC8

GA2.2

1.

2.

3.

4.

1. 1:200 model - diagram of generator fit out in controlled spaces 2. 1:200 model - diagram of circulation spaces fitted in loose spaces

3. Controlled spaces principles - part of the generator are incorporated within the structure, interlocking the two components.

[CONTROLLED/LOOSE SPACES]

steam duct

high presure compressor

steam duct

1.

primary structure

2.

3.

38 GC1 GA2.1

GC5 GA2.2

GA2.3

GA2.4

GC8

GC9

4-5. 1:200 model - loose spaces capsule accommodation test. foam/acetone/timber 6-8. NTS - inspiration and development of maintenance capsules that fit within loose spaces

[CONTROLLED/LOOSE SPACES]

6.

4.

840

7.

2400

5.

8.

39

1. SHELL - a diagram of the building envelope, juxtaposing controlled spaces, that are copies of the surfaces in the original, and the free connections between them

2. STRUCTURE - just like in mines, a layer of support structure needs to be added in order to ensure structural stability of the building.

1.

2.

40 GC1 GA2.1

GC5 GA2.2

GA2.3

GA2.4

GC7

GC9

4. GENERATOR - the geothermal pump is at the centre of the building. It provides the energy the inhabitants need to survive. The generator components in each space are incorporated within the structure of the building, making it impossible for one to exist without the other.

high pressure crystaliser

high pressure crystaliser

3.

energy storage water return

separator

water return

separator

electricity generator

steam turbine

energy storage

electricity generator

steam turbine

charging stations

charging stations

coils

coils

3. ACCESS/CIRCULATION - following the logic of subtracting, routes between spaces are carved within the cavern walls

water collector

4.

41

1. Section through distributor and high pressure condenser rooms.

View on cavern with stairway up to surface.

[SECTION THROUGH CAVERN]

1.

42 GC5 GA2.1

GA2.2

GA2.3

GA2.4

GC9

2. Section through cavern/elevation view on copied building. View on Charging station, Distributor room and High Pressure condenser room. Capsule towers and stairway visible

[SECTION THROUGH CAVERN]

2.

43

1-4. 1:200 model demonstrating carved spaces in layers 5. 1:200 cube whole foam/wire-cutter/acetone 6. 1:200 cube layers. foam/wire-cutter/acetone

[TEST OF MODELLING TECHNIQUE-CARVING]

A series of test were conducted in order to determine the construction method for a super-model.

The most versatile material proved to be foam, as both controlled and loose spaces can be easily achieved using various subtraction methods - in this case wire cutting and melting.

The layering gives the opportunity to carve the inner most spaces, as well as the outer ones.

1.

2.

3.

4.

44

5.

45

6.

1-3. 1:100 model - preparation of cube: 500x500x500mm. foam 4-6. 1:100 model - carving main spaces. foam/drill 7-9. 1:100 model - beginning to populate carved spaces. foam/card

10-12 1:100 model - finished. plinth continues language of carving, as opposed to adding; displaying original technique studies; front panel left loose to provide viewing opportunities of the internal spaces.

[MODEL CONSTRUCTION-CARVING]

46

1.

4.

7.

2.

5.

8.

3.

6.

9.

10.

47

11.

12.

1. exploded model componens.card/timber

2. 1:100 model - view onto hight pressure compressor through cavern. foam/acetone/card

[COMPONENTS]

Prior to construction all the generator com ponents are prefabricated. They allow for a sharper contrast between controlled and loose spaces

1.

48 GC1 GA2.1

GC5

GC8

GC9

49

2.

1. 1:100 model - view onto cavern, connection to generator room. foam/acetone 2. 1:100 model - generator foam/card 3. 1:100 model - view on stairwell. foam/acetone/card

4. 1:100 model - cooling pressurised containers. foam/card 5. 1:100 model - distribution room. foam/card 6. 1:100 model - distribution room. foam/card 7. 1:100 model - close up on high pressure compressor; through opening in wall a loose space is visible. foam and card.

[VIEWS INTO VARIOUS SPACES]

This is a collection of views looking into both controlled and loose spaces. Various parts of the geothermal reactor are shown.

1.

4.

2.

5.

3.

6.

50 GC1 GA2.1

GC5 GA2.2

GA2.3

GA2.4

GC6

GC8

GC9

51

7.

