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Portfolio

Espen Flatin Drogseth 2010 - 2012


RĂŠsumĂŠ

page 4

Change is Constant page 6 - page 37

Complec Context page 38 - page 97

Eastern Promise page 98 - page 117

Northern Lines page 118 - page 133


My name is Espen Flatin Drogseth. I am 32 years old, and currently residing in Oslo, Norway. I graduated from Bergen School of Architecture in the fall of 2012 with a masters degree in Architecture. In this portfolio I present the work I have produced the last two years, staring with the diploma project and ending with my first masters course.

Fell free to contact me for work opportunities


RĂŠsumĂŠ

Espen Flatin Drogseth telephone 92 02 82 32 address Stockflethsgate 46 0461 Oslo, Norway email espen@drogseth.net website about.me/espendrogseth

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Education: Bergen School of Architecture Master of Architecture

2006- 2012

BI Bergen Marketing 2003- 2004 Computer skills: Proficient Undersatnding: Adobe Photoshop 5.5, Adobe Illustrator 5.5, Adobe In-Design 5.5, Sketch Up, Vray. Basic Understanding: AutoCAD Architectural Desktop, Graphisoft ArchiCAD, Rhionceros 3D. Work experience: Worked at Psyciatric Institutions

2001-2009

Worked at Music Agency

2003-2004

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Change is Constant

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DIPLOMA PROJECT 2012, BERGEN SCHOOL OF ARCHITECTURE

BY ESPEN FLATIN DROGSETH INGJERD VERONICA DAAE DRING JANUARY 2012 - SEPTEMBER 2012 TUTORS ANDRE FONTES (APP) DEANE SIMPSON (APP) ANDREA SPREAFICO (DAV)

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Change is Constant

Preserving the transformation in HenningsvĂŚr

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Preserving our surroundings has increasingly come to influence the ways in how we build, plan and live. In an attempt to protect memories, preservation can force stagnation into practice. With stagnation comes death. With demolition comes loss of place. Between the extremes this project investigates how the process of change can be incorporated into the practice of historic preservation. People and places are dependent upon movement. This project looks into ways of preserving a place as a dynamic organism, while maintaining the premises of the place. Instead of preserving an historical image, we seek to preserve the process of change, which has defined the place. Seeking to find an approach to consciously look forward and look back. Which principles from the past might now be re-found, and re-addressed in form and program for the future of Henningsvær? The place in this project is Henningsvær, a small fishing village in the region of Lofoten, an archipelago in the north of Norway. Henningsvær is situated at the foot of Mount Vågakallen, and consists of a group of islets placed as a small cluster in the Vestfjord. The built Henninsgvær is placed such as to easily access the sea for fishing, which has been the reason for settlement here. The main fishing season is between January and April and has for hundreds of years, and still is, attracting fishermen and tradesmen from all of coastal Norway. This is when the cod migrates from the Barents Sea to spawn in warmer climate. From the 1990s Henningsvær and Lofoten has positioned itself as a significant tourist destination. With added focus on Henningsvær restrictions regarding how the place were to be developed followed. People were coming to see “a real fishing village” and strict preservation regulations have been set into practice by the municipality with guidance from the directorate for cultural heritage. The regulations require preserving facades and buildings as they are or as they used to be - one might say like an historical image. The image or representation of what used to be, we believe must incorporate and challenge the needs and features of a now, in forming a dynamic community. Strategies for preservation vary, but we believe they should all invoke some sort of intervention with a now.

This project investigates ways of preserving Henningsvær as a dynamic whole. The pragmatic needs of the fishermen have forced a constant transformation of the town. We want to integrate the process of change into the practice of preserving. A living town needs to adapt, so we propose to establish factors that allows for a process of change within preservation. Through different interventions we seek to cast light on different approaches in how the built environment can be changed within the premises of preservation - within the premises of the place. a boardwalk connecting the village, transforming the inner harbour to a town square a public bath in an existing dock house, revealing structural existing, adding functional for new use a community building, that serves for strengthening the meeting point between the users of the village a welfare building, lifting an existing and twisting a new a bridge connector that re-establishes the old function of the boats featuring in a new form

Change is Constant Still there are so many places we find presious. We want to preserve, be riminded, remember. When towns become objects of preservation, the dynamics of change are under threat. We need to find a way to preserve the quality, while preserving a dynamics of change.

