AL! Atmospheric Laboratory Unit 2+3 d, Aarhus School of Architecture
Atmospheric Laboratory / Unit 2+3 D Editors: Karianne Halse & Izabela Wieczorek Layout: Karianne Halse & Izabela Wieczorek Print: Ecograf ISBN: 978-87-910-5112-8 Publisher: Aarhus School of Architecture Š the Aarhus School of Architecture and the authors
Unit 2+3 d
AL!
Atmospheric laboratory
Foreword by Rasmus Grønbæk Hansen
p. 5
Introduction
p. 6
Fall semester >>>>>Singularities of the evident/ window expander
p. 10
[A1]
Window Safari
[A2]
Recently separated
[A3]
Window Diary / Mapping the Intangible
p. 11
[A4]
Perceptual Apparatus / Window Expander
p. 16
[A4] 2
Perceptual Apparatus / Window Expander
p. 19
[A4] 3
Constructing Prototypes
p. 22
[A5]
Portfolio: Window in a Valise / Constructing Narrative
Exhibitions
Spring semester >>>>>Extraordinary of the evident/ Vehicles for events
p. 24 p. 42
p. 48
[P1.1] Atlas/ Constructing an archive
p. 50
[P1.2] Who? What? Why?/ Constructing Fiction
p. 54
[P1.3] Program/ Constructing a Strategy
p. 56
[P2] ‘The Art of Inhabitation’/ Constructing a Place
p. 64
[P2.1] [2.2] General proposal
[P2.3] Micro-unit (individual)
[P3] Fictional Realities/ Constructing a Narrative
List of Study Cases Lectures
p. 70
p. 112 p. 113
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Atmospheric laboratory
Foreword
Equality, Difference and Similarity This publication, in a series of three, is an attempt to document the work produced within the units C, D and E in the joint 2nd and 3rd year of the bachelor program. It is meant to give a brief summary on academic and didactic terms of the operational framework. Together the publications establish a snap shot of the educational landscape, outlining the differences as well as similarities The content includes an excerpt of student work, assignment texts as well as studio manuals, which have outlined the academic year, fall 2012 and spring 2013. The selected works have been chosen to best capture the intentions and outcome of the respective units and highlight the differences as well as shared areas of interest. Thus the formats of the three publications are not identical, neither is the graphic layout or the criteria for choosing among the immense amount of work produced by the students of each unit. In the framework of the assignments, there will however be overlapping areas and it is within this educational landscape of equal opportunities for all students, but with both differences and similarities among teaching units, the bachelor education of the Aarhus School of Architecture will develop. The objective of the publication is simply to record the two interrelated semesters, one based on research and the following based on project development applying the knowledge and insights gained in the previous semester, giving the students a tangible evidence of their efforts and most importantly a valuable reminder of their findings in relation to their future studies, as well as to provide people not related to the three units, with an accessible overview and insight into the set up and production that has taken place. In addition the publications are intended as a first self established effort to develop an accessible archive of education at the Aarhus School of Architecture. An archive documenting the various studios, courses and workshops are offered year by year and as such a potentially useful point of departure in the development of future assignments and as part of a general dialogue on the educational content, didactics and progression of the school. The publications have not come into existence as an answer to a task given each unit of the bachelor program, but have been made possible only through an extra effort from the teaching staff of the three units and of course through the engagement and talent of the students, whose work fills these volumes – without them none of the books would have been created. Enjoy, be inspired and use freely in the name of education.
Rasmus G. Hansen Associate Professor, Head of the Bachelor Program
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Introduction
”(...) The snow crystal is different. Its genesis is dynamic and can be situated initially at the convergence of three distinct fluxes: mica and mineral particles; a moisturesaturated field; and a thermal flow of heat exchange. One does not know in advance where or when such a crystal will begin to nucleate or form, but one knows it will emerge- apparently spontaneously- from a flux or convergence of flows, not in a prepared form or space. The form of the crystal, however, is not fixed from the beginning it is merely an incarnated singularity, a speck of dust-ice, that has been carried to a new level where it interacts with higher-order flows- gravity, wind, barometric pressure, humidity, other silicate dust, water, crystals, and thermal and even acoustic flows, plus electrical and magnetic gradients. All of these conditions vary continually in relation to themselves and affect the snowflake's trajectory. The crystal does carry some fixed information along with it- its preestablished molecular structure, developed within a rigid tetrahedral lattice of hydrogen and oxygen atoms, determines the even formation of hexagonal plates with six "inflections" or surface asperities.(...)” 1 Sanford Kwinter
It is quite obvious that architecture is no longer interested in auto-referenced objects. Not only did architecture gradually become subject-oriented— prioritizing the experienced—, but it was also inscribed in a very complex network of relationships. Our thinking about the relation between the human being and the environment— initiated by phenomenologists— turns to everyday reality as a base of observation and action. Thus, the definition of experienced is not to be attributed to merely subjective feelings, of a merely psychological reality. It is also related to a space based on vital relationships, a space in which our life takes place, a space that is not a neutral, static medium, but one full of meanings, possibilities and suggestions. Thus, the aim is to stress an instrumental investigation of our surroundings and its spatial, historical, social, environmental and climatic factors, reading the inherent possibilities of the place and understanding that it is also important to consider all the existing conditions— also those regarding the user, program, function or construction in particular. The question is how these issues can be used as the subject matter of the project and be processed spatially. The aim is to respond to this question by exploring the complexity of the architectural process through mutual —direct and indirect— interaction between analysis and synthesis, theory and practice, doing and making, representation and communication, the analogue and the digital, the subjective and the objective, the natural and the artificial, the material and the immaterial, reality and fantasy... But also by reflecting on relationships— even those based on an awareness of dichotomies— between the phenomenal world and noumenal world, between our personal experiences and the collective ones; it is an interesting challenge. The unit 2+3 d is to be conceived as a laboratory based on a heuristic approach, a phenomenological methodology and pragmatic verification. It leads to the work and study method, which emphasizes experimental approach as well as investigation, critical thinking and discussion as parts of the development process, where there is a room for both the individual projects and the projects that emerge from a process of collective dialogue and collaborative enquiry. But this laboratory is far removed from what is commonly considered as a hermetically sealed space of scientific investigation. It is a contingent space, open and responsive to external influences2. Thus, a spreading network of connections and references is to be developed by incorporating workshops, theory seminars, lectures, current cultural agenda, etc. to the program. The main goal is to stimulate an attitude of being an explorer with the capacity to discover and unravel places, habits or phenomena, and the ability to question and wonder. The crucial final stage in this approach is to be able to transform what seems to be evident into something extraordinary, to replace the catalogue of the predetermined with a reflexive and tacit knowledge. The activity of the unit 2+3 d is based on the assumption that architectural practice is a heterogeneous assemblage of knowledge, skills, experiences, intuitions, desires, reasonings, references etc. rather than the application of prescriptive methods.
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Unit 2+3 d
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Atmospheric laboratory
Structured around a series of sequential exercises— of different scales and duration—research and project development lead to an understanding of the architectural production as a cumulative and transformative process. The studio focuses on analytical and creative thinking through experimentation with both manual and digital techniques. It also stresses the importance of architectural representation, beyond the usual plan and section— although these are both crucial— thus developing what the French philosopher Jacques Rancière denominates pensiveness3— a combination of different ways of representation, a narrative intertwinement where different mediums exchange their power. In this way, drawings, diagrams, maps, pictures, movies, models and one-to-one prototypes are used as the means of documenting processes, articulating ideas and their communication to the exterior. Likewise, it raises the interesting question of whether only visual data of architecture can be transmitted. How can we represent and communicate what is invisible? How can architecture be converted into a medium? Moreover, if we consider space to be a living and changing environment (also affectively composed) and materiality as an active element that triggers action and both corporal and emotional engagement, then we should think about other representational ontologies as being able to evoke effects and sensations, to re-enact experiences. The aim is thus to reduce a distance between the experiential and sensorial multiplicity existing in our day-to-day life and the graphic methods that allow us to synthesize and to express our thoughts. Therefore, experiments on the different forms of notation and representation are to be carried out continuously during research and project development. Architectural space is to be imagined, formed, communicated, fabricated, perceived and experienced. Bearing this in mind, space-generating strategies will be explored as both conceptual assumptions and physical techniques deployed in the process, focusing on that conclusive moment when the speculative re-engages with the everyday world of experience. It also allows us to explore the relationship between doing and making. By overlapping conception and production, the aim is to offer an understanding architecture, as an experience of the process, which leads to experiencing the space, where thinking is converted into action and action into construction, bridging the gap between abstract thoughts and built structures and removing the existing dichotomy between academic projects and reality. It is also about regaining awareness of our body, of time, of matter and of our limits and forces.
Openings 2012/2013
In the 2012/2013 academic year the teaching objectives of the Bachelor Program for the 2nd and 3rd year focus on different approaches to openings. The fall semester - Singularities of the evident/ window expander - is devoted to a series of investigative probes, as it is understood as practice-based research. The unit 2+3 d addresses investigation as a creative process, encouraging experimentation and the invention of different methodologies of examination and representation. The spring semester - Extraordinary of the evident/ Vehicles for events - focuses on the implementation of research in project development.
1
KWINTER, Sanford: Architectures of Time. Toward a Theory of the Event in Modernist Culture, MIT Press paperback edition, Cambridge, Massachusetts, 2002, pp.26-29
2 Here the definition of laboratory formulated by the French theorist Bruno Latour should be evoked- see: LATOUR, Bruno, "Give me a Laboratory and I will raise the World", in Knorr-Cetina, K. and Mulkay, M. (eds.), Science Observed: Perspectives on the Social Study of Science, London: Sage, 1983, pp. 141-170.