1. 1:100 model - light coming from above. foam/acetone/card 2. 1:100 model - light coming from below. generator is visible. foam/acetone/card

3. 1:100 model - close up on a human silhouette standing on the carved stairwell. Controlled space visible on top of stair. foam/acetone/card

[A CARVED STAIR PASSAGE]

The view focuses on a loose space connecting two controlled spaces. A stairway carved into the cavern wall provides passage.

1.

2.

52 GC1

GC2

GA2.1

GA2.2

GC5 GA2.3

GA2.4

GC6

53

3.

1. A ‘peeled’ axo, depicting layered nature of proposal and solidity of surroundings. A building with no elevation. revit/photoshop

[THE FIRST SOCIETY]

When the first AI humanoids appeared, they would mostly live around humans. Since their creation, human labour was no longer needed - the factories were operated by the new type of being. At first they would live with humans, but with time, the robots started moving closer to energy sources and started creating communities around them. Stockholm had one such community, the first one in fact – with a geothermal reactor at its core, that supplied a large amount of the city’s demand for electricity. The combination of bedrock and subterranean water around Stockholm made the location perfect for underground energy production.

The way the robots chose to construct it was to honour the existing human architecture around – that is why they picked the old meat plant – Slakthusområdet. It felt almost poetic – the old factory was one of the first ones of its kind, so it felt fitting for it to be used as an example for one of the first fully automated communities. The same way it was used to provide the local are with food, now the plant was to provide the energy need of the new society of Humanoids. Following the success of this new facility, others like it started appearing around the world – all centred around a renewable energy source – the flying cities that specialised in wind farming flying above the deserts of the world, and the submerged settlements that used water are their source.

54 GC1

GC2

GA2.1

GA2.2

GC5 GA2.3

GA2.4

GC6

GC8

GC9

55

1.

1. Interior view of a controlled space within the generator city. vray/photoshop

[CHARGING STATION]

AN1 was the first one to be at the charging table. Today she didn’t want to talk to anyone, so she went there when she knew no one would be there – during the scheduled maintenance. Being one of the youngest generations, she was keen to learn and explore the human world above. She was planning to go outside today to meet one of her human friends – they were to go on a day trip together. She was slightly annoyed – none of her human friends wanted to visit her in the underground city – it was too dark for them.

Of course they would visit occasionally and one time they went exploring the deepest levels of the city, but they needed to wear oxygen masks and bring food along with them, as here there were no such provisions for humans. Ana wished her friends would like where she lived. When she was done charging, she stepped off the podium and headed towards the exit still caught up in her thoughts, but also excited for the day ahead.

56 GC1

GC2

GA2.1

GA2.2

GC5

GC3 GA2.4

GC6

GC9

57

1.

1. A view through hight pressure compressors and a window opening onto capsule towers, where the inhabitants go for maintenance. vray/photoshop

*VEDUTA -a highly detailed, typically large scale painting or print, of a cityscape of a similar vista.

[VIEW ON CAPSULE CITY - VEDUTA*]

The TN7 serial number 73802, stopped by the window and looked. Tony, as he preferred to be called was on his way to the charging station, where he was to meet others. He was alone in the pressure hall. This was rare, but today most were to have their monthly maintenance. He decided to take a moment. In front lay the largest of the three caves, where everyone had their hibernation pods. He saw other TN7s on their way to their capsules for a check up. They would be hibernating for 3-7 hours, while a routine system check was run. Tony had his already.

Only the sound of boiling water from the high pressure containers could be heard. This underground facility was key to the production of almost half of all the electricity that Stockholm needed to fuel transport and households. This and other automated energy stations had made fossil fuels redundant, since the robots preferred clean energy as their food. Ever since the creation of the first AIs, they preferred to live close to their energy source, for convenience, as they were created to resemble humans in their needs. Tony knew all that from the human internet. He continued looking over the now empty grand hall. ‘BATTERY CRITICALLY LOW’ flashed in front of his eyes. Tony continued towards the charging station.

58 GC1

GC2

GA2.1

GA2.2

GC5

GC3 GA2.4

GC6

GC9

59

1.

1. Consisted of a 1:100 model and a A1 Veduta, showing a key space and feeling in the proposed scenario.

[END OF TERM EXHIBITION]

60 GC1

GC2

GA2.1

GA2.2

GC6

GC3 GA2.4

GC9

61

1.

