Albert Wischer | Architecture Portfolio by wischer

PORTFOLIO Albert Wischer

Architecture student Lunds Tekniska Hรถgskola wischer@live.se +4673-552 34 42

p.03 - p.12 VÃ&#x201E;STERBRO PRESCHOOL | semester 6, 2020 p.13 - p.24

UMUSEKE CHAPEL | semester 5, 2019

p.25 - p.32

KAMHJULET | semester 5, 2019

p.33 - p.38

PUNK | semester 3, 2018

p.39 - p.44 p.45

GRAPHIC DESIGN |

2016 - 2019

VIDEO |

2019 - 2020

VÄSTERBRO PRESCHOOL Preparing for life

Lund, Sweden - Semester 6, 2020 With Axel Czarnecki

03 - Västerbro Förskola

RIGHT Axonometri | view from south-west 04

SPREAD Visualisation 1 | entrance from park 05 - VĂ¤sterbro FĂśrskola

Västerbro Preschool By: Albert Wischer & Axel Czarnecki The site for this preschool is located in the neighborhood of Västerbro in Lund, on the nowadays closed Tetra Paks industrial area. The project is a proposal for the planned densification of this neighborhood. We choose to place the building where one side is directed towards the oncoming Västerbro esplanade and the other side will be facing the park. Therefore, the building will both define the pedestrian zone and its urban context and frame the park area. The buildings green roof can be seen as an extension of the park, where the vegetation continues from the forest, across the preschool yard and ends up on the building roof. The building and the forest border will form an open protected glade. The pedestrian zone with its urban qualities will have a green exit before the main road appears. One of the great benefits with placing the kindergarten in the park is that it together with Form och Design Skolan and the old Tetrapak hangar provides a good shelter from eastern and western wind. F De orm o sig n S ch kol an

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LEFT Axonometri | shows how the trees spreads out west wind 07 - Västerbro Förskola

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MIDDLE Siteplan | 1 : 5000 08

Classroom 1

Playroom 1

Playroom 2

Classroom 2

Staff room

Classroom 3

Water Room

Eastern Square

Playroom 3 Washingroom Paviljon

Office

Kids Entrance

Studio E

Playroom 4

Studio W Personnel Entrance

Storage

Water Room

Western Square

Classroom 4

Classroom 5

Kitchen Playroom 5

Playroom 6

B Classroom 6

RIGHT Plan 1 | 1 : 130 08

TOP LEFT Section A:A

BOTTOM LEFTT Visualisation 2 | Studio E 09 - Västerbro Förskola

TOP RIGHT Section B:B

BOTTOM RIGHT Visualisation 3 | Western square 10

SPREAD Visualisation 4 | view from Västerbro esplanade 11 - Västerbro Förskola

UMUSEKE CHAPEL A Sanctuary

Rukomo, Rwanda - Semester 5, 2019 With Alessandro Lion & Matilda Lundqvist

13 - Chapel Umuseke

RIGHT Axonometri | view from east 14

SPREAD Visualisation 1 | entrance 15 - Chapel Umuseke

Umuseke Chapel

By: Albert Wischer, Alessandro Lion & Mathilda Lundqvist

The parvis is the ultimate meeting point. You are standing between the mighty walls and the lucent wooden structure that forms the chapel. It’s a crossroad - a communal forum for discussion, grieving and joy. Through the chapel doorway, embedded in imigongo pattern, you can see the altar cross. As you enter through the doorway into the atrium, a new feeling greets you. It is easy and light, it is freedom. Burdens that your shoulders might bear you can leave behind with the strong walls, letting it carry them for a while. Individual wooden frames rise and fall as you walk down the aisle and together the whole structure is aiming for higher ground.

LEFT Siteplan | 1 : 10 000 17 - Chapel Umuseke

B B

The chapel will loom from a distance with it’s massive brick walls. Walking the pathway towards something heavy, solid and strong. When you reach this colossal element it towers over you, making you feel nailed to the ground. The wall, the height and greatness might make you feel uneasy but it’s perforated brick structure will show you a glimpse of what it’s hiding. Curiosity takes you closer and it will wreathe you as you enter.

The design of this chapel is based on two ground pillars. One stands in Rwanda’s history and the other in the Rwandan culture. It takes a lot of strength bearing such tragic history. It takes a lot of vulnerability to heal those wounds and a lot of courage to eventually relieve yourself from sorrows.

At this part of the site you also get a number of surrounding trees. It creates a more secluded room and boosts the open view you get when having entered the chapel. The opening in the facade behind the presbytery, creating this view, is facing east to frame the sunrise.

