Architecture Portfolio 2014 by Mathias Skafte Andersen

PORTFOLIO architectural projects by Mathias Skafte Andersen * B.ARCH MAA 2014

TA B L E O F C O N T E N T S

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CURRICULUM VITAE 0 0 4 RE-COVERING 0 0 8 NORTHSIDE 0 4 2 PROJECTED FUTURES 0 5 6 VEHICLES FOR EVENTS 0 6 2 ARCHITECTURE CHALLENGE 0 9 0 REGENERATIVE ARCHITECTURE 0 9 2 WINDOW EXPANDER 0 9 4 JERUSALEM SPCA 1 0 4 TRANSFORMATIONS 1 2 2 DRAWINGS & PHOTOGRAPHS 1 2 8

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Larghissimo Workshop: A Leap Into The Archive

NAME Mathias Skafte Andersen BIRTH 08 | 08 | 1991 CONTACT matskafte@gmail.com +45 40 94 66 48 mskafte.tumblr.com oheightoheight.tumblr.com Kystvejen 59, 4. -03 8000 Aarhus C Denmark

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EDUCATION

JOB HISTORY (recent years)

AARHUS SCHOOL OF ARCHITECTURE | Aarhus, Denmark 09 | 2011 - 07 | 2014, Bachelor of Arts in Architecture Since Fall 2012 attached to the International Unit of the Aarhus School of Architecture: Studio AL! - Atmospheric Laboratory tutored and created by Professor Izabela Wieczorek and Assistant Teacher Karianne Halse.

BEZALEL ACADEMY OF ARTS AND DESIGN | Jerusalem, Israel 10 | 2013 - 01 | 2014, Exchange Semester (courses in Architecture, Photography and Fine Arts)

OH-EIGHT-OH-EIGHT | Aarhus, Denmark 05 | 2013 - current, Freelance photography and graphic design

SCT. KNUDS GYMNASIUM | Odense, Denmark 08 | 2007 - 06 | 2010, High School Diploma, emphasis on media design and social studies.

RESTAURANT OLIVE | Aarhus, Denmark 05 | 2012 - current, Waiter

ODENSE FAGSKOLE | Odense, Denmark 10 | 2006 - 03 | 2008, Courses in drawing techniques

RESTAURANT GAUCHO | Aarhus, Denmark 10 | 2011 - 04 | 2012, Waiter

EF LANGUAGE COURSE | Brighton, England 07 | 2007 - 08 | 2007, Summer language course in English

FROGGY’S CAFÉ | Odense, Denmark 03 | 2008 - 08 | 2011, Waiter and Bartender

RASMUS RASK | Bellinge, Denmark 08 | 1997 - 06 | 2007, Public School

EXTRA CURRICULAR ACTIVITY

NORTHSIDE ‘14 05 | 2014 - 06 | 2014, Project Manager, Peopleside

SKILLS

InDesign Photoshop Premiere Pro Illustrator MS Office Rhino 3D/Vray Revit AutoCad SketchUp

LANGUAGES

DANISH ENGLISH GERMAN

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Advanced Advanced Advanced Advanced Advanced Good Good Beginner Beginner

Native Fluent Basics

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6th SEMESTER S14

RE-COVERING TUTOR: Stefano Ciurlo Walker Kingston/AAA The brief for â&#x20AC;&#x153;Re-Coveringâ&#x20AC;? was to transform the abandoned nazi vacation center, Prora, into an extension of the University of Arts in Berlin. Each student was to pick an artform for the proposal to house, and decide on a strategy of transformation. This project was exhibited at the Aarhus School of Architecture in May 2014.

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THE RĂ&#x153;GEN INSTITUTE FOR THE CONSERVATION OF SOUND This project proposes the transformation of the abandoned nazi vacation center Prora into a music school - or more specifically an institute for sound conservation. It does so by seperating the two main acts of music, performing and practicing, and placing them respectively outside and inside the original structure. The project deals with the concept of introversies and extraversies, strategically hiding and showing fragments of the propsal along with fragments of sound in order to achieve a complimentary effect between new and old.