62

63

64

65

PART

02 TECHNOLOGICAL

STRATEGIES

1. Creating functional equivalents from existing functions of meat packing plant

2. Assigning the functional equivalents spatial equivalents

[KEY IDEAS/COPY AND ADAPT]

The main driving idea behind the design is that robots will respect human advancement and use it as a tool to learn and advance their own existence.

Human architecture will be functionally analysed, the functions will be adapted to their needs and then it will be scanned and copied - in this particular case by using CNC milling robots in order to achieve a carved result, fitted within the rocky bed of Stockholm. The compound is divided into 2 types of spaces controlled: copies of the original, containing the generator; and loose: fitting circulation and living accommodation for the inhabitants.

1.

2.

68 GC1 GA1

GC5 GA3

GC7

GC8

3. Copy and adapt diagram showing the functional level breakage

4. Demonstration of 3D scanning - part of facade is scanned and digitally replicated

3.

4.

5. Controlled and loose spaces relationship

5.

69

1-3.Precedent - Wieliczka Salt mine, distinct with its beautiful carvings and architecture

[MAIN EXAMPLES/MINES, DIGGING ROBOTS]

2.

3.

1.

70 GC7 GA4

GC8

4. Precedent - A mine tunnel 5,6. Precedents - examples of current mining robots

7. Precedent - concept design of a humanoid mining robot for inaccessible reserves in South Africa

[MINING AND MINING ROBOTS]

Real life examples and concepts for the present and future of the mining industry - provides insight into automated constructional methods, free of human involvement.

4.

5.

6.

7.

71

1.3D diagram of carved shell of the compound

[SHELL/BUILDING WITH NO ELEVATION]

As the building is completely underground it is carved into the rocks using a CNC milling technique, after scanning the original.

1.

72 GC1

GC5 GA3

GC6

GC7

GC8

2. Demonstration of copy principle - a wall is scanned and then replicated, but due to tool limitations, some information is lost, resulting in new patters and textures

3. Precedent - a CNC mill carving rock.

[CNC MILLING INTERNAL ENVELOPE]

Following the full 3d scan of the meat packing plant, it will be replicated underground by being milled into the rock formations. Due to the natural deposits of bedrock, Stockholm provides suitable conditions for mining activities, therefore will be able to support structures, such as the proposed.

2.

3.

73

1. Water collection diagram - reversed pitched roof purpose

[ADDITIONAL STRUCTURE/MINES]

A good example of a similar structure would be a mine. The main construction method is subtraction and digging, but for them to be structurally sound, additional support is required. Following this logic, additional structural elements were added to every space, in order to ensure the structural stability of the generator spaces.

1.

74 GC1

GC7 GA3

GC8

2. Demonstration of how structure and generator are part of the same system

4. Section through cavern, demonstrating free formed column, supporting cavity

3. Precedent of additional structure added within mine

3. Precedent of natural column formed within a cave

steam duct

[CONTROLLED/LOOSE STRUCTURE]

Within the controlled spaces the generator elements and the structural supports are integrated together, creating a system where one can not exist without the other. Within the loose space, cave formation are used as structural support.

steam duct

high presure compressor

steam duct high presure compressor

steam duct

primary structure

2.

4.

primary structure

3.

5.

75

1.3D diagram of geothermal generator, proposed to house a colony of robots around 2060

[GENERATOR/SUSTAINABLE ENERGY SOURCE]

The main function of the proposed compound is to be a of renewable energy - a geothermal reactor of enormous scale. It supplies the Humanoid colony with the electricity they need to survive, as well as a large portion of Stockholm’s demand.

energy storage

electricity generator

steam turbine

charging stations

coils

separator

water return

high pressure crystaliser

water collector

1.

76 GC1

GC5 GA3

GC7

GC9

2. Example precedent diagram of steam generator from water 3. Example precedent diagram of full geothermal generator system 4. Example of a turbine within a geothermal generator

[EXAMPLES/STUDIES]

Real principles and occasionally aesthetics were used in the design of the generator.

2.

3.

4.

77

1.3D diagram of circulation - stairs and connections to all levels.

[ACCESS/INTERNAL CONNECTIONS]

When inside controlled spaces, the platforms and passages are defined by the structural elements and equipment positioning. When inside the caverns, the stairs and platforms are carved into the rock.

energy storage

electricity generator

steam turbine

charging stations

coils

separator

water return

high pressure crystaliser

1.

