ARCHITECTURE PORTFOLIO Sebastian Uthaug
Sebastian Uthaug Phone: 0047 48100859 Email: sebastianuthaug@gmail.com
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My name is Sebastian Uthaug. I am a newly graduated architect born and raised in Bergen, Norway. I started my architecture studies at Bergen School of Architecture in 2011. After four years I decided to take a year of and pursue an old dream. I had always been fascinated by sailing ships. So after working at GRASP Arkitekter in Bergen from June to December 2015 I sailed with the barque Picton Castle for 80 days. When I came back home I worked for a while at a-works, a small architecture practice in Bergen. Then I went back to school and completed my masters degree in architecture in June 2017. I attended TreStykker, an architecture student workshop after my first year of architecture school and the year after I arranged a similar workshop in my hometown Bergen together with four fellow students. We were part of the whole process. Participating in every step from it being an idea to a built project. This is one of the most, if not the most, important experiences I have made as an architecture student. Before I got into architecture I played in various bands. Forza and Silja Sol were some of them. I think my background as a musician has definitely shaped me as an architect. I think that rhythm, repetition, small variations and expressive identity, which are all important aspects in music, are also equally important in architecture. Last year I started a new band, it is called Svenkse Tilstander. I am looking forward to work as an architect in an office and I truly believe it will become the steepest learning curve I have experienced. Although I feel I have the skills expected when it comes to research, design and presentation of architectural work.
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EDUCATION 2011 - 2017
Masters degree in architecture | Bergen School of Architecture
2010 - 2011
Cultural Studies | University of Bergen
2010
French language and history | Gateway College Paris
2006 - 2009
High School Diploma with specialization in music | Langhaugen vgs
INTERNSHIPS 2016
a-works | Bergen
2015
GRASP Arkitekter | Bergen
WORKSHOPS 2013
TreStykker - Organizing team - Architecture Student Workshop | Bergen
2012
TreStykker - Architecture Student Workshop | Oslo
COMPETITIONS 2017
120 hours international student architecture competition 2017 | In collaboration with Ingrid Jordheim | Awarded with honourable mention
2014
Maritimt Vitensenter i TungevĂĽgen | GRASP Arkitekter
2014
Guggenheim Helsinki Design Competition | GRASP Arkitekter
LANGUAGES Norwegian | Mother tongue English | Fluent
SOFTWARE Rhinoceros | Illustrator | InDesign | Photoshop
OTHER 2016
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80 days of sailing | Barque Picton Castle | Transatlantic Voyage
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CONTENTS
1:20
Diploma project at Bergen School of Architecture p. 8-13
JIAN
120 hours international student architecture competition 2017 p. 14-17
BRÄ‚ILA BOX
8th semester at Bergen School of architecture p. 18-21
INTERNSHIP 1
Various work done at GRASP Arkitekter in Bergen autumn 2015 p. 22-23
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TRESTYKKER
Architecture Student Workshop 2012 & 2013 p. 24-25
PERIPHERAL FUTURE
7th semester at Bergen School of architecture p. 26-29
BORDER ZONE SAUNA
9th semester at Bergen School of architecture p. 30-33
INTERNSHIP 2 - GARDEN STUDIO
Project done while working at a-works in Bergen, spring 2016 p. 34-37
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1:20 Room logistics for the art scene in Bergen Diploma Project
DECEMBER
JANUARY
NOVEMBER
FEBRUARY
The Art scene in Bergen is pretty good. The quality of the artistic output holds a high international level. One factor in this is the municipal plan: Bergen city of the arts. This plan was first launched in 1998 after an artist led initiative taking place in the early 90’s. The art plan focuses solely on the professional sector of the arts milieu and the goal is to make Bergen an attractive place to work and live as a professional artist. Still, the most important factor is clearly the artists themselves, but we acknowledge the need for an apparatus of facilities, resources and communication to be present for the art scene to reach such a high level. Ekko Festival
OCTOBER
MARCH
Oktoberdans Biennale METEOR Biennale
BIFF
Borealis
Vill Vill Vest
Bergen Assembly Triennale
APRIL
SEPTEMBER
Humorfest
Bergen Matfestival, Bergen Ølfestival and Barnas Matfestival
AUGUST
MAY
Mini Midi Maxi
Eggstockfestivalen
Nattjazz
Bergenfest
JULY
JUNE
Festspillene
A new plan was released in 2008. Bergen City of the Arts 2008-2017 had one very clear objective: Making Bergen the most interesting and innovative city for art and culture in the Nordic countries by 2017. The plan states strategies as “Ensure artistic freedom and independence”, “Ensure improved conditions for art and artists”, “Strengthen conditions for competent criticism and commentary” and “Emphasize and strengthen the role of art in creating a sense of identity in a diverse and multifaceted city”. What is the city’s approach to architecture when writing the arts plan? By architecture we mean the rooms that are currently being used as a very important tool for producing and performing the art that undeniably puts Bergen on the map. The plan points out the “Insufficient number of production facilities and flexible venues in all disciplines”, but no research on existing rooms and their potential regarding sharing, multi-use or reprogramming is presented. Tutors: Cristian Ştefănescu Andrea Spreafico Eva Kun In collaboration with Audun Høvik Hammersland 9
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Above: 99 rooms we identified that are used for art in Bergen | Right page: The festival calendar for Bergen indicates pressure points during the year for the 99 rooms used for art.