Parts of the project (*) has been developed in collaboration with Christopher Sejer Fischlein

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DAMNED LONG NARROW HEATH! TO BOTH SIDES MUTTERS THE SEA HIDDEN WITHIN AN ASHEN GOWN THE SKY DESCENDS DEEP AND HEAVY. SHELLS FROM RÜGEN, WILHELM MÜLLER

54°26’58”N, 13°34’12”W PRORA, Rügen Insel Deutchland

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he rural landsape of the German island of Rügen was immortalized by the artist Caspar David Friedrich in the early 1800’s. His paintings depict both the brutal mist covered cliffs towards the sea, the field covered flatlands and the wetlands around the lakes of the island. Since, the landscape seems to have be preserved as it was in the time of Friedrich - rich with wildlife and forrestation disrupted only by the odd field or small town. At least this was the situation until the 1930’s when the KDF Seebad resort, Prora began it’s establishment. Parallel to the east coast towards the Ostsee a narrow concrete structure stretches for four kilometres. Meant as a vacation resort for the National Socialist Party, today the building stands as an abandoned symbol of a past that is rather forgotton than remembered by the German people. Even though the structure imitates the lines of the coast, it intervenes greatly in the landscape - the need for connecting roads, paths and a railroad slices the context into a series of ribbons parallel to the sea and parallel to Prora, which by itself stands out as a ribbon too.. Each ribbon becomes an obstruction for the next; not only filtrating the east-west view through the landscape but actually stopping it - and it is only at a few defined points that one is able to penetrate such a ribbon.

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SECTION

“ KRAFT DURCH FREUDE”

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ith the 1:2000 scale model of an exerpt of the island of Rügen specifically the context surrounding the two northern blocks of the PRORA complex - several studies hae been conducted. The studies concern the proposal’s relationship with it’s surroundings as well as the laying out of strategies regarding how to approach the proposed building. Common for the interventions are that they aim at breaking the north-south axis created by the orginal structure and the coastline. Some strategies rely primarily on visual connections, other are very physical interventions. The studies, the model and the book have been created in collaboration with Christopher Sejer Fischlein (AAA).

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n the Eastern coast of the German island of RĂźgen lies the KDF Seebad, Prora. Spanning a distance of aproximately 4 kilomtres it is a massive concrete complex meant to shelter tens of thousands of vacationers from The Third Reich.

PROGRAM

With this structure as a base a transformation is proposed; a reprogramming of the building from the abandoned vacation center it once was to an extension of the Music Depertment of the Berlin University of Arts (UDK). An analysis of a Music Conservatory reveals the need for the programmatic contrast between spaces for rehersal and spaces for performance; private and public spaces or in other words, spaces that are introvert and spaces that are extrovert. The Prora complex with itâ&#x20AC;&#x2122;s parallel placement to the coast and itâ&#x20AC;&#x2122;s withdrawn attitude towards the surrounding forrestations appears introvert and allows for the intertwining of smaller rehersal spaces inside the structure. On the exterior of the building an extrovert parasite will be attached - relating inderictly to the interior spaces - to create a more powerful facade expression behind which the performance spaces will be placed. This facade will aim at breaking the passive axis of the building through engagement with the surrounding context. In and around the building spaces - more or less defined by architecutre - are assigned with the task of exhibiting sound; the raw sound of the rehersing artist without him visible and the polished sound of the performance spaces. The visitor will be guided through the proposed transformation as well as original untouched spaces of Prora. Gaps in the sound will be created, thus giving the visitor a chance to experience the building with a heigtened sensitivity for incoming impressions.