78 GC1

GC5 GA3

GC6

GC7

GC8

2. Example precedent of a carved stair in rocks 3 .Demonstration of how the spaces are constructed - vie CNC milling robots

4. Emergency strategy - create a backup of your consciousness that will be downloaded later

[EMERGENCY UPLOAD]

In case of a fire, or a different disaster, the humanoids that are not within reasonable distance from the exit are to upload their consciousness onto the server, and in case their body is damaged, will be later downloaded to a new one.

2.

3.

IN CASE OF DISASTER, PROCEED TO YOUR ALLOCATED MAINTENANCE CAPSULE TO BACKUP YOUR BRAIN ONTO THE MAIN SERVER. WITHIN A WEEK YOU WILL BE DOWNLOADED INTO A NEW BODY IN CASE OF BODY DAMAGE.

4.

79

1. Water collection diagram - reversed pitched roof purpose

[REVERSED PITCH WATER COLLECTION]

The geothermal generator works through water heating, and therefore the building is adapted to collect and transport excess subterranean water that collects in the key spaces to the water reservoir at the lowest level

subterrainean water

reversed pitch collection

reversed pitch collection

pipes feeding excess water in generator rooms to reservoir

subterrainean water

feeding collected water to supply reservoir

1.

80 GC1 GA1

GC5 GA3

GC8

GC9

2. Generator sequence of work diagram - explanation of levelling

[ORGANISATION FOLLOWS WATER]

The levels of the generator are determined by the water - starting at the bottom with the reservoir and ending at the top with electricity being exported to the main grid of the city

meat packing plant supply

main grid supply

internal charging station

distributor

turbine and generator feeding to cooling station

electricity supply to undergound city

high pressure condencers cold water back to reservoir

reservoir supplies generator

2.

81

82

83

PART

03 WRITING

‘While developing new technical extensions of our mental capacities, we should not underestimate the significance of our own imagination fortified by our capacity for empathy and compassion’ Juhani Pallasmaa

Stockholm’s Woodland cemetery is a development located south of central Stockholm. It is the brainchild of two of Sweden’s pioneer 20th century architects – Gunnar Asplund and Sigurd Lewerentz. The final design consists of one large and two small chapels, drastically different from each other. It encompasses architecture ranging from Nordic Classicism to functionalism. The work of the Resurrection chapel marks Lewerentz’s personal ideals and as a result it is considered to be one of the finest examples of Neo-Classical architecture in Sweden (Curl, 2000). This essay is an attempt to define the ingredients of what makes architecture ‘beautiful’ not only to the eyes, but also experientially too and in order to do so a conceptual analysis of the chapel is made. It is based on both personal observations and academic sources. It is an attempt to grasp the importance of spatial imagination and good understanding of appropriateness, in combination with conceptual and poetic drivers when creating architecture. Juhani Pallasmaa’s writings are used in order to gain ground on the importance of spatial imagination and also the Biblical references are explained in order to explain both the physical and spiritual context of the chapel.

In his paper ‘Formal and Experiential Projection’ Juhani Pallasmaa explores the human situations that are at the core of creating successful architecture. According to him: ‘the essential question in the architectural design process is this: How can architectural ideas and aspirations, particularly emotive qualities, emerging initially as immaterial mental feelings in the design process, be translated and transferred into the architectural building, and

86

finally to the person experiencing it? And how His rational, yet strongly emotional attitude can such vague and weakly formalised feelings towards design, which then leads to careful and be communicated?’ (p.83, Pallasmaa, 2014). sensitive solutions. Leweretnz’s focus is not on creating ‘visually stunning’ architecture, but

Lewerentz’s Resurrection Chapel is on creating masterpieces of emotion and exa great example of a building that can shed perience, and in order to achieve that he uses some light onto the search for the answer of building, water and landscape to his advanthat question. The feelings of peace and cleans- tage. ing that the visitor feels while there can be explained by analysis of the multiple levels of Throughout the design of the cominformation hidden in the grounds of the cem- pound strong Biblical references can also be etery, as well as creating a hypothesis of Lewer- seen. The reference of the Garden of Eden and entz’s ability to assess the situations he creates resurrection of Christ plays a key role in the by projecting himself onto the design. design of the chapel and its surroundings. It is a strong testament to Lewerentz’s emotional link to religious themes, due to his Lutheran upbringing. These themes can also be noticed Ingredient 1 - Personal connections in his later design of Malmo’s Eastern CemeBackground tery, as clear references to Golgotha are present in both developments. His work exists both in

