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fredrik odĂŠnius

portfolio,

2017


TABLE OF CONTENTS

ABOUT ME...........................................................

OUTSIDE SCHOOL PINO, Malaga.......................................... Sauna, Umeå........................................... Painting....................................................

ACADEMIC WORK UMA3 Diagonal House, Ahmedabadh. Negotiation, Ahmedabadh........

UMA2 Human Tracks, Vännäs................ Yours to Share, Vännäs................ Bouquet, Umeå............................

UMA1 Bathouse at Bölesholmarna, Um Chapel on Ice, Sweden..............


..............................................................................................................................................p.1

.............................................................................................................................................p.5 .............................................................................................................................................p.7 ..............................................................................................................................................p.9

.............................................................................................................................................p.13 .............................................................................................................................................p.17

.............................................................................................................................................p.19 ..................................................................................................... .......................................p.29 .............................................................................................................................................p.37

meĂĽ........................................................................................................................................p.39 ..............................................................................................................................................p.49

watercolor on paper, 2016


FREDRIK ODÉNIUS fredrik.odenius@gmail.com (+46) 735 167850

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EDUCATION

WORK EXPERIENCE

Umeå school of Architecture UMA Bachelor in Fine Arts Bachelor in Architecture

Artist, represented in Lilla Galleriet, Umeå

2014Gymnasieskolan Spyken Natural Science Program 2008-2011

The North Face Store, London PoG Woody, constructionstore, Skåne


woodwork in Japan, photo, 2015

SKILLS Watercolor Photoshop InDesign Swedish English

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work outside school

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rendered watercolor collage, 2017

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PINO

year:

2015

location:

MALAGA, SPAIN

program:

GARDEN PAVILLION

duration:

10 DAYS

with: RINTALA EGGERTSSON ARCHITECTS 5

We were introduced to Sami Rintala, co founder of Rintala Eggertsson Architects, when they were visiting teachers in the master-program of our schools. They gave an open lecture and mentioned that they would be arranging a ten day workshop in Malaga the coming spring. Inspired by the lecture, we asked if we could join, and even though we were first year students he invited us to come, for that I will always be gratefull. The bigger part of the design was already completed by Rintala Eggertsson, so our main task was to build it. I did not emancipate how much I would learn about design, ethics, collaboration and the craftsmanship inherent in the role of the architect. Working with the PINO I realised, for the first time, the potential in the act of building and it remains as one of the most formative projects for me and my thoughts on architecture.


The Nordic archaic act of stacking together with the hard Spanish sun creates a play of geometry and contrast. What meet the eyes is as much shadow as material.

photos by Dagur Eggertsson, 2015

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SAUNA year:

2015

location:

UMEĂ…, SWEDEN

program:

4-6 PEOPLE SAUNA

I have known what a sauna is all my life, but has never been a fan of the experience, until we built our own. The projects intent was to replace two saunas that were kept outside the school, but were abducted by the municipality. To avoid ours of being abducted as well, we attached two small wheels in one of the corners, allowing it to be easily taken in and out of the school property. We recycled six pieces of old plywood, drove 135km to get a stove and bought a duct for chimney in the closest hardware store. The outer walls are inclined 8% to become a comfortable backrest on the inside and the stove is placed just below the two benches to save space and take full advantage of the thermal laws

8


PAINTING

I treat my painting as a break and a complement the studies. A medium were I can do research and create on more personal terms. I mainly do abstract watercolours, experimenting with texture, fragility and space. At the moment I am collaborating with two galleries in Sweden, one in UmeĂĽ where I study, and one in Lund where I am from.

PAPER MACHINE 1 2016

PAPER MACHINE 2 2016

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KNIPPFRYLE

KLOCKLJUNG

2016

2016

LINGON 2016

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academic work

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DIAGONAL HOUSE year: location:

2016

AHMEDABAD, INDIA

course:

STUDIO

program:

HOUSING

duration:

3 WEEKS

The task was to design an urban house in India for a family of seven; two elderly, four grown-ups and a baby. At least 30% of the space should be dedicated to conduct a business of choice. I let the family in my house run a sugarcane-drink shop, a common refreshment in Ahmedabad. The plot was 14m x 3,5m, and the maximum height of the building was 6,8m. We were to follow the typology of urban India, having two long load-bearing walls, with a maximum of 20% openings. The Indians are masters of making use of space. If you have never been there, you wouldn't believe how creatively they manage to give even the smallest nook a purpose. With this in mind, it felt odd to rigorously box in activities into separate rooms. At times, the idea of planning at all, felt absurd. My response was to divide the floor plans diagonally to the outer walls, not only did it make it easier to overcome the longueur of the building, it also created moments of speed and repose in space, imagining the house's spacetime continuum as a stream, with rapids and backwaters. Instead of rooms with a set program, you have wider spaces more appropriate for slower dwelling, and more narrow spaces appropriate for faster activities. 14


plan: ground floor 15

plan: first floor


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EXTENDED LIVING SPACE

CHILDREN PLAYING

CHARGING CELLPHONE

PAY

SAME CROSSROAD

GARLIC

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P E E L E R SR I K S H A

M A K E R S G R A I N

D E A L E R S


YING RENT

S PINEAPPLE VENDOR

NEGOTIATION

year:

