Seg II portfolio by Mikkel Stromstad

PORTFOLIO Mi kkel Dahl St rø ms t a d

This portfolio is a document showcasing my growth and progress through Segment II. The portfolio is organized into four components: Academic Studio, Academic Courses, Practice and Personal Explorations. The Individual Academic projects are presented developmentally from concept and analysis through schematic design and design development. The Professional projects are presented developmentally but only include those phases of the design and construction processes in which I personally participated in.

Design Connection Essay

In practice I learned how to be a professional, by applying techniques I learned in studio and academic courses like presenting, being a team player, and giving the project my complete dedication. The BAC has taught me how to be responsive with clients; for example when I worked at Betonmast and had to argue the architect of the project that they had to cut the number of different bathroom modules from 8 to 2. In academics I have learned the technical skills required to accelerate in the design profession by overcoming the learning curve of 3D BIM modeling and digital and physical fabrication all based on the my persistence and eagerness to learn. Each design studio I have taken at the BAC has had a major influence on my design education. I have been very fortunate to have had instructors that insisted on me to work with my hands as it is (for me) the best way to learn and design. The collaborative nature of the unique interracial and international studio culture at the BAC has challenged my linguistics skills in English as a second language. Because of this, I not limited to base my design decisions on my own academic and practice experiences I am very open to receive feedback from my teachers and peers as I believe there are many different ways to solve a design problem. I have also been fortunate to be closely involved with the unique college culture. As a student representative on Atelier (the BAC Student Government), I have been able to work with inspiring and motivating peers, administration, faculty, and staff. I had the opportunity to play a significant role in the development of the BAC Student Lecture Series, Student Workshops, Loft-Art, and ultimately work on the Ecotopian House. These experiences have strengthened my relationships with peers, and challenged my leadership skills. For me, the BAC has been the key to preparing me for a career in the field of architecture. With the opportunity to apply my skills in academia and practice, I have gained the necessary self-esteem and tools to become a leader in the design profession. Because of the BAC experience, I am comfortable knowing that I am prepared to embark on my goal to work with architecture internationally.

Mikkel Dahl Strømstad Portfolio | M.Arch | July

2012

Resume ‘03

‘04

‘05

‘06

‘07

Graphic Design + Merkantilsk Institutt, Oslo, Norway

Math & Physics + Bjørknes Privat Gymnas, Oslo Norway

Bachelor in Civil & Structural Engineering + Oslo University College, Oslo, Norway - Vice representative, Class of ‘08 - European Project Semester

High School Diploma + Oslo Economic High School, Oslo, Norway - President, Class of 2003 - Director of finance, school show 2002

President + Vestre Aker Young Conservative, Oslo Norway Board Member + Ullern Standing Committee on Transport and Urban Development, Oslo, Norway Elected Representative + Ullern District Council, Oslo, Norway Construction Worker + AF Gruppen AS, Oslo, Norway Gardner + Rikshospitalet University Hospital, Oslo, Norway - Summer job

Floorball Head Coach and Referee + Bygdoy Monolitten IL, Oslo Norway - Head Coach for Boys 95, 93, and 90-91

Engineer Intern

‘08

‘09

‘10

‘11

‘13

Visiting Semester + AA School of Architecture, London, UK - Spring Semester Program

Visiting Semester + Kiel University of Applied Science, Kiel, Germany - European Project Semester Master of Architecture Candidate + Boston Architectural College, Boston, MA, USA - Student Representative, Atelier, Student Government Business English + Boston University, Boston, MA, USA - European Project Semester

Freelance Architect + Arkitektene Dahl & Myrhol AS, Oslo, Norway Freelance Designer + SHIFTBoston, Boston, MA, USA Architect Intern + Eric Nelson Architects Inc, Winchester, MA, USA - Extension of AIAS Competition President and Co-founder + Association of Norwegian Students Abroad (ANSA) New England chapter Gardner

‘12

Gardner Engineer Intern + Betonmast AS, Oslo, Norway - Summer job

Index

Academic Studio + C-2 Studio - Appalachian Mountain Club - Mountain Hut 10-21 - Appalachian Club Headquarter 22-33 + C-2 Studio - Concrete Thinking - Mt. Auburn Cemetery Crematorium

34-43

+C-1 Studio - Art of Settlement - Brickbottom Residential Mavrick 44-55 + Architectural Association School of Architecture, London, UK (Spring Semester Program, visiting semester) - Bilbao Skygarden 56-69

Design Connection Essay

Academic Courses + Boston Architectural College - Site Design 72-75 - Accoustics and Lighting 76-79 - Programming and Codes 76-79 - Revit 80-83 + Architectural Association (AA) School of Architecture - Active Matter 84-91 - Pending Structure 92-99 - Architectural Coupling +1 100-105

Practice + AF Gruppen AS - Røaterrasse Trinn 1, Oslo, Norway - Årvollskogen Trinn 3, Oslo, Norway

108-111 112-115

+ Freelance - Extention to Trysiltunet cabin

116-119

+ Eric Nelson Architects Inc - Project MOHO, AIAS Competition

120-131

+ Ecotopian Project - SOHO . Sustainable Oriented Design Assosiation

132-135

+ SHIFTBoston - Various Graphic Design 136-139 + Freelance - Pool House and Landscaping in south of France

140-145

+ Betonmast AS - Kirkeveien 159 and Bergenegården, Oslo, Norway

146-154

+ Arkitektene Dahl & Myrhol AS - Trysiltunet Cabin Extention, Trysil, Norway

152-171

+ The BAC McCormick - Exhibition instalation 172-175

Personal + Atelier - Boston Architectural College - Student Government 178-183 + Traveling India, United Kingdoms, France, Italy, Israel, Austria Spain, Lithuania, Estonia, Sweden, Germany, Denmark Finland, San Marino, USA, Czech Republic, Switzerland

184-187

+ Photography - Published Architectural Photography

188-199

aCADEMIC STUDIO

mountain hut C-2 Studio

Fall 2010 Instructors: Christine Cuttitta (and Robert Buchetto) Duration: 4 weeks

TUCKERMAN RAVINE, MT. WASHINGTON The purpose of this project was to design a mountain hut on Mt. Washington, NH for the Appalachian Mountain Club. No program was given and we were free to design without restraints. Short time after the project was given, I drove up to the White Mountains, and hiked Mt. Washington to search for a suitable sites. I decided to focus on the area around Tuckerman Ravine and ended up picking a site right above the Ravine; a place right on an intersection of several paths. The actual site is a part of the mountain covered in rubble stones, which do not give a lot of opportunities for hikers to seek shelter. Mt. Washington has the record for the fastest recorded land wind speed, as well as a rapidly changing climate. There is a road and a train reaching the top of the mountain, but in the winter time the top is isolated.

Top: Arial view of the White Mountains Middle Row: Images from Mt. Washington, NH Bottom Row: Precedence studies Opposite: Map & photos from Mt. Washington 12

Appalachian Mountain Club

Mt. Auburn Cemetary Crematory Mountain Hut

The hut is designed to be a cabin and shelter for climbers on Mt. Washington. Since the weather can change rapidly I chose to place the hut close to one of the main paths going up to the summit, because it will increase the chances of finding the hut in bad weather. The general shape of the hut is also designed to work with the wind, minimizing the forces on the building.

Top: Sunset from under the rime ice, photo taken at Mt. Washington, unknown photographer Left: Wind study Bottom Right: The site 14

Appalachian Mountain Club

“...EXPLORING how WIND and WATER DESIGNS in SNOW and ICE...”

Icebergs from Greenland. The one to the left is shaped by wind and water, while the one to the right is in the making Mountain Hut

Appalachian Mountain Club

Opposite: Weathered iceberg This page: Sketch model exploring how wind and water designs in snow and ice. Model made with metal, wood frame, and tape. Mountain Hut

Left: Weathered iceberg Right: Sketch model exploring how wind and water designs in snow and ice. Model made with tape. 18

Appalachian Mountain Club

Based on my personal experiences of hiking for many years, I created three zones in the hut. Firstly, an exterior zone that can be used on nicer days to feel the nature just a couple of footsteps away from the door. Secondly, an open interior space only separated from the exterior by a glass wall. This will allow guests to watch the strength of nature at close hand, but within the safety of a building. Lastly, I created a secure inner room. Slightly lifted up from the rest of the hut floor, this space is designed to allow snuggling up into the corner of the sofa with a warm drink, to regain some energy after a long day outside. By designing these three zones, guests can choose the level of security they want to feel depending on their outdoor experiences or the weather. The external framework covering the terrace has horizontal louvers to collect rime ice. This creates a protecting shell effective in long periods of harsh weather and makes a spectacular visual phenomenon.

Less environmental impact

Left: Sketch model with person, with and without rime ice Middle: Exploring how the building should sit in the terrain. Right: Sketch of the three zones of the hut Mountain Hut

FJELLHEIM NORTH-SOUTH SECTION 1:100

Protective Ice Layer

Support Frame

Secure Enclose Area

Top: Panoramic view from the hut Bottom: Exploded axonometric drawing showing the different elements Opposite Top: Rhino 3d model of project Opposite Bottom: Floor plan 20

Appalachian Mountain Club

Open Multipurpuse Area

Ribbon Layer

Protected Exterior Pation

Mountain Hut

Urban headquarter C-2 Studio

Fall 2010 Instructors: Robert Buchetto (and Christine Cuttitta) Duration: 12 weeks

Urban Headquarter In this studio we were asked to design an urban headquarter for the Appalachian Mountain Club in Somerville, MA. The site is an abandon gas station, in a triangular site, on Beacon Street with the train passing on one side of the site. The site is located in a residential area with houses varying from 2-4 storey. The headquarter is meant to function as a club house for its members and as an educational institution for the public to create excitement and motivation for hiking and climbing. From the course Site Design, which I took the same semester, I had learned how to do find setbacks and other data relevant to the initial site analysis. I struggled a bit to find height requirements, which I learned all about in the following semester when I took Programming and Codes.

Left Column, from Top: Site from east, south, west and north Right Column: Precedence studies 24

Appalachian Mountain Club

Top Right: Image used for the Mountain Hut. The iceberg to the left is weathered by nature while the one to the right still has the sharp edges. These are edges which we recognize from the city. Urban Headquarter

CLIMATIC DIAGRAMS N 345°

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30° 10°

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315° 20°

3 0 k m/ h

30° 60° 1st Jul

300° 1st Jun

40° 1st Aug

2 0 k m/ h

50° 1st May 285°

60°

75°

70°

1st Sep

1 0 k m/ h

80°

1st Apr 270°

90° 1st Oct

1st Mar 255°

105° 1st Nov

1st Feb

1st Jan 240°

1st Dec 120°

16 15

8 14

225°

135°

210°

150° 195°

165° 180°

Left: Climatic Diagrams; sun path and wind rose Right: Sketches exploring the mass figuration on the site. Bottom Middle: Continental crusts crash and lift to create mountains Bottom Right: Diagram showing the vertical layers of the building 26

Appalachian Mountain Club

W in d Fre q u e n c y (H rs)

h rs 31 6+ 284 252 221 1 89 1 58 1 26 94 63 <3 1

Left: Sketch exploring the profile of the building Right: Sketches exploring the volume of the building Bottom Left: Program of the building Urban Headquarter

Top Left: Diagram showing the creating of the entrance Bottom Left: Diagram exploring the skylight Right: Two-perspective sketch exploring the street view of the building. 28

Appalachian Mountain Club

DESIGN DIAGRAMS Site Train tracks in the back Small road in the front Residental neighoor to the right

Setbacks Maximise the wedge shaped site

Hight Let the building lift up from the site as a mountain to allow solar gain

Entrance Lift up the corner closest to the road to easily allow visitors to enter

Main structure The main structure of the clubb is shaped as Mt. Washington, NH

Courtyard Interior courtyard to allow natural light into the building and provide a climbing wall on the walls of the courtyard

Diagrams explaining the massing of the building Urban Headquarter

An important aspect of hiking in the mountain is to avoid being caught by the evening darkness in unfamiliar or rough terrain. It is therefore essential to reach the goal before sunset. By putting the climbing wall inside the courtyard I have created a place where climbers can head for the light. When coming to the headquarters in the late afternoon the sun would have moved far enough down to cast a shadow in the courtyard. The longer time the climber uses the higher he/she has to climb to reach up to the sunlight. If a climber is only able to get up to a certain difficult level of the climbing wall he/she needs to start climbing at a specific time depending on the season to reach the light. This will also make the visitor more aware of the seasons in a general, far away from the hectic city life.

Top Left: Diagram section of the climbing wall in the courtyard, experienced from both inside and outside. Top Right: Exploring material combination of corten steel and white concrete. Inspiration of iron in rocks and snow from trip to Mt. Washington Right: Sketch showing climbers reaching for the evening light as the sun sets. Left: Spider fitting details 30

Appalachian Mountain Club

FLOOR PLANS

FLOOR PLANS 3.

2nd Floor 1. Lounge 2. Office 3. Meeting Room 4. Climbing Atrium 5. Restroom 6. Roof

3rd Floor 1. View down to the lower floors 2. Map room/Research Li brary 3. Restroom 4. Elevator 5. Climbing Atrium 6. Roof

3rd Floor 1. View down to the lower floors

2. Map Room/Research Library 3. Restroom 4. Elevator 5. Climbing Atrium 6. Roof

3. 2. 5. 3.

1. 6.

2nd Floor 4.

1. Lounge 2. Office 3. Meeting Room 4. Climbing Atrium 5. Restroom 6. Roof

1st Floor 1. Entrence 2. Reception 3. Kitchen 4. Cafe 5. Exhibition Space 6. Auditorium 7. Climbing Atrium

4. 5. 6.

1st Floor 1. Entrence

2. Reception 3. Kitchen 4. Cafe 2.

5. Exhibition Space

6. Auditorium 7. Climbing Atrium

Basement 1. Gym 6. 2. Dressing Room Basement 3. Restroom 1. Gym 2. Dressing Room 4. Auditorium 3. Restroom 5. Climbing Structure 4. Auditorium 5. Climbing Structure 6. Office & Storage of Educational 6. Office & Storage of educational equipment Equipment

1. 4.

Left: Floor plans Bottom Right: Image of a stair with integrated ramp. Used as precedence study for main stair. Gives a sense of the mountain experience while still handicap friendly Urban Headquarter

The headquarter has an open central courtyard, glazed in glass with climbing walls, allowing visitors to climb on a translucent wall. This creates a unique experience both for the climbers and for the other visitors in the building. The building is shaped as the top of a mountain, done to draw a parallel to the White Mountains. The white concrete contributes to emphasize the connection. The roof is lifted up at the top corner of the building to allow light into the library and the map room at the top. It also functions as a beacon towards Mt. Washington.

Top: Night view from northeast Bottom Left: Section through the auditorium Bottom Right: Section through entrance and main staircase 32

Appalachian Mountain Club

Landscaping and climbing wall in courtyard

Interior Courtyard and climbing wall

Entrance, landscaping and courtyard

View from south-east

Climbing wall on the courtyard glass walls

Urban Headquarter 33

Concrete thinking C-2 Studio

Spring 2011 Instructors: Kevin J. Losso Duration: 16 weeks

NEW MT. AUBURN CEMETERY CREMATORY

The space and feeling it created was the inspiration source throughout the design process. The idea was that I not only wanted to design a space, but also convey the ritual and process of losing someone close that the space could represent. Right: Concept diagram, derived from the first initial painting from the second week. 36

Concrete Thinking

“SPRING HAS COME AGAIN. The earth is like a child that knows poems by heart. many, o many... For the vexation of long learning she gets the prize” “FEAR NOT THE SUFFERING; the heaviness give it back to the weight of the earth: the mountains are heavy, heavy the oceans.” “Even the trees you planted as children LONG SINCE GREW TOO HEAVY, YOU COULD NOT SUSTAIN THEM Ah, but the breezes... ah, but the spaces.”