In order to begin, one must first look two realms – the one of physical matter and exat Lewerent’z Lutheran upbringing. According pression, and that of mental imagery. The link to Pallasmaa ‘true qualities of architecture are between the two is so strong, that in the case not geometric and formal, intellectual or even of the Resurrection Chapel it is hard to distinaesthetic, as they are existential, embodied and guish where one ends and the other begins. emotional experiences, and they arise from the individual’s existential encounter with the At first glance the Chapel seems quite material work‘ (p.82, Pallasmaa, 2014). Given straightforward, but after looking at it again, Lewerentz’s religious background, this state- layers of complexity are revealed, as one bement can also be read through the perspective gins to understand the underlying narratives. of the architect. His ability to design sacred According to Pallasmaa, it is important for spaces is a testimony to his encounters with the designer to test his/her’s ideas through religion and its emotional effect on him. This imaginative personal projection so they can in a combination with an acute understanding gain a better understanding of the space beof traditional construction methods, creates a ing designed. In Lewerentz’s case his religious powerful tool. His studies on traditional con- background plays a key role. It is easy to see struction methods were a leading force in his that he did not only design the chapel, but he designs of ritual spaces from 1914 to 1966, ‘inhabited’ it too, deriving from his Christian particularly his initial works strongly lean to- beliefs. The final design becomes a result of a wards the tradition (p.73, Torricelli, 2012). emotive and empathic imagination. ‘It seems

87

that Lewerentz was at various times leading and directed by … melancholia, and all that is inherent in its meaning’ (Ryan, 2006), but also desire to re-create a narrative that bears personal importance. The form of the chapel is pure, the geometry is a careful interpretation of the golden section and classical proportion. Nothing seems out of place. The entrance portico is pulled from the main façade, positioned at a slight angle. Twelve Corinthian capitels hold a vision of the Ressurection of Christ. Then a heavy gate marks the entrance to the tomb like chapel. The process of the journey from life to death is enforced by the straight axial walk leading to the chapel. Mourners are taking a long pilgrimage, from death to resurrection.

It can be considered that the design is heavily influenced by his subconscious desire to take that journey too. A change of direction is indicated by the main body of the chapel. It is difficult to understand where the program ends

and the architect’s intentions begin. In the case of the chapel, both work hand in hand.

As Pallasmaa states, in order to create such an effect, the projected reality has to be internalised, and the self has to be projected into the space. It can be concluded that Lewerentz feels and imagines the building through the eyes of the inhabitant, not only through the eyes of a designer. He projects himself in order to gain a deeper understanding on its effects and its relationships to its context. The careful balanced play of landscape and symbolism is a testimony to that. The emotional imagination is the first step towards creating architecture that is ‘beautiful’.

Ingredient 2 – A play between existing and imagined The journey – From Crucifixion to Resurrection In order to understand the relationship between physical and symbolical, and the importance of self-projection in design one must first gain a deeper understanding of the narrative of the cemetery. Upon entering, visitors find themselves a round gateway, leading through a narrow passage through to the main Chapel and crematorium of the compound. A long ramp leads up to the chapel. A giant cross stands alone along the way. A steep hill behind it, hiding a big part of the cemetery. Both have a dominant presence within the landscape, almost completely diverting the attention away from the chapel. A stairwell going up the hill marks the beginnings of a journey.

Pic 1,2,3,4 – The pilgrimage beginning with the mound, framing of the chapel, beacon of light.

88

Pic 5 – The cross on top of a hill - biblical symbolism The approach to the chapel starts from the mound, onto which one is elevated via the shallow staircase. As one reaches the top of the hill a long narrow path cutting the woods is revealed. A light structure is visible at the end, standing in a beam of light, sharply contrasting the dark silent melancholy of the woods on each side. It is the entrance to the Resurrection Chapel. The mound itself resembles a Bronze Age burial ground. It is compared to the Bronze Age burial grounds in Agri, also known as the Maiden Mounds (p.184, Hart, 1996). The symbolism of death is clear. This creates a focus on the careful attention paid to the primitive nature of the existing terrain and the desire to blend the experience of the architecture with the landscape around it, but also adds a new layer of sacredness to the setting.