RANCIÈRE, Jacques, “La imagen pensativa” in RANCIÈRE, Jacques, El espectador emancipado. Ellago Ensayo, Castellón, 2010, pp. 109-129 (original edition: Le spectateur émancipé. La Fabrique éditions, 2008)
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Atmospheric laboratory
Fall semester: Singularities of the evident/ window expander
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Singularities of the evident/ window expander
„ (...) Consider a window. Is it simply a void traversed by a line of sight? No. In any case, the question would remain: what line of sight - and whose? The fact is that the window is a non-object which cannot fail to become an object. As a transitional object it has two senses, two orientations: from inside to outside, and from outside to inside. Each is marked in a specific way, and each bears the mark of the other. Thus windows are differently framed outside (for the outside) and inside (for the inside).(...)” 1 Henri Lefebvre
Things around us— such as a snow flake— have hidden aspects, some internal logic, system or mechanism that is more complex and richer than the outward image we perceive. Thus, we will try to transcend an understanding of the window as an evident (mostly industrialised) architectural component, seeking its expanded definition through conceptual and material logic and sensory experience and comprehending the window as a complex and operational element - a device of aesthetic2 engagement and phenomenological manifestation. The main objective of the unit is to explore how particular architectural concepts in relation to the site, the environment, the necessities of the user etc. become performative, adaptable and variable and generate a continuously changing space. In this context the window is seen as a generative tool – perceptual apparatus which leads to the creation of specific scenarios or atmospheres, an opening as a design technique and architecture as a discipline that draws out the dynamics of everyday life and experience, translating them into graspable form. Oscillating between the material and the immaterial, the fixed and the flexible, the evident and the unexpected we will experiment with space, attempting to spatialise the phenomena. A window as an architectural construct defines a concrete physical connection to our body and the environment and implies a great number of conditions that affect, and are affected by its size, position, materiality, typology, complexity, function... Thus, the relation of the opening to the space, the environment and habits is to be tested and evaluated in order to facilitate its understanding and redefinition. Being aware of the operative and performative scope of architecture is essential to recognizing all factors implied in the design process. Thus, the unit investigates how our awareness of effects is shaping contemporary spaces, understanding architecture as a spatial-temporal configuration far from formal forecasts or analogies, materiality as an active and dynamic element, [2] and form as a response to complex conditions— as a result rather than an anticipated intention. Moreover, instead of talking of a linear approach from form to tectonics, where the material appears in the end of the design, the unit places an emphasis on the identification of the inherent conditions and effects of the materials as the data upon which the project is developed, seeking to originate a line of experimentation and enquiry, inherent to the instrumentality of materiality and perception. The crucial final stage in this approach is to seek to produce sensorial, performative and responsive spaces, and to provide students with the technical and analytical skills required to think of and reflect on these conditions.
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[1]
Unit 2+3 d
AL!
Atmospheric laboratory
[A3] Window Diary / Mapping the Intangible
Following the meticulous collective documentation of selected windows, where the students analysed the spatial, tectonic and structural aspects, the second phase of research turns to individual analysis focusing on effects and experiential sensations in addition to spatial and material conditions and environmental and atmospheric considerations. The window is to be investigated in light of contextual qualities — these will be methodologically questioned to reveal its intangible and phenomenal specificities. Phenomenological registrations / spatial investigations explored and presented in 2D media. The students are asked to choose two of the keywords that supplement each other and to unfold the window through mappings related to these keywords. [cycle] [movement] [duration] [atmospheres] [obstacles] [transparency] [observatory] [visibility] [effects]
context: method:
window at home mapping [2D] drawings (hand-, digital-), photo (digital, analog pinhole / polaroid), film, collage, mixed-media, acetone
[3]
“(…)INVISIBLE: Notations go beyond the visual to engage the invisible aspects of architecture. This includes the phenomenological effects of light, shadow, and transparency; sound, smell or temperature, but also– and perhaps more significantly– program, event, and social space. Notations are not pictures or icons. They do not so much describe or represent individual objects, as they specify internal structure and relationships among the parts. Inasmuch as the use of notation signals a shift away from the object and toward the syntactic, it might open up the possibility of a rigorous, yet non-reductive abstraction. The use of notation marks a shift from demarcated object to extended field.3 Stan Allen
Readings: COLOMINA, Beatriz: “Museum”, “Interior” and “Window” in Privacy and Publicity: Modern Architecture as Mass Media, MIT Press, 1996, pp. 201-233, 233-283, 283335 CORNER, James: “The Agency of Mapping: Speculation, Critique and Invention” in COSGROVE, Denis (ed.): Mappings, Reakton Books, London, 1999, pp. 214-252 ALLEN, Stan: “II_Notations+Diagrams: Mapping the Intangible” in ALLEN, Stan, Practice: Architecture, Technique, and Representation. Routledge, New York, 2009, p. 40-70
1
LEFEBVRE, Henri: The Production of Space, Blackwell Publishing, 2012 (original ed.: La production de l’espace. Editions Anthropos, 1974), p. 209
In the context of our course we will approach aesthetics bearing in mind the real and much wider meaning of the term (transcending the traditional and anachronistic parameters of the aesthetic theory, focused on the matter of beauty and restricted to the fine arts), as according to its etymological roots, aesthetics [gr.: aisthēsis] means perceived by the senses. See: BERLEANT, Arnold: Sensibility and Sense: The Aesthetic Transformation of the Human World, Imprint Academic, 2010 2
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ALLEN, Stan: “II_Notations+Diagrams: Mapping the Intangible” in ALLEN, Stan, Practice: Architecture, Technique, and Representation. Routledge, New York, 2009, p.64
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[4]
[6]
[5]
[7]
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Atmospheric laboratory
[8]
[9]
[1] Jens Vium Skaarup [2] Christopher Sejer Fischlein [3] Beate Kristine Asbjørnsen [4] Julie Bertelsen [5] Eirin Bakken [6] Michael Wolsing [7] Louise Bjørnskov Schmidt [8] Gunborg Martina Blom [9] Anna Katerine Tan Nielsen [10] Matteo Lampaert
[10]
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[12]
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Atmospheric laboratory
[11]
[13]
[11] Mapping kitchen bench; objects, activities and movement [12] Mapping of reflective surfaces; kitchen objects [13] Perceptual Apparatus: Cutlery window-device
Gina Helene Hov
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[A4]
Perceptual Apparatus / Window Expander
“Device: an instrument or tool designated for a specific task.” “[...] the function of these devices is instead to manipulate phenomena in the same way that architecture does - using space, time, sound and materiality to interact with its audience in a performative relationship. The diminished physical and financial scale, [...], makes device-making a breeding ground for invention and spatial possibility.” 1 CJ Lim
[14]
Based on the explorations of phenomenological matters in [A3], the window is re-developed as a perceptual apparatus. This spatial exploration should take into consideration the existing spatial condition(-s), and act upon; reinforce or change the inherent environment.
context: method:
home-window spatial construction, models + 1:1 prototype
[1] drawing 1:50 - development of a digital sectional perspective drawing of the spatial relation between the window / space / context as a basis for further investigations.
[2] definition of a program related to activities / habits / phenomena – exploration of relevant examples related to the previous case studies.
[3] model, 1:20 – construction of the existing context as a fixed frame / extracting window as a replaceable part. Exploration of the spatial changing conditions defined by the window-component. [4] construction of prototypes, 1:1. Focusing on [materials] [mechanisms] [joints]
Readings: CRARY, Jonhatan: Techniques of the Observer: On Vision and Modernity in the 19th Century, MIT Press, 1992 EWANS, Robin: “Figures, Doors and Passages”, 1978, in: EWANS, Robin: Translations from Drawing to Building and Other Essays, The MIT Press, 1st ed., 1997 HOLL, Steven, PALLASMAA Juhani, PÉREZ- GÓMEZ Alberto: Questions of Perception. Phenomenology of architecture. William Stout Publishers, A+U, 1st ed., San Francisco, 2006 (original ed.: A+U Questions of Perception. Phenomenology of architecture, Special Issue, July 1994)
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Atmospheric laboratory
Investigation of transparency, glass and water
[15]
[16]
[14] Christopher Sejer Fischlein [15-16] Victor Linus Engels [17] Liam Marosy-Weide
[17]
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LIM, CJ: Devices - A manual of Architectural + Spatial Machines, Architectural Press, 2006, p. 6.
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[18]
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Atmospheric laboratory
[A4] 2
Perceptual Apparatus / Window Expander
Parallel development of investigative probes 1:20 model / section; layers, The A4 phase 2 focuses on the experimentation within the different operations, protocols and mechanisms according to the defined program and the relation to the investigated phenomena. The 1:20 model is to be explored through the application (plug-in) of different (active/performative/evolving) materials and devices in order to manipulate the spatial and the atmospheric conditions of the existing space. Each student is asked to develop (at least 5) different probes; each experiment is to be defined by specific materials, opening strategy and effect. The mechanism/device is to be provided with a user-manual. The sectional drawing carried out in the previous phase is to be used as a base for the development of different probes, i.e. different scenarios.
[19]
[20] [18] Morten Bilde Hougaard [19] Frederik Pilg책rd Jensen [20] Simen Enkerud Lien
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[21]
[22]
[23]
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Atmospheric laboratory
[21] Anna Katerine Tan Nielsen [22] Anders Precht Jensen [23] Mathias Højfeldt Nielsen [24] Christopher Sejer Fischlein [25] Matteo Lampaert
[24]
[25]
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[A4] 3
Constructing Prototypes.
Based upon the chosen probe from the previous phase, the window expander is further developed through the construction of prototypes, focusing on [materials]
[mechanisms]
[joints]
The scale and section(-s) of these prototypes are considered relative to the scope of the individual projects.
[26]
Deliverables for this phase should be: 1 [tectonics] - Technical drawings of mechanisms / joints / materials - Models 2 [perceived] Material demonstrating the spatial effects, phenomena - film / fotos / collages on A3 sheets.