Transendency

“The rose a tree, O pure TRANSCENDENCY.”

Ceremony

At the first visit to the site, I got fascinated by the different types of trees and name tags. There was one large tree in particular that caught my attention. The big tree was planted to create a great space beneath its branches and reminded me of the fourth part from the sonnets. The tree was wide and vast, however the space beneath its branches felt light and open and at the same time very secure.

THE SONNETS TO OPHEUS by Rainer Maria Rilke

Mourning

The first week we read The Sonnets to Orpheus by Rainer Maria Rilke and chose elements of the text which meant something special for us. These sentences were then to be the basis of both the development of our concept and also the feeling of space.

Sadly, I did lose someone close later in the semester and I had to go home to Norway for about a week to spend time with my family. This gave the studio a deeper meaning and I got a confirmation of the feeling and need in time of mourning.

Time

“This studio introduces the variety of ways that we can think about the use of concrete, perhaps the most plastic of building materials. This course will use verbal language (from poetry and theory) to arrive at a visual language. By the end of the course, students will have developed a personal process that takes them from the “blank sheet” to a thoughtfully designed (and concrete) product.”

The two acrylic paintings are a representation of the feelings and mood created by the sonnets. The vertical movement is driven by the TRANSCENDENCY of the tree. The dark bottom painting represents the heaviness and darkness of losing someone close, while the white strokes represents the good memories shared with the one lost. The direction of the paint strokes also illustrates how friends and family come together to deal with the loss. This is combined to represent the main nave in the image, the ceremony, the most energetic part of the painting and mourning process. The circular “spaces” on each side symbolizes the sharing of memories in the ceremony (the funeral), the space created by the tree, and the space I envisioned while reading the sonnets, especially in verse four. The tree concept diagram is a symbol of a tree, which depicts the roots and branches to look the same. In terms of the mourning process, the roots indicate how friends and family gets the news of the passing of a close one. The branches symbolize that everyone has their own path in the everyday life afterwards, but everyone can lean back on the supporting trunk.

Top Left: The big tree right next to the site Left: Hand diagrams showing community and safety. Middle: Two acrylic paintings exploring the feelings and mood created by the sonnets with focus on the selected verses Mt. Auburn Cemetary Crematory

SITE EXPLORATION AND INITIAL SKETCHING

PRECEDENCE STUDIES

The site has a large height difference, so I started immediately to explore alternatives to address this challenge. I also explored the different feelings and moods created by the height variation of the ground along the path up from the lower part of the site.

Left: Site plan of the Mt Auburn Cemetery Crematory Right: Series of sketches exploring site/human relationships 38

Concrete Thinking

Mt. Auburn Cemetary Crematory

The design of the crematory is derived from the concept diagram and drawings of hand coming together. The concrete base of the structure is nestling the wooden structure covering the chapel space. The concrete elements, which make up the base, are shaped as humans standing close together, reaching for the sky. At the lower floor of the crematory, nestled in between the “roots of the tree”, there are two remembrance spaces where mourners can remember their loved ones. Both spaces have a reflection pool and opens up to the sky.

preciated to see these the people throughout the ceremony and not having to turn around. With a central organized floor plan, where the coffin is in the center, everyone attending surrounding it, it becomes shared experience, where one is not alone in the mourning. Entering through the main entrance, one is given a first indication of the unusual chapel layout with a circular staircase around a central elevator, which is also a reference back to the tree trunk from the first painting.

At the 1st floor, a main entrance brings visitors into a circular staircase leading up to the chapel. To the left of the entrance, there is a delivery entrance where cars can bring coffins or flowers to the ceremony. Inside the loading area there is a holding room, with access to the cooling room, workspace and into the room holding the cremators. Between the main entrance and the delivery area is the entrance leading to the offices. The chapel is located on the 2nd floor and is the central focus of the layout. I chose the layout because of my own experience from the funeral of a close family member during the same semester. I remember sitting on the first row of the church and not noticing the arrival of people to the church room until everyone started singing the first song. It was a great feeling to experience the sound of so many people, but at the same time I would have ap-

Left: Stair detail 40

Concrete Thinking

Stair section detail scale 1’ = 1”

Stair Section 1’ = 2”

2nd Floor Chapel Wall connection section detail Structural Detail scale 1’ = 1” Altar 1’ = 2” Coffin lift Ramp Seating Elevator 1st Floor Crematorium

Main stair

Cremators Cooling room Delievery Work area Office Stair up to chapel Main entrance

Top Left: Detail of connection between wood frame structure and concrete base. Left: 1st floor plan Right: 2nd floor plan Mt. Auburn Cemetary Crematory

LAW

N A

. VE

AVE

CYPRE

New Learning In this studio I took full advantage of my knowledge of concrete from my undergraduate studies in civil and structural engineering, and used it in a design project. Perhaps most important I learned a lot about designing space, based on evoking and emphasizing certain moods and feelings. The purpose of this project is to design based on the space inside, and not the exterior aesthesis of the building.

A P

Left: Final site plan Top Right: birds view of central oriented chapel Bottom right: View of remembering space. 42

Concrete Thinking

Site Plan Scale 32’ = 1”

Mt. Auburn Cemetary Crematory 43

Entrance to Memorial Area

Bird’s Eye View

Site Section North - South

Brickbottom - Residential Maverick Art of Settlement

Fall 2011 Instructors: Philip Loheed and Allen Fletcher Duration: 16 weeks

In this studio, we could chose between a suburbia or urban development area. The urban area was Brickbottom in Somerville, MA and was based on an earlier competition submission. Within the Brickbottom plan, we could chose between a tall mixed-use building, an art school, a religious center, a park, several commercial mavericks or residential mavericks.

During the first two weeks of the studio we worked on making a spirit show of our personal cultural background and an overview of the neighborhood we grew up in. The scale comparison would later help us judge the scale of Brickbottom compared to our neighborhood area. On this page is a scaled satellite view of the neighborhood which I was born and raised. On the opposite page is a collection of images used in the spirit show, which was accompanied by the music piece, Morning Mood and In the Hall of the Mountain King by the Norwegian composer Edvard Grieg.

This page: Scaled satellite view of my childhood neighborhood. Opposite: Series of images used in the spirit show 46

Art of Settlement

Spirit show: cultural background

SPIRIT SHOW: CULTURAL BACKGROUND

BRICKBOTTOM - SITE ANALYSIS In its early years, the Brickbottom District was a major site of brick making due to its clay-rich land. By the late 19th century and through the first half of the 20th century, the District was a vital neighborhood of immigrants coming from all over the world. The residents worked, lived and played together in a cohesive and intermingled way. It was an urban area of houses, parks, factories and streets named after the trees that lined them. The area is now in need of a redevelopment and the local community is actively taking part of the process. Parallel with this studio, I also took the course “Ideas & Design - Design & social engagements” with William Boehm, which had a strong focus on participatory design processes. The studio went to one of the town meetings and ended up participating in the design workshops at the meeting. This experience helped in the design process in the studio, but was also very interesting and educational relating to Boehm’s course. I had some earlier experiences with participatory design processes, both from my own background in politics but also in the Ecotopian Project, a Gateway practice project and studio, where Boehm was a consultant and guest critic. Top Left: Wind diagrams Middle: Shadow diagram Bottom: Sun path and indicated selected lot. Right Column: Maps with misc. information 48

Art of Settlement

P P T

W ng

as to n St

St n

T T

Lowell Line

n ee ne

te Ex

to Unio

n Squa

re Stati

tto

re Stati

ick

n Squa

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Left Column: Images from the town meeting workshop. Middle: Proposed development plan Fitchbu Right: Extract of development plan rg LinTop e n

Brickbottom - Residential Maverick

Left and Middle: Elements from the Pattern Language I want to incorporate into the project Right: Sustainable elements to design into the project 50

Art of Settlement

Left: Different elements in a Living Machine System. Middle: Sun and facade studies Right: Facade diagram showing how it protects from the sun in the summer and allows sun in the wineter. Also shows how the louvers protect privacy from the street below. Brickbottom - Residential Maverick

On this page, one can see the process of distribute square footage and use in relation to zoning. Terraces with stepless solutions are a nice touch to an apartment, but it comes with a price of height, something I have learned through my practice at Arkitektene Dahl og Myrhol. To be able to fit 6 stories I had to drop the terrace on the 5th floor. Therefore, I increased the size of the upper level terrace and made it a communal roof garden, where residents can meet and greet. From the shadow diagram, one can see that at the corner of the building it would be a nice place for a lunch bar due to the sun conditions at this spot around lunch hour.

345°

15° 30°

330° 10°

45°

315°

20°

30° 60° 1st Jul

300° 1st Jun

40° 1st Aug 50°

1st May 285°

60°

75°

70°

1st Sep

80°

1st Apr 270°

90° 1st Oct

Top: Sketches trying to solve square footage Left: Distribution diagram: 1st floor commercial, 2nd floor offices, and top floors residential with a green roof. Left: Building meets street section. Bottom: Shadow diagram for the corner.

1st Mar 255°

105° 1st Nov 1st Feb 1st Dec 120°

1st Jan 240° 16 15

Art of Settlement

225°

135°

210°

150° 195°

180°

165°

The exploration of façade shading, was important because of the hot summer sun, and also because of needs of privacy from the street below was very interesting. In addition to create shade to the windows during the summer months, the facade would ideally allow the winter sun to warm up the apartments. The arcade at street level is designed to function as a threshold between the street life and the building. It should make passing people stop and shop from one of the commercial units at street level. Ideally, it should also be a place where people can stop, watch other people and just absorb the vibe of the street.

Left Column: Spirit show for the project Top: Facade sketch Bottom: Arcade sketch Right: Images of people watching people. Brickbottom - Residential Maverick

M - RESIDENTIAL DOUBLE MARVERICK B FLOOR 1” = 8’ SHARED ROOFTOP SHARED ROOFTOP SHARED SHARED ROOFTOP ROOFTOP

BRICKBOTTOM - RESIDENTIAL DOUBLE MARVERICK B Brickbottom -BRICKBOTTOM Residential Double Maverick B BRICKBOTTOM - RESIDENTIAL DOUBLE MARVERICK B BRICKBOTTOM - RESIDENTIAL - RESIDENTIAL DOUBLE DOUBLE MARVERIC MARVE

FLOOR PLAN 1” = 8’

NORTH 1” = 16’

FLOOR PLAN 1” =PLAN 8’ FLOOR FLOOR P 1” = 8’ 1” = 8’

VIEW FROM PARK

NORTH ELEVATION 1” =ELEVATION 16’ NORTH NORTH E 1” = 16’ 1” = 16’

NORTH ELEVATION 1” = 16’

EAST E 1” = 16’ EAST ELEVATION

Brickbottom - Residential Maverick

rt Incubator

for local and international artists. It will incubate a cre-

m different disciplines together to enhance the creative

ct will allow artists to live and stay on-site and Bilbao

Bilbao - Skygarden

AA School of Architecture London - Spring Semester Program Spring 2012 Instructors: Naiara Vegara Duration: 18 weeks

This studio will explore the opportunity to incorporate the obsolete infrastructure of the A8 highyway into the city and to question the future vision of the site will be the focus of our work. The profile of Bilbao has been transformed over the past 25 years thanks to urban regeneration along the River Nervion, which centred on the Guggenheim. The A8 highway has the potential to be the backbone of a new transformation. Students will formulate their individual vision to be exhibited in Bilbao. The completed research and explorations will inspire the new cycle of ideas for Bilbao’s next reincarnation.

HYBRIDS IN THE STREETS OF LONDON We started the semester exploring the concept of Hybrid. Walking around in the streets of London, we were told to photograph elements of the street which we understood or viewed as hybrid. In this process I created my own hybrid description: “Hybrid, the offspring or combination of two or more elements; which together adds a new aspect to the whole. By playing with layers, depth and dimension, the hybrid, uncovers an initial unclear mesh to reveal a deeper meaning and understanding for the permutation of elements.” The main image I chose, I believe, is an example of phenomenal transparency. The different levels in the image create more depth, vanishing the boundaries, and emphasizing the three dimensional aspect.

Top Right: Storefront phenomenal transparency Smaller images: Other explorations of hybrids 58

AA School of Architecture - Spring Semester Program

SITE ANALYSIS

Context

At the existing condition, the highway divides the district into an urban mix-used area and a more residential area. The renewal of the area would take advantage of an extension of the city tram, lifting traffic away from the existing traffic highway.

xtention

Points of Interest Mixed Use Residential

2 6 5 7

Points of Interest 1

Guggenheim Museum

Bilbao Fine Arts Museum

White Bridge (Zubi Zuri)

Arriaga Theater

AlhondigaBilbao

San Mamés Stadium

Plaza de Toros

The city of Bilbao has a goal to keep its talents and to attract new ones. After researching and visiting Bilbao, it was evident for me that the city needed a place where talented artists could gather and stay for extended periods. It has the Guggenheim and other galleries, but work is only exhibited here. The place I suggested had an exhibition space, workshops and artist apartments. This means that artists who are staying in Bilbao live and work in the same place, which allows visitors to interact with artists, as well as creating a community for artists to work together. By providing housing for the artists, they can stay in Bilbao for a period and give the artist a chance to explore the city.

Site Section

Top Left: Trams and railroads Top Right: Dark gray - mixed-use. Light gray residential Middle Left: Bus lines Middle Right: Places of interest Bottom Left: Heavy and light traffic Bottom Right: Visual axis to the site. Bilbao - Skygarden

PRECEDENCE STUDY HIGH LINE, NYC

CIRCULATION & PROGRAM

PUBLIC

PRIVATE

ENVELOPE

SURFACE TREATMENT

The interesting phases of the High Line, for me, are where it interacts with the street below. For instance, the “projector box”, seen in the image below, gives the visitors a unique elevated view on one of the avenues. The places where people can choose to walk the steps up to the High Line are also important spaces. These spaces are significant, because it is where people are taking the final decision if they are walking up the steps to the High Line or staying at street level. I believe this awareness of the decision making process increases the life quality, by making the public aware that they have taken a decision based what they thought would improve their experience.

Left: Picture of one of the places where the High Line interacts with the street below. Right: Series of diagrams 60

AA School of Architecture - Spring Semester Program

STRUCTURE

CIRCULATION & PROGRAM

PUBLIC

PRIVATE

PRECEDENCE STUDY OSLO OPERA HOUSE Since we are going to design an urban space, I chose the Oslo Opera House as one of my precedence’s study due to its success as a public gathering space. After analyzing the building, I diagrammed the main elements I found to try and reinvent and incorporate into my project. The Opera House is a hybrid, because even though its intended purpose is to be a ballet and opera house, and it is very successful as its concerts are sold out, the most popular use of the building is the public piazza around and on top of the Opera house.

ENVELOPE

STRUCTURE

SURFACE TREATMENT

Bilbao - Skygarden

Vertical Circulation

Project Program artist appartment

auditorium

artist appartment

auditorium

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

Central line

Right line

Left line

Random line

Middle pair

Shifted pair

Central pair

Central pair 90 deg.

public gallery

Unit

shared artist space

public gallery

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Project Program workshop

Connection

First, I established the program elements which would be part of the project. For me the important part is the connection between the artists themselves and between the artists and the visitors, as see in the diagram to the right. The “Unit” row shows an exploration of the layout of the shared public space between the artist’s workshops. I found that hexagon was the best method to create a balanced space between public access and privacy for the artists. The hexagon, with one side open towards the circulation path, must be open enough for people who passes by to want to walk in, yet private enough so that artist felt that the place was theirs. This shared space is where visitors could come to talk and see artists work. The hexagon grid also has workshop group areas for five, which is a well balanced group number.

shared artist space

Elements

workshop

Appartments

The Connection diagram shows how one artist connects, makes a group and how that group interacts with other groups of artist to accelerate the design input.