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I N T R O V E R T V S E X T R AV E R T

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“IF I COULD RECORD THEM AND TRANSMIT THEM TO THE PRESENT AGE, THEY WOULD CONSTITUTE NOTHING MORE, NOWADAYS, THAN DEAD SOUNDS. THEY WOULD BE, IN A WORD, SOUNDS OTHER THAN WHAT THEY ACTUALLY WERE, AND FROM WHAT THEIR PHONOGRAPHIC LABELS PRETENDED THEY WERE – SINCE IT’S IN OURSELVES THAT THE SILENCE EXISTS. IT WAS WHILE THE SOUNDS WERE STILL MYSTERIOUS THAT IT WOULD HAVE BEEN REALLY INTERESTING TO RENDER THE MYSTERY PALPABLE AND TRANSFERABLE.” 024

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T H E

LIFT A

n elevator is proposed as the means of approaching the structure. It is entered within a courtyard, allowing the visitor a view of an untouched facade and giving him an oppertunity to attempt to understand the scale of the building. The elevator transports the visitor to an underground corridor, which leads him east, below the building, below the forrest and to another elevator that brings him to the beach. The elevators and the corridors have small capacities and split up groups into individuals, priming them to experience what comes next without the influence of others. The corridor is long and narrow. It deprives you of senses of time, distance and direction. Traces from above may show themselves, but without knowing where the traces are from, they provide no better sense of place.

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he visitor arrives at the complex as dictated by existing paths â&#x20AC;&#x201C; penetrating the ribbons of nature only where infrastructure allows it. He will enter the courtyard designated to the program, meet an anonymous, untouched faĂ§ade and a door; seemingly leading him into the building. He will, however, be directed into a tunnel, segregated from any companions and deprived of sense of time, place, direction and distance. He will emerge on the beach and see the ocean; otherwise hidden from the original approach. Behind him, inside the forest, fragments will lure him in; toward Prora. He will be received by sound, by performing artists and by light through shade; by surprise and wonder. The forest is inhabited by performance. He can stop and listen and watch or he can keep moving towards his original goal. Entering the building, he is met by an abandoned architecture. And sound. In the distance. He will explore the building, seeking the source of the sounds, maybe realizing that the source is the artists rehearsing in enclosed, introvert spaces scattered around in the original structure of Prora. Maybe he will never find the source. Maybe he will leave the building again, marked only by sound and the rawness of the Nazi architecture.

I N H A B I T I N G

oming back towards the structure from the lift exit by the sea, the visitor will encountor a colony of buildings. Reaching towards the sea and pointing back to Prora, these buildings contain performance spaces for the artists. They implement daylight, drawn from above the tree tops, and have openings that keep the spaces in a close dialogue with the woods. The music performed will fill the forrest with sound, guiding the visitor to musical experiences. The buildings are concrete, but cladded on the inside with wood, creating a vivid accoustic experience.

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T H E

W O O D S

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Rehearsal spaces mixed with untouched rooms

Sleeping units for artists

Entrance to the lift

Underground corridor

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REHEARSAL

he rehearsal spaces for the visiting artists are placed within the framework of the existing structure. They are cladded with metal on the outside, taking a rough shape that most of all reflect the acoustically tuned wood cladded inner spaces. Some are suspended, others dropped and still some are merely tucked in between the walls of the building. A rehearsal space is never fully visible - only fragments can be seen by visitors walking through the building - however the sound emerging from them are clearly audible as they reflect throughout the rooms. They are accesed via stairs and ladders in the mainhall, allowing artists to pass directly from their sleeping units in private; making their interaction with visitors constrained only to music.

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S14 | EXTRA CURRICULAR

NORTHSIDE FESTIVAL CLIENT:

Jesper Broberg

Gejst Studio

Northside Festival is a three day music event in the Danish city, Aarhus. In 2014 the festival ran for its fiifth consecutive year, featuring artists like Lana Del Rey, MĂ&#x2DC; and The National. The festival is developing a strong sustainable profile; serving organic food and using FSC certified wood in its constructions. Different areas of the festival grounds are assigned to external creatives in order to create a vivid and diverse physical frame for the festival.

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PEOPLESIDE Peopleside was designed to contain an array of service functions for the Northside Festival. It includes a wardrobe for festival goers, an information desk, a hair stylist, a cellphone charging servie, chill out spaces and a vantage point. The construction consists of four retired 20â&#x20AC;&#x2122; shipping containers, FSC certified timber, recycled windows and doors, wood chips and aromatic herbs planted in the construction. The whole structure is designed and built in modules that fit inside the containers, enabling it to be easily built, torn down, moved and built again without creating waste. Developed in cooperation with Eske Bruun and a team of 15 students of architecture, photography, carpentry and art.