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Preservation Strategies for preservation vary, but they all invoke some sort of intervention. Some seek to restore, while others seek to preserve what is left and show this off as a contrast to the new intervention built around it. Some of the different approaches to preservation are conservation, restitution, regeneration, rehabilitation, reconstruction, renovation or restoration. Different approaches can be generalized into those who submit to the preserved, and a view that constant change and new architecture should express the needs of the day by adding an authentic expression of this onto the old form. The nuances however are plentiful. Various town and cities use different strategies, which can be categorized as followed. - Museum preservation strategies where total and authentic preservation has precedence over all other considerations. In this strategy all new building would be considered undesirable. An example is Venice. - Reconstruction strategies involve recreation of something, which used to exist. The restitution of historical monuments and urban centers, which where torn down during WW2 are examples. -Structural preservation involves differentiating between stable historical structures and more temporary expressions of form. The controlling principals behind the structures become the important. E.g. the block structure of a city is kept, while there is room for a significant transformation within these boundaries. This allows for greater freedom and development of typologies that the typical preservation of the volume and facade. - Narrative protection focus on the historical narrative elements of the town or city. The history-telling elements become the identity, and the different fragments from different periods do as a whole form the identity, which one seeks to protect. In this context there is room for new buildings and structures as part of the narrative of ever changing fragments.

- General preservation can be seen as a fifth strategy, but builds on all the four previous strategies. It differs from the other strategies because it builds on a wide approach to what has value and links the identity concept of built-up areas, physical properties and spaciousness to the concept of quality. In some ways this becomes a systematic observation of that which is considered to be of value in the architecture as it appears today, and this is what becomes the aim of preservation. Difficulties around preservation can arise when the surroundings we use daily as a town becomes monuments worthy of preservation. The fear of losing history, or fear of transforming into something new, can empty the meaning of the place and turn them into aesthetic figures without depth. The problem with using the term authentic is that it comes from a concept meaning completely genuine, and in a way everything is an authentic expression of what it is. The distinction between the genuine and the false then becomes difficult to draw and change. Still, one might argue that the concept of authentic should be important in the discussion of preservation. Architecture is a tool for changing social needs and these needs cannot always be met with the historical urban structures. An authentic need for new structures in the historical town must be met, in order to allow for the needs to be met. If the new structures are products of authentic needs of today, the preservation is less likely to turn the town into monuments of the past, not meant for living. One could still say the quality requirements for new architecture should be met by being as good as the old, without being like the old. The worries raised by AMO about the amount of preservation taking place might best be met by allowing for change within the context of the preserved. Change should be made within the premises of the place seen in the context of its relevance. Anything else will lead to something on the outskirts of reality.

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Site

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Henningsvær Lofot-fiske Henningsvær was flourishing with life! The stories say Henningsvær is situated at the foot of Mount Vågakallen, and consists of a group of islets placed as a small cluster in the Vestfjord Henningsvær never went quiet during the fishing season. In the 1930s when I as a child and young lad ran around at the as part of the archipelago of Lofoten. docks during the fish season, there could be up to 10- 15000 fishermen and workers taking supplementary work ashore in Henninsgvær is a fishing village or fiskevær, a type of settlement Henningsvær. On Sundays and the days with too rough weather to that lies along the coast of Norway, most prevalent in the north of go out on the open sea, thousands of fishermen walked along the Norway. The settlement was established because of fishing, but narrow street through the village. The shops, cafés and bars were would also have farming and animal husbandry. They started often as small house clusters and developed into villages, and later on as packed with people- men. And in inner harbour laid hundreds of some of today’s established coastal cities. Trading was an important boats, in rows between the two islands, all sorts of sizes and types like long liners and gillnet boats to smaller dories. We could run right part of the fiskevær; most of the men were fishermen selling their across inner har- bour, from vessel to vessel, from dock to dock. dried or salted fish to tradesmen from Bergen, who later sold of the From the book “Henningsvær- elements of the fiskeværs history”, fish to tradesmen from Italy, Spain or Portugal. Vågan historielag From the middle ages the small fishing village of Henningsvær had a permanent settlement. They held both animals, grain production in addition to fishing. It was late 1900 century that Henningsvær raised Today Henningsvær still has its fishing season, and its seasonal workers. But the amount of seasonal fishermen has gone rapidly its position as the most important fiskev- ær in Lofoten, one may down. The main reason for that is that the even say in the world. Fishing methods and equipment has become much more efficient than what they had before. Now one man can alone take up the Henningsvær has a central placement in Lofoten. When the ”innsig”, the masses of cod, came to Lofoten, Henningsvær lied in a amount of fish, ten or twenty men could hundred years ago. From strategically good position, near to the fishing fields, and with a safe the flourishing 50s with the inner harbour filled up with nearly thousand boats, to only well under 100 vessels during Lofot-fiske and quiet port, in-between west and –east Lofoten. 2012. The population of Henningsvær has been relatively stable, with its peak around 1950 with around 1000 inhabitants, to ap- proximately From the 1990s Henningsvær and Lofoten has positioned itself 500 people living there today. Even though the fishing village have been small in numbers of permanent set- tlers, the amount of people as a significant tourist destination. People were coming to see “a vibrant fishing village in the middle of Lofoten”. With added focus staying there for a season or for a shorter time has been high. on Henningsvær restrictions regarding how the place were to be developed followed. From around 1920 to around 1950s Henningvær held over 10 000 seasonal fishermen, coming from near and far. They came during the great Lofot-fish- ing season, Lofot-fiske, from January to April. Some lived in their boats, others stayed ashore. For the period of 13