Workshops

Top: Project program diagram Middle: Unit and connection diagram Bottom: Unit sketches Right: Series of sketches 62

AA School of Architecture - Spring Semester Program

Urban Strategy Incubators

Tram Stops

New Hubs

Network

URBAN STRATEGY The Urban strategy is based on three intersections along the highway. These points are chosen because they are visible from a long distance. Since only the river side of Bilbao is renewed, I believe it is important to design visually interesting so that tourists visiting Bilbao notices that there is more architecture to explore further into the city. By designing on these axes, the areas can draw people up to the more residential areas. Due to time constrains, we could only design one project and I chose the one on the main axis, Calle Autonomia.

Top: Urban Strategy Bottom: Series of site pictures from the site visit in Bilbao, Spain Bilbao - Skygarden

Unit Development

Connectivity Single Unite

Single Connection

Double Connection

Multi Connection

Triangle

Square

Pentagon

Project Program Hexagon

Heptagon

Workshop Units

Shared Artist Space

Artist Appartments

Mixed Use

private

semi-private

private

semi-private

Visitors’ Impression Too Public

Too Public

No Ownership

Too Public

Still Public

Too Closed off

Ownership

Too Much Ownership

Artits’ Impression

Ground Floor

2nd Floor

1st Floor

No Ownership

3rd Floor

down

up up down

down

down up

down

Studio Name 0

20m

4th Floo

Facades Public Gallery

public

Roof Plan

Right: Series of initial sketches exploring figure-ground and phenomenal transparency Mt. Auburn Cemetary Crematory

Section A-A

Program Roof Garden

Circulation Scheme

Apartments

Direct Vertical

Workshops

Path

Private

Semi - Private

Public

AA School of Architecture - Spring Semester Program

Exhibit

Open Plan

Workshops

Artist Apartments

Restaurant

Apartment

Public Path

Reflective Skylight

Shared Courtyard

Common Space

Hexigon Frame Canopy

Shared Lobby

Workshop

Elevator Coctail Bar Open Down

Kitchen Restaurant Elevator Section B-B

20m

Space Frame Canopy Space Units

Section A-A

System Principle : Hexogonal Grid above Triangular Grid

Section B-B

Bilbao - Skygarden

As one can see in the images of the model, the canopy bulges down into the courtyards of the artist apartments allowing light to flood into the spaces. The canopy is created to function as a climate controller, blocking out the hot summer sun and protection from the rain during the rest of the year. New Learning This studio, as well as the semester, was a completely new experience for me. The school had a very different approach and expectancy than what I have become used to at the BAC. In the beginning of the semester, I struggled to change my design process and adapt to their expectations. However, I think I picked up quite a lot of the school’s style and methods of thinking, establishing techniques, I can use in later projects. Even though it was an individual project, it was interesting to work with and around people from so many different parts of the world. I learned even more about cultural differences, even though England was my fourth country to study in and the second visiting semester I have had.

Top Left: Render of the shared space between workshops. Middle: Section model, 3D printed canopy and highways, and acrylic units 68

AA School of Architecture - Spring Semester Program

Bilbao - Skygarden

ACADEMIC COURSES

+ 13

+ 21 15 + 18

+ 12

20 10

+ 16

RE E

+ 15

+ 19

+ 17

Wetland

+ 16

Grass

+ 29

+ 13

New Buildings

Existing Buildings

30 AGGASIZ ROAD

+14

Docks and Elevated Pat

+ 11

+31

Proposal for :

BACK BAY FENS

+ 9

+ 14

FIREHOUSE

10 x

x x

+ 13

+ 11

ois

Site Strategy Plan

+ 11

ad N

Lo ts

MUDDY RIVER

By:

Mikkel Stromstad

Date:

November 16th 2

Scale: 1" = 100'

Fenway Fens and Misc. Projects Site Design

Fall 2010 Instructors: Robert Brooks Duration: Half a semester

Section 02

BACK BAY FENS AND MISC. SITE DESIGN

Section 01

This course identified the principles and problem-solving approaches to site planning and design. The course was divided into three sections: site evaluation, site/building relationship, and site design.

23 3 23 2

43'-8"

238

43'-8"

235

The drawings on this page indicate two solutions on how to place three duplex houses, as well as parking, on a given sloped site. The top solution shows a light-traffic road where the parking spaces can be accessed directly from the road. The other solution focuses on how one has to change the design when a single access is required. The project on the opposite page is a proposal to redevelop the Back Bay Fens to a bird watcher center.

F.F. U.L. _____

Front Door

238 234

F.F. L.L. _____

Building 1b

Building 1a

235 231

F.F. U.L. _____

F.F. U.L. _____ F.F. L.L. _____

238

238 234

F.F. U.L. _____ F.F. L.L. _____

F.F. L.L. _____

238

234

Building 1b

Building 1a

Front Door

43'-8"

231

238

234 Building 1b

Building 1a

238 234

F.F. U.L. _____

F.F. U.L. _____ F.F. L.L. _____

F.F. L.L. _____

6 22 5

9' min. typ. 228.9

18' min.

R=10'

Front Door

234

9' min. typ. 230.9

234

5' 8'

233.6 18' min.

18' min.

R=10'

Washington Street 234

233

232

231

230

229

228

227

226

225

224

223

23 3 23 2

nt Fro or Do

5' 8'

F.F. U.L. _____ F.F. L.L. _____

ildin

F.F g . F.F U.L. 1a .L .L. ____ _ __ __ _

Building 1a

'-8"

g __ ildin ___ Bu . U.L. ____ F.F L.L. _ . F.F

'-8"

_ F.F L.L. . F.F

43'-8"

a g 1 __ ildin ___ Bu . U.L. ____

Fro Do nt or

18' min.

ild

Fro Do nt or

Front Door

43'-

F.F ing . F.F U.L. 1b __ .L _ .L. __ __ __ _

Fro n Doo t r

Building 1b

F.F. U.L. _____ F.F. L.L. _____

Front Door

TYPICAL BUILDING UNIT

Buil

F.F. ing 1 a U F.F. .L. ___ __ L.L. ___ __

R=10'

9' min. typ.

Buil

F.F. ding 1 U.L b ._ F.F. L.L. ____ ___ __

18' min.

Fro n Doo t r

R=10' TYPICAL 2-CAR PARKING (MIN.)

R=10' 18' min.

22 7 22 6 22 5 22 4

5' 8'

R=10'

18' min.

9' min. typ.

R=10' 234

233

232

231

230

229

228

9' min. typ. 227

226

Section 1

Washington Street 225

Site Design

224

223

Top: Arrangement of three duplex houses, terrain work and parking, not taking into consideration one single access way. Bottom: Three duplex houses, terrain work and parking with one single access way Opposite top row: four sheets from the first assignment, proposal for new paths, club house and bird watching tower. Opposite: Final proposal for redevelopment of the Back Bay Fens

Part 2 Schematic Grading 1” = 20’

nt Fro or Do

During this course I learned how to read codes and laws related to sites, analyze and take advantage of the possibilities of a site, as well as orient and place buildings according to the site’s codes and laws. I also understood the importance of how to make appealing site plans, an advantage I have experienced myself as an elected representative in district politics in Oslo.

TYPICAL ADA PARKING SPACE

Suggested parking according to codes

Warm Summer Winds

Sun Path Grass PARK

For the dual purpose of eliminating the health and aesthetic problem created by the polluted bay

Olmsted designed the Fens to be flushed by the tides twice daily. However, in 1910 a dam was

15 + 18

+ 12

Figure 1: Olmsted, Planting list

+ 15

+ 17

Recriation Area

+ 16

+ 13

Ua-Udorthents

+ 19

+ 29

Major Pedestrian Entry Point

G SQAST UA ON RE

Figure 2: Olmsted, Plan

view towards PRU 10

50’ + 9

+ 11

0’

+ 13

Due to the buildings around the park, the sun sets a bit prior on the site. Therefore, is the building slightly rotated east form its due south possition. This maximisess the solar gain. By locating the building on the south-east side of a large cluster of trees it minimize the negative influence of the cold winter winds coming from north-west. According to codes the parking has to be located in the north-west part of the park, due to the “Buffer Zone”. However, it is strongly recomended to try to move the parking right south of the existing firehouse. The tall trees here creates a natural parkinghouse and allows for a nice procession entrence to the Nature Center over the River (see boardwalk in the Site Strategy Plan). This creates a unique threshold from the urban landscape in to a “natural” park environment.

By removing the reeds and opening up the river to the visitors one will strenghten the value and experience of this unique ‘natural’ gem. Through keeping as many of the existing trees and vegitation as possible there will be created many attractive spaces created both in the landscape but also neat smaller spaces under the tree tops, creating a much sought after shadow during a warm summer.

Site Analysis Plan and Environmental Opportunities & Constraints Plan

Playground

story building, and then the third, tall buildings in a distance. This layering creates a visually nice transition between the park and the city surrounding it.

The park is surrounded by three ribbons; the first one a ribbon of tall trees, the second a ring of 4-5

BACK BAY FENS

No ise

+ 14

November 16th 2010

oa d

FIREHOUSE

Firehouse

Proposal for :

of R

Mikkel Stromstad

+31

Lo ts

MUDDY RIVER

Site Design - Assignment 1

+ 11

Roadway Setback Wetlan Setback 100’

+14

Bird Tower

Ue-Udorthents MBTA Bus Stop

+ 11

The site is located between East and West Fenway and creates a potential gem as a connection between these two neighborhoods. As part of the Olmsted’s park system the Northern Basin of Muddy River creates a refreshing breathing pocket in the busy surrounding city. Due to dark spaces and the dense reeds along water the park has sadly attracted several alternative groupings of people that gives the park a unsafe feel. However by doing the suggestions presented in this project the park will be lifted to its full potential and again serve the neighborhood and city as Olmsted envisioned it.

Sea Breeze

T w ree in s te pro r w te in ct ds fo

SITE ANALYZIS

Warm Summer Winds ise

100’ Kiosk

Boston Architectural College

Date:

+ 16

BACK BAY FENS

By:

Facing south for solar gain

Cold Winter Winds

Lo ts

+ 13

+ 21

In 1941, at the outbreak of United States involvement in World War II, citizens planted a Victory Garden within the Fens. While these were common in their era, the one in the Fens is now the last continually operating Victory Garden in existence and today is a much-valued community garden of flowers and vegetables.

Wetland

+ 17

BOYLSTON BRIDGE

Olmsted’s challenge was to restore the spot of marsh which was preserved into an ecologically healthy place that could also be enjoyed as a recreation area. Combining his renowned landscaping talents with state-of-the-art sanitary engineering, he turned a foul-smelling tidal creek and swamp into "scenery of a winding, brackish creek, within wooded banks; gaining interest from the meandering course of the water."

Soon after, noted landscape architect Arthur Shurcliff, a protégé of Olmsted, added new features such as the Kelleher Rose Garden and employed the more formal landscape style popular in the 1920s and 1930s. An athletic field was also added.

In 1961, a group of East Fenway friends and neighbors gathered to address issues in their neighborhood. They formed a neighborhood association called The Fenway Civic Association (FCA). Volunteers took on projects to clean their streets, beautify their surroundings, and protect their residents from crime. Soon the group also started advocating for improved maintenance of parkland and other elements to ensure a safe, enjoyable neighborhood.

ht 25’ Max heig

When Boston was settled in the early 17th century the Shawmut Peninsula on which it was built was connected to Roxbury by a spit of sandy ground called "The Neck." The adjacent area of marshland to the west was a tidal flat of the Charles River. The area became malodorous with time as it became tainted with sewage from the growing settlement.

constructed at Craigie's Bridge, closing the Charles River estuary to the ocean tides and forming a body of freshwater above the dam. Thus, the Fens became a freshwater lagoon regularly accepting storm water from the Charles River Basin.

AGGASIZ ROAD

Proposal for :

waters and creating new and valuable Boston real estate, a series of land reclamation projects was begun in 1820 and continued for the rest of the century. The filling of present-day Back Bay was completed by 1882. Filling reached Kenmore Square in 1890 and finished in the Fens in 1900. These projects more than doubled the size of the Shawmut Peninsula.

view to rest of park system

The Back Bay Fens is a large picturesque park that forms part of Boston's Emerald Necklace. It is essentially an ancient spot of saltwater marshland that has been surrounded by dry land, disconnected from the tides of the Atlantic Ocean, and landscaped into a park with fresh water within. The park is also known as the Fens or the Fenway. The latter term can also refer to the surrounding neighborhood.

DRIV

75’

10 0’

HISTORY

By:

Mikkel Stromstad

Date:

November 16th 2010

50’

Recomended parking

Sea Breeze Scale: 1" = 100'

PARK

DRIV E

+ 17

+ 13

+ 21

15 + 18 + 12

20 10

+ 16

RE E

+ 15

15 + 19

+ 17

Wetland

15 + 16

Grass

+ 29

+ 13

New Buildings

Existing Buildings

30 AGGASIZ ROAD

+14

Docks and Elevated Paths

+ 11

+31

Proposal for :

BACK BAY FENS

+ 9

FIREHOUSE

+ 13

+ 11

ise

+ 14

Site Strategy Plan

+ 11

oa d

Lo ts o

MUDDY RIVER

25 +

By:

Mikkel Stromstad

Date:

November 16th 2010

Mt. Auburn Cemetary Crematory

Scale: 1" = 100'

MOTORISED CURTAIN TRACK PROGRAMMED TO AUDIO/VISUAL REMOTE. ADHERED TO SIDE OF DRYWALL CEILING

Fixture

Description

Lamps

Watts

Ceiling

5’ Fluorescent direct/indirect FAV6-FL-1T5-1C-120-S-G2-WH-5'

Central Ceiling

Linear fluorescent

4” LED Downlight 4” LED Downlight

Downlight SS470035-DIMC-SF Wall Wash SS4W70035-DIMC-SF

Window Wall Row

LED

Door Wall Row

LED

Kitchen alcove and glass sheldisplay

12V MR-16

50 max

3” Low Voltage Vortech Stainless Steel 3” Low Housing Voltage Trim

Location

Accoustics & Lighting - Programming & Codes Spring 2011 Instructors: Kathy Abernathy & Jim Cowan and Tatiana Berger

Accoustics & Lighting In this project the space was a boardroom, which had certain implications with regards to acoustics and lighting. The room functions varied from high intensity assignments to video presentations, which meant that the space required several different layers of lighting to be able to adapt to the changing demands. The video presentations required a low light situation to allow occupants to read the projector screen, at the same time, a high to medium contrast level was necessary to keep users focused. At a general meeting, with low intensity assignments, a medium lighting situation would work well. At a meeting with high intensity assignments a good working light was important; it would dim out the contrasts and allow occupants of all ages a good working light. Due to the window wall and the potential extra light that this provides, the row of spots only have half the spots compared to the door wall row. The door wall row of spots is wall wash down lights that lights up also meant for potential art on the wall. It balances the window wall. In terms of more control, one could also consider to add curtains for the window wall to secure privacy and more light control. The low voltage LED spots in the display and kitchen alcove creates a nice visual effect and potential sparkle to the room. MOTORISED CURTAIN TRACK PROGRAMMED TO AUDIO/VISUAL REMOTE. ADHERED TO SIDE OF DRYWALL CEILING

MOTORISED CURTAIN TRACK PROGRAMMED TO AUDIO/VISUAL REMOTE. ADHERED TO SIDE OF DRYWALL CEILING

Analytic Results

13 il_ss4w700 - LED Wall Wash

7 il_ss4700 - LED General Downlights

Since this space is a boardroom its functions varies from high intensity assignment to video presentations. This means that the space requires several

Fixture

Description

Location

different layers of lighting to be able5’toFluorescent adapt to thedirect/indirect changing demands. The Ceiling Central Ceiling FAV6-FL-1T5-1C-120-S-G2-WH-5' video presentations require a low light situation to allow occupants to be able to

4” LED Downlight Wall Row read the projector screen at the same time a high to medium contrastWindow level Downlight SS470035-DIMC-SF helps them to stay focused. At a general meeting, with low intensity 4” LED Wall Wash Door Wall Row Downlight SS4W70035-DIMC-SF assignments, a medium lighting situation will work well. At a meeting with high 3” Low Voltage Vortech Stainless Steel 3” Low Kitchen alcove and intensity assignments a good working light is important; it will dim out the Housing Voltage Trim glass sheldisplay contrasts and allow occupants of all ages a good working light.