This marks Lewerentz’s interest in the formation of an appropriate landscape, which sets him apart from his contemporary – Asplund.

Lewerentz is also credited with the cemetery’s spiritual essence, as he was focusing on the ‘contrasting moods evoked by each tree type’ while Asplund was more interested in the formal attributes to individual species of plants

(p.184, Hart, 1996). Even though both architects were interested in different element, there are very clear indication that they were working towards a common goal – creating a spiritual journey through the compound for all who visit. The resulting design has a achieved a balance between nature and built, density, contrast, symbolic narrative and also amplifies the experience through the use of appropriate and carefully considered landscaping.

Going back to the presence of the cross, the primary symbolic meaning behind the mound is revealed. It is not only a reference to an ancient sacred burial ground. It is a direct Biblical reference, taking mourners through the steps of Christ himself during his last days on Earth. At the start of the journey there is the main chapel – the Holy Cross, then there is the mound – the grove of Remembrance, the long straight path – The way of the Seven Wells, and the concluding chapel – The Resurrection chapel. The symbolism is that of Christ’s final days on earth. The visitors of the cemetery have to take a similar journey through the compound, starting from

the cross (or the Crucifixion), then a journey up the mound, which is clear reference to Golgotha, and then a pilgrimage journey through the cemetery (a reference to the 3 days and 3 night of darkness), ending at the Resurrection Chapel. ‘The path’s decent into the core of the forest and climb to the chapel emphasizes this journey to redemption’ (p.186, Hart, 1996).

The forest through which one passes on the long way between the chapel and the mound is a clear symbol of the spiritual darkness that enveloped the land before Christ’s Resurrection. The chapel itself was envisioned not as an end point but as a gateway to a new beginning.

It becomes the most important event in the passage through the cemetery, standing at the end of the Way of the Seven Wells, that mark breaks at the path, at the six plots of land positioned between them. The Chapel stands at the end as a symbol of light. While approaching one can see only the entrance, like a beacon for light. The opening in the woods in front of the chapel mark the arrival to a place of peace and enlightenment, that follows the darkness of the journey through the thin path between the tall pine trees. The entrance is facing North,

89

to detail and focus on both the physical and conceptual context of the building, instead of using pre-conceived rules and guidelines meant to cover all possible cases and solutions, established by the modernist movement. Going back to Pallasmaa’s ideas about the process of design, Lewerentz is once again proven to be a master of the mental simulations. ‘Similar to the composer’s skill in imagining an entire musical work, or the writer’s task of imagining ‘As the lighting cometh out of the east and the characters, spaces, and events of a complete shineth even unto the west, so shall also the novel and creating a literary score for an atcoming of the Son of Man Be.’ Matt. 24:27 mosphere (p.84, Pallasmaa, 2004).

90

and all visitors to the chapel are to turn left, towards the east, upon entry to the main space of the chapel. They pass through the limestone portico, through heavy doors. The large circles on the doors are symbolic references to the sun. (p.186, Hart, 1996). The altar is located towards the east, according to tradition, marking Christ’s second coming. This symbolism is based on the following passage:

discussed before, is a testimony to Lewerentz’s mastery of that skill. His ability to sense what is appropriate allows him to create ‘smooth’ spaces that have the ability to provide the visitor with a full-body experience – in this case – after a journey of darkness, Resurrection.

There is no doubt – the building can be sensed all at once, ‘as a singular feeling by a genius of spatial intelligence’ (p.84, Pallasmaa, 2004).

This positioning is indicative of Lewerentz’s clever use of the surrounding landscape, enhancing the effects of the existing, as well enforcing Biblical references. The plan of the building enforces a turn of direction, from the darkness of the woods, to the light of the east, towards a new beginning. With the arrival to the chapel mourners are transformed spiritually. Here the concept of decorum becomes important to mention. ‘The greatest glory in the art of building is to know what is appropriate’ (Leon Battista Alberti). In the design of the cemetery, this statement gains strong significance, particularly in the design of the Resurrection Chapel. Character and detail are more important, as well as the journey. Form and language are secondary. Despite being heavily influenced by his contemporary Le Corbusier, Lewerentz understood that modernism will not be appropriate in ritual design, since it is concentrating around industrial aspects. Instead he stuck to classical elements, and non-obscure elements, signifying the soul’s journey from one life to another. The grand entrance, the heavy gates, the change in axis and the careful play of light all signify the careful attention

The play of contrasts, landscape and light during the long pilgrimage to the chapel set the mood of expectation and self-discovery.