Readings: REICHEL, A. and SCHULTZ, K.: “Open / Close; Windows, Doors, Gates, Loggias, Filters”; 1999, p. 7 - 31 SINNREICH, Ursula: “James Turrell, Geometry of Light”, Hatje Cantz, 2009, pp. 69 - 78 PLUMMER, Henry: Poetics of light, A+U, n12 December, extra edition, 1997, Chapter 2: “Light and space” pp. 76 – 95, and Chapter 3: “Light and time”, pp. 139 - 159
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Unit 2+3 d
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Atmospheric laboratory
[26] Louise Bjørnskov Schmidt [27] Gunborg Martina Blom [28] Imke Schubert
[27]
[28]
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[A5]
Portfolio: Window in a Valise / Constructing Narrative
“Here again, a new form of expression was involved. Instead of painting my aim was to reproduce the paintings and objects that I liked and to collect them in a space as small as possible. I did not know how to go about it. I first thought of a book, but I did not like the idea. Then, it occured to me that it could be a box in which all my works would be collected and mounted like in a small museum, a portable museum, so to speak.” 1 Marcel Duchamp
[29]
In the last phase of the semester, students are asked to present their results placing an emphasis on the creative aspects of analysis and investigation in order to open possibilities for the extension of their findings into potential design methodologies. The final presentation should be designed to communicate the process and final results, using any mode of description or representation that the students consider appropriate to explaining the scope and richness of the research. The works presented in the portfolio should be processed, comprehensive and coherently organized, constructing both a narrative of the present project and subsequent potentials for the next semester assignments. Using the Marcel Duchamp’s ‘Box in a Valise’ as a reference, each student constructs a portfolio/portable exhibition, based on the system of frames, deploying and openings. The mechanisms / articulations / hinges / bellows from the previous phase - [A4] 3 - should be the point of departure for the development of these deployable and interrelated systems.
The dimensions of the box: 50 cm x 50 cm, h: up to the student Material: MDF The box should include documentation related to the different stages: analysis/case studies, investigation/ probes, prototypes/final results.
Readings:
[30]
COLOMINA, Beatriz: “Museum” in: Privacy and Publicity: Modern Architecture as Mass Media, MIT Press, 1996, pp. 201-231. KABAKOV, Ilya: “The Man who never threw anything away” in: MEREWETHER Charles (ed): The Archive. Documents of Contemporary Art, The MIT Press, 2006, pp. 32-37. RICOEUR, Paul “Archives, Documents, Traces”, in MEREWETHER Charles (ed): The Archive. Documents of Contemporary Art, The MIT Press, 2006, pp. 66-69.
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[32]
[33]
[29] Gunborg Martina Blom [31]
[30] Mette Christensen [31] Morten Bilde Hougaard [32] Iben Enevoldsen [33] Kristoffer Codam
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DUCHAMP, Marcel in: COLOMINA Beatriz: Privacy and Publicity. Modern Architecture as Mass Media, The MIT Press, 1994, p.
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[34]
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Atmospheric laboratory
[35]
[34-35] Anette Vintervold
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[36]
[37]
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Atmospheric laboratory
[38]
[36] Jens Vium Skaarup [37] Beate Kristine Asbjørnsen [38] Mathias Højfeldt Nielsen [39] Victor Linus Engels
[39]
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Thea Dahl Orderud / 3. semester
[A3] Window Diary / Mapping The Intangible
With a clear and undistorted view of the surrounding, the window becomes a place of comfort and security. This relation is distorted with the change of external cycles, (such as rain, fog and darkness), where the limitation of view and lack of ability to absorb details alters the window into a filter - depicting a different exterior; consequently, causing a distanced relationship to the window. Responsively - the expansive intersection replaces the window. Consisting of eight screens placed on a grid fitted to the window frame, it creates a blurred boarder between inside and outside. This occurs as the screens are moved, and new spaces and relations beyond the two-dimensional window surface are defined. This possibility of alteration allows the inhabitant to control the influence from external cycles (deciding degree of light, reflections, visibility, spatial interference, angles and framings) consequently, a personal preference of combinations prepares the ground for internal cycles - responsive to the effects of the external. Through a translation of the concept, the expander becomes the valise – a portfolio box with sliding sides, intersecting with the surroundings. As they transcend beyond the physical mass of the box, they subsequently reveal the content. With the navigational board on top, the explorer is given the opportunity to discover the material of the portfolio through a set hierarchy. Both concepts play with a predetermination of combinations - responsive through possibilities determined by the placement of the other screens. This flexibility seeks to offer control to the user, as one can explore according to ones personal preferences.
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Atmospheric laboratory
[A4] Perceptual Apparatus / Window Expander
[A4] Manual, device
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[A5] Window in a Valise / Constructing Narrative
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Unit 2+3 d
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Atmospheric laboratory
Liv Skovgård Andersen / 3. semester
[A3] Window Diary / Mapping The Intangible
The way we perceive – A theatre of small variations. The small variations became a main element in the aim to investigate the way we perceive our surroundings and construct images within our mind. The project was centered around an understanding of movement in two different scales – the direct, physical movement of the body and the more subtle movement of the eye. These understandings became tools in the investigations of the fragmented view, as well as in questioning the way we tend to define objects as static and unchanging. The starting point was a realization of the fact that when we change our physical position -move- in relation to a specific object, in this case my window, we do not notice that the angles, perspective, or positioning of the object has changed as well. Our imaginary understanding of the window is unaffected – the small variation is overlooked, neglected. The project is developed by working with the detachment of small variations from the overall picture, deconstructing and fragmenting both the underlying recognition and the actual view, in the transformation of the window. We have focused on the imagined scenario of having a defect in our vision apparatus; on the lack of the ability to connect perceived variations and pictures into one whole view. Instead of one overall impression the fragmented image, the collage of different views, is perceived. This established the basis for a project where the actual space of my room met the imaginary space of perceiving, and the whole was confronted by the individual fragment in an attempt to materialize and shape the intangible.
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[A3] Window Diary / Mapping The Intangible
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Unit 2+3 d
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Atmospheric laboratory
[A5] Window in a Valise / Constructing Narrative
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Malin Mohr / 3. semester
‘Movement is experience’ Olafur Eliasson
[A3] Window Diary / Mapping The Intangible
The base for an interactive device, replacing the window, is the mapping of an object which captures light and an object which captures movement. When opening my window, the curtains catch the wind. The movement of my curtains was translated into a drawing, generating tangible traces of movement. Seven rotating glass panels in different sizes, positioned in a row and held together with rotating joints replace the passive window frame. This creates an interactive connection between internal and external activities translated into spatial effects of light through movement. The space around the window is included in a light scenario, as a result of the reflection of light on the rotating panels, positioned in relation to the typical wind direction and proportioned according to wind intensity. The internal activity of opening the panels, all at once or only one at the time, is the starting point for the interaction between outside and inside. When the wind blows through the opening, the open panels catch the wind and turn, reflecting sunlight from outside onto the walls of the room. Simultaneously the artificial lighting from inside is reflected into the street. Internal and external conditions are transported into the surrounding space, creating an awareness of both the space and the activities. The light setting on the walls will be a trace of the movement of panels, which again will be a trace of outer wind conditions. The concept is translated into a narrative box, emphasizing the key-aspects of the device.
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Unit 2+3 d
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Atmospheric laboratory
[A4] Perceptual Apparatus / Window Expander
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Deploying the box
Mapping
Probes
[A5] Window in a Valise / Constructing Narrative
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Device
Unit 2+3 d
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Atmospheric laboratory
Mathias Skafte Andersen / 3. semester
[A3] Window Diary / Mapping The Intangible
Attempting to withdraw all information from a specific site will at all times fail. This statement, deriving from the author George Perec, would become the theoretical background of the following project. Perec examined the everyday activities and events that happen without being given any significance. These studies were combined with my own desire to activate space in relation to context and led to a series of spatial experiments. My personal space was turned into an observatory for examining space, time and events. In order to connect the exterior context with the interior of my room, I designed a perceptual apparatus - a periscope - operated within an unorganized web of tubes. It would be adjustable; movable, and frame the exterior in specific views, each providing the observer with information. ‘Which way does the wind blow? What time of day is it? How many people are leaving the city? How many people are arriving? Is the train on time? Is it late?’ The demand for knowing exactly which position will provide which information, added an extra dimension to the periscope - now not only a device for circumventing an obstacle, but also a metaphysical relation to the exterior.
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“Things outside you are projections of what’s inside you, and what’s inside you is a projection of what’s outside. So when you step into the labyrinth outside you, at the same time you’re stepping into the labyrinth inside.” Haruki Murakami Kafka on the Shore
[A4] Perceptual Apparatus / Window Expander
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Atmospheric laboratory
[A5] Window in a Valise / Constructing Narrative. Manual
[A5] Window in a Valise / Constructing Narrative; deploying mechanism
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Exhibitions
Exhibition / The Library, Aarhus School of Architecture (10.12.12 - 07.01.13)
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Atmospheric laboratory
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Atmospheric laboratory
Bachelor exhibition / The Exhibition Hall, Aarhus School of Architecture (25.02.13 - 13.03.13)
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Mathias Skafte Andersen, In search of atmospheres / New York Studytrip
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Unit 2+3 d
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Atmospheric laboratory
Spring semester: Extraordinary of the evident/ vehicles for events
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Extraordinary of the evident/ vehicles for events
“[…] I have always conceived of the term "apparatus" (apparecchio) in a rather singular way: it is related to my reading and possession in earlyyouth of the volume by Alfonso dei Liguori entitled Apparecchio alla morte. This strange book, which I still recall in many images, seemed to me to be an apparatus itself just by virtue of its rather small and very wide format: I felt that one need not even read the book because it was sufficient merely to own it: it was an instrument. But the connection between apparatus and death also reasserted itself in such common phrases as apparecchiare la tavola, meaning to set the table, to prepare it, to arrange it. From this point on I came to regard architecture as the instrument which permits the unfolding of a thing. I must say that over the years this awareness has increased my interest in my craft, especially in my latest projects, where I have tried to propose buildings which, so to speak, are vehicles for events[…]” 1 Aldo Rossi A Scientific Autobiography
During the Fall semester Unit2+3d looked into the complexity of the opening in much smaller scale - a room and its window. The second part of the 2012/13 term, involves designing the specific building. A special emphasis is placed on the surroundings and the role of the opening as a mediator between the inside and the outside, between different programs or different environments, and on its potential quality as a vehicle for generating new atmospheres and scenarios. The complexity of the contemporary world - social, technical, environmental, infrastructural and economic changes - radically affects and challenges traditional forms, materials and representations of architecture. Undoubtedly, our way of living is changing too. There has been much speculation about the city of the future and its dwellings. This semester Unit2+3d navigates between archaeology and futurology and continues, among other things, to explore the habitat of tomorrow. Thus, students’ designs are to derive from an investigation of radical architectural proposals, ideas of transformations, and an understanding of the complexity of everyday life as an operative force.