Lamps

Watts

Linear fluorescent LED

LED

12V MR-16

50 max

MOTORIZED FLEXSHADE BY DRAPER, PROGRAMED TO AUDIO/VISUAL REMOTE

1/2" DENSARMOUR DRYWALL ADHERED TO SIDE OF BOX 1/2" DENSARMOUR DRYWALL CEILING SUSPENDED FROM STRUCTURE ABOVE ON 1 1/2" METAL FURRING CHANNELS

OPEN TO BELOW

Due to the window wall and the potential extra light that they provides that row of spots only have half the spots as the door wall row. The door wall row of

spots is wall wash downlights that lights up potential art on the wall and balances the window wall. In terms of more control one would also want to add curtains to for the window wall to secure privacy and more light control. The Low voltage LED spots in the display and kitchen alcove creates a nice visual effect and potential sparkle to the room. For video presentations

Rows of downlight spots w/potential for

MECH.

dim + Low voltage LEDs Low intensity

Above + the 2 rows of linear fluorescent lighting facing up in the reflector ceiling

High intensity

Above + to final rows of linear fluorescent lighting in reflector ceiling 4x7 FAV6_E - Fluorescent linear ceiling

Accoustics & Lighting

6 iv3_1 - LED 3” Low Voltage Housing

Concept Diagrams

Programming & Codes Goal 1

5 min

112

A - 3 separate circulation B - A central courtyard lay- C - Guards need a visual to flows out provides good visibility all potential threats within the throughout the building courtroom

-20

0-5 /hr

Goal 2

0-5 /hr

A - Give a sense of time

B - Sound insulation for pri- C - Display elements to give vacy character and substance

Building Footprint Goal 3

See Appendex VII

Massing Studies in 3D A - Papers should easily be B - Prevents public interaction C - Clear signage make the past around with sensible processes building more functional

For this course I had to develop a document showing all the codes, zoning and programming of a courthouse. We were to chose a site and develop the building to the schematic design phase. CLIENT PROFILE The client for this project was the Boston Municipal Court Department, which is a department under The Massachusetts Trial Court (created by Chapter 478 of the Acts of 1978). The jurisdiction for the court is within Suffolk County, Massachusetts. The Boston Municipal Court handles matters of limited criminal jurisdiction, which do not require the imposition of a state prison sentence. If a prison sentence is mandated, the Court may conduct probable cause hearings to determine whether offenses will be bound over to the Massachusetts Superior Court. The Court has original jurisdiction over a number of serious felonies, concurrent with the Massachusetts Superior Court.

Building Efficiency factor Net Assignable Area 83,750 sq. ft. Building Gross Area 125,000 sq. ft. Overall Building Efficiency 0,67

Left: Icons of how to solve the goals of the project. Top: Sire map with traffic loads. Bottom: Massing study Programming & Codes

Tidemandsgate 21 Revit

Spring 2011 Instructors: Patrick Rothwell and Angela Chan Duration: 1 semester

Tidemandsgate 21 On this project I was fortunate to be able to combine academia and practice in a combined project. The architectural firm that I was working for wanted a three dimensional drawing of a redevelopment project they were working on, and I was able use that as a project for my class. The building is a Swiss style timber villa from around 1900 with elaborate details and complex roof structure. The building was going to be redeveloped from smaller rental units, used as a shelter for drug addicts in the mid-90s to renovated luxury apartments. New Learning This was my first project using Revit since engineering school. I had forgotten quite a lot and started more or less from scratch. Throughout the semester, I became pretty experienced creating unique families and components due to the elaborate ornaments and detailing required to achieve the original look.

Right: Final rendering of the project 82

Revit

04 Roof 41' - 7"

03 Loft 27' - 1 1/2"

02 2. Etasje 15' - 1 1/2"

04 Roof 41' - 7" 01 1. Etasje 3' - 4"

01 1. Etasje 3' - 4"

East 1/8" = 1'-0"

North 1/8" = 1'-0"

South 1/8" = 1'-0"

03 Loft

03 Loft 27' - 1 1/2"

04 Roof 41' - 7"

Etasje Isolasjon 02 1002.mm

02 2. Etasje 15' - 1 1/2"

15' - 1 1/2"

03 Loft 27' - 1 1/2"

01 1. Etasje 3' - 4"

02 2.2Etasje Fuktstopper mm

02 2. Etasje 00 Underetasje 15' - 1 1/2" -5' - 4"

Betong 347 mm

00 Underetasje 15' - 1 1/2" -5' - 4"

Section 1 1/8" = 1'-0"

Section 2 1/8" = 1'-0"

Isolasjonsplate 95 mm 01 1. Etasje 3' - 4"

Drenerendemasse

00 Underetasje -5' - 4"

Isolasjonsplate 200 mm

Section 1 1/8" = 1'-0"

West 1/8" = 1'-0"

04 Roof 41' - 7"

00 Underetasje -5' - 4"

04 Roof 41' - 7"

1 1/2" Gips Panel27' 35- mm

01 1. Etasje 3' - 4"

Section 3 1/8" = 1'-0"

01 1. Etasje 3' - 4"

A102

04 Roof 41' - 7"

03 Loft 27' - 1 1/2"

02 2. Etasje 15' - 1 1/2"

01 1. Etasje 3' - 4"

04 Roof 41' - 7"

Section 3 1/8" = 1'-0"

01 1. Etasje 3' - 4"

00 Underetasje -5' - 4"

Section 2 1/8" = 1'-0"

Section 3 1/8" = 1'-0"

Betong 70 mm

SPISESTUE

BASTU

BOD

GLASSVERANDA

STUE/KJOK

GLASSVERANDA KJOK

BAD

KJELLERSTUE

TRE

SOV BASTU

BADBAD

SOV

GANG WC

GANG BAD

GLASSVERANDA

SOV WC KJELLERSTUE

BAD

SOV SOV

BAD

Detail 1 1/2" = 1'-0"

SOV SOV 4

BAD

BAD SOV

STUE

GANG

BOD KJELLERSTUE

SOV SOV

STUE GANG 2

01 1. Etasje 1/8" = 1'-0"

ENTRE

A101 Floor Plans & Sections

GANG ENTRE

BAD

TIDEMANDS GATE 21

STUE SOV/ARB

SOV WC

02 2. Etasje 1/8" = 1'-0"

02 2. Etasje 3 1/8" = 1'-0"

As indicated

GANG

BAD

STUE SOV

1/8" = 1'-0"

SOV

BAD A102 Elevations, Detail & SOV Site

BOD

SOV

ENTRE 3

SPIS

SOV

SOV GANG

BOD

01 1. Etasje 2 1/8" = 1'-0"

SOV

BAD

SOV KJOK

GANG

KJOK

TIDEMANDS GATE 21

Site 1/8" = 1'-0"

BOD

BAD

ARB

00 Underetasje 1 1/8" = 1'-0"

SOV/ARB

KJOK

ARB

WC SOV

WC ENTRE

STUE/KJOK WC

BAD

SPIS

03 Loft 1/8" = 1'-0"

00 Underetasje 1/8" = 1'-0"

STUE

ENTRE BOD

SPISESTUE

STUE

WC 6

KJOK

ENTRE

SOV

KJELLERSTUE

GANG

BAD

BOD

GLASSVERANDA

SOV

GANG

STUE/KJOK

BAD

KJOK

ENTRE

SOVSOV SOV

STUE

ENTRE BOD BOD

SPISESTUE

STUE

KJOK

03 Loft 1/8" = 1'-0"

SOV

BOD

Top: Series of initial sketches exploring figureground and phenomenal transparency 4

TIDEMANDS GATE 21

03 Loft 1/8" = 1'-0"

1/8" = 1'-0"

Tidemandsgate 21

A101 Floor Plans & Sections

Active matter

AA School of Architecture, London Spring 2012 Instructors: Shany Barath Duration: 14 weeks

EXPERIMENTING WITH RESIN AND GLASS VOX In this course we experimented with systemic procedures and speculated on the possibilities of production modes as both per formative and sensual aspects of digital craft. We worked with the interaction between computed geometry, material properties (melting points, color, and translucency) and mechanic inputs (drill bits, speed, and temperature), and we explored the process of geometrical expression as the negotiation parameter between the machine and the material.

Colored Resin Imbedded in Clear Resin

Pored Colored Resin

My inspiration for the effect I wanted to create was clear ice. I remember playing ice hockey as a child on frozen lakes with clear ice and it always fascinated me, because of all the things I could imagine to see at the lake bottom and the fishes swimming around. Pored Silicone Mold

Ice Cream Box Mold Left: Diagram showing the molding process Middle: Images showing the chemicals and the molding process Top Right: Grasshopper script for waved surface Middle Right: Experimenting with different surfaces, table to document the variables in the grasshopper script. 86

AA School of Architecture

Pored Bee Wax over Glass Wax (Melting Point: 60 Celsius)

Pored Colored Glass Wax in Water (Melting Point: 115 Celsius)

Silicone Mold with Cold Water

Layer 5

Layer 6

Layer 7

Layer 8

Layer 9

Layer 10

Layer 11

Layer 12

Layer 13

Layer 14

Layer 15

Layer 16

u v Layer 5 40 40 Layer 6 40 40 Layer 7 40 40 Layer 8 4 4 Layer 9 10 10 Layer 10 20 20 2 Layer 11 30 30 2 Layer 12 50 50 2 Layer 13 50 50 2 Layer 14 50 50 2 Layer 15 50 50 0 Layer 16 50 50 0

Point I A 2 2 2 2 2 12 12 12 12 12 0 0

Point II B 12 12 12 12 12 2 2 2 0 2 2 2

Point III A 0 2 2 2 2 12 12 12 0 12 12 12

B 0 12 12 12 12 2 2 2 0 0 0 2

A 0 0 2 2 2 12 12 12 0 0 0 12

B 0 0 12 12 12

Active Matter

Left: Diagram of the molding process 88

AA School of Architecture

Grasshopper file

CnC Milling

Mold I

Colored Resin

Core Material

Clear Resin

Embeded Resin

THE PRODUCTION PROCESS The grasshopper script was converted into a 3ds file and then used to CNC the surface into foam. The foam was then prepared for the silicon and resin by filling the fiber openings with wax. Since resin is a hard material which cannot be used in a CNC-machine because of fumes, I had to create a silicon mold to get the finish I wanted. Since silicon cannot be CNCed either, because it is not stabile enough, I needed to CNC a foam, which would function as the mold for the silicon cast, which again would be the mold for the resin. After everything was cased I had to sand down and polish the final product to get the translucency I wanted.

AA School of Architecture

Pending Structurs

AA School of Architecture, London Spring 2012 Instructors: Valentin Bontjes Van Beek Duration: 14 weeks

EXPLORING LINES, CURVES AND JOINTS Going beyond the scale of the standard model, this course focused on developing an understanding of fabrication, through designing, on the CNC for a true scale. Throughout the term, students would be developing projects that addressed the design of installation pieces within the school, examining the relationship of material structures and physical resolution. The ‘Pending Structure’ goal was to be beautiful and considered ideas of independence while respecting forms of integration – a measured ratio of directionality and belonging. The course would culminate with the fabrication of a final project at Hooke Park. The AA bar has, in one end of the room, a set of bay windows which creates a space within the room. I believed this space and the volume it creates should filled, and a chandelier would be perfect.

Top Left: the AA bar Left: Series of curve sketches Middle column: Series of sketch models Right: Catalog of joints 94

AA School of Architecture

PRODUCTION AT HOOKE PARK AA has a production campus called Hooke Park in south England. We took the train out there for a long weekend to finalize the production of the chandelier.

Right: Series of production images from Hooke Park campus 96

AA School of Architecture

100

Architectural Coupling +1 AA School of Architecture

Spring 2012 Instructors: Emmanuil Stavrakakis Duration: 14 weeks

101

INSIDE OUT VS. OUTSIDE IN The paper I wrote on this theme investigated the threshold created when entering an urban public plaza and/or a public building. By looking at different concepts and techniques used at the Institute of Contemporary Art (ICA) in Boston, MA and the Oslo Opera House, Norway the paper argued the success of the Opera House and the failure of the ICA building as public hangouts. Moreover, I showed how the ICA building could be analyzed under, what I named as, the ‘Inside Out’ concept, while the Oslo Opera House was examined under the ‘Outside In’. I was interested in examining how these buildings interacted with the city, more specifically examining the intermediate space between the public and the private, and I tried to show how successful the ‘Outside In’ model of the Oslo Opera House is in comparison to the, in my opinion, failing ‘Inside Out’ model of the ICA building. The reason why I looked at these two buildings in particular was because they both are cultural projects in two larger urban harbor redevelopment spots. The two cities, Oslo and Boston, also share some other similarities; both are about the same size and both have submerged the main transport artery to allow the city access its waterfront (in Boston the Central Artery/Tunnel Project, better known as the ‘Big-Dig’, and in Oslo the ‘Bjørvika Tunnel’). In addition to similar urban context and cultural program, the two buildings were built at the same time, the Opera House finished in 2007 and the ICA in 2006. However, while the Oslo Opera House became an accelerator for its surrounding redevelop102

AA School of Architecture

Figure 1: Picture of the ICA in Boston by Diller Scofido, source unknown.

ments, the ICA still today finds itself as an island in a vast sea of worn-down parking lots. The design of the ICA building was won by DS+R through a competition in 2001. The project was one of the first buildings for the firm in the US and finished shortly after Diller Scofidio added a third partner, Charles Renfro, to its name. After a long career designing installations and performance art the ICA was a natural step, or perhaps leap, for DS+R towards a more traditional form of architecture, an actually built building. It was not only a long coming for DS+R but also for Boston, which had not built a new museum in over a century. This gives an idea of Boston’s historic scenery of bricks building which makes the ICA a sharp contrast to its surroundings, an old harbor district eagerly awaiting a redevelopment. Located along the waterfront in the South Boston Seaport District, the 5,760 square meter art museum and exhibition space includes a performing arts theater, a restaurant, a bookstore,

education/workshop facilities, and administrative offices. At first glimpse, the ICA looks like one slightly larger box cantilevered on top of another, creating a shape which plays homage to the old gantry cranes of the surrounding harbor. Through the lobby in the first floor one can enter into the bookstore, restaurant or the gigantic glass elevator measuring 2.7 by 5.5 meters. In the second and third floor is the performance space which visitors enter down into from the third floor. At the top level, which cantilevers over the Harbor walk is the main gallery space divided into two parallel ‘warehouselike’ spaces. Between the two spaces hangs the mediatheque room as a ‘projector box’ down from the cantilever. On the very tip of the cantilever is a narrow room that runs the entire waterside width of the cantilever, which gives the visitors an uninterrupted view of the harbor and the city behind. The cantilever hovers over a plaza with a bleacher seating overlooking the harbor – a stop on the Boston Harbor walk, which Elizabeth Diller once referred to as Boston’s only viable civic space. The Boston Harbor walk borders the north and west edges of the ICA site. This surface which belongs to the citizens of Boston is metaphorically extended into the new building as a primary architectural element. The Harbor walk becomes a pliable wrapper that defines the building’s major public spaces. It folds up from the walkway into the ‘grandstand’ facing the water, it continues through the skin of the building to form a stage, then turns up to form the theater seating, then seamlessly

seen anyone sitting on the bleachers and have actually never tried them myself. This might be because you in fact only can look at the water, there is no way to get down to the water and actually feel and touch it. In a time when museums are rapidly upgrading to a more interactive interface to adapt to visitors changing demand for a more hands on experience DS+R has incorporated this into the main building, with the mediatheque room, which allows visitors to browse through Institutes vast electronic catalogue (see Figure 2). However, as said earlier when it comes to the natural elements, one is denied the haptic sense of the water and only allowed the optic sense.

envelopes the theater space, ultimately slipping out through the skin to produce the ceiling of the exterior public ‘room.’ This ambiguous surface moves from exterior to interior, transforming public into semi-public space.