Parts of an identity

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Dynamics of Change

Dynamic Preservation

- The way in which to preserve in Henningsvær Today the preservation plan of Henningsvær works to keep the harbor area as a photographic memory of the past. In our project we want to seek a way of preserving the undeniable transformation of a place based on the needs of its users, instead of preserving a stagnant past. Seeking to find an approach to consciously look forward and look back. Which principles from the past might now be re- found, and re-addressed in form and program for the future of Henningsvær. We want to question the principles of growth and expansion in relation to who the users are. Seeing Henningsvær in a dynamic of constant change based on the needs of the three user groups - the fishermen, the tourists, and the locals. Whilst keeping with the identity and character of Henningsvær through a process of constant change. 18


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Preservation for whom?

Public space in Henningsvær has been based around the inner harbor where all the fisheries were placed. Between the harbour line and the dock houses a boardwalk sits, where the fishermen could dock the boats, unload the fish, fix their fishing gear, store equipment and rest. This was public land, privately owned. They needed a safe harbor without the threatening waves, and since the island cluster only had a limited amount of space with shelter, they needed to build close. The boardwalk is still present in Henningsvær today, even though parts of it are in a bad state. Henninsgvær is a great example of a town with a distinctive historical past that has formed it into a unique place. The town has grown up around a harbor facilitating for fishermen in open boats, seeking refuge close to the sprawling fishing banks of Lofoten. This uniqueness of typology and typography (island cluster) has seen Henningsvær becoming an attractive place for tourists. While the fishing industry has gone through a rationalizing process with fewer boats and the same amount of fish caught, this opens for a new way of taking the public space of inner harbor in use. Keeping with its distinctness of an island cluster with a settlement based around an inner harbor facilitating for its different users, transforming the public space into new use and features of today on the premises of the place. Seeing inner harbour as the town square of Henningsvær with new possibilities for public life. Our project seeks to deal with this through a series of interventions in and along the inner harbor line of Henningsvær. Opening for a change that can develop through the present days needs of the fishermen, locals and tourists as a way of preserving the dynamic and adaptive town of Henningsvær in means of a public square on the premises of the place. 21


The boardwalk Inner harbour as a town square with possibilities for new public life The inner harbour forms like a town square. Once a lively trade field where fish was haggled and boats lay close. Today the traces are seen through the docks and piers surrounding the harbour – the boardwalk. The boardwalk forms the transition between boat and building, but it also establishes an undeniable public space. While the fishing industry has gone through a rationalizing process with fewer boats and the same amount of fish caught, this leaves space that opens for a new way of taking the public space of inner harbor in use. We see a change that can develop through the present days needs of the fishermen, locals and tourists as a way of preserving the dynamic and adaptive town of Henningsvær. The Inner harbour as a building with overlapping rooms and programs facilitating for the public life of a town square. A transition between outside and inside inhabiting the public space of Henningsværs inner harbour once again.