“That is how it begins. The place is New York, the time is present, and neither one will ever change. (…)” 2 Paul Auster The New York Trilogy- Ghosts
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Atmospheric laboratory
New York is an operational field - the play board - its genesis, its location, its culture, its people, its climate, its stories and peculiar character… Research undertaken during the first semester is the other point of reference, and of course the students’ interests, obsessions… are another. New York is a unique culture - a vibrant place of dense cosmopolitan life. It offers an ideal opportunity to explore the historical, social, economic and political development of urban form, as well as for questioning the role of architects and planners in relation to it. It has been a city of dreams, also a place constantly intertwining fact and fiction. And the architectural proposal always operates in some imagined future. Moreover, as architects, we nearly always assume that this future will be somewhat better. But… how can we make the change from the fantasy to operating in reality? This semester, we, in an attempt to respond to this question, seek an architecture where a reflective reading of the world we inhabit now, an exploration of the past and the experience of the present are points of departure for many possible futures. The project is a hybrid building sited at the Keap Street/ South 4th Street in Williamsburg - a neighbourhood with a particular situation (recently, one of the epicentres of gentrification) - an extraordinary place of multi-faceted reality. Oscillating between the pragmatic and the poetic, fiction and reality, this project - which follows the Fall semester - explores the extraordinary of the evident, pushing the boundaries of all possibilities. Project development is structured around combining tasks of different complexity and duration. However, these tasks are not to be understood as separate assignments they are rather sequential exercises that nourish each other.
1
ROSSI, Aldo: A Scientific Autobiography. Opposition Books, MIT Press, Cambridge, Massachusetts, London, 1981, p.5.
2
AUSTER, Paul: The New York Trilogy, MIT Press paperback edition, Cambridge, Massachusetts, 2002
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P1.1 Atlas/ Constructing an archive
“(…) I always tell my co-workers and students that they should, above all, look at things, because it is through observation that one can learn the most. Someone visiting Paris can, for example, go to a museum, or simply go for a walk, and this view of the city can be enough to enrich his individual style of architecture (…)” 1 Aldo Rossi
New York City combines wonderful and extraordinary places, people, textures, smells and sounds… It provides a wide range of inspirations and material, understood as potential components for the architectural proposal. The question is how these issues can be used as the subject matter of the project and processed spatially. Therefore, the first assignment focuses on site-archaeology. When, as part of the study trip, students explored New York City, they were asked to observe and register their observations, focusing both on objective data and individual interpretations of the site as well as on the wider locale of the area of Williamsburg - using drawings, photography, video, audio or any other media. Based on these recordings and mappings- all the things they have found and learnt along the way- they are asked to present their findings and reflections, constructing an Atlas - i.e. an archive which unravels the secrets and the potential of the site.
[40]
The material should be processed and comprehensive and coherently organized. The character of the Atlas depends on the nature of the collected material. Through its format and presentation the students should try to penetrate and highlight the most important aspects of the place - its configuration, its history, its atmosphere, its people… and make it visible. Moreover, they are asked to process all the data and to elaborate a series of maps of the site (1:100) containing the most important and valuable information. This collection of maps is to be understood as a plug-in tool that can be added to the site model - the point of departure for the students’ design agendas. This task is to be undertaken in teams of four students with two conditions: [1] at least one member should have visited the site; [2] each team should involve one newcomer student.
[41]
“But my motivation was more a matter of wanting to create order – to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. So it’s better to present the usable material in an orderly fashion and throw the other stuff away. That’s how the Atlas came to be, and I exhibited it a few times” 2 Gerhard Richter
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Unit 2+3 d
AL!
Atmospheric laboratory
Methods: Teamwork; cartography 1:100/ media + format up to the students Objectives: site-specific studies, reflection upon the collected data, development of a prioritizing strategy, differentiating between the objective and the subjective, detecting and extracting potentials for the upcoming project, understanding drawing as a recording vs. drawing as communication
[42]
[43]
Readings: ALLEN, Stan: “II_Notations+Diagrams: Mapping the Intangible” in ALLEN, Stan, Practice: Architecture, Technique, and Representation. Routledge, New York, 2009, p.64 CARERI, Francesco: Walkscapes, Walking as an aesthetic practice, Editorial Gustavo Gili, Barcelona 2002 CORNER, James: “The Agency of Mapping: Speculation, Critique and Invention” in COSGROVE, Denis (ed.): Mappings, Reakton Books, London, 1999, pp. 214-252
1
ROSSI, Aldo, HUET, B: “A conversation” in ROSSI, A; GEISERT, H: Aldo Rossi Architect, Academy Edictions, London, New York, 1994, p.18.
2
RICHTER, Gerhard, “Interview with Stefan Koldehoff”, 1999 in: Text, writings, interwievs and letters 1961-2007. Thames and Hudson, London 2009, p. 350
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[44]
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Atmospheric laboratory
[45]
[40] Thea Dahl Orderud [41] Louise Sevelsted Viborg, Jenny Tuong-Vi Tran, Oda Sofie Øye, Rachael O’Toole [42] Malin Mohr, Liv Skovgård Andersen, Mathias Skafte Andersen, Michael Wolsing [43] Maria Sindal Stæhr, Sara Kristine Casey, Dilja Rannveig Boasdóttir, Julie Bertelsen [44] Jens Vium Skaarup, Christopher Sejer Fischlein, Adam Christoffer Bundegaard [45] Anders Precht Jensen, Jannik Kjær Nisgaard, Imke Schubert, Elin Elisabet Svensson
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[P1.2] Who? What? Why?/ Constructing Fiction
“(…) To live is to leave traces," writes Walter Benjamin, discussing the birth of the interior, "In the interior these are emphasized. An abundance of covers and protectors, liners and cases is devised, on which the traces of objects of everyday use are imprinted. The traces of the occupant also leave their impression on the interior. The detective story that follows these traces comes into being. . . . The criminals of the first detective novels are neither gentlemen nor apaches, but private members of the bourgeoisie." There is an interior in the detective novel. But can there be a detective story of the interior itself, of the hidden mechanisms by which space is constructed as interior? Which may be to say, a detective story of detection itself, of the controlling look, the look of control, the controlled look. But where would the traces of the look be imprinted? What do we have to go on? What clues?(…)” 1 Beatriz Colomina Privacy and Publicity
The detective story is a vehicle for observing, following, recording, unravelling habits and discovering traces left by characters. Both writers and architects construct places using different mediums. In the first stage, the architect uses representational tools as a means to generate new scenarios – to construct new realities. In 1955 The Daily Mail newspaper sponsored the Daily Mail Ideal Home Exhibition in London; Alison and Peter Smithson were commissioned to design the houses which were to be built. In this set-up they had to imagine also the future [46] users. During the exhibition, hired models dressed by designer Teddy Tinling – playing the role of the inhabitants - performed the future life - the way the house worked. The students are also asked to define characters - Mr./Mrs. Black or Mr./Mrs. White - who will reside in a place that responds to the peculiarities of their activities. They may be either a real person they met during the visit to the site or someone totally unknown. Using the Atlas [P1.1], (the) students are asked to (re)-construct the narrative about the site, involving the characters and responding to the questions Who? (characters) What? (diagnostic) Why? (arguments) and presenting the story, both through text and visually (video, which must not exceed 2 minutes and drawing/collage). “[…] Like Jarmusch's earlier work, it is about relationships, and chance encounters (though in this case the various groups inhabiting thethree rooms don't actually meet - even though some of them are acquainted with one another - but pass on, blissfully unaware of the others proximity). Like his previous two features, it shows a fascination with changing light as an index of time and place [...]. It also serves, to some extent, as a playful exercise in genre: its three parts may be viewed as offbeat variations on the romantic comedy, the ghost story, and the crime thriller.[…] The result of Jarmusch revealing the connections between all these disparate elements only gradually is not only that we are forced into the position of having to investigate the 'mystery' of the narrative - to piece together the jigsaw, as it were - for ourselves; it also means we are continually required to reassess the meaning of what we have already seen and heard, as people, places, events, sounds, objects and sounds recur in different contexts or are shown from different perspectives. The film, then, explores, and makes explicit, both the fundamental methods of cinematic storytelling and theexperience of watching and understanding a film: in each activity, meaning is derived by positing some sort of relationship between characters, actions, objects, sounds, time and place, and alters precisely according to the changes that occur within those very relationships.[…]” 2 Geoff Andrew Mystery Train, Jim Jarmusch.
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1
COLOMINA, Beatriz: Privacy and Publicity: Modern Architecture as Mass Media, MIT Press, 1996, p. 234.
2
ANDREW, Geoff: Stranger Than Paradise: Maverick Film-Makers in Recent American Cinema, Limelight Editions; 1st Edition, 2004, pp. 151 - 152
Unit 2+3 d
AL!