This confusion of the haptic and optic continues when the walkway carries on from the bleachers and into the building to create the stage and, it wraps up into an angle and the seating in the performance space. This is one of the building’s center points but here the concept of the walkway continuing into the building fails. Materially, it might read as if the walkway continues into the building but since there is no access through the performance space it falls short, it is a scheme that is applied to the building’s structure but not to its function.

However, even though one of the main concepts of the building is to wrap the Harbor walk into the building, best seen in the west elevation (see Figure 1), the techniques applied to do this do not work. When the walkway folds up to become the ‘grandstand’ it works as intended by DS+R, it creates a secure place for people to sit and enjoy the view. Yet, after visiting the building many times, I have never

If one looks where DS+R got the concept from, Rem Koolhaas’ Educatorium in Utrecht, it is clear that they mimicked the form of Koolhaas’ building but did not take into consideration the change of program (see Figure 3). Whereas Koolhaas generates his forms from the mixture of different programs within the building DS+R has borrowed a structural scheme and tried to fit the program within (see Ap-

Figure 2: Comparison between Rem Koolhaas’ Educatorium and DS+R’ ICA in Boston. Source: eliinbar. Rem Koolhaas & Diller Scofido ” Conscious Inspiration” 4 Someone has built it before June 30-2010 http://archidialog.com/ tag/diller-scofido/

pendix 1). At the Educatorium the main entrance follows the ground surface as it is wrapped into the building, hence directing and allowing visitors to follow the natural path of the ground into the building. However, at the ICA DS+R have placed the entrance at the corner tucked in under the floor of the performance space. One can also see that DS+R has used a couple of other elements from Rem’s project. DS+R has also kept the ‘rear façade’, the one facing the city, completely blank. When you approach the ICA the building is a bit hard to notice because it looks like an old harbor storage building with the blank façade, Rem has at least have left the back façade in glass, which allows visual connection, and left the ‘projector box’ to play on the same facade. Linking back to the wrapping concept, when it has created the performance space it folds up and over to create the floor of the main gallery area on the 4th floor. At this point, any connection to the Harbor walk is completely lost due to the weak circulation throughout the building. While entering into the lobby, it is a bit unclear where to go to access the upper floors. There is a big glass elevator which you do not see directly when you get in and the main stairs are hidden behind a service elevator, making it hard to find. The public staircase has nice details on the handrails but is tucked behind the service elevator and is impossible to see from the lobby area. According to Diller. The nature of the building looks at looking, and that is it primarily objective both its program Architectural Coupling +1

103

It is a model seen in many of DS+R’s projects like the ‘Para-site’ and the ‘Slow House’ just to mention a couple. However, none of these projects was public buildings and therefore did not need to attract people from the outside into the building.

Figure 3: Diagram of the structural form of the Opera House

and its architectural conceive. The building incorporates the site but it dispenses it in small doses in the way the museum is choreographed. In my opinion, Diller is correct when she says the building looks at looking, but it decides not to. It does not allow you to look into the building and easily understand how it functions. The building is hard to read and does not really incorporate the site to the building. However, what the building does great, and what Diller means when she says that ‘it dispenses the site in small doses’ is how DS+R has framed the views. It is a building to be experienced inside out. The orientation around the views from inside to the outside is what makes this an ‘Inside Out’ building.

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AA School of Architecture

However, the Oslo Opera House by the Oslo-based firm Snøhetta was designed to draw people into the building. Since an opera building traditionally is for the upper-class of society, it was a strong political pressure in social democratic Norway to create a cultural stage where the strong egalitarian ideology could be maintained. As the ICA in Boston, the Opera House in Oslo is located in an old harbor area. The building was the first project to be built as a part of the regeneration of the Bjørvika district. Geographically, this is a prime location where the fjord meets the city, but it has traditionally been a run-down area occupied by prostitutes, drug addicts and industrial installations. Now due to the Opera House, the area is one of Oslo’s most rapid growing areas, showing little signs of the European financial crisis (See Appendix 2). As part of the ‘Fjord City’ development, the connection with the water was an important element of the project. The characteristic shape of the building, distinctive because of its sloping roof that makes it possible to walk on, allows visitors to go all the way down to the water and touch it. The public program of the opera is located in a central box, with a plaza wrapped around and on top of it. The form of the building is derived from a simple

gesture of lifting up planes to great a plaza which loops around lobby and main stage (see Figure 3). The unique implementation of the plaza around the building allows visitors to walk on top of the opera and take ownership over it. This south-west facing slope has become a popular hangout for tourist as well as for locals. Today, the public still accesses the Opera House via an elevated walkway from the central railway station crossing over the old highway. Entering onto the Opera House one passes over a flat bridge giving the feeling that one leaves the city behind. Walking off the bridge one enters onto the main plaza in front of the main entrance. A long gap in the white stone indicates the main entrance and gives an overview of what to expect on the inside. The surface of the plaza is white marble and, in contrast to the ICA building, the Opera House is supposed to be experienced both haptic and optic. The white stone reflects the different colors of the sun as it passes over the sky and leaves an ever changing tone on the building, from cold blue to firing orange. But perhaps most unique feature is the way the surface of the plaza shifts in levels. Layers of marble overlap each other and create unexpected steps and rises. The Opera House represents an iceberg lifting up from the sea as it moves of from the secure edge. The play of levels and textures on the plaza help define it as an exterior room. A space which one can watch into the glass covers lobby without feeling the need to

the glass to create a shadow with the hands one suddenly sees that the lobby is not at the same level but perhaps 10 meters down (see Figure 4). This is a set up by the architects to evoke a reaction amongst the visitors and let them interact with the building. In the same way they have also treated the awkward narrow space when the plaza slab meets the floor of the lobby. Here, as well as at the main entrance, they have lifted the floor to an angle to stop people walking into the low ceiling, and it has also created a sloped nook where children like to climb up and slide down (see Figure 4). The playfulness of the architects also comes clear when you look at the Library in Alexandria which made the firm famous. I believe the idea for the Opera House was created by a dream that one could walk on the slanting roof of the Library (See Appendix 3). The wish that people should interact with the building, not just arrive for the sake of the show and then leave. The dream is that people would go to the building even though one is not going to the opera.

Figure 3: Diagram of the structural form of the Opera House

walk. When the ramps passes by the glass façade to the lobby the sun creates a glare in which obstruct the visitor from viewing in, which is a game set up by Snøhetta. When one then lean in towards

The building is now often used as a cultural stage; the plaza has hosted concerts and shows. TV-shows have had their summer studios at the plaza. Because of the striking and successful architecture it has become a part of Oslo’s ‘Bilbao-effect’. It is successful in the way that the building draws people as a magnet. The plaza acts like a lure and gives people an opportunity to go inside the opera lobby, eat at the restaurant facing out toward the harbor,

or just lay outside in the sun and watch as people from all over the world passes by. Since the plaza is so well incorporated into the building and has become the main attraction one does not even have to go inside of the building to appreciate it. It is therefore an excellent example of an ‘Outside In’ model of a building., The central program on the main stage of the Opera House is core purpose of the building. However, the procession and how the plaza lifts up to make the main entrance shows that the building is designed for a broader audience than the opera guests. As a public building, I find this a crucial element, and the reason for this paper. I believe that a building should add extra value to both its program and its context. For the public, based on the two examples I have discussed in this paper, I believe that the ‘Outside-In’ model is the strongest, when one connects it to the public and their use. It gives the building a focus, and it of pulls people into the building and allows them to experience and explore the content of the building, although it was not intended in the beginning. In addition to support the content, an ‘Outside In’ building can be enjoyed even if the inside of the building is not open or accessible. It creates an urban oasis, a place to visit, step out of the urban fabric and reflect with a different perspective.

Architectural Coupling +1

105

Practice

108

af skandinavia, bygg oslo Røa Terrasse, stage I

Construction Worker - ( Safty, Measuring, Building) June 2006 - July 2006 Supervisor: Pål-Erik Moen

Located in the suburb of Oslo, this project is a part of a condensation and urbanization of an old villa area. Project type: Time span: Customer: Contract practice: Contractor: Volume:

Housing Jan. 2006 - May. 2007 Røa Terrasse AS Turnkey contract AF Gruppen, Bygg Oslo 43 apartments

109

RØA TERRASSE, STAGE 1 CONSTRUCTION WORK On this project I worked as a construction worker. This was my first job during my engineering studies and it was a great learning experience. One of the best learning achievements was to understand the different construction stages from the site perspective, which helps me understand the design process behind. It also makes me understand the logistics behind construction work, such as all the other elements attached to each part, ordering, timing, storage and assembly among many others. The work I did varied from maintenance of the site, moving of materials, misc. safety measures, and measuring and marking out the walls for the carpenter.

Left: Watercolor rendering from the architect Middle: Construction drawing Right: Work reference Opposite Top: Google street view of finished project. Opposite Left: Prepared scaffolding for pour of new slab Opposite Right: Construction site 110

AF Gruppen AS

112

af gruppen, bygg oslo Årvollskogen, stage III

Engineer - (Property management, Operation management, and Maintenance)-documentation June 2007 - November 2007 Supervisor: Mikael Eide

With an idyllic location at the edge of the forest at Årvoll, AF Bygg Oslo has built a total of 320 flats in blocks and terraces. The dwellings have a total gross area of 26,000 sq.m. In addition, garage and parking facilities have been built for the complex, as well as a preschool. Project type: Housing Time span: March 2004 - Dec. 2007 Customer: Årvollskogen Limited Partnership Project address: Årvollveien 90. 0590 Oslo Contract size: NOK 467 Million, excl. VAT Contract practice: Turnkey contract Contractor: AF Bygg Oslo Volume: Residences 26,000 m2. Garage 10,000 m2 Parking 10,000 m2 Preschool

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ÅRVOLLSKOGEN, STAGE 3 CONTRACTOR

[Housing]

Housing project, urban plan - Årvollskogen Oslo; Norway 2007

During the time in this job I worked with different tasks and projects. In the two first weeks, I worked as a construction worker where I got a good sense of how a construction site functions and how important good design solutions are to streamline the construction.

The project is a large urban housing

based upon the assumption that such diver-

housing in Oslo are utterly conventional, con-

development with around 330 apartments

sity will have a positive effect on the social

servative and unwilling to try solutions they do

on a plot previously planned for industrial

life of the area. The project is financed by

not know.

purposes.

private investors. One sad architectural expe-

Client: ÅKS Developers Project architects JSA: Jan Olav

We placed the apartments around the perim-

rience we have had from this project is that

Jensen (pl), Børre Skodvin (pl), Torunn Golberg, Anne Lise Bjer-

eter of the site, thus being able to achieve a

the profit margins expected by the investors,

kan, Torstein Koch, Siri Moseng, Kaja Poulsen, Joachim Dahle,

larger than normal continuous outdoor area

who hire the contractors, are an impediment

Thomas Knigge, Thomas Liu, Minna Riska Landscape architect:

for the inhabitants. One of the architectural

to any proposals that are off the beaten track

Jensen & Skodvin Static consultant: A.L. Høyer /Contiga AS

aims of the project has been to create as

and not a standard solution. Our experience

Year Planned: 2000 – 2006 Year Built: 2003 – 2007 Status:

many different apartment types as possible,

is that most of the companies dealing with

In progress Area: 43.000 m2 Cost: 50 Million Euro

Right. The park of the interior is shared by all inhabitants. Below. Site plan. The shape of the perimeter follows the legal boundaries of the plot.

After the two weeks, I was given different supervising positions, directing and leading those I had been working with during the first weeks. This taught me a lot about leadership and how to communicate with different types of people. However, I spent most of the time working with researching zoning codes, updating architect drawings (controlling existing and order new Housing project, urban ifplan from the architect needed), completion in- Årvollskogen spections, and gathering documentation (property management, operation, maintenance). [Housing]

Oslo; Norway 2007

The project is a large urban housing

based upon the assumption that such diver-

housing in Oslo are utterly conventional, con-

development with around 330 apartments

sity will have a positive effect on the social

servative and unwilling to try solutions they do

on a plot previously planned for industrial

life of the area. The project is financed by

not know.

purposes.

private investors. One sad architectural expe-

Client: ÅKS Developers Project architects JSA: Jan Olav

We placed the apartments around the perim-

rience we have had from this project is that

Jensen (pl), Børre Skodvin (pl), Torunn Golberg, Anne Lise Bjer-

eter of the site, thus being able to achieve a

the profit margins expected by the investors,

kan, Torstein Koch, Siri Moseng, Kaja Poulsen, Joachim Dahle,

larger than normal continuous outdoor area

who hire the contractors, are an impediment

Thomas Knigge, Thomas Liu, Minna Riska Landscape architect:

for the inhabitants. One of the architectural

to any proposals that are off the beaten track

Jensen & Skodvin Static consultant: A.L. Høyer /Contiga AS

aims of the project has been to create as

and not a standard solution. Our experience

Year Planned: 2000 – 2006 Year Built: 2003 – 2007 Status:

many different apartment types as possible,

is that most of the companies dealing with

In progress Area: 43.000 m2 Cost: 50 Million Euro

I was set to research zoning codes, because I actually was the only one who had a zoning course. In addition to my regular tasks I also assisted EHS-meetings and EHS-inspections. Right. The park of the interior is shared by all inhabitants. Below. Site plan. The shape of the perimeter follows the legal boundaries of the plot.

The most challenging assignment I got was to build a 15 meter long 4.1 meter high retaining wall. I was handed a set of construction drawings and two Polish workers, who only spoke a little German. The wall was finished before schedule, and is still standing.

Right: Pictures of the project 114

AF Gruppen AS

processed geometries

FDV-dokumentasjon Leca blokker Gjelder fra: 10.12.2008

Prosjektinformasjon

Vegger av Leca Blokker

Identifikasjon av vegg(er): Vegg i akse:

Entreprenør / utførende:

Tegningsnummer/revisjon:

Prosjekt / adresse:

Produkt- og materialinformasjon Leca blokker:

Mørtel *) til muring og pussing:

Standard 100 150 200 250 300

Murmørtel: M5 KC 35/65 Annet:………………...

Finblokk

125 150 200 250

Puss inne: KC 35/65 KC 50/50 Fiberpuss

Isoblokk

250 300 350 Fasadeblokk

Puss ute: Slemmemørtel Fiberpuss Annet:……

Lydblokk 175 250

Annet:…………..

Kommentar:………………………………………………

Leca blokker

Informasjon om produkter og anbefalt utførelse finnes på www.maxit.no og i våre brosjyrer Leca Byggebok, Leca Teknisk Håndbok og Leca Fasadeblokk.