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Historic situation - activated by boats

Current situation - habrour underused

Suggested situation - activating waterfront

Suggested public programs - programtic activation


The Harbour

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A new strategy A new strategy for preservation in Henningsvær People and places are dependent upon movement. Keeping with the preservation plan set out for Henningsvær leads to stagnation and death of place. Public spine

Rather than preserving objects of an historical image of the past, we are suggesting to preserve the dynamics of an active village, which is dependent upon change. From a quantitative (existing) to a qualitative (new) way of preserving. Re-defining the term authentic, meaning authentic needs of today within the premises of the place. How Instead of preserving an historical image, we seek to preserve the process of change, which has defined the place. Seeking to find an approach to consciously look forward and look back. Looking to use principles from the past that can be re-found, and readdressed in form and program for the future of Henningsvær. A centre and a town square Re-introducing a public spine – around the whole of inner harbour conncting the village and introducing a new way to use and inhabit the public square of Henningsvær in means of today. Activating with program strengthening with new form.

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In ways of building New buildings

Special buidings

Old buildings

Common buidings

Adaptation

Passiv

New buildings 窶電istinction between special and common buildings regarding how to change. New special buildings like church, community hall or other significant public buildings can be added with distinct different character. Giving identity, not changing it. New common buildings can be added as within the grammar of the place for local change. This implies keeping with the understanding of the local grammar adapting to new use. Old (existing) buildings -distinction between adaption and passive attitude towards what is being kept. In adaptation buildings can be changed if needed for the new program. Taking further what can be used, add new in ways of supporting the new program.

CHANGE. new interventions following the grammatics of the place

Distinct

Local change

Local adaption

Preservation

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Urban Strategy An alternative path on the water An underpath supported by the historic boardwalk Reestablishing a connection with the water for all Emphasising the importance of the sea to the place, by exposing people to the everchanging watersurface The gap between the boardwalk and the waterfront has grown as fishing has dwindeled By introducing a underpath which exposes the watersurface, the tidal changes and the waves directly to the users, we also exploit the inheret authentic factors which are the basis for the identity of the place A place to experience A place to feel A place to be exposed A place to meet

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Bridge Connecter

Bidge element Market element

A bridge re-establishing the old function of walking across the harbour Reinterpret old concept with new elements Grammatic of change The vessels adapting to new needs

Surface element

New elements opening for various public use A bridge connector within a town square Connecting the two sides of the inner harbour with moduals A bridge but also a place to meet A bridge but also a marketplace A bridge but also pavilion

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Stage element Bench element


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Fishermens Welfare A welfare building, Lifting an existing, Twisting a new Reinterpreting structure into new Twisting structure, opening for new rooms and angles New done with old grammatic Lifting an existing to give room for a different outdoor public space A welfare building within a town square Catering for fishermen for coffee + waffles + newspapers Giving a communal outdoor and indoor food place for the locals, fishermen and tourist to use.

Logic of change

Adjust

Rearrange

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Adapt / Evolution


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Community House A community building, that serves for strengthening the meeting point between the users of the village Bringing the community to the harbour Merging a building with the boardwalk Movement of boardwalk along and over the building With an empty plot comes the chance to change, a public building introduces a new character Giving identity not changing A community building within a town square A box along the harbor line and a box inserted into the harbour Together forming a meeting point between the locals, fishermen and the tourist to use.

Todays meeting point

New meeting points

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New Access

Boardwalk integration

Inside Spaces

Outside Spaces


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Bath House A public bath in an existing dock house, revealing the structure existing, adding functional for new use. Preserve the construction system Show and put visible the construction Add new to the function of the program Remove what is not needed for the new program Twist fasade elements into a different angle to allow for more air and light A public bath within a town square Reviling old building with added program and Adding a stair between building and sea as part of the boardwalk leading to an outdoor floating bath.

Typical dock house

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Reveal the structure

Rationalize

New structure

New elements

New communication

Utilize roof

Adapt skin


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Diploma exhibition

The diploma exhibition at Bergen School of Architecture - September 2012. 37


Complex Context

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ICON_FRAMED

BY ESPEN FLATIN DROGSETH INGJERD VERONICA DAAE DRING SEPTEMBER 2011 - JANUARY 2012 TUTORS ANDRE FONTES (APP) ARILD WAAGE (APP) KALLE GRUDE (DAV)

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Saint Marie de la Tourette Our complex context “Create a silent dwelling for one hundred bodies and one hundred hearts�, was the prayer that Father Marie-Alain Couturier had to Le Corbusier on the design of the convent of la Tourette. La Tourette is a convent for the Dominican Order and is situated outside Lyon in an open farmland landscape in France. The building was designed by Le Corbusier and was constructed between 1956 and 1960. The building is one of the most important examples of late modernism. Today the building is in use as a convent but almost more apparent is the way the place has become a pilgrimage for architects worldwide. The importance of Le Corbusiers influence in modernism has made La Tourette into a masterpiece of its time. A Jewellery in its remote context in the sloping hillsides of France. The program for when it was designed was a convent for the Dominican Order with an additional priest school, hence the large amount of accommodation facilities with a 100 rooms, formed as single cells. The priest school was closed down in 1972, and the future for the building was now unclear. The priors wanted to keep the building alive continuing with a religious program as designed for by Le Corbusier. The building had such unique architectural qualities for the life of a convent, so they decided on keeping the building as a convent, only without the priest school. Today there are 12 priors living at La Tourette. The part of the convent where there used to be a priest school is now open for the public to stay in where they can host up to 60 people in individual cells.