December
January
November
February
Ekko Festival Oktoberdans Biennial
October
March
METEOR Biennial
Borealis
BIFF Vill Vill Vest
September
April
Bergen Assembly Triennial Humorfest
Bergen ølfestival, Bergen matfestival & Barnas matfestival
August
May Mini Midi Maxi
Eggstockfestivalen
July
June
Bergenfest
Nattjazz Festspillene
This project is about our experience with Bergen as an art city and how we have acted on it. What can we as architects do that can add value to an already pretty good situation? What we find interesting about the art production is how it has the ability to adapt to changes. This can be seen by looking at how rooms are used for completely different purposes than normal during festivals. We call this cross use, and we find this a really fascinating value for the city. We have through making of a Bergen art city-calendar identified pressure points during the year of when the infrastructure of rooms in Bergen are under most pressure. This is during festival times. Through visits and talks with artists we have also identified another pressure which is independent from the calendar. The material pressure. The accumulation of art in ateliers and studios. By establishing two archives we aim to facilitate for an art scene that can continue to evolve in the direction its heading. Both archives are open and moving with the art scene. One archive is of rooms, because we would like make more cross use easier by making all rooms available in one place. The other is of art that is neither in a create or show state. We want to give value to otherwise stored away art by archiving it in a show/archive manner.
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Above: Photo of the “archive of rooms” model in 1:50 | Right page: Cross section of the “archive of rooms” in 1:100
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JIAN 120 hours international student architecture competition 2017 This project was awarded with honourable mention
Jian is a simple structure. It stands solidly on the ground as well as it floats elegantly on slender stilts above it. Just like the traditional Buyi houses. Jian provides shelter and exposure of the elements as well as pragmatic and poetic spaces for learning, playing and eating. Jian is our interpretation of the local architectural typologies found both at the LiangMen School and in the area of Pu’An City in the Guizhou province in general. The semi-tropical, humid climate of the region with its 100 to 140 centimetres of rain per square meter a year brings a clear logic to the LiangMen Schools’ existing buildings. The cantilevered floors of the first floor provides roof for the ground floor. In our proposal, Jian, we use what we have learned about the local architecture in the Guizhou province to be able to create a piece of architecture that would fulfil its purpose of giving the children and teachers at the LiangMen School a canteen and a library to be enjoyed every day of the year. Whether its raining or the sun is shining bright there is always possible to seek shelter or to be on top and embrace the weather.
In collaboration with Ingrid Jordheim 15
LiangMen School typology
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Buyi wooden house typology
Buyi stone house typology
Section 1:100
Plan of ground floor with canteen 1 : 200
Plan of first floor with library 1 : 200
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BRĂILA BOX How to use the communist architecture of Brăila as a platform for a discussion on its value
Coming to Brăila as an architecture student can really blow your mind. At least it blew our minds when we arrived in February 2015. What role can the architect play in a city that has been shrinking since the mid 1990s? Is a new master plan, a new building, a park or some sort of intervention what the people of Brăila need to improve the quality of everyday life? Not knowing what to do, nor knowing much about the city, we went to a local bar in search for the local identity of Brăila. The bar proved to be a good starting point as the people sitting there had interesting stories from their lives to share. They knew what it was like growing up in Romania during the hardship of Ceaușescu’s regime. Being in Brăila, not seeing the impact communism had on the city’s built environment is impossible. This became our starting point. Why is the architecture and design from the communist era not acknowledged as part of the Brăila identity? It is not hard to see why many people look back at the time of Ceaușescu feeling relieved that it is over. But to deny the past does not look like the right thing to do. We wanted to play out our role as architects in this field. We wanted to interact with people and then react using architectural tools to trigger a discussion. The goal of such a discussion is to reach a higher degree of awareness towards the post-war modernist architecture in Brăila.
Tutors: Cristian Ştefănescu Andrea Spreafico Guillaume Eckly In collaboration with Karl Emil Sødergren 19
1. Manual The book in your hands.
2. Newspaper Read about how it was being an architect during the communist era.
3. Brăila map in 1 : 10 000 Fold out map of Brăila. The urban tiles are marked in red.
4. Urban tiles in 1 : 1000 Use the urban tiles to puzzle the city on the floor or a large table.
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5. Drawing sheets Each of the 11 buildings represented in an axonometric and plan drawing.
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6. Accordion A collection of hand drawings from the 11 buildings.
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7. The grey mass A large portion of the city fabric comprise of grey mass. Have a look at it in this small booklet.
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8. Character cards All the characters are related to one of the 11 buildings. The cards have a picture on one side and a short description on the other.
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9. Building cards 6
One card for each of the 11 buildings in Brăila and cards for buildings found elsewere in the world.
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10. Timeline cards
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Cards containing events that have been important for the development of the Romanian modern architecture.
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One or more models for each of the 11 buildings.