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Main stairs

Hair styling by EVOÂŠ

Chill out space and vantage point

Cellphone charging by BiBoBÂŠ

Back stairs

Information desk

Seating area

Wardrobe for festival goeers 045

Wood chip filled chill out space and waiting area

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3rd SEMESTER F12 | WORKSHOP

PROJECTED FUTURES TUTORS:

Paolo Zaide Andrew Friend Thomas Lee

Bartlett CSM AAA

The Projected Futures workshop studies The Future as diversly described in cinema; investigating the spaces and sequences that are described in these productions. By dissecting filmic sequences a range of installations, spatial interventians and devices that challenge and question our notion of tomorrowland were created. The installations were exhibited at The Aarhus School of Architecture in December of 2012

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THE FRAGILE NOW Based on Peter Weir’s 1998 film The Truman Show this project is a vessel to critique our acceptance of fabricated realities. In the investigation of the interrelationship between the constructed reality of Truman’s world and the actual reality behind we start to explore the tensions created by our acceptance of social and pervasive media networks we live in today. Working from a starting-point found in the cycles and movements of the film a structure unfolds as an interpretation of the both complexity and simplicity of this constructed reality. The constant interplay between real and unreal, scene and construction, front- and backdrop, system and exception, the seen and hidden – frames the spectacle of the undefined third – the glitch, the fault in the system. Steel, MDF, Timber, Mirrors, Drill, Paint Developed in cooperaton with Liv Skovgård Andersen, Lewis Paine, Kristoffer Codam and Elisabeth Hult Jakobsen

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Sketch models and drawings

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Stills from movie made of the final installation

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“IF HIS WAS MORE THAN JUST A VAGUE AMBITION, IF HE WAS ABSOLUTELY

DETERMINED

DISCOVER THE TRUTH, THERE'S NO WAY WE COULD PREVENT HIM.”

THE TRUMAN SHOW, CHRISTOF

Installation

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4th SEMESTER S13

VEHICLES FOR EVENTS TUTORS:

Izabela Wieczorek Karianne Halse

AAA AAA

Vehicles for Events presented a brief which asked for the development of a proposal for a hybrid building at a specific site in Williamsburg, New York. Individual narratives were created along with destinct characters that were to inhabit the proposed building, which - as a requirement - were to consist of 50% housing. The following project was featured in the â&#x20AC;&#x153;Atmospheric Laboratoryâ&#x20AC;? book of 2013.

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MADE HERE Making it here instead of there is the primary programmatic goal of the proposal. “Here” being - in this case - Williamsburg, New York and “it” being the products that because of globalization are being produced not where they are designed and sold but where it is cheapest. Over the last decade local manufacturing has been gaining ground on behalf of it’s sympathetic message. In America San Fransisco has made itself the flagship of this concept and thus created a strong identity as a city. Williamsburg is a part of the Brooklyn Borough of New York City is traditionally known as the home of the Orthodox Jews, but has for some time now been a place of gathering for artists and students. The newcomers have transformed the area into a creative and lively environment - which has then led to the beginning of a gentrification proces that will most likely change the profile of Williamsburg once agian. We believe that introducing a building that combines living with facilities for local manufacturing in Williamsburg will be able to help create a more solid identity for the area. The proposal contains workshops for a glassblower, a sculptor and a carpenter as well as a shop where the products are sold. The workshops are connected to a series of appartments that that will be under the influence from the dynamics of the workshops. Developed in cooperaton with Victor Linus Engels

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40°42’31”N, 73°57’17”W Keap & 4th Brooklyn, NY 112211 064

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“THE CRAFT OF MAKING PHYSICAL THINGS PROVIDES INSIGHT INTO THE TECHNIQUES OF EXPERIENCE THAT CAN SHAPE OUR DEALINGS WITH OTHERS” THE CRAFTSMAN, RICHARD SENNET

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MICROUNIT

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EVENT Exhibited in the building

Stored material

Process

Product

he proposal deals with a relationship between an active core that connects with the public realm of the streets outside, as well as a private life going on on the floors above.

changing expression - giving the neighborhood a feeling of positive changes in contrast to the gentrification that drives so many neighbors out of their homes.