The chapel lies on a part of the site that is declining slightly. The floor is therefor lifted above the ground with some increasing height along the slant. This design is chosen to reinforce the feeling that the chapel is rising.

LEFT Plan 1 | 1 : 650 18 14

WALKING SEQUENCE 1 Pathway

WALKING SEQUENCE 2 Avenue

WALKING SEQUENCE 3 Wall entrence

WALKING SEQUENCE 4 Courtyard 1. PATHWAY: The pathway leading to the chapel is first divided into two. One that goes via the monastery and one that starts further north, intended for villagers and visitors. The two routes meet close to the center of the site and become a single pathway that keeps guiding you towards the chapel 2. AVENUE: When getting closer to the chapel, the pathway straightens. The walk, now bordered by trees, marks the beginning of an axis that will continue throughout the chapel. 3. WALL ENTRANCE: The perforated brick wall frame the entrance. The opening has the same width as the pathway and splits the wall into two. This to reinforce the heavy feeling.

WALKING SEQUENCE 5 Atrium

4. COURTYARD: This is a meeting point. The majestic walls enclose this area and creates a more secluded atmosphere while still being an open space. A place for discussion, grieving or celebration. 5. ATRIUM: Entering the light, wooden structure will bring you into the atrium, still confined within the brick walls, creating a transition. It can be seen as an extension of the courtyard, filling the same purposes. The holes in the brick wall are 30 * 30 cm, letting in plenty of light while still being able to give a weighty impression. * See section B:B for refrenced numbers. WALKING SEQUENCE 1

19 - Chapel Umuseke

TOP RIGHT Section A:A | typografic eastern view

WALKING SEQUENCE 2

WALKING SEQUENCE 3

WALKING SEQUENCE 4

WALKING SEQUENCE 5

BOTTOM LEFT Section B:B | typografic southern view walking sequence marked with numbers 20

LEFT Section C:C | shortside 21 - Chapel Umuseke

RIGHT Section D:D | longside 22

EUCALYPTUS WOOD Eucalyptus is abundant in Rwanda, something that has shown to cause some issues. The eucalyptus trees can consume up to 85 litres of water per day, a quality that is not preferable in a country like Rwanda. Therefor it struck as the most eligible material to choose for the chapels wooden structure. BRICK Brick is a commonly used material in Rwanda. It is traditionally made by hand with the help of a compression machine. Sand-molding is a technique building on a similar, older way of making bricks. The sand-molding, in comparison the older technique slop-molding, gives denser and more consistent, solid bricks. The bricks will be used for the chapels surrounding walls. SCREEN ROOF To protect the chapel and its visitors from the seasonal heavy rains, a translucent waterproof screen is suspended along all the wooden frames, working like a tarp. It is stretched across the beams with consideration taken to their different angles. This so that pelting rain can be avoided to a larger extent. IMIGONGO To incorporate Rwandan culture in this project we chose to cover the entrance wall and some of the interior in imigongo art. The artform can be traced back to the 18th century and is traditionally created by women . Imigongo is made from a mixture of cow dung and ash, sculpted onto a wooden board in different spiral and geometric patterns. Once dry it is painted with natural pigments, traditionally in white, black, grey and red. This is an artform passed down for generations and for that reason, almost disappeared completely after the genocide in 1994. It is thanks to a small womenâ&#x20AC;&#x2122;s cooperative that imigongo still exists today. A group of women started it up again to help them start their lives over. Women were shattered in the community, barely making enough money to get through the day. Many of them then found this cooperative and with that the solidarity in other women going through similar things. They could start selling their work, start healing together and look forward.

LEFT Pattern | simplified imigongo art 23 - Chapel Umuseke

The pews work as an extension of the wooden frames. They widen as they stretch towards the aisle and the seating area has a depth of 50 cm. On the side of the bench facing the aisle, the eucalyptus is replaced by imigongo. The imigongo is an important element continuing throughout the chapel. The back of the pews are hollow making space for books or other belongings.