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The icon Most of the people coming to stay at La Tourette today are architects or people interested in architecture. Year round the flocks of architectural pilgrims holds a great number. Many of the people stay for one or two nights living in the cells side by side the priors as to fully experience the atmosphere of the building. The building is constructed of concrete with large parts of open glass surfaced windows. The building materials makes the acoustic of the building like an ear that catches all the sounds of a place. This can make a challenge for visitors as to keep the silent atmosphere of a convent. Most visitors staying at La Tourette has to adjust their level of noise, such as how to close the doors, how to walk in the corridors and minimal talk in the building, specially during the evenings. In this way we as visitors come to experience the atmosphere as in its function of a convent as a place for study, prayers, contemplations and for silent living. The building appears as a dead and heavy mass with the life of the priors still very present in the rules set for the place. It’s now come to represent both the Dominican orders way of life but almost more importantly as the architectural masterpiece for which no one dare touch upon. A jewellery, which lies alone, spoiled by its solitude in its context and for its huge attention worldwide. The place has come to be something new because of its position in modern architecture.

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Touching the icon As for us as architect students and for likeminded people with the main interest of the building the rules of the convent can feel rigorous. One example is how the priors have locked the rooftop garden for the public, this being a very important place for us as visitors to fully experience the building in its context. Locking the rooftop garden for visitors keeps the building with a sense of closed form underlined with its program. This building has a unique place in the history of modern architecture. One may therefore argue for a new program and use which can accommodate the interest the building has positioned it self to. Questions to rise: Can we remove the priors and the whole function of the convent in the building? Replace it with architects willing to learn and setting the program for experiencing the building as an icon of late modernism? Through staying at La Tourette we experienced the importance of keeping the convent as it were, also to put in an instrumental use as for us as architects, to fully experience the place as it was designed for. Still, keeping the initial program set out for the building as a convent the presence of the religious life of the place forms the framework as to experiencing the atmosphere in its original sense. In the way we as visitors keep silent in the hallway and how the bells of the mass reminds us of the daily rhythms of a convent we are present in the building as visitors of the convent. So we decided on keeping the program as a convent, keeping linkage to the local community and for us as architects to experience the building as it were intended for by Le Corbusier. Instead we wanted to make a structure with spaces for viewing and understanding the complexity and uniqueness that La Tourette withholds in a new way, a structure that grows from the outside of the building into one of the rooms of the inner courtyard. With its materials and form touching the icons presence, still giving space for it to breath.

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The site Creating a space of being in-between and underneath the columns and the monastery garden Le Corbusier did or did not intend for people to use, was what inspired us about the site and the surroundings of La Tourette. Le Corbusier and the modernists lifted buildings off the ground with columns to free the land underneath the building as to give use of all of the land in the built environment. Even though the space underneath the building seems left out from Le Corbusiers care with only the raw feel of concrete and leftover space under the huge construction of the building, there are rooms of a very different quality in this threshold between the built and the complex of La Tourette and the unpolished and free nature surrounding the building. Being in a space where one is not intended to be. The secret place under the columns and the heavy structure of the building. Keeping with the notion of uncared ground in the courtyard of the convent. The leftover space, which is there to be found, not led to. Keeping the notion of being in a secret place, the joy of a discovery. The monastery garden of La Tourette seems left alone as it is today. It’s divided in four spaces, by the cross for inside movement that is part of the building, which separates the inner garden of the convent. We chose to fill one of four spaces with our structure. The Dominican order staying there and maintaining the property are an intellectual order, spending their time more on books and prayers than on gardening. But at some point earlier in the history of La Tourettes there have been people caring for the garden. Wondering between the columns underneath the building into the open space of the monastery garden we found a patch of apple mint (mentha rotundifolia). It had grown into the grass and weeds of the garden, but still it was a clear patch of past time. This discovery led us to see and refine our views on what La Tourette is, appears to be and ones have been.