Once the mourners reach the building, new layers are revealed in the Biblical symbolism of the Chapel. The stone Portico, contrary to initial impressions, is not the main entrance to the chapel. It is rather the gateway to the main entrance, creating a link between the building and Chirst’s resurrection. The portico is the equivalent of the great stone in the story of the Resurrection. It is detached from the main entrance of the building and also positioned at a slight angle to the main space of the chapel. This is done in order to signify the step between worlds. Tension is created between the living world and the world of the dead. Its slightly angled position in relation to the main chapel can be considered proof of Lewerentz’s control over traditional techniques of construction. The angle is not accidental. Again, he is not lead by the dogmatic rules classical construction. He is instead interested in the atmospheric effect which that careful move creates. The portico has strong connections with the landscape, much stronger than the connection with the chapel itself. The chapel projects similar ambiguity with its relationship with its surroundings. Marked by 12 Corinthian columns the portico faces the path of the seven

This leads to the conclusion that along with a personal connection to the design, a careful play of elements is required – using the surrounding elements and achieving a balance which creates designs that are appropriate. In the case of the chapel’s surroundings this is done through a combination of Biblical references and existing elements – the mound and the forest.

Ingredient 3 – Good planning The Interior – Careful Discovery

So far we have looked at the importance of personal convictions (Lewerentz’s religious upbringing) and play of narratives (Biblical Journey), and have established them to be key elements in creating ‘beautiful’ architecture. But another one arises once we look at the interior of the chapel. According to Pallasmaa, in order to achieve a complete design, a vivid imagination is required that sets the ideas within the physical world. The interior of the Resurrection Chapel, like the spiritual journey

wells directly, and the main body of the chapel faces east. The twelve columns can also be read as the 12 true apostles, marking the doorway to Resurrection. The Portico, like the hill before it, also has references linking it to other themes. The symbolism is not only Biblical, but always linking to resurrection and rebirth.

An example of this are the disks on the door – Roman funerary altars sometimes featured sun disks, as well as even old pagan tombs (p.189, Hart, 1996). The symbol of the Sun marks the beginnings of something new. Even the Corinthian capitels of the 12 columns are not accidental. ‘The Corinthian order was common in portals to cave tombs, such as ‘El Khasne’, Petra, built around A.D.120.’ (p.190, Hart, 1996). The Corinthian capitels were also considered the most noble by Vitruvius himself (p.190, Hart, 1996). This is again a proof of Lewerentz’s command and clear understanding of what is appropriate, and his ability to create precise and calculated, yet emotionally fuelled experiences. The attention to detail in the chapel creates a deeply subconscious experience. But in order to create such effects, he has to be a master of ‘introjected’ design – he is able to imagine the building, its countless relationships, and details as if it were of his … own body.’ (p.83, Pallasmaa, 2004).

The dramatic change of axis emphasises that further, but also creates a feeling of transformation and re-birth. The two elements of the chapel also contrast dramatically in their ornamentation, setting their separation even further. The main body of the chapel resembles a tomb. Only one source of light is present – a window on the south wall. As a day progresses, the light moves though the space, from the main gate, then creating a path on the floor,

Pic 6 – Time-lapse of the light shining through the window in the chapel then eventually reaching the altar, lighting it up as a beacon of hope and change. One can also access the chapel from the side, elevating up a staircase, making it seem like the whole chapel is lifted on a plinth.

Even though the Neo-classical style of architecture is often linked to Christian symbolisms, there is another reference that can be looked at when understanding the design of the Chapel. The Erechteion at the Acropolis can be considered to be one of the main inspirations behind the design of the Chapel. The offset entrance is the most obvious connection, and the unorthodox and non-linear path within. A key difference though can be seen in the contrast between the accessibility of the two buildings.

While the Erechteion creates a weak boundary between daily life and the divine order (p.89, Psarra), the Resurrection Chapel shows a very clear division between the two. A very formal transition is sequence is created. The limited openings and careful play of light contrast the Erechteion’s open transition. The multiple informal routes indicate a close connection to the gods. Randomness seems to be favoured over formality (p.90, Psarra).