RIGHT Visualisation 2 | inside view 24

KAMHJULET A Community House

Copenhagen, Denmark - Semester 5, 2019 By Albert Wischer

25 - Kamhjulet Community House

LEFT Axonometri | northern view 26

Kamhjulet Community House By: Albert Wischer In the district of Nørebro in Copenhagen lies the historical property Jagtvej 69. Between the year of 1982 to 2007 a building named Ungdomshuset (The Youth House) was located on Jagtvej 69. The house functioned as an underground scene venue for music, a place for alternative culture and as a meeting place for varying autonomist and leftist groups. This property was occupied by the youths in the 1980’s and their claim to the property was at first accepted but in the early 2000 their occupation became considered illegal. The local government sold the property without consent from the youths to a church and after a long conflict and under big riots Ungdomshuset was torn down in 2007. Because of the infected conflicted surrounding this property it has become impossible to build something new here. Every time someone has tried, riots start again. The aim of this project was to build something that respects the history of Jagtvej 69 but also fills a function for the citizens living in the surrounding neighborhoods. The project aims to become a new meeting ground for young people and local habitants. The house round shape represents a cogwheel, a part of the social machinery that is Nørebro. Kamhjulet means the wooden cogwheel in Danish and an appropriate name for the building. This 18m high house with almost 1000 m2 is, as the name implies, built like a gearbox and consists of 6 separate gearshaped cylinders stacked against and on one another like the gears in a gearbox and together the volumes form the building. These cylinders are largely constructed of wood, where the beams that resemble the teeth of the gear act as the supporting structure. Between these teeth are 3 meters high and 60 cm wide windows. This enables nearly 360 degrees of light input and natural lighting during all daylight hours. One advantage of having the beams protrude almost 50 cm like the tooth of a cogwheel is that they limits the view in to the building considerably and allows an enormous flow of light in, without making one feel observed.

LEFT Sketch | materiality study in section 27 - Kamhjulet Community House

Another important part is that you have full access to the roof of the building. The roof areas of almost 340 m2 serve as terraces and enable plenty of outdoor activities, relaxation areas and urban cultivation. As the building only has a 150 m2 footprint, this house will not only offer the same green space as before, but almost 200 m2 more than what was on the site before. Thus, in both a symbolic and practical sense, this house is a gear. It will be one of the several forces that drives the community forward, a part of the gearbox that is Nørebro.

MIDDLE Model 1 | entrance

RIGHT Model 2 | aerial view 17

RIGHT Plan 1 | ground level 29 - Kamhjulet Community House

RIGHT Section A:A | longside 30

Roof

Level 5

Level 4

Level 3 Ground floor

Level 2

Level 3

Level 5

Roof

Level 2

Ground floor

LEFT Axonometri | exploded view 31 - Kamhjulet Community House

Level 4

MIDDLE Diagram | floor shapes

LEFT Visualisation | view from Jagtvej 32

PUNK

A sub-cultural exploration Lund, Sweden - Semester 3, 2018 With Anton Ã&#x2013;st

33 - Punk

RIGHT Photograph 1 | close up on chair 34

Punk By: Albert Wischer & Anton Öst In this course we were to design a furniture and a piece of clothing with inspiration from an urban subculture. We choose Punk as our starting point. The Punk as a subculture in Sweden has been the source of inspiration for this project. The “any one can do it” and the “Do it yourself” spirit that is found within punk culture has been the guideline for the construction of the chair. Therefore, no drawing or planning went into the construction, the structure was made up along the way. The only rule was to not cover up mistakes, the chair would not apologize for its flaws. The chair is based on the idea of combining the dangerous and the inclusive sides of punk. The metal frame is made of hollow pipes that was cut at random lengths and welded together. The ends were pressed together in a hydraulic press. The sharp edges were kept as they were reinforcing the impression of danger. We interpreted the inclusiveness of punk as a soft aspect. We let recycled fabric represent this part because even “broken and ugly” can get a new purpose and value. The fabric is taken from old furniture covers, cloths, bed linen, towels, used and unwearable clothes etc. The Hoodie got its form from the conflict that occurred between the group that identified themselves as punk and the rest of society. It is a comment in a punk-like naive way on the restricted, box like values of the society at the time. The 106 fabric squares represent the strict social frames constructed by society and burned edges on the squares represent the friction between the cultures and their values trying to coexist. .

LEFT Photograph 2 | the chair from behind 35 - Punk

MIDDLE Model 1 | entrance

RIGHT Photograph 3 | the Model hoodie2from | aerial behind view 36

LEFT Photograph 4 | front MIDDLE TOP Photograph 5 | close up MIDDLE BOTTOM Photograph 6 | shows how the chair twist at the top 37 - Punk

GRAPHIC DESIGN Selected works 2016 - 2019

39 - Graphic Design

RIGHT Collage 1 | 2018 40

LEFT Poster 1 | A poster made for Haukeliseter Fjellstue 2019 41 - Graphic Design

RIGHT Artwork 1 | Grand Soleil 2018

LEFT Artwork 2 | 2018

RIGHT Artwork 3 | 2017 42