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To experience the icon differently concept to form We want to bring the building alive as with the intention of viewing and studying the building in its full extent for understanding its value. In the interest of architecture one may argue for a different way of being present, in room, form and material at La Tourette. Being there not just as viewers and silent visitors, but also with a sense of place and a visual presence that underlines the importance the building has in an architectural context. Still keeping with the program of the convent, but adding a new building with a purpose of observing and understanding La Tourette in a different way. The additive building exploring the buildings outer surface exploring the buildings inside -through closeness to windows and openings exploring the buildings outside rooms -seeing and being in the inner outside giving value to rooms of stopping and being, and reflecting upon Santa Marie de La Tourette. Our structure giving an additional form and relief function for the huge architectural interest La Tourette has come to have, for viewing and giving use of the jewellery its come to be. A structure with rooms to experience the building and the spatial qualities of the place outside the building, inside new rooms. Seeing and being through a filter. Inside the structure room for circulation and room for being still. Room for investigating and room for contemplation. A place to observe and being observed. Putting the architects in a position as viewers and observers, on the outside but visually present within a new form.

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Looking and seeing in Le Corbusiers manner Framing as a tool for understanding Le Corbusier claimed that the `outside is always an inside in Vers une Architecture. This can be understood differently, one aspect is that the outside is a picture, hence that to inhabit means to see. “The eye is a tool for recording. It is placed 5 feet 6 inches above the ground. Walking creates diversity in the spectacle before the eyes.� Here Le Corbusier argues that the eye is as a tool for recording and the window is a tool for communication. The figuratively meaning for the window as communication in the modern use of the word as through telephone, radio, Internet. As a way of telling a story through a frame both from the outside and the inside. In many of Le Corbusier houses the act of inhabiting them is like being part of a movie. The way he frames shot after shot in individual window frames like a sequence of a film. In this sense the house can be seen as a machine of seeing. The eye is directed consciously as understanding these houses through frames for a view. Walls are constructed to frame the landscape and the context. A view from the exterior can also be positioned as to see through the frames of the interior into the view of the landscape framed differently to the other side of the house. In this manner the series of overlapping frames creates many levels of experiencing and understanding these houses. In relation to not being static, as a tribute to movement through understanding and experiencing space.

How we approached framing in our building structure As a tool for underlining a different way of seeing and understanding La Tourette we used framing. As Le Corbusier we wanted to emphasise the complexity of La Tourette through frames for which we led peoples eye in points of interest. Through rectangular shaped steel frames a walking path was formed. Frame after frame lined in a row one after the other created viewpoints. Being in a structure of forest like steel poles the frames and walkway creates a set of being in the structure and a way of seeing and understanding la Tourettes complexity. Emphasising the richness that the building withholds, little details and larger viewpoints.

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video framing As part of our research we used video. We used video as a media for looking into the possibilities of framing and how that could be used in our built structure. Through open shots, where foreground and background made the framing of our focus. Playing with the neuances of framing. The identity of the foreground and background, of the frame and the framed, interchanging with strength and intensity. An exercise to understand better how to continue the work of framing La Tourette. More information can be found online: http://obzerve.tumblr.com/

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foreground / background


framing

intimacy

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plasement in monastery garden lines of movment, sight references and shaping of a building mass

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concept_form_identity

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a spine through the structure in its materials and form. Making identity frames as a way of underlining and emphasising La Tourettes complexity. Showing details and larger visons. poles lined close or closer together as to create transparancy at the same time as they create rooms. As treetrunks rising towards the sky.

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rooms within rooms. Smaller and larger rooms for

stopping and staying and for creating a different quality of space when being in the structure.

plattforms to view and stay at different levels of the

structure. Possibilities of a wall being the floor or the roof seen as an opening.

frames which makes the pathway whilst moving. Framing viewpoints and creating a path from the same module.W

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concept_builds 64


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outside _underneath walking the site 66