A shortcut for pedestrians is created through the building, which takes them around the central atrium and exposing them to first the sound and then the sight of the sculptor working below.

Across the street, a museum and a shop is located, selling the art and furniture created inside the Manufacturing Centre - while at the same time exhibiting the building through openings in itâ&#x20AC;&#x2122;s facade.

Outside, the furnace of the glass blowers workshop lights up the street at night, the fire visible from all four corners of the intersection.

FORM Defining architecture Left over material

The floor slabs are functioning at the same time as walkways for residents and storage space for the carpentry, creating new spatial experiences everyday, and providing the facade with an ever

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Through layers of fire, wood, steel and stone, the building is percieved as a dynamic unity that works for the prosperity of the neighborhood, and for a future based on craftmanship and local values.

THE LAST MAN ON EARTH C R E AT I N G A C H A R A C T E R T O I N H A B I T T H E P R O P O S A L

that guy. There were sevenhundred and fifty five whites and then Adam, the first one. He died ninety eight years old. They told me everything. The first one was a white man, the other ones are white people, okay? ‘Bout fifty eight billion in hell. First one, sevenhundred and fifty five whites in the beginning and then you’ve got the coloured ones. Look Arabic. And the asians. Two hundred and twenty. Two hundred and twenty. Two hundred and twenty. You’re not pushing that, right? Two hundred and twenty, right? Two hundred and twenty. And then two hundred and twenty thou sand - that’s too much. You’ve got fifty. Then you’ve got fifty in Europe. White. They all die old aged. Five asians, five black. Five of them driving in a cab, and the last one... that means the law of Jesus Christ. He thought he was the God. Yep, he was not the God. Yes sir, he was not. I’m the last human on earth. Yes, fifty billion others in hell. All white. And five asian. Last human on earth, the others are demons. Look, demon. They have been watching me for seventy years, since nineteen ninety fourninety five. Watching me. Everyday. I’m gonna get you. All the asians in hell and sixty six blacks. The movies are real, I know. They told me, that’s what they said. I’m the last human on earth. The second to last died in Puerto Rico sixty years ago. They took him. They will take me. Yes sir, I know. The movies are real. I’m the last human. Fifty five million retarded humans on earth and whitches. The demons. The movies are real.”

A man walks around in the intersection. Crosses the street, goes back and forth. Stops. Walks again. Without obvious goals or intentions. Walks. He has blood shot eyes and a walkman playing white noise in his ears. He is certain that he is the last man on earth. That everyone else are demons and witches, and that they - that we - are out to get him. People walk by and he hides. Not behind a tree, not inside of a building; in the middle of the street. He stops, his arms down his sides and his back completely straight as he let’s people pass. The street is his hideout. This is a transcribtion of a recording made of him. “Fourteen thousand. Forteen thousand. Supernatural. I got the botanica. I know it all, it’s a lie. I’ve known it all along. In the seventies I said it’s so incredible, it’s a lie. Carlos is gonna call everyone a witch with supernaturability. Look at what that guy did, I saw it. You know what, they’re living. You know why? I found a secret. Four billion retarded humans in history in a hundred thousand years - yeah - and eighteen billion locos in hell. Yes sir, the movies are real. There are three million retarded humans at the end of the world. Right, you see? I’m the last man. See? They think they’re people too. I’m gonna get you. There goes one, she’s another demon. She’s followed me since twothousand and eight. Nine. Everyday. Every morning. Twenty witches. Everyday. And

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MOVIE

(Click screen to watch)

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R O

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he building is inhabited by a range of characters - just like any neighborhood would be. One of them, however is a schizophrenic, convinced by the voices in his head that he is alone in the world. A special microunit is designed to meet his needs. The microunit consists of a large space raised high above the atrium. It does not allow passersby to look in - it does however allow sound to enter. The chipping of stone in the sculptorâ&#x20AC;&#x2122;s workshop is bounced around the atriumand enters the microunit, where a convex ceiling spreads the sound all around the space. It is a sound of raw material, of earth, and it helps to block out the voices in the head of the inhabitant.