11. Models 12. Machine
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Dacia 1300
13. Picture sheets Historic and present pictures from the 11 buildings.
14. Speaking of Brăila Quotes from the people of Brăila.
15. Covers Pinhole picture on the front. Name on the back. Text and drawing on the inside. One cover for each of the 11 buildings.
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Above: Content of the Brăila Box | Right page: Brăila Box in use and pictures from the book “This place is pretty good” in which our project was published along with other student projects.
Brăila Box has been exhibited at the “Ion Mincu” University of Architecture and the National Museum of Contemporary Art - both in Bucharest, Romania. It is now part of the permanent collection of the City Museum of Brăila.
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A collection of model and visualization work I did while working at GRASP arkitekter in Bergen between June and December 2015
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Architecture Student Workshop - TreStykker 2012 - NAUSTET After my first year at the architecture school I attended this workshop in Oslo.
Architecture Student Workshop - TreStykker 2013 - KNABBEN After my second year at the architecture school I was in a team of five students, including me, Benjamin Alstrup Velure, Vilde Kjærsdalen, Kari Tønseth and Henrik Mæland, who organized the workshop in Bergen.
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PERIPHERAL FUTURE Challenging The Big-Box
Peripheral Future is located in Godvik, in the outskirts of Bergen. Godvik has been subject to a huge building development since the 1950’s. The building typologies identified in the area are mainly big-box workspaces and single family houses. Both programs are of low density which leads to sprawling when they need to expand. They then expand into unbuilt green areas. The remains of green areas is an improtant recreational and educational quality that also have interesting potentials for small scale infrastructure development. The area is divided into mono-program situations. These situations fail to establish any relationships to each other, which generate borders between the different programs. My aim was to challenge the development of the big-box typology. How can the development of the big-box area continue without eating up whats left of the green belt?
Tutors: Jerome Picard Jonathan Woodroffe Eva Kun
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Intensify fagerdalen by 100% to prevent further big-box sprawl.
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Use big-box as connector, not seperator.
Enable multiprogramming of the area.
Break the barriers that divide the area into mono-program situations.
Above: The new big-box structure in situation and intentions | Right page: Isometrics of the new big-box structure
Layered structure
Internal variations
Circulation
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BORDER ZONE SAUNA A comment on the Norwegian fence
In 2016 the Norwegian government spent according to the department of justice 3,6 million NOK on a 3,5 meter tall and 200 meter long fence close to the official border crossing between Norway and Russia, at Storskog. In 2015, 5500 asylum seekers crossed the border into Norway at Storskog. In 2016, 1 asylum seeker crossed. The fence is according to the Norwegian government intended as an element to better the security on the border crossing. The placement of the fence doesn’t make any sense. If the goal is to keep people from crossing the border, the fence should be placed where people actually cross. So not only does the fence have a negative symbolic value, it also has no functional value. The money spent was state money, and one can wonder if the cost was actually higher since they later had to move a 50 meter long stretch of the fence 15 centimetres further into Norwegian territory. In this project we suggest that the Norwegian government build a sauna instead of a fence. The sauna culture has long historic lines in Norway and the other Nordic countries, but also in Russia as the “banya” and the middle east as the “hamam”. In the medieval ages most Norwegian cities had a sauna, and men and women used it together. The architecture of the sauna and how to use it varies from culture to culture, but there are many similarities. Like the high temperatures, cleansing of the body, relaxation and conversation. It is a space where everybody are equal. In Finland it is said that the most important decisions are always taken in a sauna. A fence generates nothing but conflict and separation of people and cultures. The border zone sauna aims to do the opposite of the fence and generate conversation and sharing of space across political borders, cultures, nationalities and people. Tutors: Anders Rubing Vibeke Jensen
In collaboration with Ingrid Jordheim 31
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Above: The sauna, the porch and the stair to the lake | Right page: The border situation and some images including a picture of the 1:50 model of the sauna room.
NORWAY SÀPMI E105
886
PIKEVATNET, LAKE STORSKOG BORDER CROSSING
RUSSIA SÀPMI
Norwegian fence
200m
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GARDEN STUDIO
In the spring of 2016 i worked at a-works. A small architectural practice in Bergen run by architect Cristian Ştefănescu. For this project the client was a couple who wanted a small writing studio in their garden. They live in a single family house just outside the city centre of Bergen. The idea was from the start to design a free standing building that for practical reasons should not be larger than 50 square metres. The client also had a wish for the writing studio to accommodate for storing of garden tools and at some point they would like to add a greenhouse to the structure as well. The result is a single storey building that measures 3,3 times 11,8 metres in plan. The plan is organized linear, so that you enter the building from the short side closest to the residential house, hang of your clothes and take of your shoes, then you enter the space with the work table. We included a wood fire stove with space for a comfortable chair next to it and shelves for books. The client have a huge collection of books and would like to put a portion of them in the garden studio. In the far end from the entrance there is a sun-room. A room where the walls are windows.
In collaboration with Cristian Ştefănescu and Kristin Karlsson 35
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Above: Photos of models in 1:100 and 1:50 | Right page: Plan and elevations in 1:100
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Architecture Portfolio Sebastian Uthaug 2017