_outside inside


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Spaces

1_ a landscape of drops placed on the field beside La Tourette. This marks the entrance to the new structure of poles within the monastery garden. The care for this area through drops of steel points defines the outer space in a new context. A space without clear boundaries, but still clearly defined as a place to observe the Icon. An understated welcome to the visitor. A mirrored plan of what lies on the outer inside of La Tourette. 2_ an unbuilt space, conceived as a result of the tension between our steel drops outside and steel poles inside outside. This area is the space underneath La Tourette, a space that came as the result of Le Corbusiers will to lift. Unfinished and raw in its visual identity, it becomes the unexpected gate to a structure, which lifts you up to observe the Icon. 3_ created by placing steel poles in a square grid, one metre apart. The grid stretches up and reaches above the roof of La Tourette. The landscape of poles takes on a clear identity, while preserving an airiness, which makes sure the Icon, is not hidden. Onto the pins a structure, the walking paths, divided into steps, is hung with ease. The steps allow you to move in and up into the landscape of poles, and introduces the visitor to the Icon by creating frames for view. The change in frame by every step also creates for a change of mind, and a reason to reflect as you walk up to the roof garden of La Tourette. also creates for a change of mind, and a reason tp reflect as you walk up to the roof garden of La Tourette.

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inside and outside structures

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overview of inside and outside

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closed_

forest_

open_

tight, not closed_

As part of the convent the chapel lies as a solid cube well into the square of the monastery garden. In hard concrete with only strips of windows to let light in, it creates a space for introvert and focused contemplation.

Around the apple mint there is a space of air and openness. A room without poles. Open from ground to sky. Closeness to the ground and the mint patch of past time.

four different spaces in structure 74

Being between steel poles with a height of 22-25m with 1 meter difference between them lined in a grid structure. The same reference with shifting views as you move through the steel forest.

Well up in the air there is a closely tied room of poles which creates a box with minimal strips of lights focused on the open sky above, the steel plates which forms the floor of the structure. An introvert room, but unlike the chapel there is open sky above.


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plan 76


2m

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section, north-south 78


section, east-west 79


section, east-west 80


walking in frames

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construction The structure is made to be lightweight and easily essembled. The material is steel. Cylindric tubes and plates. The grid concists of 10 cm wide poles stretching the hight of the structure, 1 meter apart on the ground. The frames, on which one walks, are fastened to the poles by handrails which also tighten the structure. The frames are 3 cm tick, and bend at the bottom to become the walking path.

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plan. movement through the structure.

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walkpath_framed

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visualizations_

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Eastern Promise - Force Majeure

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FILLING IN THE BLANKS

BY ESPEN FLATIN DROGSETH FEBRUARY 2011 - JUNE 2011 TUTORS STEVE CHRISTER (APP) KRISTINN E. HRAFNSSON (DAV) MARGRÈT HARðARDÒTTIR (APP) ESPEN FOLGERØ (APP)

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Introduction: Eskifjördur is a community situated on the far east-coast of Iceland. Its a traditional fishing town, populated by some 1000 inhabitants. Today only two fishing vessels call at port here. The downturn in the fishing industry and new quota liberalisation took a hard tole on the small community. Many people had to move away during the 1980´s and 90´s. Especially young people who had nothing to come back to where lost to the town. The last few years has seen a new optimism in the community. Alcoa located a large aluminium plant just minutes away, and this has brought new people to the community and some assurance of seeing the town as a viable option for the future. Still there are many problems facing Eskifjördur. It is very much based on two single industries - fishing and aluminium. Some would say this gives for little variety in the life of the town. Young people have to move away to get an education at an early age, and it is visible that there is a “lost generation” of young people nowhere to be seen. I aim to introduce a Folk High School to Eskifjördur. The goal is to give young adults an alternative to leaving the town at an early age, but also to give young people from all over Iceland the opportunity to stay in a place of solitude and community for a year - a year where they have time to become adults and be taught inspiring subjects they them selves have chosen. Art or Media.

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FILLING IN THE BLANKS a new strategy for Eskifjรถrdur

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Places of interest along the stretch. The site for the new program will be located in and around the old mehanical building and old warehouse. This location will tie the two town centres together, and open for a re-introduction of the waterfront. The current situation is that the town is growing on the outskirts, but the towns centre is being left behind in a higher pace. The proposal is to use buildings and spaces in the town centre, which have been left or forgotten, and start filling in the blanks.

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1 create a new pathway through the town, following the seaside if possible. the old mechanical workshop becomes the centre of the campus. additional vacant buildings in the area can be used if rehabilitated. some new structures will be added. they might be used to open up the seaside to the town.

red indicates the suggested pathway running through the city yellow indicates the opening of useable space especially by the sea

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UR

2

GÖNG USTÍG

mission:

LÖGREGLA

4 1

the suggested gallery/showroom situated in

signs of how the connection to the ocean used to

the suggested dorm, which functions as a hotel in

midtown, just as the main road turns off to

be.

summer season.