Mur- og pussmørtel:

Informasjon finnes på www.maxit.no og i våre brosjyrer, først og fremst maxit mørtelguide og i våre produktdatablader. Mur- og pussmørtler er merkepliktige, og sikkerhetsdatablad (tidligere kalt HMS datablad) finnes på www.maxit.no

Pussing av Leca:

Alle Leca blokker brukt utendørs må påføres puss og overflatebehandling dersom veggen skal være slagregntett. maxit Serpo 261 Fiberpuss med tilhørende sluttbehandling er maxits eneste anbefalte pussløsning for alle Leca blokker utvendig over bakken. Dersom andre sluttbehandlinger er brukt, må vedlikehold avklares i henhold til leverandørens anvisninger. Se utførlig beskrivelse om maxit Fiberpuss – system på www.maxit.no

Maling av Leca:

Generelt anbefales kun bruk av diffusjonsåpne malinger, først og fremst silikatmaling. Malinger basert på akryl, lateks eller pliolite anbefales generelt ikke på Leca murverk. Mer informasjon finnes i maxit mørtelguide og på www.maxit.no

Anvisninger for drift og vedlikehold Innfesting i Leca vegger

Til feste i Leca vegger anbefales spesielle festeplugger. Kontakt din forhandler for mer informasjon. Aktuelle leverandører av festemidler er: Motek www.motek.no Christiania Spigerverk www.spigerverket.no Würth www.wuerth.no Tingstad www.tingstad.no Emhart Sjong www.emhart.com Gunnebo-Anja www.gunneboanja.no Essve Norge www.essve.no

Reparasjon av Leca blokker

Mindre skader på Leca blokker kan repareres med maxit murmørtel M5. Reparasjon av større skader bør vurderes av fagfolk i hvert enkelt tilfelle.

Reparasjon av puss maxit as Brobekkveien 84, 0582 Oslo Postboks 216 Alnabru 0614 Oslo Norway

Skader i puss repareres generelt med pusstyper tilsvarende den som er brukt opprinnelig. For mer informasjon se www.maxit.no Telefon Telefax

+47 22 88 77 00 +47 22 64 54 54

info@maxit.no www.maxit.no

Left: Work reference Right: Example of collected documentation Årvollskogen stage III

115

116

Extention to trysiltunet cabin Freelance

Fall 2009 Location: Trysiltunet, Trysil, Norway Clients: Gry Mølleskog and Thoralf Granerød

117

EXTENSION TO TRYSILTUNET CABIN On this project I consulted with the clients what they wanted and sketched the plans for the extension to an existing cabin. Since the client was going to use a special log cabin contractor, MalmLaft AS, who created the finalized the plans. The existing cabin, which is part of a traditional country courtyard, has an ornamented exterior gallery on the long side where the clients wanted the new bedrooms. The way I sketched out the new plans this gallery continued out, connecting the new bedroom wing to the existing cabin, which also created a sheltered south facing space between the two.

Top Left: View down the gallery in the new wing. Top Right: The outdoor space in the south corner. Middle: A selection of floor plan sketches Bottom: View from the road after staining, new wing blending into the old building Opposite: Floor plans of the extension 118

Cabin Extension

9972

11x12

111 Bad 5,1 m²

11x12

3 Sov 15,8 m²

9x20 9x20

1500

9x20

2 Sov 7,6 m²

2711

5700

1 Sov 12,2 m²

5300

8x21

3800

4200

9x21

2711

Hovedplan Eksisterende hytte

Loftplan

ANMERKNINGER: GENERELT. Risikoklasse: 4 / Brannklasse: 1 VARMETAPSRAMMER. Isolasjon iht. Energitiltaksmodell Arealer i de enkelte rom er oppgitt som faktisk romareal. I rom under skrå himling kan deler av dette areal ha lavere takhøyde enn 2,4m. Innredning og sanitærutstyr vist på tegning kun inkludert hvis angitt i kontrakt. SYMBOLFORKLARING; Plassering takrennenedløp Rømningsvei

REV

DATO

Revisjoner REVISJON

SIGN:

TILTAKSHAVER:

Mølleskog og Granerød

TEGN, INNHOLD:

BYGGEPLASS:

Kvernmosetra

PROSJEKT:

G.nr/B.nr:

37/527

KOMMUNE:

D:\Saksarkiv\1051-1100\1057-Kvermosetera\1057.rvt

Trysil

TILTAKSART:

Plan

Anneks

Postboks 149, 2381 Brumunddal Tlf.: 95 243 000 post@bolig-portalen.no

ARKITEKT:

Kjell Guttulsrød

Hytte

DATO:

09.11.09

TEGN:

Kgu

PROSJEKT NR:

1057

MÅL:

1 : 100

TEGN.NR:

AIAS/Modulate Building Institute: Miami Beach Hotel

MOHO Miami

AIAS, Miami Beach Hotel

Moho is a new concept in the long-standing tradition of world-class Miami hotel design. Its dynamic form expresses the grand sense of luxury and theatricality that popularized Miami hotels in a kit-of-parts assembly that efficiently responds to contextual, programmatic and environmental variables. In this way, the ability to adapt and respond—to cater to each guest—is articulated as its primary function.

120

Miami beach hotel

Competition: AIAS/Modulate Building Institute December 2009 - Febuary 1st 2010 + on-going intership Supervisor: Eric Nelson Team: Thomas M. Boessel, Nway Oo, Robert R. Ortiz, and Mikkel D. Stromstad

121

Moho Miami Moho is a new concept in the long-standing tradition of world-class Miami hotel design. Its dynamic form expresses the grand sense of luxury and theatricality that popularized Miami hotels in a kit-of-parts assembly that efficiently responds to contextual, programmatic and environmental variables. In this way, the ability to adapt and respond—to cater to each guest—is articulated as its primary function. The hotel floats eighty rooms made of one hundred eighty re-purposed shipping containers above a plinth of stepped landscape and public function areas. The rooms are arranged in two bars backing onto an open atrium. The front, urban bar develops a strong relationship with its Collins Avenue neighbors and frames Western views to Biscayne Bay and downtown. Unique features of the facility including elegant restaurant and retail areas, the projecting event room and seventh floor glass spa are dramatically expressed to the surrounding community. The rear ocean bar sweeps in a series of cascading levels from the eleventh floor to the pool area. Generous terraces with stunning ocean views define a strong sense of connection to the pool and shoreline below. Central to the complex, the canted atrium dramatically features a braced tubular steel frame and series of asymmetrical bridges linking the open corridors of the Ocean and Urban guest bars. Guest and staff elevator towers define the southern and northern edges of the glass roofed Lobby below. Moho intentionally blends an attitude of sheltered luxury and outreach to the community. The massing of the facility presents a wall of private rooms punctured with public functions and open spaces. This architectonic element simultaneously shelters guest rooms above Collins Avenue and reestablishes the urban street wall while the community is encouraged to view and participate in various functions below. Color tinted glass is expressed against the white painted shipping container (guest room) walls and limestone circulation towers to create drama at night and attract pedestrians. The ground floor area, largely devoted to parking and back-of-house functions, includes a small, convenient retail space and open atrium Lobby. Guests and public patrons are dramatically drawn into the facility entry below the large projecting spaces of the upper Lobby. Restaurant, bar and a variety of public and private meeting areas are woven around this pivotal space and finally, access to the cascading landscape and ocean beyond is provided through a series of pivoting glass panels. 122

Eric Nelson Architects Inc.

AIAS/Modulate Building Institute: Miami Beach Hotel

Opposite: Project description board submitted for the original AIAS competition. Left Column: Site picture taken from study trip Top Right: Robert pining up site research on our wall in the BAC basement. Middle: Different site research Bottom Right: Required program in volumes MOHO - Miami Beach Hotel

123

In the design process I first worked with local zoning codes and calculations to find how much of the site we were allowed to use. Later on, my assignment changed into programming of the lower floors, public and service areas, before moving on to the technical elements, after we had figured out the general arrangements of the two lowest floors. At the end of the project, I created the layout for the boards and the diagrams. After the competition was done, the architect asked two of us to continue with the project for his own portfolio. From about mid May, we have been working approximately 15-20 hour a week on the project, which we hope to submit in other competitions as well.

08:00

January

March

June

September

Top: Site information, Ecotech Under: Shadow diagram 124

Eric Nelson Architects Inc.

09:00

10:00

11:00

12:00

13:00

14:00

15:00

16:00

17:00

18:00

Top left: Precedent study of waste water. Top right: Exploration of window set back Under left: Containers to be used as rooms Under right: 3D Massing, by Bossel MOHO - Miami Beach Hotel

125

AIAS/Modulate Building Institute: Miami Beach Hotel

MOHO Miami

AIAS, Miami Beach Hotel

126

Eric Nelson Architects Inc.

PLANS

Unique features of the facility including elegant restaurant and retail areas, the projecting event room and seventh floor glass spa are dramatically expressed to the surrounding community. The rear ocean bar sweeps in a series of cascading levels from the eleventh floor to the pool area. Generous terraces with stunning ocean views define a strong sense of

The hotel floats eighty rooms made of one hundred eighty re-purposed shipping containers above a plinth of stepped landscape and public function areas. The rooms are arranged in two bars backing onto an open atrium. The front, urban bar develops a strong relationship with its Collins Avenue neighbors and frames Western views to Biscayne Bay and downtown.

SECOND LEVEL 02 A

A B C D E F G H I J K

el.4

Lower Lobby Upper Lobby Event / Restaurant Restaurant Sun deck / Lounge Pool Snack Bar Restrooms Kitchen Office Green Pergola

el.0

el.4

el.6

el.2

el.8

el.10

el.12

E H J K D

I G

GROUND LEVEL 01 A B C D E F G H I J K

el.2

SECOND LEVEL 02

Lower Lobby Retail Store Mechanical Room Laundry Loading / Storage Janitorial Office Security Luggage Storage Utility

A H

G F

J E

GROUND LEVEL 01

MOHO - Miami Beach Hotel

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A B C D E F G

Modular Unit (Shipping Container) Modular Array Modular Structure Service Structure Hot Water Supply Green Roof Kitchen Garden Office

D C

MODULARITY

connection to the pool and shoreline below. Central to the complex, the canted atrium dramatically features a braced tubular steel frame and series of asymmetrical bridges linking the open corridors of the Ocean and Urban guest bars. Guest and staff elevator towers define

UPPER FLOORS 03

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Eric Nelson Architects Inc.

FLOORPLAN 04

the southern and northern edges of the glass roofed Lobby below. Moho intentionally blends an attitude of sheltered luxury and outreach to the community. The massing of the facility presents a wall of private rooms punctured with public functions and open spaces. This

architectonic element simultaneously shelters guest rooms above Collins Avenue and reestablishes the urban street wall while the community is encouraged to view and participate in various functions below. Color tinted glass is expressed against the white painted

Sec

shipping container (guest room) walls and limestone circulation towers to create drama at night and attract pedestrians. The ground floor area, largely devoted to parking and back-of-house functions, includes a small,

Cut

SUSTAINABILITY

tion

convenient retail space and open atrium Lobby. Guests and public patrons are dramatically drawn into the facility entry below the large projecting event room where they ascend an open atrium stair into the dramatic spaces of the upper

Lobby. Restaurant, bar and a variety of public and private meeting areas are woven around this pivotal space and finally, access to the cascading landscape and ocean beyond is provided through a series of pivoting glass panels.

Prevailing Winds

NORTH

Wind Frequency (Hrs)

50 km/h

Location: Miami, Florida - USA (25.8˚, -80.3˚) Date: 1st January-31st December Time: 00:00-24:00

hrs 150+ 134

40 km/h

120 104 90

30 km/h

75 60 45 30

20 km/h

Hot Water 10 km/h

Rain Water WEST

EAST

Filtered Water Kitchen Garden Sun Energy Prevailing Winds

SOUTH

Psychrometric Chart

COMFORT: Natural Ventilation

Location: Miami, Florida - USA Frequency: 1st June to 1st September Weekday Times: 00:00-24:00 Hrs Weekend Times: 00:00-24:00 Hrs Barometric Pressure: 101.36 kPe

Comfort Zones Natural Environment

Natural Ventilation

DBT(˚C)

MOHO - Miami Beach Hotel

129

PLANS

A B C D E F G

Modular Unit (Shipping Container) Modular Array Modular Structure Service Structure Hot Water Supply Green Roof Kitchen Garden Office

Sec

AIAS/Modulate Building Institute: Miami Beach Hotel A

CONTINUATION PROJECT

THE

After the competition was submitted of the project advisor asked Robert Ortiz and myself to continue to work on the project.

SECOND LEVEL 02 A

A B C D E F G H I J K

el.4

Lower Lobby Upper Lobby Event / Restaurant Restaurant Sun deck / Lounge Pool Snack Bar Restrooms Kitchen Office Green Pergola

el.0

F el.4

el.6

el.2

el.8

el.10

el.12

E H J K D

I G

MODULARITY

GROUND LEVEL 01 A B C D E F G H I J K

el.2

SUSTAINABILITY

Prevailing Winds

Top Row: Competition boards Right: Sketches of the main structure and “tree top” canopy Opposite: Exterior renders by Robert R. Ortiz 130

Eric Nelson Architects Inc.

NORTH

Wind Frequency (Hrs)

50 km/h

Location: Miami, Florida - USA (25.8˚, -80.3˚) Date: 1st January-31st December Time: 00:00-24:00

hrs 150+ 134

40 km/h

120 104 90

30 km/h

75 60 45 30

20 km/h

Hot Water 10 km/h

Rain Water

WEST

EAST

Filtered Water

Kitchen Garden A

Sun Energy H

Prevailing Winds

MOHO Miami

G F

AIAS, Miami Beach Hotel

D SOUTH

J E

Psychrometric Chart

COMFORT: Natural Ventilation

Location: Miami, Florida - USA Frequency: 1st June to 1st September Weekday Times: 00:00-24:00 Hrs Weekend Times: 00:00-24:00 Hrs Barometric Pressure: 101.36 kPe

Comfort Zones Natural Environment

Natural Ventilation

GROUND LEVEL 01

UPPER FLOORS 03

FLOORPLAN 04

DBT(˚C)

My main assignment, due to my background as an engineer was to model the main structure in Revit. This meant customizing every component to make the structure.

SECOND LEVEL 02

Lower Lobby Retail Store Mechanical Room Laundry Loading / Storage Janitorial Office Security Luggage Storage Utility

tion

Cut

Sun Energy Green roofs/Kitchen gardens Hot Water Supply

Saltwater Pool

Stormwater Tank Filters

Filtrotion Carbon Fiber UV Disinfection

Top Left: Beach side of the hotel with pool. Top Middle: Rendering of hotel room, combining two containers Top Right: Images of the atrium Left: Diagram showing the green solutions Middle: Main structural frame Right: Street view of the hotel MOHO - Miami Beach Hotel

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132

Soda - sustainable oriented design assosiation Ecotopian Project

Spring 2010 Instructor: Gabe Bergeron Team: Nik Kennedy, Kim Smith, Seth Peichert, and Mikkel Stromstad

In this project, we were to design an affordable house for a post-homeless organization, the HAC, in Cape Cod. The organization has bought the Curio House, while the BAC and Tufts created and build solar decathlon house, to start to build up a “community Green” which is going to help post-homeless people to re-education. This building in particular is going to be habited by one of the facilitating families working for the community. We wanted to focus on low-tech and affordable solutions to build a sustainable and maintenance free building, and through our research based on our local background (one team member from Kenya and myself from Norway) we ended up with a building embedded a bit into the ground and built up by rammed earth excavated from the site itself. This meant that the building costs would stay at a minimum, while the labor would come from the community as a teambuilding exercise.