2016

AHMEDABAD, INDIA

location:

course:

program:

MAPPING

duration:

4 WEEKS

STUDIO

In order to study another culture of urbanity, the fifth semester at UMA includes a study trip abroad, this year to Ahmedabad, India. We were dropped of in the old city in pairs, but each person making a mapping of his/her own. Me and my partner got acquainted with a community of garlic- peelers, squatting along one of the access roads into the city centre. The road was not wide but heavily trafficated from dusk to dawn. I was astounded of the share amount of people and all the different activities they could squeeze in to the same space, some occasional, others static. As if the amount of people was not enough, they were all from different religions, different classes and different ethnicities. After spending four weeks, sketching, talking to, dining and just hanging out with our new friends at Danapith Rd, I chose to focus my study on four different actors, and their attitude to the street and each other. Once back in UmeĂĽ, we were asked to produce a poster departing from our sketches and memories. What I wanted to convey with the poster was the actors impossibility to see each other as a equals, but still show tolerance and coexist in same space. As a starting point, I drew sections of the relation each actor had to the street and what kind of interaction patterns it created. Since my understanding of India is far from clear, I found the collage technique appropriate, bits and pieces put together, in a diffuse interrelation to each other. The result was a poster depicting prejudice, internal struggles, history, economy, collaboration and some characteristics I found relevant to explain the actors' view of their neighbours and Danapith Rd. 18


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HUMAN TRACKS year:

location:

course:

2016 VÄNNÄS, SWEDEN

STUDIO TRAINSTATION, MARKET ON WHEELS

program: duration:

12 WEEKS

In 2010, when the main northbound railroad in Sweden was redirected so that it no longer passed through the small municipality Vännäs, since, there has been a steady deterioration of the towns railway facilities. This is the situation of many of Norrland's small municipalities, but the case of Vännäs is especially dramatic. In the late 19th century, Vännäs was appointed as the main railway junction and was granted a huge ranger yard and facilities to maintain and repair freight trains. The job opportunities attracted people and the village grew from there. Today, not only has the facilities decreased in use as the railroad company's presence diminished, but they also create a barrier, dividing the city core in two.The three aims of my proposal, was firstly to use the inherent qualities of the railway as a connector, and introduce a mobile train-market, using freight wagons as stalls. Secondly, create a new passage for bikes and pedestrians. And third, to relocate the train station closer to the new city core, making it a presence and reminder of the town's history.

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The mobile market would be like caravan travelling the railways of Norrland. Norrland is the largest, but most scarcely populated province in Sweden. A continuing depopulation of the hinterland, in combination with the supermarket's wider and wider range of products, forces most local shop-owners to close down. A moveable market for small scale business, would offer an opportunity to bring your goods to the clientele, making your customer base infinitely larger than you could ever gain in a single village. Maybe this radical proposal that encourages stores with store-owners to share their passion with the rest of us, could bring back some of the sprawl of Norrlands villages.

top: abandoned and facilities Norrland.

railway yards throughout

bottom: as for right now, the railway acts as a connector on a larger scale but a divider on a local scale.

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On the eastern side, the building houses a recycling station, a small waiting room for passengers and an already existing iron locomotive in the middle of the square, acting as a centrepiece when you approach the building. On the western side you have a parking, the large market hall with its freight carts and an adjoining cafe ,with a garden and a rent-able space for meetings and other occasions.

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B

A

B

A

elevation: B-B

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elevation: A-A


A A

section: A-A

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structural diagram

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I work in model at all stages of the process. While a pen and paper is more precise and works well for creating volumetry, a mock-up model allows you to simultaneously work with more architectural components; volumetrics,

light, materiality composition.

and

As for putting together a final model, it feels very rewarding to get an actual object out of the hours and hours of work.

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YOURS TO SHARE

2015

year:

location:

course:

program:

HOUSING

duration:

8 WEEKS

VÄNNÄSBY, SWEDEN STUDIO

Where goes the boundary between what is public and what is private? What are we prepared to share, and with who are we prepared to share that? Surely you can share the bed with your partner, and the post-office with the village, but with whom can you share your lawnmower? Some people probably would not even share it with their family, but others would be quite content only having access to a mower on the few occasions they'd need it. We already have these arrangements of what we share with whom. Today, when some suffer from shopoholism and others a lack of space, one of the easiest ways to consume less and slow down the expansion of suburbia, would be to renegotiate these arrangements with ourselves and the ones around us. The architects task is to create an environment that more easily allows for different levels of sharing, so that everyone can find one suitable for there own arrangement.