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Convex ceiling spreads the soundscape of the exterior into the unit

Openings situated high in the space let in sound and light but do not allow people to look in.

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A space below the dining area functions as a panic chamber, featuring openings in the floor to let in sound from below.

PLAN_1

The unit is percieved as a continious sequence of spaces.

PLAN_2

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MOVIE

(Click screen to watch)

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4th SEMESTER S13 | WORKSHOP

ARCHITECTURE CHALLENGE die Angewandte TUTORS: Bence Pap Alexander Kalachev die Angewandte Andrei Gheorghe die Angewandte The brief for this assignment was to develop a concept and a parametric script during three intense days - side by side with master classes in Grasshopper for Rhino. Projects were evaluated and the following was picked to be built during the next three weeks using digital manufacturing techniques as laser cutting and water jetting. The Pavillion was exhibited from May 2013 to January 2014.

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PEAKS PAVILLION Enveloped by 4-5 story buildings and tree, the plaza to be used as the site for the proposed pavillion is defined by a striking verticality and a rythmic play with angles of the footprints - each building built at different times and with different purposes. It was our intention to create a structure that could become a powerful centerpoint for the plaza, allowing the facades to meet with the trees and the sky, as well as creating a space for contemplation and focus for anyone passing by. The proposal was sketched out as a pavillion featuring two open peaks and a vertical construction pattern. From the outside it should look as if it was growing out of the ground, reaching for the roofs of the buildings around it. The interior of the pavillion swirls around, framing specific meetings between structure, nature and sky. The structure as built was drawn entirely using Grasshopper for Rhino as a tool to create both the parametrics and tectonics of the pavillion and as a tool to prepare drawings for digital manufacturing - laser cutting and water jetting. To prepare a strategy for the construction of the pavillion, a 1:5 scale model was built using the same drawing material and techniques as proposed for the final 1:1. The pavillion was built entirely in OSB with a minimum amount of screws used in the joining of cut pieces. At it’s highest point it is just short of 4 metres tall and one can stand upright inside both internal spaces. The proposal was developed in collaboration with Christopher Sejer Fishclein, Malin Mohr, Johan Eg Nørgaard, Anette Vintervold & Mads Bjerg Nørkjær. It was built with the help of 15 other students.

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1:5 SCALE MODEL 1:5

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C O N S T R U C T I O N 084

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MOVIE

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1:1

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6th SEMESTER S14 | WORKSHOP

REGENERATIVE ARCHITECTURE TUTORS: Morten Norman Lund Maria Gaardsted Lasse Lind

GXN GXN GXN

The brief was to create additions to the Green Solution House by 3XN/GXN that were to add to the buildingâ&#x20AC;&#x2122;s status as a sustainable project. Situated on Bornholm, the house is close to nature, forest and the sea. In order to increase biodiversity in the buildingâ&#x20AC;&#x2122;s near context, we propose laying out a wetland to the east. The wetland is fed with rainwater and wastewater from the building, which is then led through streams and marsh where bio processes clean the water while creating a hospitable environment for animals, birds and plants. The stream of water connects below the road, to the foret and out to the sea, thus creating a green bridge to natural habitats of animals on the island. Across the wetland a raised promenade is created, allowing visitors to enter and experience the wetland without disturbing its natural life. As Bornholm is currently in need of bee farmers, we propose the addition of five bee towers, connected to the building by floating bridges. The towers produce honey for the building - and act as pollenation devices, assisting the growth of plants in the area. 092

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3rd SEMESTER F12

WINDOW EXPANDER TUTORS:

Izabela Wieczorek Karianne Halse

AAA AAA

Window Expander was a project that based itself on the student’s private space; a room and a window. Through mappings of the intangible effects provided by the window, the student was asked to design an apparatus that would exploit the found effects, strenghtening them, changing them or removing them in order to create certain atmospheres or functions. The project was then finally presented in a custom designed box, containing proces and product while creating a narrative unique to the device. The following project was exhibited at The Aarhus School of Architecture in December of 2012 and again in February of 2013 as well as featured in the “Atmospheric Laboratory” book of 2013.