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nordkaupstadir.

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program journalism

technical

studio classrooms

cleaning

40

200

toilets

radio studio 100 50

technical

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a/v editing

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storage

40

public

storage 30

journalism public

mixed course 100

mixed space

auditorium 100

library

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mixed course

dark room

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printing room

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cantina

offices

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kitchen

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cafĂŠ / gallery

classrooms

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whitebox

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arts arts

studios

offices

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teachers lounge

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teachers office head office

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entrance

admin

workshop metal

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workshop model

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workshop I

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workshop II


Program Folk High School - based on the tradition of the Norwegian and Danish Schools Providing courses in arts and nature keep the youth in the Fjordtowns longer bring in more diversity with student mass work oppertunities for teachers cultural environment ties with local ÂŤincubatorsÂť Open to students ages 16-26 Dorm for 80 students in connection with school Building Mass use excisting empty buildings + new structures where needed Connect the town centers, and create a mainstreet/ meetingpoints Spread the functions of the school around the town to engage technical offices Multipurpose buildingspublic for seasonal activity drom/ hotel cantina/ cafe showroom/ gallery etc

Connecting the school and the local community through shared buildings, which generate meetingpoints and shared interests.

Scale Administration Office Teachers Office Cantina Classrooms Studios Workshop Computer room Media room Dorm - bedrooms kitchen bathrooms journalism mixed course showers social room Showroom/ gallery Outdoor

arts

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new pathway dorms/ hotels vacant buildings/ revitalization zones stores and public facilities fishery and business housing

I propose placing the Folk High School between the two current town centres. The town is typographically stretched out along the seafront, put there are many blank spots which have become vacant as the years have passed. I aim to reintroduce the stretch of the town as the centre. By placing the School between the current hotspots, I also create a new pathway for pedestrians and soft traffic. today the only path is a car road. I spread the dorms for students on the north and south side of the towns centre. By doing so I start to facilitate for more life along the stretch of the town. 110

I feel the shared public program of the school is an importaint part of the scheme to regenerate the stretch of Eskifjรถrdur. This creates the opertunity for the towns people to take part in the new posibilities the buildings and programs have to offer. It also establishes a new meeting point where the younger crowd could gather, and a natural place for integration of school and community. I see the posibilities for this pathway to continue to grow at its own pace. I point out abandoned buildings and unused blanks where I could forsee a natural reestablishment of shops and facilities for the town.


As the fisheries have closed down, Eskifjรถrdur has lost some of the connection it used to have with the sea. I therefore want to lay the campus of the school by the seafront. There I create three spaces. One is where the small river entres the sea, the second a small bit of actual original seafront - and the third is a new and highly designed area where I want to create a place of relativly calm, where you can come close to the sea.

The School campus becomes the natural place to stop, take a breath, talk, look around, see what is going on, and continue on your way. There are diverse spaces, which create more intimate zones, and zones that are very exposed. Zones blocking views, and creating more introvert spaces, and spaces where you can see the ocean and mountains around. The water becomes an important element. The cantina, which becomes the heart of the campus, is half-way submerged in the ocean, and the tides will be a continuous element. The tidal pools and terraces towards the ocean creates a space where the tide again becomes part of the collective consious. 111


1. Administration building 2. Arts building with classrooms and gallery

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3. Auditorium

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4. Library 5. Cantina and cafe 6. Media building with classrooms and radio

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7. Warehouse with workshops


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Northern Lines

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BY ESPEN FLATIN DROGSETH MARKUS RØNNING SEPTEMBER 2010 - JANUARY 2011 TUTORS DEANE SIMPSON (APP) ARILD WAAGE (APP) KALLE GRUDE (DAV)

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NORTHERN LINES Northern Lines explores a set of urban (and architectural) mutations within Norway, focusing on those emerging from the existing networks of the cruise ship leisure-complex, and those likely to result from the imminent opening of the Northern Sea Route to commercial shipping networks. The first part of the course is a research into the spatial and urban phenomena in the cruise ship industry. My group did research into the handling of waste and resources needed to power the enormous cruise ships. Touching on economical and political issues, as well as the ecological impact of cruise ship tourism. The second part of the course was a combined design effort, where we examined how urban architectural development might be transfered onto the cruise ship phenomenoa.

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Mimicked urbanity

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Urban Scale

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Portfolio - Espen Drogseth