Atmospheric laboratory
[47]
[48]
[49]
[50]
[46] Victor Linus Engels
[47] Maria Sindal Stæhr
[48] Elin Elisabet Svensson
[49] Kristoffer Codam
[50] Mette Christensen
Readings: AUSTER, Paul: The New York Trilogy, MIT Press paperback edition, Cambridge, Massachusetts, 2002 DYER, Geoff: “Inhabiting” in: BEAUMONT Matthew, DART Gregory (eds.): Restless Cities, Verso, London and New York, 2010, pp. 157-170 HUEVEL van den, Dirk; RISSELADA, Max (eds.): Alison and Peter Smithson- from the House of the Future to a house of today, 010 Publishers, Rotterdam 2004 Films: Jim Jarmusch: Permanent Vacation (1980), Mystery Train (1989)
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[P1.3] Program/ Constructing a Strategy
“There is no architecture without action, no architecture without events, no architecture without program (…)” 1 “To what extent could the literary narrative shed light on the organization of events in buildings, whether called "use”,"functions", "activities" or "programs"? If writers could manipulate the structure of stories in the same way as they twist vocabulary and grammar, couldn't architects do the same, organizing the program in a similarly objective, detached, or imaginative way? For if architects could self-consciously use such devices as repetition, distortion, or juxtaposition in the formal elaboration of walls, couldn't they do the same thing in terms of the activities that occurred within those very walls? Pole vaulting in the chapel, bicycling in the laundromat, sky diving in the elevator shaft? Raising these questions proved increasingly stimulating: conventional organizations of spaces could be matched to the most surrealistically absurd sets of activities. Or vice versa: the most intricate and perverse organization of spaces could accommodate the everyday life of an average suburban family(…)” 2 Bernard Tschumi Architecture and Disjunction
Very often the significance of the program has been neglected and it has been reduced to mere functional aspects and lists of specific requirements. However, the program involves complex readings and reciprocal relationships. Taking into consideration the existing conditions and the explored potentials of the site, as well as the requirements of our clients/users we attempt to elaborate different strategies for organizing and accommodating these matters and data as a program - i.e. to explore how these issues can be processed spatially. Thus, we focus on the program in terms both of spatial and functional conditions, as well as events, scenarios, or atmospheres. The students are asked to develop mixed organisms that respond to a definition of hybrid buildings similar to this “enjoy dense and fruitful atmospheres, which favour the natural appearance of unexpected activities”3. The scale of the proposal and the diversity of uses are up to them. However, it should be based on the premise that at least 50% of its area is dedicated to housing. Bearing this in mind, we take as point of the departure a pilot initiative launched in July 2012 by the New York City Department of Housing Preservation and Development (HPD)- adAPT NYC. The aim of this program is to develop a new model of housing adapted to the City’s changing demographics. It defines a so-called micro-unit, which measures 25-35 m2, as an innovative apartment model which includes a kitchen and a bathroom that are smaller than what is allowed under current regulations. In the first stage they define and quantify different uses according to their mappings and reflections on the site, existing and imagined scenarios, events, conflicts and potentials. Keywords: [scale] [area] [high] [form] [materiality] [ambient conditions] [orientation] [atmosphere] [cycle] [events]
> Catalogue of situations and spaces + diagram of connections, interrelations and cycles > Collage - using existing examples (plan 1:100) in relation to the site > Diagrammatic models of the program focusing on interrelations and spatial conditions (1:200) > First colonization of the site/ plan + section in 1:100 + working models
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Atmospheric laboratory
[51]
“(…)Sociability The ideal hybrid feeds on the meeting of the private and public spheres. The intimacy of private life and the sociability of public life find anchors of development in the hybrid building. The permeability of the hybrid makes it accessible from the city and the private use of itsservices extends its timetable to 24 hours a day. This means that activity is constant and is not controlled by private or public rhythms. Another use category is created, a full-time building.(…) Programmes The mixing of uses in a hybrid building generates a potential which is transferred, as in a system of connected vessels, to those weaker activities so that all involved are benefited. Hybrid buildings are organisms with multiple interconnected programmes, prepared to house both planned activities as well as those unplanned activities in a city(…).” 4 Readings:
Javier Mozas
A+T Hybrids I. High-Rise Mixed-Use Buildings 31/ Fall 2008 A+T Hybrids II. Low-Rise Mixed-Use Buildings 32/ Fall 2008 GARCIA, Mark (ed.): The Diagrams of Architecture, AD Readers, Wiley, 2010 MOZAS, Javier: “This is a Hybrid… and also this” in A+T Hybrids II – Low-Rise Mixed-Use-Buildings FERNANDÉZ PER, Aurora; MOZAS, Javier, ARPA, Javier (eds.), pp. 23-25 REESER LAWRENCE, Amanda; SCHAFER, Ashley (ed): Praxis Issue 8 2010 Re: Programming TSCHUMI, Bernard: “Program” in Architecture and disjunction, MIT Press, 1996, pp. 99-153 VAN BERKEL, Ben; BOS, Caroline: Move, Goose Press, Netherlands; June 1999, pp. 323-327 VIDLER, Anthony: “DIAGRAM – What is a diagram anyway?“ in: Eisenman, Peter, Feints (ed. MOLINARI, Luca; CASSARÀ, Silvio, Skira Editore, Milano 2006, pp. 520-529
TSCHUMI, Bernard: Architecture and disjunction, MIT Press, 1996, p. 121
1 2
Ibid. pp. 146-147
3
MOZAS, Javier: “This is a Hybrid… and also this” in A+T Hybrids II – Low-Rise Mixed-Use-Buildings FERNANDÉZ PER, Aurora; MOZAS, Javier, ARPA, Javier (eds.), p. 5
4
MOZAS, Javier: “Mixed uses- A Historical overview” in A+T Hybrids II – Low-Rise Mixed-Use-Buildings FERNANDÉZ PER, Aurora; MOZAS, Javier, ARPA, Javier (eds.) pp. 23-25
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[52]
[53]
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Atmospheric laboratory
Locals
Single-Mom
[55]
Zones and overlaps
[56]
One overall picture with the individual’s rythm as the “grid”
[57]
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[58]
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Atmospheric laboratory
[59]
[51] Morten Bilde Hougaard, Jannik Kjær Nisgaard [52] Mette Christensen, Eloise McDonald, Frederik Pilgård Jensen [53] Maria Sindal Stæhr, Sara Kristine Casey [54-55] Beate Kristine Asbjørnsen, Simen Enkerud Lien [56] Eirin Bakken, Kristoffer Codam [57] Malin Mohr, Liv Skovgård [58] Iben Enevoldsen, Anette Vintervold [59] Julie Bertelsen, Dilja Rannveig Boasdóttir
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[60]
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Atmospheric laboratory
[62]
[60] Louise Sevelsted Viborg, Jenny Tuong-Vi Tran [61] Beate Kristine Asbjørnsen, Simen Enkerud Lien [62] Rachael O’Toole, Ryan Canning
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[P2] ‘The Art of Inhabitation’/ Constructing a Place
“Space has no room; time not a moment for us. We are excluded. In order to be included- to help our homecomingwe must be gathered into their meaning (we are the subject as well as the object of architecture). Whatever space and time mean, place and occasion mean more. For space in our image is place, and time in our image is occasion” 1 Aldo van Eyck
In the previous phases the students defined the users and the program, as well speculated about some possible scenarios. Design is not to be understood only in terms of imagination, invention or production. It is inextricably related to negotiation. To design means to negotiate the best conditions. The limitation of size of the micro-unit seems to limit its configuration. However the orientation, the relation to other units in combination with public spaces, as well as the openings (location and type of windows), generate spatial and atmospheric diversity. Using the material extracted from the site, as well as individual research and interpretations, the students are asked to re-develop the micro-unit as part of a complex organism (the site and other programs) - and generate a contemporary form of habitation that allows its occupants, as well as visitors, to experience a building and the city that operate between the public and the intimate, the real and the imagined.
“Architecture is not just a matter of technology and aesthetics but the frame for a way of life- and with luck, an intelligent way of life” 2 Bernard Rudofsky
[P2.1] [2.2] General proposal This phase starts with an investigation of innovative built proposals of collective housing. Each team is asked to explore one example (focusing on both the building as a whole and on one chosen unit typology) and to present it following the given template (square format: 29.7 x 29.7cm). A special emphasis is placed on the relation between private and public spaces as well as on the role of the opening as a mediator between them. Drawing upon the initial research a speculative proposal is developed as a scale working models in 1:100 (minimum 3). The models are presented through photos, explaining the evolution of the proposal (square format: 29.7 x 29.7cm). [P2.3] 1 Week- micro-unit 1.50 (individual) Each student adapts one of the micro-units to the specific inhabitant (defined in the [P1.2]).
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[63]
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Atmospheric laboratory
[63] Connar Blampied [64] Morten Bilde Hougaard, Jannik Kjær Nisgaard
Readings:
[64]
FERNANDÉZ PER, Aurora; MOZAS, Javier; ARPA, Javier (eds.): This is Hybrid, A+T, 2011 FRIEDMAN, Yona: “The Flatwriter- choice by computer” and “About the Flatwriter” in FRIEDMAN, Yona: Pro Domo, Actar, 2006, pp. 129-137 PALLASMAA, Juhani: “Identity, Intimacy, and Domicile” in PALLASMAA, Juhani: Encounters 1, Rakennustieto Publishing, Helsinki, 2012, pp. 111-126 VAN EYCK, Aldo: “Day and Night” in VAN EYCK, Aldo: Writings, pp. 286-288 HPD Design Guidelines for New Construction
1
VAN EYCK, Aldo: “Place and Occasion” in VAN EYCK, Aldo: Writings, p. 471
2
RUDOFSKY, Bernard in PLATZER, Monika (Ed): Lessons from Bernard Rudofsky. Life as a Voyage, Birkhäuser, Basel, Boston, Berlin 2007, pp. 11
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[65]
[66]
[67]
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Atmospheric laboratory
[68]
[69]
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1:100 1:100 1:100 1: 1: 1:100
[70] [65-66] Rachael O’Toole, Ryan Canning [67] Eirin Bakken, Kristoffer Codam [68] Beate Kristine Asbjørnsen, Simen Enkerud Lien [69] Adam Christoffer Bundegaard, Mathias Højfeldt Nielsen [70] Maria Sindal Stæhr, Sara Kristine Casey [71] Louise Sevelsted Viborg, Jenny Tuong-Vi Tran
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Atmospheric laboratory
[71]
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Homeless
Resident [P3] Fictional Realities/ Constructing a Narrative
In the last phase of the semester the students are asked to synthetize and to present their work. This step requires deep reflection on the process and the final results. Presented documentation should be comprehensive and coherently organized in order to highlight the most important aspects of the project - using different formats and exploring their communicative potentials.
[P3.1] Boards (A1 Format) B1 [concept + process] B2 [general proposal] B3 [micro-unit] (the number of boards should not exceed five) B3 board should depict an individual development of the micro-unit; B1 and B2 correspond to the teamwork. The presented material should include the following: a situation plan, representative plans, sections and facades, three images/drawings (based on models, collages, photomontages‌) depicting different spaces/ scenarios.