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PERCEPTUAL APPARATUS Attempting to withdraw all informations from a specific site will at all times fail. This must be acknowledged in order to fully understand the project. Try sitting in one side of a room - say, the studio - and start registrating everything; how many people come, how many go. How many pass on the outside. Whatâ&#x20AC;&#x2122;s the wheater like. How many tables, how many chairs, how many listen to music, how many draw, how many are building models. How many have blond hair, how many wear hats. The periscope device will underline this fact, requiring the user to move around the apparatus in order to achieve different framings of the exterior - each presenting a source of information to be used in registrations of life. While looking through one periscopal tube, the user would deny himself acces to a variety of information - letting cars park while observing which way the wind blows, or missing passersby while counting seagulls. This gives the oppertunity to completely stay in focus - provided that the user can overcome the initial frustration of not seeing everything at once; or at least the illusion of ever beeing able to do so.

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“EVERY BUS THAT PASSES, EVERY PERSON WHO WALKS BY, EVERY OBJECT, THING, AND EVENT - EVERYTHING THAT HAPPENS AND THAT DOES NOT HAPPEN ULTIMATELY SERVES NO OTHER FUNCTION THAN THAT OF SO MANY CHRONOMETERS, SO MANY SIGNALS, METHODS, AND CLUES FOR MARKING TIME, FOR ERODING PERMANENCE” MARC LOWENTHAL 096

Section stiched together of photographs

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Probes in development

“THINGS OUTSIDE YOU ARE PROJECTIONS OF WHAT’S INSIDE YOU, AND WHAT’S INSIDE YOU IS A PROJECTION OF WHAT’S OUTSIDE. SO WHEN YOU STEP INTO THE LABYRINTH OUTSIDE YOU, AT THE SAME TIME YOU’RE STEPPING INTO THE LABYRINTH INSIDE” KAFKA ON THE SHORE, HARUKI MURAKAMI

he project aims at activating a space while adding value to its window. The project proposes a mechanism that allows it user to strenghten his ties to both his view and his room. It does so through a game of connect-the-dots prompting the user to choose which fragment of the exterior he would like to examine by moving to a certain possition in the space. The proposed mechanism consists of a periscope attached to tubes above the ceiling. The tubes form a grid of holes, to which the periscope can be moved. The arrangement of the tubes implies no logic move to your left, and the view will shift upwards, move back and the view will shift to the left. The room becomes an observatory for the user, allowing him to shift between focusses and register only a bit of the life on the outside at a time. The question is, however, will focusing on one fragment not reveal otherwise unseen details and events? And will that not motivate the user to focus even further? From the movement of cars to the faces of people to the particles of dust to the molecules. When have we ever witnessed it all?

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Sketches

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SECTION 1:5

ELEVATION 1:5

PLAN 1:5

EXPLODED AXONOMETRY 1:20 with sections

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SECTION 1:100 relation to body

Periscopal specifications / exploded axonometry

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Engaging space / conceptual collage

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he narrative of the window device was packed in a box, showcasing drawings, models and mechanisms as layers of the box are unfolded. A plate lifts and exposes a drawing, a drawer is opened revealing a simulation device allowing the viewer to test the movement of the periscope and its effect by himself.

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5th SEMESTER F13 | EXCHANGE

JERUSALEM SPCA TUTOR:

Karen Wainer

Bezalel

Because of plans to re-organize the infrastructure of the industrial zone Atarot in the outskirts of Jerusalem, Israel, the SPCA of Jerusalem is forced to abandon itâ&#x20AC;&#x2122;s present accomodations. Studio KW of the Bezalel Academy of Arts and Design was asked to develop proposals for new buildings to accomodate the JSPCAâ&#x20AC;&#x2122;s needs. The following project has been developed with respects to municipal regulations, international animal welfare laws, the very perticular climate of the area and political regards to the fact that the site is located in Israeli occupied territory. The proposal is being considered by the JSPCA.