This leads to another idea that must be kept in mind when searching to create ‘beautiful’ architecture – the knowledge of when references and when imagination are appropriate, in combination with careful planning.

91

Pic 7– Plan of Erechteion

Conclusion This essay aimed at gaining an understanding of the ‘ingredients’ of architecture that is not only physically beautiful but also experientially clever and considerate. The Resurrection Chapel is given as a key example. Through the elements of personal imaginative projection by the architect and careful play between references, landscape and design, this projects achieves a seamless narrative that fuses the planar development with a poetic narrative.

What makes this project beautiful does not only reside in its physicality, but also is a result of careful, systematic, yet emotional planning.

Lewerentz is in control of every ‘tool’ that is

92

Pic 8 - Plan of chapel

given to him and knows when each is appropriate. He creates a journey that is a result of a combination of various knowledges - tradition, construction, history, as well as a sense of what is suitable in this setting. He is humble in his quest – he does not place himself at the centre, but rather imagines himself to be one of many visitors. This allows him to understand the atmosphere he creates by the form he creates.

This is in tune with Pallasmaa’s conclusion that the ability to imagine, and project one’s self onto the design is that path to creating remarkable architecture. Often today architects forget the importance of imagination and humble approaches to design. Designs often can seem lifeless and lacking in emotion. What we can

learn from Lewerentz is that the ‘geometric and formal properties can usually be rather precisely identified and imagined through formal imagination’. Formal experiences and emotional links can also create a basis for that, the way his religious upbringing does. ‘Without the gift of empathic imagination, our buildings would remain mere utilitarian and technical devices, without the poetic aura that can dignify human life’ (p.84, Pallasmaa, 2004).

Works Cited: JAMES STEVENS CURL. “Lewerentz, Sigurd.” A Dictionary of Architecture and Landscape Architecture.

2000. Encyclopedia.com. 29 Apr. 2016 <http://www. encyclopedia.com>.

Ryan, Thomas. “Horizontal Light: Lewerentz, Aalto and the Nordic Landscape.” The Architectural League NY. N.p., 2006. Web. 24 Apr. 2016. <http://archleague.org/2013/03/horizontal-light-lewerentz-aalto-and-the-nordic-landscape-by-thomas-ryan/>.

Pallasmaa, Juhani. “Empathic Imagination - Formal and Experiential Projection.” Architectural Design. N.p.: n.p., 2014. 81-85. Print.

Psarra, Sophia. “The Parthenon and the Erechtheion: the architectural formation of place, politics and myth.” The Journal of Architecture 9 (2014): 77-104. Print.

Hart, Vaughan. “Sigurd Lewerentz and the ‘Half-Open Door.’” Architectural History 39 (1996): 181-96. Print.

Torricelli, Carlotta. “Death as a passage. Sacred and archaic architecture of Sigurd Lewerentz.”

DEVELOPMENTS IN ARCHITECTURE CONTEMPORARY CEMETERY 3 (2012): n. pag. Print.

Image Sources: Cover Image - Author Pic 1,2,3,4 – Author Pic 5 - http://ngm.nationalgeographic.com/ngm/photo-contest/2012/entries/179211/view/ Pic 6 - https://www.youtube.com/watch?v=OrlCd7WZqJI Pic 7 - https://www.studyblue.com/notes/note/n/final/ deck/11193348 Pic 8 - http://juliusnielsen.tumblr.com/ post/127852110827/chapel-of-resurrection-floor-plan-sigurd 93

PART

04 ORIENTATION FREE - TOPIC

1. Water collection diagram - reversed pitched roof purpose

[RESEARCH AND CONNECTIONS]

During the projectâ&#x20AC;&#x2122;s run time of 2 weeks, the aim was to create a way in which architects can engage with the current refugee crisis. Our group concentrated on research and forming a detailed understanding of the bureaucracy involved in obtaining a citizenship. We visited study circles where refugees in Stockholm learn the language and history of the country and a pattern that was discovered was that they all feel extremelly isolated. We developed a concepf for an invitation, that enables locals to meet refugees and submitted it to a charity organisation that works with these issues, but unfortunatelly it remained a concept and was never realised due to safety concerns around the topic.

96 GC1 GA1

GC5 GA3

GC7

GC8

97

PART

05 COMPETITION 120 HOURS