[P3.2] Video Using the model, the students are asked to construct a narrative that captures the performative character of the proposal as well as its relation to the context through video or stop-frame animation (which must not exceed 2 minutes). Thus, by using film production as a time-based medium the aim is to explore new possibilities of architectural representation that transcend the plan and section as well as the frozen image. By taking into consideration both phenomenological matters and social aspects the students have investigated in their projects, they are asked to focus on architecture as a vehicle for events. Keywords:
[sequence] [time] [movement] [experience] [materiality] [effect] [atmosphere] [cycle] [habit] [event]
[P3.3] The Williamsburg Trilogy- book The rest of the material is presented in the book (square format: 29.7 x 29.7cm) that comprises three volumes (WT1: mappings and scenario; WT2: process; WT3: final proposal) Section A 1:100
Spatial relations - the changing roof
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[74]
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M o d e l
investigating materials
[75] The building gets lighter in material as you move higher up. You enter in the basement, where a heavy and cold concrete surrounds you. A wooden ramp leads you higher up, where glased and wooden facades, allows connections to the outside as well as it creates a lighter impression. At last you enter a greenhouse as the lightest part of the building, which also leads you out to the rooftop garden.
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Atmospheric laboratory
modell 02 plan
storage
groundfloor
first floor
second floor
third floor
administration
compost + storage
garden
permanent kitchen
public circulation microunit
private circulation
temporary kitchen
modell 02 section
roof garden
view to the backyard
too private visual connection to the roof garen
same heigth
view to the backyard visual connection
what is this space ?
visual connection to the restaurant
opportunity to build on other roofs mixed private /public
vertical garden
compost
connection to roofs. circulation
view to the street compost serve heat to the building
what is this space ?
[76]
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T r a n s p a r e n c y
levels control temperature in the micro unit
living space - inside and outside the micro unit
sleeping bathing
bathing 23o
living 21o cooking 20o
sleeping 19o
Micro unit - Spatial configuration accoring to temperature
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Atmospheric laboratory
[77]
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[78]
[79] [72] Malin Mohr, Liv Skovgård [73] Rachael O’Toole, Ryan Canning [74] Louise Sevelsted Viborg, Jenny Tuong-Vi Tran [75-77] Oda Sofie Øye, Anne Mette Thisgaard Lund [78] Adam Christoffer Bundegaard [79] Iben Enevoldsen, Anette Vintervold [80] Malin Mohr, Liv Skovgård
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Section A
Unit 2+3 d
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Atmospheric laboratory
Investigation and redefination of architectural elements
Axonometric 1:100 Flow and outer relations
ruction
Section B 1:100 Daylight and spaces
Section A 1:100 The blind - audiotive relations from inside to outside
Axonometric 1:100 The Micro-Unit as an instrument of navigation
[80]
Section B 1:100 The core of the building - the centre
Plan 1:100 The flexible space Relation between function, membran and sound
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MADEHERE* *in Williamsburg Mathias Skafte Andersen / Victor Linus Engels 4. semester
“The craft of making physical things provides insight into the techniques of experience that can shape our dealings with others” Richard Sennet The Craftsman
As globalization has moved manufacturing and production away from the western world, questions about production and working conditions have been neglected. The concept of local manufacturing was the starting point of this project. We wanted to create a structure that demonstrates how modern life can benefit from production capacities implemented in a local urban network. Situated in Williamsburg, New York, the proposal focuses on both the internal atmospheres of the building as well as on the relation to the context. The building is rooted in the idea of moving production back into the local contexts in which products are actually used, closing the gap between production and consumption. Bearing that in mind, the proposal was programmed as a hybrid between housing units and three small workshops: a wood, a glass and a stone workshop. The building is to appear as a monument to the art of making. We sought to achieve this through an interrelation between the storage areas of the workshops and the building’s facade. The stored raw materials act as the skin of the building, responding to the act of production on the inside. The fluctuations in the quantities of stored materials directly affect the openings of the dwellings, creating dynamic relations between the surroundings, the public spaces of the building and its private areas.
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*
Stored material
Process
Product
Making it here instead of there is the primary programmatic goal of the proposal. “Here” being - in this case - Williamsburg, New York and “it” being the products that because of globalization are being produced not where they are designed and sold but where it is cheapest. Over the last decade local manufacturing has been gaining ground on behalf of it’s sympathetic message. In America San Fransisco has made itself the flagship of this concept and thus created a strong identity as a city. Williamsburg is a part of the Brooklyn Borough of New York City is traditionally known as the home of the Orthodox Jews, but has for some time now been a place of gathering for artists and students. The newcomers have transformed the area into a creative and lively environment - which has then led to the beginning of a gentrification proces that will most likely change the profile of Williamsburg once agian.
1216 5
FORM Defining architecture
Left over material
Unit 2+3 d
We believe that introducing a building that combines living with facilities for local manufacturing in Williamsburg will be able to help create a more solid identity for the area. The proposal contains workshops for a glassblower, a sculptor and a carpenter as well as a shop where the products are sold. The workshops are connected to a series of appartments that that will be under the influence of the dynamics of the workshops.
AL!
Atmospheric laboratory
EXHIBITION Common area
Public
STORE
WORK SHOP
WORK SHOP
WORK SHOP
STORAGE
STORAGE
STORAGE
Semi-public
Individual area
LIVING
CARPENTER
SCULPTOR
Private
GLASSBLOWER
The exhibition and store spaces of the three crafts are combined while the workshops and their storage spaces are kept individual. This shapes three paths of creation that finally merges into one - thus creating a meeting area for materials, for in EVENT Exhibited the building artists and for visitors.
Stored material
SITEPLAN 1:500
Process
Product
PROGRAMMING SPACE
Left over material
FORM Defining architecture
00:00
18:00
06:00
12:00
Activity cycle of housing 00:00
18:00
ELEVATION SOUTH 1:200
06:00
12:00
Activity cycle of the workshops
Housing takes up 50% of the overall constructed space.
The furnace relates to the living spaces of the housing area, giving an impression of the ongoing work during the day and a diffuse light source during the night.
Exterior is a both storage for materials that are to be used and the materials that have been used. The cycles and dynamics of the workshops determine the structure, creates spaces and views unique to whatever condition the work is in.
The furnace of the glassblower’s workshop acts as a fulcrum for the entire structure
Housing
Workshop
In the night time, the furnace provides a warm and glowing fulcrum that lights up the core of the building.
Material
Workshop
Housing
Material
View
In the day time the furnace is used by the glassblower.
Material
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SCULPTOR’S ATRIUM
Open atrium brings the sky into the structure
Proposal
A crane above the atrium hoists materials out of the storage cavities and finished products from the workshop to the exterior.
Storage of rocks
Housing units are placed alongside the storage areas creating a dynamic architecture suspended between materiality and living
Hallways connect the atrium to the exhibition and housing areas
Catwalks above the submerged workshop allow visitors a 360 degree view of the sculptor at work
Sculptor’s workshop is submerged under ground in a four story high atrium, that diffuses the light, creating a shadowles environment for the artist to work in.
Sectional model
GLASS BLOWER’S STAGE Proposal
THE CARPENTER’S WOOD LODGE Proposal
The structure creating reminds of an old log cabin. It cuts through the storage levels creating its own autonomous space.
An opening in the facade connects the workshop to the public space. The work of the carpenter is to be enjoyed by the local cormunity and bystanders.
The top of the furnace is of heat proof glass, creating a source of reflected light in the ceiling.
The surrounding storage space defines the bounderys of the space. The stacked wooden beams create a fragmented surface the slowly changes as work progresses.
Landing connected to other spaces from which the glassblower can be observed.
Space beneath the working area, submerged one floor above ground, that is to accomodate storage of chemicals and excess tools.
The dimensions of the workspace allows for a variety of projects.
Sectional model (plan)
Sectional model
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The furnace and the workshop area is placed on the ground level opposite a public space, creating a visual connection between the artist, the furnace and the visitor.
The facade is perforated, thus linking the light of the burning furnace to the street ourside..
Unit 2+3 d
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Atmospheric laboratory
Mathias & Victor
81
Section
Stills, video
82
Unit 2+3 d
AL!
Character: The last man on earth (schizophrenic man)
Character: Gardener
Atmospheric laboratory
Convex ceiling to spread the sounds from the workshops below to the entire unit.
Openings on either side of the space allow noise from the workshops below to enter.
Window panes facing south let in daylight while functioning as an observatory - allowing the user a wide view of the streets below.
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Hybrid Building in Williamsburg Michael Wolsing / Christopher Sejer Fischlein 4. semester
The city of New York has been a key inspiration to the project. The City as a living, pulsating organism. Constantly expanding and contracting. Dividing and multiplying. Constantly changing. New York is also known as the melting pot. But often these cultures are segregated and isolated within their own neighborhoods. Furthermore, gentrification is displacing the current inhabitants, due to increases in rent, tax etc., and replacing them with wealthier ones. Our project is a response to this situation -to architecture’s current vulnerability to change, and the communities’ frailty in adapting, despite its desire for being permanent. The proposed program is a machine, which composes, constructs and deconstructs spaces, housing and events - according to the use or lack of use of the people interacting with it. Making all actions intertwined and dependent on each other, each deeply rooted in the environment. The machine creates connections instead of boundaries; generates and intensifies both private and public life. It forces interaction, connecting people across cultures, ages and backgrounds. To supply the machine with construction materials, we created a recycling facility beneath the site. The facility recycles old scrap building materials, simultaneously maintaining the materialities of the surrounding neighborhood. Like the desire for a multicultural diverse community, that does not discard or displace anyone, the appearance of materiality should be diverse too. The aim is to trigger the mind-set of the inhabitants, and the people surrounding, to consider sustainability and the importance of diversity.
84
Unit 2+3 d
AL!