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ANIMAL SHELTER This project puts emphasis on the Jerusalem Society for the Prevention of Cruelty against Animals ( JSPCA) as a vital part of the upkeep of the modern city: a civilized organization that promotes and accepts it’s urban responsibility. It is functional and organized in order to ensure the best working conditions for it’s staff and a clean and safe physical environment for the sheltered animals. The project will partake in the maintainance of urbanity that is crucial to the upkeep of a civiliation, where the society must take responsibility for it’s own creations; be they roads, facades or animals.

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EXISTING

JSPCA

EST. 1970

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31°51’12”N, 35°13’19”W ATAROT, East Jerusalem Israel

JERUSALEM

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NEW SITE ATA R O T, E A S T J E R U S A L E M

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his proposal for the Jerusalem SPCA focuses on the animal shelter as an extension of the city; an institution placed in the perifery of Jerusalem with the purpose of dealing with a major urban problam: stray cats and dogs. In both Arab and Israeli religious culture cats and dogs are rarely seen as house animals - it is frowned upon to walk a dog or keep one at home. As a result, many animals are used in aranged fights and others simply thrown on the streets where they feed on garbage and breed new generations of wild street animals. This shelter aims at preserving a safe and civilized environment in the city of Jerusalem by taking care of stray animals, getting them used to being in contact with people as well as spaying and neutering them in an inhouse clinic. The project consists of a main building housing a reception, administration, waiting areas for visitors, staff areas, two clinics and recreational atrium in the middle. North of the main building the dog and cat pounds are situated. They are placed around a central courtyard where visitors can meet their future pets. At the end of each passage a small resting space is placed. Here the outer walls are perforated, showing trees outside. Thus, the greenery becomes the guiding force around the complex as the visitor never looses sight of nature. The building is self ventilating; its roof extended in such a way that sun is kept out in the summer time but let in during winter. The central courtyard allows indirect light to enter deep into the building while also functioning as an air duct.

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LOBBY - LOOKING NORTH

5. 5. 1. Reception 2. Waiting room / adoption 3. Waiting room / clinic 4. Public restrooms 5. Exterior public spaces 6. Consultation 7. Clinics 8. Storage 9. Vet preperation room 10. Staff restrooms and shower 11. Staff recreation and kitchen 12. Apartment 13. Classroom 14. Administration + conference room 15. Quarantine 16. Dog pounds 17. Puppy area 18. Cat pound 19. Animal preperation 20. Parking

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FLOOR PLAN

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MAIN BUILDING R E C E P T I O N WA I T I N G

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A P A R T M E N T S

C L A S S R O O M ADMINISTRATION S

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ELEVATION EAST

SECTION EAST-WEST

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he design of the cages for the sheltered animals focuses on achieving the highest capacity possible while still accomodating the requriments set for the welfare of animals. The cages are designed to fit into constellations of different types of yards that accomodates animals of various races and sizes ensuring a safe, but active environment for the dogs to live in. The cages are heated and cooled completely natural, the roofs made to provide shelter from the sun both inside the cages and out in the yards during the middays of summer - as the sun will heat up the cages during winter. Ventilating perforations are made in the walls between cages, enabling the upkeepers to easily close ventilation during cool nights and open them during hot days. At the same time, the upkeepers are kept in the shade will working.

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4th SEMESTER | WORKSHOP

TRANSFORMATIONS TUTOR:

Karen Olesen

AAA

The Transformations workshop investigated the concept of artistic theft by creating architectural proposals about the transformation of Clemens Bridge, Aarhus, based on different existing buildings.

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GALLO-ROMAINE Through studies of the Musee Gallo-Romaine in Lyon by Bernard Zehrfuss, defining fragments of its architecture were substracted in models in order. The fragments were then translated into a proposal for the transformation of Clemens Bridge, Aarhus.

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DRAWINGS & PHOTOGRAPHS

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THANK YOU