133

Top left: Site plan, red circle shows the Curio House. This house is going to be built next to the green field Top right: Precedent studies from Norway Middle right: Process boards from stage 2 Under right: Process meeting from stage 2 134

Ecotopian Project

CONCEPT

Barn Raising: Community, Collective Effort

Lobster Traps: Reclaimed Formwork for On-Site Rocks

Presedent Study: Dominus Winery, Napa, CA

President Study: Rammed Earth. Low Cost, Intensive Untechnical Labor

Beach Glass: Reusing Glass

President Study: Malcolm Wells - Underground Architecture

President Study: Old Prison Wall Repurposed Through in Modern Restaurant. Oslo, Norway

Concept Sketch: Sketch Problem Consensus Design. Rock Wall Deﬁnes Spaces. Materials: A Reﬂection of the Earth

Rammed Earth

Beneﬁts of Rammed Earth Construction • • • • • • • • • • • • • •

Uses local materials for walls High insulation rating (R33) No maintenance High sound resistance - inside and outside Thermal mass - stabilizes air temperature Lowers cost of heating Uses subsoil (not topsoil) Sustainable for 1000+ years Free of fungicides and pesticides Thickness of walls gives a solid feeling to the building Cost comparable to conventional construction Indoor air quality Fire proof Green building for health of future generations

Insulation

Footing

Rammed Earth: Axonometric Section

INTERSTINAL

PUBLIC

Shells: Both Closed and Open Core

pneumatic backﬁll tamper reinforced plywood frame

visible layers of compacted earth

PRIVATE

moist earth mixture of sand, gravel, clay, and concrete

Step 1 Step 2 framework is built the layer of moist and a layer of moist earth is compressed earth is ﬁlled in

Step 3 next layer of moist earth is added

Step 4 successive layers of moist earth are added and compressed

Step 5 framework is removed leaving the rammed earth wall

Left: Midterm concept board Top right: soil samples form site Under right: model of rammed earth, showing the color variations in the soil. SODA - Sustainable Oriented Design Assosiation

135

136

ShifteBoston Designer

Sept 2010 - Dec 2011 Supervisor: Kim Poliquin Location: Boston, MA

137

ART INSTALLATION GRAPHIC DESIGN

AND

I was first introduced to ShiftBoston when the organization needed help fabricating and installing the art installation by Artforming for the Cyclorama in Boston. This installation was a part of its Moon Ball to announce the winner of the organization’s moon design competition. My job was to help mark out and number each panel generated from a rhino script, cut them out, relocate their position, and sow them together to the shapes seen in the picture on the right. Under each funnel was a table with sensors controlling the RGB-color of video clips sent to us by NASA. As people approached the tables from different directions the color of the projected videos changed, making it an interactive installation. After the first event, my assignments have been more directed towards graphic design, making posters, flyers, name tags, award diplomas, and t-shirt layout for their online store. New Learning I have learned a lot about event planning, corporate identity and quick decision making during my time at ShiftBoston. Right: Image for the Moon Ball art installation. Opposite top left: Flyer for Barge 2011 design competition Opposite top right: T-shirt layout for online store Opposite bottom left: Screen shot, ShiftBoston Opposite bottom right: Picture of tracing the panels for the Moon Ball art installation generated from Grasshopper 138

ShiftBoston

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140

Pool house and landscaping Freelance

Spring 2010 Location: Draguignan, Provence, France Clients: Gry Mølleskog and Thoralf Granerød

141

POOL HOUSE AND LANDSCAPING AROUND POOL This project was for my parents-in-law, who wanted to upgrade the pool area at their vacation home in Provence, France. They had a local worker do the job, however his English was non-existing and my French is even worse. The communication took place through drawings on napkins and waving with arms. Here I took full advantage of my napkindrawing experiences from the BAC’s design charette, which my group won. Originally they wanted a pool house (like the one in the magazine clip below) stretching along the long side of the pool. However, I convinced them to move it in between an olive tree and a naturally created corner of vegetation. This area is slightly pulled back from the pool and allows the breeze to flow through the pool house. In this way, the present vegetation is also helping to lower the temperature in the hot and dry summer months. Top Left: Napkin sketch translated with Google translate. Bottom Left: Magazine clip of what the client wanted Top Right: Pool area before redevelopment. The area was not inviting and demanded too much weekly maintenance. Middle Right: Construction under way. Bottom Right: Slabs in place, the foundation to the pool house is poured, and the columns are built. Opposite, bottom left going clockwise: view of pool house under construction. Outdoor shower in process. Roof terrace with installed canopy and built sofa. Developed pool area. Finished pool house. View of outdoor shower. Next page: Finished pool house and pool area.

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Freelance

143

Right: Series of initial sketches exploring figure-ground and phenomenal transparency 144

Studio Name

Right: Series of initial sketches exploring figure-ground and phenomenal transparency Project Name

145

3 023

4 250

323

4 250

5 076

323

4 250

5 076

323

2 802

5 076

395

283

550

5B Hybel 18,3 m²

6B Hybel 18,3 m²

2,6 m²

BAD

170

100

2 265

170

1 560

170

1 571

170

10B Hybel 18,1 m²

100

Rives

BAD

395

11B Hybel 32,1 m²

170

F 100

5 430

100

1 550

3,7 m² 3 930

170

5 070

198

170

BAD 3,7 m²

3 830

70 1 415

170 1 640

240

170

785

3 830

900

3,7 m²

3 830

1 520

15B Hybel 33,7 m²

100

240

4 430

4 440

BAD

170

3,7 m²

13 Hybel 17,2 m²

198 4 400

7 000

170 200 100 1 560

BAD

2,6 m² 170

21B Hybel 18,9 m²

kanal

180

395

BAD 2,6 m²

240

100

1 760

PERSONHEIS

28 Hybel 17,9 m²

170

1 460

1 340

7 700 2 400

2 500

BAD 2,5 m²

1 520

12 13

27 Hybel 19,0 m²

EL.TAVLER OG KABLER

4 500

2,6 m²

PERSONHEIS

4 781

BAD

+43,07

VARE-OG PERSONALHEIS

100

170

2 480 100

170

240

100

1 520

2 100

12 13

1 524

180

PERSONHEIS

01 1 760

BAD

100

2,5 m²

26 Hybel 17,2 m²

3 600

1 760

2,6 m² 70

100

BAD 2 700

22B Hybel 19,4 m²

1 525

395

1 550 170

2,6 m²

23B Hybel 19,4 m²

LAGER

24B Hybel 20,7 m²

170

LAGER

29 Hybel 18,1 m²

3 250

1 560

590

180 70

3 130

2,5 m²

19B Hybel 18,1 m²

170

120

180

590

180

1 520 170 1 520

1 760

BAD

2,6 m²

BAD

BAD 170

2 420 70

3 230

170

6 043

2,6 m²

2 020

1 560

12 Hybel 19,0 m²

2,5 m²

BAD

18B Hybel 18,1 m²

BAD

DISPONIBELT

ø70

170

2 930 170

608

11 Hybel 17,9 m²

100

170

1 320

100

180

ø90

3 800

1 300

ø90

250

3 100 592

ø70

170 1 300 70

2 930 170

240

2,6 m²

3 300

180 2 020

170 70

2 930 170

592 3 100 4 838

100

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2,6 m²

1 760

170

100

BAD 17B Hybel 18,1 m²

100

vle

4 138

3,7 m² 2 480

2,6 m²

100

SØPPELROM

19 x 178 = 3 380

4 270

BITRAPPEROM

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100

3 350

1 422

3 100

1 560

170

608

170

BAD

200

el.

10 Hybel 18,1 m²

4 260

1 500

3 580

85 85

240

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09 Hybel 18,0 m²

62 170

170

1 640 1 520

100

1 760

BAD

EL.TAVLER OG KABLER

VAREHEIS

LAGER

3 230

BAD

16B Hybel 33,1 m²

SØPPELHEIS

395

180

1 800

250

3 430 170

08 Hybel 19,0 m²

395

180

4 582

170

3 000

790 198

100

1 880 180

2,6 m²

1 560

BAD 1 750

180

3 600

100

240

2 300

740

170

180

170

7 900

7 000

170

1 640

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4 000

170

BAD

1 194

1 560

3,7 m² 2 480

1 499

6 043

100

3 400

3,7 m² 2 480

1 600 70

3 230

BAD

3 400

BAD 100

170

3 230 170

170

6 043 3 400

7 300

200

6 989

170

400

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6 022

170

4 000

3 400

05 Hybel 22,0 m²

06 Hybel 23,5 m²

100

6 989

3B Hybel 33,7 m²

100

2,5 m²

07 Hybel 18,9 m²

1 760

BAD

1 665

146

13B Hybel 33,7 m²

100

170

1 520

100

170

100

5 430

1 760

BAD 2,5 m²

100

70 1 640 01

1 550

TEKNISK ROM

3 230

100

3 640

170

6 043

240

109,1 m²

04 Hybel 21,3 m²

3 800

1 194

100

3 230

2,5 m²

170

1 520

BAD1 760

03 Hybel 19,9 m²

3 400

7 400

3 400

100

4 000

3 830 240

1 520

100

BAD

100

1 200

260

1 550

7 000

170

100

7 000

200

2 480 01

170

4 000

1 760

2,5 m²

8B Hybel 18,1 m²

84 100

12B Hybel 33,7 m²

1 640 01

BAD

2,6 m²

BAD

4 000

100

1 520

1 760

3 230

100

2,6 m²

100

100 1 807 70

170

02 Hybel 19,1 m²

BAD

6 043

2,5 m²

1 194

3 400

7 800

BAD

BAD 2,6 m²

1 279

600 3 400

100

9B Hybel 18,1 m²

3,7 m²

Event. nytt vindu settes inn

01 Hybel 20,2 m²

170

2 480

BAD 3,7 m²

395

2,6 m²

6 032

1B Hybel 24,3 m²

BAD

1 550

170

200

7B Hybel 18,0 m²

100

BAD

100

BAD

100

4 582

4B Hybel 18,3 m²

BAD

6 107

3B Hybel 18,3 m²

1 760

819

200

100

4 868

100

1 438

2B Hybel 18,3 m²

1 800

A18

395

5 076

4 250

Event. ekstra hybel hvis nytt vindu settes inn

4 802

Betonmast AS Engineer

Summer 2011 and summer 2012 Supervisors: Kjell Hartvig Kristiansen and Hartvig Christiansen Location: Kirkeveien 159 and Bergenegården, Oslo, Norway

147

kirkeveien 159 This project is a new residential building in the backyard of an old electrical transformer building in central Oslo. There are apartments divided between five stories with a shared roof terrace and a two stories parking garage in the basement accessed by a car lift. On this project I was working with mass calculation, price estimate, getting quotations from external producers and following up with the architects to get the necessary up to date drawings. New Learning On this project I was again introduced to the engineering side of the construction phase. I got this job through the architect firm I normally work for in Oslo. I wanted a job in an engineering company, since I want to maintain my engineer skills. This resulted in some interesting conversations, when I needed to call the architect for the project that I normally work for, to repeatedly inquire for updated drawings to be able to do my “new” job. This strengthens my HR experience and gave me a wider understanding of the different factors of each participant in the construction phase. Parts of the learning experiences are listed in the next project. Top: Screen shot of the software used to do the mass calculation, which was the base for ordering all materials needed. Bottom: Screen shot of the MS Excel sheet calculating the entire project costs, which I was updating based on the information from my mass calculation. Opposite: Facades of the project, used to calculate the amount of stucco and mason work required

148

Betonmast AS

Bergenegården This project is a redevelopment of an old chocolate factory, which is developed into a student hall of residence, hostel, kindergarten and a grocery. The building is 10 stories and has a 5 stories addition, and each story holds between 25 and 53 individual and couple studios exclusively for students. The first assignments I had at this project was during the summer of 2011. I was put in charge of negotiating with the architect to reduce the different types of bathroom modules from 8 to 2, one HC and one normal. After I had reduced the types of bathroom modules down to two, I went to a precedence project to give a description of the modules and sent out requests for quotations to all manufacturers in the EU pre-certificated in Norway. I was also sent out to do random control measurements of the drawings from the architect. This summer, the same company called me and asked if I could help them with some assignments. The bathroom modules I had ordered last summer were on their way from Lithuania and I needed to control the high differences on the concrete floors due to hanging. The concrete floors had an additional layer of concrete on top which was removed when the modules was going to be placed. I needed to use a leveling telescope to measure the height differences between each module and the difference between the module and the door. I Right: Picture of me with a leveling telescope Left: screen shot of software use, Geometra 150

Betonmast AS

then needed to calculate the amount to even out the floor and at the same time not exceed the maximum amount of height difference. This assignment was at first quite a daunting job, but I divided each floor into three zones and calculated the differences between them. New Learning The mass calculation I did the first summer on both projects was by far the best learning experience I have had in practice. The process required that I thought of ALL elements that were going to be built and installed into the building and understood how the entire building was going to be built. In addition, I also got to calculate the amounts needed and how much it was going to cost. It was also an introduction to the engineers/contractors desire to minimize the construction cost and making sure the client paid for any changes added which was not specified in the contract.

Deres ref.

Price

request

Deres brev

Vår ref. KHK

Dato 29.06.11

: prefabricated bathroom modules

Betonmast Bygg AS has been commissioned to rebuild Bergenegården, Oslo, Norway, to a student dorm with 377 single rooms, new kindergarten and a Hostel. In relation to this, we are looking for a price estimate for the prefabricated bathroom modules for this project. Attached are the descriptions of the bathrooms. Please, do not hesitate to contact us if additional drawings and descriptions are needed. Any questions should be addressed to the undersigned on telephone +47 911 62 202, or by email kjell.kristiansen@betonmast.no The offer must be received no later than Monday, 22/08/2011 The offer must be valid for 90 days Initialization: Estimated start of the project is 4th quarter of 2011 and delivery of the modules is estimated April-Mai 2012. Looking forward to your response.

Bathroom module I: 2.4 m2, 1580 x 1520 mm of which 125 are inverted

number: 339

Bathroom module II: 3.7 m2, 2480 x 1520 mm of which 18 are inverted

number: 38

Bathroom module II:

Sink with mixer tap, e.g. as shown on picture Shower with mixer tap Wall mounted toilet Toilet paper holder Shower curtain Towel knobs flush mounted mirror Lamp over mirror power outlet for hair dryer and shaver Heater cable with thermostat Ceiling lamp Piping setup for kitchenette

Total: 377 stk stk stk stk stk stk stk stk stk stk stk stk

1 1 1 1 1 4 1 1 1 1 1 1

Bathroom module II:

Identical to module I, but fully HC-friendly

Best regards Betonmast Bygg AS

In addition, we would like a estimate for the following alternatives: Sink: Ifö Sign 7362 b=60 and mixer tap: H GROHE Focus E, Shower doors instead of shower curtains

Kjell Hartvig Kristiansen Project Director Phone: +47 911 62 202

Attached: Description of prefabricated bathroom models

Betonmast Bygg AS Schweigaardsgt. 34 Bygg E Pb. 9416 Grønland – 0135 OSLO - N

Tlf. 41 41 42 14 Fax. 22 17 16 61 www.betonmast.no

No. 989 467 263 8101.11.87358 Side 2 / 2

Bergenegården

151

152

arkitektene dahl & myrhol AS Architect

Spring 2011 - Present Instructors: Morten Dahl & Per Atle Myrhol

Right: Series of initial sketches exploring figure-ground and phenomenal transparency Project Name

153153

ENSJØVEIEN 16-18, EXISTING CONDITION This job was to document the existing condition and digitalize the drawings. It consists of two office buildings connected with a glass atrium. The owner needed updated drawings due to new fire regulations and the drawings had not been updated since the lower building was built in the mid 90s. The buildings have had many different renters over the last years and almost every wall that was not a load-bearing wall had been moved. The drawings for the new building did not have any internal walls so it required quite a lot of sketching on site. The existing drawing was not digital so the new drawings had to be drawn from scratch. On this project I got to do some management practice as well. One of the employees at the firm was quitting and was sent out to assist me.

Top: On site measurements Bottom Left: Project buildings Opposite: Basement and 1st floor. Scaled down from A3 to A4. (org. 1:400) 154

Arkitektene Dahl & Myrhol AS

REDEVELOPMENT OF LOFT APARTMENTS This job was to redevelop the lofts at a whole city block. Seen in the drawing to the right is one of the seven buildings. My assignment was to furnish the apartments since the project was first rejected by the building agency with a requirement that we had to prove that the apartments were big enough to be furnished. The job was extra challenging because the slanting roof and the need of thinking in 3 dimensions. On this job I learned a lot about furnishing small spaces and especially connected to smart compressed kitchen elements

Opposite: New floor plan of loft, development of loft. 156

Arkitektene Dahl & Myrhol AS

BALCONY AND COVERED ENTRANCE AREA This is a small project I did at work. The client wanted to add a balcony and covered entrance area to her building and just needed the drawings for the building application. The drawings to the left are the existing house and the one to the right is with the additions.