Atmospheric laboratory
Habits, encounters and movement of the writer
Tracings of movement
85
Character: The man with no memory
Stills, video
Scan, sketch-book
Section Descent through routines - Morning
Bed Wake up
Toilet/ Sink
Shower
Wardrobe
Section
Mirror/ Sink Kitchen/ Table
Ascent through routines - Evening
[a]
[a] Exit
Section, Decent through routines / morning
[b] Section, Ascent through routines / evening
Toilet/ Sink Entertainment Entrance
86
Kitchen/ Table
Mirror/ Sink
Bed Wake up
[b]
Unit 2+3 d
AL!
Atmospheric laboratory
Character: Failed alcoholic writer
Stills, video
INPUT
Change in society
STORY
ACTION
Observation and interaction
INSPIRATION
People, development
Micro-unit, ‘The man with no memory’
Micro-unit, ‘Failed alcoholic writer’
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88
Unit 2+3 d
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Atmospheric laboratory
Section
89
HYBRID landSCAPE Thea Dahl Orderud / Gina Helene Hov 4. semester
The hectic past of Manhattan is making its appearance in Brooklyn. With this transition comes a gentrification which causes an unruly atmosphere - a shift in demographics as well as building-typology. Neither public responsibility nor social sustainability are embedded it this atmosphere. The neighborhood becomes walking distance, rather than a public home. This is what the hybrid introduces. Through architecture – different activities are introduced in order to create a social, collective atmosphere around the site, transcending age, religious background, nationality and occupation. By means of an archaeological method in a fast-approaching concrete jungle, the intention is to recreate a scape; to define a feeling of unity and collectiveness, despite a changing demographic and building topology; to create a building which is responsive to the appearance of events – a sensible construction. The hybrid proposal has a vertical layering - from the ulterior subterrania - to the accessible rooftop. It takes in use the bare concrete walls framing the site, consequently creating a softer transition between the public and the private realm. The aim is to create a connection and a fluent transition between the existing semi-public spheres - the rooftops, and the public - the streets. In this context, the hybrid is understood as a fusion of building, landscape and staircase. Through a visually consistent use of materials, as well as a strategic placement of different facilities that determine flow, the two sites are tied together. The spatial connection relates to the hidden space -the secret subterrania - in response to the registration of events and traces left at the site, recording its history of change.
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T
AGENDA FORMULATION h. hov | t . orderud AGENDA FORMULATION h. hov | t . orderud
w e e k 11 - 12
w e e k 11 - 12
PROGRAM SHEET PROGRAM SHEET
AGENDA FORMULATION AGENDA FORMULATION
Unit 2+3 d
AL!
Atmospheric laboratory WHY
The Osciliating Hybrid The Osciliating Hybrid
Social sustainability and local
Social sustainability and local
responsibility in a jungle of concrete
responsibility in a jungle of concrete
WHY
REPRE REPRESENTATIONAL MATERIA Possess Possessing the qualities of the curr tions. H tions. How the building andcycles. landsc cycles.
Said by locals - the site is a place of passing. The private intercation absuply Said by locals - the site is a place passing. The the private intercation absuply stopsofwhen leaving apartment, where the focus then becomes one of stops when leaving the apartment, the focus then becomes one of program. where to where go - usually a place with a clearly defined where to go - usually a place with a clearly defined program.
MODELS
The atmposphere of change proposes no public responsibility or socail The atmposphere of change proposes noThe public or socail sustainability. site responsibility becomes a walking distance, rather than publicsustainability. The site becomes home.a walking distance, rather than publichome. This is what the hybrid introduces. Through architecture - programs are This is what the hybrid introduces. - programs are introdcedThrough to createarchitecture a social collective atmosphere around the site. Prointrodced to create a socialgrams collective thereligious site. Pro-background, nationality and whichatmosphere are relevant around depite age, grams which are relevant depite age, religious background, nationality and occupation. They respond to the simplest human contions of occupation. They respond to the simplest human contions of . the lost and the found . the lost and the found - the playfull - the playfull - the hungry - the hungry - the concrete-frustration - the concrete-frustration In a time of technology - of accessibility - boarderless societies - the corner In a time of technology - of of accessibility - boarderless societies the corner Keap Street and South 4th Street-defines it own. An oasis of local needs of Keap Street and South 4th defines it own. An oasis of local needs in Street a society too big to grasp. in a society too big to grasp. FRAMEWORK
A Complex Whole A Complex Whole Building, landscape and staircase are fusioned to Building, landscape and staircase are fusionedcreate to a hybrid which allows fluent transtions create a hybrid which allows fluent transtions H Y B R I D L A N D S C AP E | C O N N E C T I O N : g r o u n d a n d r o o f t o p Building becomes an artificial landscape connecting the public and the semi-public places of interaction - ground and rooftop.
t . orderud | 2011165 t . orderud | 2011165
HOW
The hectic paste of manhattan is slowly but surely making its apperance The hectic paste of manhattan is slowly but surely making its apperance in Brooklyn. in Brooklyn. With this transtion comes a gentrification causing an unruraly atmosWith this transtion comesphere. a gentrification causing an unruraly atmosphere. A shift in demographics as well as building-typologyA shift in demographics as well as building-typology-
FRAMEWORK
. a building relating to human scale . a building relating to human scale a fusion between . creating . creating a fusion between . the fifth fascade and place for semi-public interaction . the fifth fascade and place for semi-public interaction streetlevel streetlevel . the ares of most intensity of traces/interaction . the ares of most intensity of traces/interaction
MODE
. organ . organization : 1:100 . housin . housing unit : 1:50 . details . details / transitions : 1:20 . organ . organizational models - spatia spatial connections : 1:100
MOVIE
MOVIE
Physica Physical material meets aimed atm
MANUAL
MANU
A collec A collection of diagrams/drawings 0.1.priv 0.1.privat . spatial . spatial organization . flow . flow . macha . machanisms . exterio . exterior connection . view . view - ties to observation.
A focus on the previously defined characters, becomes the framework of A focus on the previously defined characters, the programs. frameworkCreated of the spatial realtons becomes between the through research and the spatial realtons betweenanalysis’ the programs. Created through research of the site - as well as history of and Brooklyn, they become repreanalysis’ of the site - as well as history of Brooklyn, they become representational of the now as a presence of a long, constantly ongong state of sentational of the now as achange. presenceIncluding of a long,the constantly ongong state of past - present - future in a complex whole. A place change. Including the past where - present - future belongs. in a complex whole. A place everything where everything belongs.
h. hov |
h. hov |
t . orderud | 2
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H Y B R I D l a n d S C A P E |SE C T ION I 1 : 1 0 0 Levels and relation between public and private..
URBAN TENTING
MICRO UNIT
URBAN TENTING URBAN TENTING
MICRO UNIT
URBAN TENTING
private entrance >
private entrance BAKERY
BAKERY
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SECRET SPACE
< private entrance
HYBRID landSCAPE | PLAN 1:200 & AMBIANT CONDITIONS Unit 2+3 d
The hybrid wraps around the site - angled towards the morning sun. As the sun sets - a motion to follow is made passible both as in an approachable rooftop - as wall as a shifting angle of the tentunits.
AL!
Atmospheric laboratory
HYBRID landSCAPE : relations lost & found secret space
th
S4
St
plan, rooftop / ambient conditions
section
URBAN TENTING
private entrance
URBAN TENTING
LOST & FOUND
SECRET SPACE
SECRET SPACE
SECRET SPACE
lost and found [Section 1:200]
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Character: The retired supervisor
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Unit 2+3 d
AL!
Character: Returning from the streets / homeless woman
Atmospheric laboratory
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Hybrid Building in Williamsburg Imke Schubert / Jens Vium Skaarup 6. semester
Williamsburg is a relatively young city. Its texture is loose and ever-changing. Every change leaves traces of different duration, creating a patchwork of interwoven materialities, shapes and rhythms. At the moment it is still very undefined now â&#x20AC;&#x201C; it is evolving from an industrial city into something new. The demolition and renewal of social and economic structures reveal a connection between the resistance (being in a period of great change) and potential (having to find a new identity) of the city. The basic tool in the development of the hybrid is time. The characters created as inhabitants of the private housing program live in two different time frames, long-term (The Kayak Builder) and short-term (The Urban Nomad). These time frames dictate rules for operating with materiality, as well as for defining private and public programs - the temporality and permanence of the spaces. The essence of the public program is to establish a trust fund working for and against gentrification. It works for gentrification by acknowledging that money equals power â&#x20AC;&#x201C; thus it raises money for a public fund. It works against gentrification by giving power to the local people, enabling a kind of control back in the area. Enhancing the duality of permanence and temporality, history, memory and traces, program parts like The Facade Collector/Thrift-shop (a communal long-term memory) and The Digital Space/Print shop (a communal short-term memory) are established. The hybridity consists in the way it both tries to remember and erase traces of inhabitants and users.
96
Unit 2+3 d
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Atmospheric laboratory
97
98
Unit 2+3 d
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Atmospheric laboratory
Character: The urban nomad / Short-term living
Axonometric drawing, micro-unit
Model studies, micro-unit
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The Paper Hybrid - A Regeneration of The Fifth Facade Mette Bonde Romme / Gunborg Martina Blom 6. semester
Reading and growing area
The Paper Hybrid is a cultural center and housing project, staging the relationship between consuming and producing within the cycle of Paper. Placed on a street corner, it frames the reoccurring event of the metro passing by a few blocks away, exposing the site from above. By approaching the site from the elevated metro station, a regeneration of the fifth facade seems inevitable and unravels the potential of an alternative city life on the rooftops. Raised from the busy grid structure on the street level, places for encounters and different activities are inserted on the roof level, without neglecting the urban preconditions. An initial mapping of paper waste, present at the site, unfolded the operational framework in which all public and private programs interlock - in the cycle of paper. The building is a hybrid organism containing different overlapping activities such as living, working, reading, gardening, meeting, shredding and exhibiting. Together these activities rethink, reuse, and transform paper, creating a new identity for the area. The Paper Hybrid invites people to interact with paper shredding that takes place at street level, converting it into an event and an aesthetic factor. Toxic paper that cannot be used for rooftop gardening will be stored and remain visible â&#x20AC;&#x201C; as part of the facade â&#x20AC;&#x201C; and later disposed of by means of a nearby recycling station, thus connecting with the overall city scale and reducing the massive landfills outside the city. By staging the paper shredding machinery, the site links to the industrial identity and consequently leaves traces of the past in the process of gentrification â&#x20AC;&#x201C; a social and urban phenomenon, within which New York expands with increasing density, demanding new territories. Developed from the surrounding context, a structure of micro units responds to the demand of affordable housing and adds new layers of green urban hideaways to existing rooftops. The system will create a new atmosphere on the top of the city and can be extended to new territories in the future.