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䄀渀琀漀渀 ☀ 瘀椀氀氀愀最攀

䄀渀琀漀渀

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The major part of Vännäsby consists of suburban villas from the past five decades, making it quite a regular sleeping/ commuting town in Sweden. However, parts of the town date back further, and we fell for a crossroad close to the railway in the outskirts of town. The mixed typology and an old warehouse made us curious, and after some investigation we found out that it used to be the old commercial centre, back when the town was not only for commuters. We chose to keep parts of the old building(marked in red) and turn it into a laundry and other common facilities. We anchored the new volumes with precision and care by arranging them around the existing structure. A barn and an other old commercial building made the introduction of three story houses smoother than at any other part of the suburban villa landscape. B

The three apartment houses are constructed by stacking two variations of CLT boxes, each a separate apartment. The smaller is a three meters by six meters box, the larger is in its turn obtained by stacking a small box perpendicular an other, giving it the shape of an L, with a double height space and a loft suitable for sleeping.

apartments of each house share common living spaces with TV and sofas, a hallway and two kitchens with dining areas. The layout of the apartments is made to create some in between spaces allowed to be occupied by the closest tenant.

The common and occupiable spaces could be kept at a lower temperature in order to save some energy There are ten apartments of thesse kinds in each without tampering on the comfort of the inhabitants building. The three buildings share a laundry, rent- too much. able cafe, exhibition space and storage. The ten 31


A

plan: first floor

plan: second floor

B

A

32


section: A-A

section: B-B 33


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35


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BOUQUET year:

location:

course:

program:

duration:

37

2015

UMEĂ…, SWEDEN TECHNOLOGY

PAVILLION

1 WEEK

As part of a technology workshop the primary focus in this assignment was on structural systems. We were each given a case study, and then asked to decipher the structural strategy of that building. I was designated the Cutty Sark Pavilion and recognised the use of fabric and rope to create multiple small umbrella-like components, that were then tied together into an oval dome. The idea was to let the students create a model showing the strategy they had found. But as I like to build, we decided to use our newly gained knowledge to make a 1:1 scale pavilion instead, using the same type of umbrella components, although slightly modified. We used wire and (instead of the flexible fabric) plywood rings to gain the tension needed to create a kind of slab. Three slabs could then be adjoined with additional cables, to make a tripod with the overhanging slabs as a cover.


38


BATHHOUSE 2014

year: location:

UMEĂ…, SWEDEN

course: program: duration: 39

STUDIO

BATHHOUSE 8 WEEKS

In the second design project of first year's studio, we were asked to design a bathhouse suited for a particular kind of bathing style, I choose the sento. The characteristics of this Japanese style bath is firstly that you rinse your body sitting down, using a tap and bucket. Secondly you enter a room with the hot water pools and sink in. Unlike a western jacuzzi, that bubbles and makes noises, the sento is a quite place, with still warm-water baths of varying temperature. I felt that this quite intimate and calm kinf of bathing suited the assignments focus on atmosphere and materiality. Working with the narrative of the building in the back of the head, I tried to keep the light condition, material, temperature and views very dynamic. Each room with its specific function has an atmosphere accordingly. Since a sento bath should be performed naked, I choose to locate the bathhouse out on the river, an adapted strategy from the traditional Swedish bath houses (kallbadhus) to ensure privacy for the visitors as they are cooling down in the river.


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Men and women bathe separately in the two larger buildings that are open for dropin during the opening hours. If you would like to share a little more private experience with your family, partner or friends, you can rent one of the five smaller cubes for a couple of hours at the time. Both the larger and smaller bathhouses has got access to the river if you feel like cooling down. The larger ones have both a courtyard and a outside deck, the smaller just a deck. On your way out to you bathhouse of choice, you will pass through a floating garden. The walk through small courtyards with gateways, plants and water is supposed to put you in a calmer state of mind, but also offers some benches for resting or waiting for the cube to be free and your friends to arrive.

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plan and section: big cubicle

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plan and section: small cubicle

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CHAPEL ON ICE year:

location: course: program: duration

2014 SWEDEN STUDIO CHAPEL FOR REFLECTION 10 DAYS

In winter, the fog lies heavy on the farms and fields surrounding my home town in the south of Sweden. No crops grow in the winter so it is free to roam around if you do not mind some mud on your shoes. Not only do you loose your field of sight, the mist bestow a silence, a sense of infinity comes to me. In my Chapel on Ice , I tried to come up with a suitable piece to reflect this condition. In the north of Sweden the lakes freeze in winter, creating a similar landscape to that of my hometown. I choose to anchor the concrete walls of the chapel on the bottom of such a lake, making the Ice itself the floor as soon as the lake freezes over . The iron cross, standing in solitude out on the ice, becomes visible first when the visitor of the chapel reaches the main space for reflection. Just before entering that space, you pass the only roof in the chapel, just so that you can step out into the light again enhancing the vastness of the ice around you, and the sky above you.

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the walls and cross, anchored in the lakebed.

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fredrik odĂŠnius fredrik.odenius@gmail.com (+46) 735 167850


Architecture Portfolio 2017