Left: Final drawings used for construction application, scaled down from A3. Misc. Projects

157

WINDOW AND SCHEDULE PLAN

DOOR

This project is a redevelopment of an apartment building and an addition of two new floors on the top (see existing roofline dotted line). In this project I have developed the window and door schedule plan and updated the construction drawings accordingly. Related to window schedules, I have also functioned as the office’s controller for other projects.

Above: Facade towards Schwensens gate after loft extension Under: Section of floor plan with window and door details, links to schedule. Opposite: Window and door schedule plan 158

Arkitektene Dahl & Myrhol AS

INTERIOR DESIGN AND PANELED CEILING PLAN

Also, for the paneled ceiling plan in the hallway I had to figure out how to best “hide” that the building was not in a straight angle. This was solved by allowing the left side hallway to slide out with the building’s angle. This was originally something one of the partners was suppose to do, but I ended up doing the work while working close with one of the partners.

Above: Paneled ceiling plan Top Right: Skylight detail Bottom Right: Cornice detail 160

Arkitektene Dahl & Myrhol AS

VENTRØRSJAKT

BØTTEKOTT RIVES

VENTRØRSJAKT

EI30CS

This is a redevelopment of an old city block building in central Oslo. It was an office building and is now being changed to a hotel. For this project, I did alterations to the floor plan and furnished the hotel rooms. I also created the paneled ceiling plans for all 5 stories. For the panel grid I had to take into consideration the light fixtures, sprinkler and, in the 6th floor, the ceiling angles.

ELSJAKT

VENTRØRSJAKT

roof details

48 x 48MM OPPFORING FULLISOLERT MED 50MM GLAVA X33

48 x 48MM OPPFORING FULLISOLERT MED 50MM GLAVA X33 9 MM GU-PLATE SOM VINDTETTING

LEKTER AV TRYKKIMPREGNERT 36 X 48 MM

SLØYFER AV TRYKKIMPREGNERT 36 X 48 MM

These are different roof details for the project on the top past pages. Since there are pretty strict laws in Oslo for existing roofs, I needed to find a way to insulate and climatically close the roof without raising the roof or lower the ceiling too much, thus lose space in these already small hotel rooms.

TAKTRO AV BORD ELLER KRYSSFINER

ASFALT TAKBELEGG MED STAMME AV POLYESTERFILT

BÅNDTEKKING AV TYNNPLATER MED STÅENDE STANGFALS 13 MM GIPS

48 x 48 MM FULLISOLERT UTLEKTING FOR TEKNISKE FØRINGER 0,2 MM PLASTFOLIE MED TAPEDE SKJØTER

EKSISTERENDE ÅS

EKSISTERENDE TAKTRO GAMMEL PAPP FJERNES

20 CM GLAVA EKSTREM

NOEN EKSISTERENDE ÅSER MÅ UTVEKSLES OG FJERNES VED HULLTAKING FOR TAKVINDU

UTBRETTEDE GIPSVINKLER I OVERGANG MELLOM GIPSPLATER OG FORING

48 x 48MM OPPFORING FULLISOLERT MED 50MM GLAVA X33 9 MM GU-PLATE SOM VINDTETTING

LEKTER AV TRYKKIMPREGNERT 36 X 48 MM

SLØYFER AV TRYKKIMPREGNERT 36 X 48 MM TAKTRO AV BORD ELLER KRYSSFINER

200 MM GLAVA X33

ASFALT TAKBELEGG MED STAMME AV POLYESTERFILT

EKS. TAKTRO

BÅNDTEKKING AV TYNNPLATER

48 x 48 MM FULLISOLERT UTLEKTING FOR TEKNISKE FØRINGER

MED STÅENDE STANGFALS

FORKANTBORD 150 MM ISOLASJON BORDTAK-BESLAG 0,2 MM PLAST TAKRENNE 13 MM GIPS

KLOSSER CC/600 FLUENETTING

RABITSPUSS PÅ RØRVEV

BESLAG

Above: Paneled ceiling plan Top Right: Skylight detail Bottom Right: Cornice detail 162

Arkitektene Dahl & Myrhol AS

200 MM STUBBLOFTSLEIRE

2 x 12 MM GIPSPLATER NEDHENGT LYDHIMLING MED 100 MM MINERALULLISOLASJON

HULLTAKING I EKS. BORDTAK FOR LUFTING 48 X 48 OPPFORING

LYRE FOR PLATETEKKING

9 MM GU-PLATE SOM VINDTETTING

FLUENETTING

LEKTER AV TRYKKIMPREGNERT 36 X 48 MM

SLØYFER AV TRYKKIMPREGNERT 36 X 48 MM TAKTRO AV BORD ELLER KRYSSFINER

ASFALT TAKBELEGG MED STAMME AV POLYESTERFILT

BÅNDTEKKING AV TYNNPLATER MED STÅENDE STANGFALS

48 x 48MM OPPFORING FULLISOLERT MED 50MM GLAVA X33

EKSISTERENDE ÅS

13 MM GULVGIPS 170 MM INNBLÅST MINERALULL

2 X 13 MM GIPSPLATER 0,2 MM PLASTFOLIE MED TAPEDE SKJØTER 48 x 48 MM FULLISOLERT UTLEKTING FOR TEKNISKE FØRINGER

EKS. RABITSPUSS PÅ RØRVEV 0,2 MM PLASTFOLIE

NEDHENGT LYDHIMLING MED 100 MM MINERALULLISOLASJON

ADDING A GARAGE TO BILLINGSTADÅSEN 9 This is an ongoing project I have brought into the office through my contacts. The clients have asked me to design a new garage in a difficult terrain.

Right: Series of initial sketches exploring figureground and phenomenal transparency Bottom: The neighbor’s garage, as an example of what the client does not want. Opposite: View from the driveway 164

Arkitektene Dahl & Myrhol AS

165

EXTENTION TO TONSÅSEN This is an ongoing project I have brought into the office through my contacts. The clients have asked me to design a new extension to their house. The building is an old railway station from the turn of the 19th century and they want to keep the style of the extension to the original design, and “not a white shoe box”. The site is relatively narrow and long, between the old rail and a lake. They are envisioning that they can sit in the new bathtub and “hover” over the lake. They need a new bathroom, storage, technical room and more wall space to their extensive art collection; they also want to look at a possibility to add a conservatory at a later stage. Depending on the cost of the project, they are considering a new studio/work space.

Right: Initial sketches after first client meeting. Bottom Left: Picture of lake side of the house Opposite: Current drawings, still need to decide on the style of the new windows, kept in the style of the existing building or a more modern. 166

Arkitektene Dahl & Myrhol AS

ILLUSTRATIONS FOR THE SALES DESCRIPTIONS

L-1.1-20m2

L-1.2-25,5m2

L-1.3-26,5m2

L-1.4-25,5m2

L-1.5-25,5m2

L-1.6-22m2

L-1.7-31,5m2

L-1.14-41,5m2

L-1.15-25,5m2

L-1.16-26,5m2

L-1.17-25,5m2

L-1.18-20m2

SOV.ALK. KJ.

KJ.

SOV.

KJ.

SOV. SOV. KJ.

KJ.

BAD

SOV.

KJ.

SOV.

KJ.

SOV.

KJ.

BAD

SOV.

KJ.

TRAPP A TRAPP C

This is an earlier project the firm had just finished. The client contacted us to see if we could make a series of illustrations for each apartment and an overview plan of the project to be included in the sales description. The client wanted a finished solution that could be directly incorporated into the document, so that potential buyers could easily be read and understood.

Top: Overview plan of the buildings for the sales description Bottom: Two of the apartment presentation sheets to be included in the sales description for the apartments 168

Arkitektene Dahl & Myrhol AS

BAD

TRAPP D

KJ.

BAD

KJ.

SOV.ALK.

VENTILASJON SJAKT

C+93.25

DØR TIL SKAP EI2 60 CSc

EL SJAKT

BAD

KJ.

BOD. KJ.

KJ. SOV.

SOV.

KJ.

SOV.

RAMPE 1:12 L-1.8-19,5m2

L-1.9-25,5m2

L-1.10-26,5m2

KJ.

BOD.

KJ.

L-1.11-30m2

SOV.

L-1.19 - 36,5m2 KJ.

KJ. C+93.0 AVFALLSBRØNNER

L-1.12-40m2

SOV.

BAD

SOV. L-1.13-35,5m2

STUE AVFALLSBRØNNER

BAD

SOV.

KJ.

L-1.20 - 24m2

SOV.

L-1.21 - 25,5m2

L-1.22 - 19,5m2

SOV.ALK.

3D VISUALIZATION AS A DESIGN PROCESS This is a quick one-hour rendering to help to visualize the project in 3D during the design process. With my background and also efficient revit skills, I was asked to make a quick 3D model of one of fifteen buildings in a residential building project. The model was made to be a working tool, and to see if the design was anything like what the project manager envisioned it. The sketch render was also later brought to a client meeting to help show the developer the direction of the project.

3D View 1

3D View 3

02 2. Etage 1 : 100

Owner www.autodesk.com/revit

Project Name

Unnamed Project number Date

Project Number Issue Date

Drawn by

Author

Checked by

Checker

3D View 2

Scale

1 : 100 07.06.2011 10:38:43

Owner

Unnamed Project number

A102 www.autodesk.com/revit

Project Name

Date

Project Number Issue Date

Drawn by

Author

Checked by

Checker

A101 Scale 07.06.2011 10:38:25

Top: Quick render to explore volumes Bottom: Quick panels to show how the building is situated in the terrain. Misc. Projects

169

REDEVELOPMENT OF KIRKEVEIEN 166 This project is a redevelopment of an old building from the 1950s, built to host journalists during the Winter Olympics in Oslo in 1952. The client wanted to add four stories on top of the building to finance the project. My assignment on the project has been to develop a 3D model for the building which is going to be the base for renderings used in the project brochure.

Top Left: Image of existing building Top Right: Revit sketch model Bottom Left: Section and floor plan used for Revit model 170

Arkitektene Dahl & Myrhol AS

172

The BAC McCormick Gallery Exhibition Installer

April 2010 Supervicor: Jim Field and Frank Ockert Duration: 2 weeks

173

The bac McCormick gallery This job was to install the Behnisch and Transsolar exhibition in the McCormick Gallery. Behnish had sent over an expert from Germany to supervise the installation. One of the big ordeals with the installation was a facade prototype weighting about 750 pounds. I was in charge of calling glass installers who would be able to move and install the module. In addition, I became the buffer between the US and German differences, with challenges such as metric vs. imperial and culturally. New Learning This was a great opportunity for me to be able to take full advantage of my studies both in the US and in Germany. Being from Norway, I am culturally closer to the German way of thinking, especially because of my engineering background (which partly is from Germany), and since I have been living in Boston the last four years I have already learned quite a lot about the American culture. When it came to focus on accuracy, there was a bit of gap between the two parties’ expectancy and this is where I sometimes had to step in. Top Left: Picture of the installation process Top Right: Picture of external glass installers I called to assist us Bottom: Detail from the final installation Opposite: Picture of the final exhibition 174

Boston Architectural College

The McCormick Gallery

175

personal

178

Atelier

Student Government Summer 2009 - December 2011 Student Representative Focus: Lecture Seires, Loft-Art and Workshops

179

I 2009, I was elected student representative and sat in this position until I left for my visiting semester at AA School of Architecture in London, in the beginning of 2012. PERSONAL ROLES AND RESPONSIBILITIES During my time at Atelier, I served in many different groups and committees. I co-founded the Photography Club, led the Soccer Club, Student Workshops and Loft-Art, and have been a part of the Student Lecture Series Committee since its beginning. By leading the student workshop series, I have been fortunate to work closely with students with strong software skills. Among the pleasures of participating in the Atelier have been to help create a workshop and facilitate rooms, posters and emails to create a shared learning experience within the student body. In addition to my regular responsibilities as a student representative, I have functioned as a photographer and graphic designer for the BAC working close with the administration and staff on various projects. Among others, I have taken the background photos of the four last lecture series posters and been a part of designing them as well. It has also given me the opportunity to help other organizations and groups at the school This page: Lecture Series Poster Fall 2010 Spring 2012 Opposite clockwise: Kevin Schopher, Mark Plopfer + Kaki Martin, Bjarke Ingels, Stefan Benisch, Eric Höweler, Craig Dykers, Martha Schwartz and David Hacin 180

Boston Architectural College

with their photography, shooting and following BAC’s group at the IIDA Fashion Show last year. Because of the work put into the lecture series I have been fortunate to meet and have dinner with several designers and architects I highly admire, such as Craig Dykers, Bjarke Ingels and Stefan Boublil

FALL 2011 LECTURE SERIES CREATIVE PROCESSES CASCIERI HALL

10.12 // 6 PM MARK KLOPFER + KAKI MARTIN Klopfer Martin Design Group

EPONYMOUS PRACTICE

10.18 // 6 PM MARTHA SCHWARTZ Martha Schwartz Partners

THE SOFTER SIDE OF SUSTAINABILITY

11.2 // 6 PM MATTHIAS HOLLWICH HWKN (Hollwich Kushner)

RE: DESIGN (FROM CROWD SOURCING TO A REVOLUTION IN ARCHITECTURE)

11.16 // 6 PM STEFAN BOUBLIL The Apartment

THE CONSIDERED LIFE

11.30 // 6 PM ERIC HÖWELER Höweler Yoon

MEANS + METHODS

THE-BAC.EDU

Atelier

181

Mock Trial Workshop 2011, lead by the practice department

Atelier, BAC’s student government, board of 2010-2011

Herb Kronish, the recipient of the Ed Toomey Award

Major Menino E+ exhibition in the BAC McCormick Gallery

Matthias Hollwich and students after lecture in Boylston Hall

NOMAS Model Making Workshop, student Jason Boone as instructor

182

Boston Architectural College

Top Row: BAC’s submission collection for IIDA Boston 2011 Fashion Show. Bottom Row: Other submissions Atelier

183

184

Misc. Travelling

185

188

photography

189

Photography in my life Photography is a big part of me and my life. I never leave home without a camera, may it be my DSLR, my inherited Exakta or a regular 35mm. I use photography to document elements and spaces as references or most importantly as another media of express my creativity. After my trip to India this last December, I came home with 8480 images. Lately, I have gotten a couple of assignments through friends, shooting at two fashion shows; one the IIDA in Boston and the second in Bilbao, Spain. I have also had the privilege of being a wedding photographer. In December, I got my first image published in the Norwegian architect magazine ArkitektNytt, the official magazine published by the Norwegian equivalent of AIA. The bottom middle image shows the double spread image in the Architectural Association (AA)’s library.

Above: Published photo in Arkitekt Nytt in the Architectural Association Library Right: Walt Disney Concert Hall, LA, CA 190

Photography

Si Fashion Show Bilbao, Spain 192

Photography

193

194

195

196

197

198

199

I would like to use the opportunity to thank my family, faculty, staff, administration, and fellow colleagues, both at school and work, who have inspired, guided and pushed me to be realy for thesis, thank you all.

Copyright Disclaimer: All material, plans, diagrams, and illustrations produced in this portfolio are copyright of the author. All original material, photos, plans, illustrations, and texts and trademarks are copyright of their respective owners. This portfolio was compiled strictly for educational purposes. It is not meant to be reproduced in any way without permission of the respective copyright owners.

Mik k e l D ah l Strø m s tad , As s o c . AIA, M NAL M.Arc h Can d idate Se g. II Po rtfolio BAC