100
Unit 2+3 d
soho
Lower east side
AL!
Atmospheric laboratory
Williamsburg
1970 First phase of gentrification. Artist arrive, attracted to the low rents, large work space and short travel time from Manhattan. They move from Shoho.
1996 3000 artist living in Williamsburg SEMI PUBLIC FLOW
2000-2007 Second era of gentrification. Creative professionals arrives, taking interest in the cutting edge culture. Remaining steady jobs in Manhattan. ACCESS TO SUN LIGHT
FORMGENERATERS SUN + FLOW THE MICROUNITS GROW WITHIN THE STRUCTURE
PAPER How can paper become a part of the hybrid? Paper as a program generative tool.
Recycle Reuse Rethink
MAPPING AT SITE
From paper to plant
101
PLANT NURSERY
CAFĂ&#x2030;/ BAR
LIBRARY
ACTIVITY CYCLE IN THE HYBRID
OFFICE SPACE
PRINT SHOP
EXHIBITION SPACE
PROGRAMS IN THE HYBRID The essence of the Hybrid is a paper shredder machine. Besides the machine the hybrid will include the programs showed above. All of the programs has a deep connection to the main material - paper. 50% of the Hybrid will be housing. MICRO UNIT
And applyed to the site
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A study of relations between programs
Unit 2+3 d
AL!
Atmospheric laboratory
housing
housing
Combining Flow and structure from the existing grid.
cafĂŠ/bar exhibition parking reading area
Combining Flow and structure from the existing grid.
DEVELOPING THE HYBRID IN SECTION
shredder offices paper storage Public
area
print shop elevator
Micro units Study 1:100 First step of oranising the micro units.
103
Growing
wc
wc working
stairs to micro units delivery to growing area
growing working meeting
sitting
paper shredder
wc
reading ordering eating/ drinking
Plan 1:200 Level 2
cooking book recycle
public printing
wc
storing
selling
exhibiting
viewing/meeting sales area
paper recycle
drive in/out parking coffe take away
Plan 1:200 Level 1
paper storing
Plan 1:200 Level 0
Section 1:500
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Unit 2+3 d
AL!
Atmospheric laboratory
Character: Mr. Ray / An indepedent movie maker
Character: Mr. White / An old man Micro-units as expanded 5th facade sneek view Sleeping
wc stor ing
Sitting Cooking
Eating
INTERIOR
Viewing Gardening
Sitting
Plan 1:50
Cooking area
Outdoor sitting
Storage
Flexible table
Cooking storage
The micro unit structure needs to have a light construction since it is located on existing buildings, wood is the main material.
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Williamsburg Water Refinery Elin Elisabet Svensson / Nicoline Heather Madsen 6. semester
Today’s deteriorating situation leads us to think ‘greener’ and more self-sufficiently. Local and small-scale recycling systems are important for a sustainable urban future. After conducting research, we chose to focus on water. Systems for the reuse of water may in turn generate contributions in a smaller urban context. New York is in many aspects an example of foresight thinking, and water seems to be a natural part of this thinking. Thus, water creates a frame of reference for the program development. Last year in October, New York experienced the hurricane Sandy. Furthermore, the water tower is an iconic and essential part of the New York skyline. With these two examples in mind, the theme was further investigated. Wastewater and rainwater also became parts of the program together with the water tower. Each of these different ‘water programs’ was then connected with another activity / program so that the two combined might contribute to each other, generating clashes and activities in between them. The hybrid’s widespread themes of programs would create a micro society, a home for the utopia of recycled water, and the limitations of its uses would inspire locally and set an example on a larger scale – making this street corner a positively added layer to the area of Williamsburg. The multiple public programs in the building are all connected by an internal ‘vertical street’ that leads from the ground floor to the roof, keeping the building active in times when it would normally be passive, and allowing its users to experience water-related phenomena. Thus, these public programs scattered throughout the building and linked by this internal street-space aim at generating potentially new urban and social values.
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Unit 2+3 d
AL!
Atmospheric laboratory
107
Water system
108
Unit 2+3 d
AL!
Atmospheric laboratory
109
Character: Dorian Grey
Deploying the box
__materials
110
thin veneer wood (translucent), opaque gals, textile
__climatic boundary elements a transparent climatic boundary (in wintertime), the movable screens seals the unit
Unit 2+3 d
AL!
Character: The religious japanese organist with the butterfly collection
Atmospheric laboratory
111
[P2.1] List of Study Cases
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.
Le Corbusier - Unité D'habitation, Marseille, France, 1952 Safdie Moshe - Habitat 67, Montreal, Canada, 1967 Kisho Kurokawa - Nakagin Capsule Tower, Tokyo, Japan, 1972 Alison And Peter Smithson - Robin Hood Gardens, London, Great Britain, 1972 Jean Renaudie - Givors Housing, France, 1981 Jean Nouvel - Nemausus Housing, Nimes, France, 1987 OMA - Nexus World Housing, Fukuoka, Japan, 1991 Steven Holl - Void Space/Hinged Space Housing, Fukuoka, Japan, 1991 Unit 2+3 d Kazuyo Sejima - Gifu Kitagata Apartments, Motosu Gifu, Japan, 1998 Edouard François - 67 Apartments, L'immeuble Qui Pousse, Montpellier, France, 2000 AL! Atmospheric laboratory OMA - Breda Carré Building, Breda, Netherlands, 2000 Ryue Nishizawa - Funabashi Apartment Building, Funabashi Chiaba, Japan, 2004 Kengo Kuma - Shinonome Apartment Building, Tokyo, Japan, 2004 Sanaa / Kazuyo Sejima & Ryue Nishizawa - Moriyama House, Ohta-Ku, Tokyo, Japan, 2005 Lacaton & Vassal - Social Housing, Mulhouse, France, 2005 Guinée Potin Architects, Block Architects, Duncan Lewis - Cité Manifeste/ Mulhouse Social Housing, Mulhouse, France, 2005 MVRDV + Blanca Lleó - Celosía Sanchinarro, Madrid, Spain, 2007 Sou Fujimoto - Tokyo Apartments, Tokyo, Japan, 2010 BIG - 8 House, Copenhagen, Denmark, 2010 Unit 2+3 d
AL!
Atmospheric laboratory Unit 2+3 d
AL!
private
semi - private semi - private
Atmospheric laboratory Plan
0
20
40
100
Diagram, plan
private
semi - private semi - private
private
Plan
0
20
40
100
Section
0
20
40
100
semi - private
public
Diagram, section
Diagram, plan
Source: plan & section: Works and projects, KENGO KUMA, by LuigiAlini, with and essay by Kengo Kuma.
Elin Svensson + Nicoline Heather Madsen Codan Shinonome canal court, Block 3, Kengo & Assiociates [80]Kuma Elin Elisabet Svensson, Tokyo, 2004.
Nicoline Heather Madsen (Kengo Kuma - Shinonome Apartment Building)
private
112
Section
0
20
40
100
semi - private
public
Diagram, section Source: Works and projects, KENGO KUMA, by Luigi Alini, with and essay by Kengo Kuma. Source: plan & section: Works and projects, KENGO KUMA, by LuigiAlini, with and essay by Kengo Kuma.
[80]
Unit 2+3 d
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Atmospheric laboratory
Lectures
Fall Semester: New York og rem Koolhaas by Rasmus Rune Nielsen Eroding Permanences of the Infraordinary; City as Archive by Espen Lunde Nielsen Openings by Maria Gaardsted Light and Opening by Torben Nielsen Openings by Nanet Mathiesen Engava - the mind of imagination by Leif Høgfeldt Hansen Vinduet by Lars Bock Openings by Jesper Rasmussen
Spring Semester: Mansilla + Tuñón- Public Buildings. Equality and Diversity by Emilio Tuñón Housing Qualities by Jan Albrechtsen Vandkunsten Drawing by Chris Thurlbourne Urban housing in a time of change by Claus Bech Danielsen Mixed City by Javier Arpa Fernández Models by Chris Thurlbourne Diagrams by Tine Nørgaard Notations by Tine Nørgaard
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Unit 2+3 d Adam Christoffer Bundegaard Anders Precht Jensen Anette Vintervold Anna Katerine Tan Nielsen Anne Mette Thisgaard Lund Beate Kristine Asbjørnsen Christopher Sejer Fischlein Connar Blampied Dilja Rannveig Boasdóttir Eirin Bakken Elin Elisabet Svensson Eloise McDonald Frederik Pilgård Jensen Gina Helene Hov Gunborg Martina Blom Iben Enevoldsen Imke Schubert Jannik Kjær Nisgaard Jenny Tuong-Vi Tran Jens Vium Skaarup Julie Bertelsen Kristoffer Codam Liam Marosy-Weide Liv Skovgård Andersen Louise Bjørnskov Schmidt Louise Sevelsted Viborg Malin Mohr Maria Sindal Stæhr Mathias Højfeldt Nielsen Mathias Skafte Andersen Matteo Lampaert Mette Bonde Romme Mette Christensen Michael Wolsing Morten Bilde Hougaard Nicoline Heather Madsen Oda Sofie Øye Rachael O’Toole Ryan Canning Sara Kristine Casey Simen Enkerud Lien Thea Dahl Orderud Victor Linus Engels
Thanks a lot to our critics Aida Espanyol Vilanova, Anders Gammelgaard Nielsen, Charlotte Bundgaard, Chris Thurlbourne, Claudia Carbone, Espen Lunde Nielsen, James Martin, Javier Arpa Fernández, Niels Park Nygaard, Rasmus Grønbæk Hansen, Stephen Willacy, Tat Bonvehi Rosich, Tine Bernstorff Aagaard, Tine Nørgaard, Thomas William Lee, Torben Østergaard.