KÅRK №38

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KÃ…RK 38

KÅRK 38

This issue´s theme is FAILURE. This is an important theme in the creative industry since we as architects and designers have a strong understanding of embracing risks and failures. To fail is an essential part of the design process but failing can sometimes be so scary that we avoid it in order to feel good about our work. So how do we define failure?

The magazine explores failure in its many different ways and seeks to investigate how we as individuals interpret the different levels of failure - personally, professionally and industrially.

This edition displays a variety of interpretations that our co-students have categorized as architectural failures and in addition to that creates a subjective meaning of what failure is, not only in architecture but in society in general. Architecture is created through a process and to create good architecture the ability to fail is essential – and therefore important to let yourself fail and let go of your control. But the edition goes beyond just the failures of direct architectural and constructional work and the design process, too, and examines the more ideological failures of architecture or architects. Architecture is part of its own context - it affects society and society affects architecture, it must relate to the mistakes of society.

Kårk is a collaborative magazine by architecture students from Aarhus School of Architecture and the Royal Danish Academy of Fine Arts. Each issue explores a different theme. Through the reflections of the contributions, we aim to gain knowledge and understanding of the chosen theme and insight into the projects made by students and employers at the two institutions.

On behalf of the editorial team, Karoline Bonde Larsen Ida Leonhardt Jespersen Anders Rovsing Kristiansen Signe Andrea Høgstad Kelstrup

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Bachelor

Bachelor 08 14

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Et Museum for Sindet Anne Sofie Buchbjerg Kroghsbo Poul Ingemann, workshop Arkitektstuderende fra 3. år på Det Kongelige Akademi - Arkitekskolen

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House for an artist Celeste Maffía Trolle

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Forum Jonas Landry Brandt

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Nishiki Project Sofie Hybholt

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Toya og Frida The Laberatory of Equality

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Lovisa Lorén I am wearing hedvigs wool

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Skulderpude Hannah Keegan

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House for the Psychoanalyst Cæcilie Holbech

Master

114

Divercity Rebecca Liebermann

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A Field of Persuasive Gestures Mathias Kruse

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Landmark Alexander Hugo Shackleton

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Museum and Art Residency Tord Johann Breivik

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Bayt - A New Form of Housing in Cairo Adam Linde

KÅRK 38

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Fail Better Ruth Baumeister

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The body as a coping mechanism Mathias Sagvik

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A house for dark tourism in Chernobyl Simon Strøyer

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The Trauma of Space Alexander Auris

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Skaters Huiru Huang

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Åbningstalen, BLM og KADK Torkild Helland Kleppe

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What is failure in architecture?

Ruth Baumeister in conversation with Kristine Leth Juul

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Beautiful Failure Hanna Solfridsdotter Trine Mellemstrand Jarstø

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Faulty Towers Thomas Hudson Davies

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20 Forsøg Nanna Hagedom Olsen

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Faults Aida Espanol Vilanova

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(Self ) Storage Esther Fröhlich

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Expanding our understanding (and vocabulary) Laurits Thingholm

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Andet Bulut Tümer Bursali

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Excavating failures Marius Strathe Sørensen Alberto Gazzotti

Bachelor

Contributions

Failure

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chelor 9

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Anne Sofie Buchbjerg Kroghsbo, Det Kongelige Akademi Arkitekskolen, Insitut for Bygningskunst og Kultur, 4. semester

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Bachelor

Facade indefra

Facadestudie udefra

Et Museum for Sindet

Snit gennem hovedakse

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KĂ…RK 38

TvĂŚrsnit i bygning

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Bachelor

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Projektet danner rammerne for en samling af hjerner. 9479 hjerner, der uden samtykke, systematisk er indsamlet fra psykisk syge personer i den sidste del af 1900-tallet.

Udgangspunktet for projektet er anskuelsen af samlingen - anses hjernerne som biomasse eller personligheder?

Programmet arbejder med de etiske og arkitektoniske overvejelser, der knytter sig til det at skabe rum for mennesker, som har forladt jorden, men samtidig stadig eksisterer konserveret i formalin. Den arkitektoniske intentionen er at skabe hvile og ærbødig færden blandt hjernerne, og det undersøges, hvordan overgangsritualer og begravelseskulturer gennem historien kan være en inspiration for projektets udformning. Hjernesamlingen er et selvstændigt program ud af en større programhelhed, Teglgårdsparken - Et Museum for Sindet.

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Bachelor

Poul Ingemann, workshop

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Workshop ved arkitekt, lektor emertius, Poul Ingemann med arkitektstuderende fra 3. år på Det Kongelige Akademi - Arkitekskolen, Institut for Bygningskunst og Teknologi, Arkitekturens Anatomi og Fabrikation

En introduktion af Ida Emilie Henriksen, Teaching associate professor IBT Byg et hus med en mur omkring, hvor muren og huset mødes i murens indadgående hjørne.

Husene bygges i ensartede hvide modeller, der på en gang fremhæver husenes fællesskab og store forskelle. Det er ikke første gang Poul Ingemann stiller denne opgave til arkitektstuderende, og det er måske netop en af opgavens pointer. Huset med velkendte elementer som saddeltag, vinduer og gesimsbånd kan altid komponeres på ny. De velkendte elementer og referencer gør husene på en gang anonyme og særegne. Det er ikke funktion, materialer eller klimaløsninger, der er vigtigst i denne sammenhæng, men hvad er husets udtryk? I mængden af huse blandt denne gruppe studerende og blandt andre grupper af studerende, bliver det tydeligt, at hvert hus har sit eget udtryk og at der står en arkitekt bag, som har taget en række valg og slået en tone an.

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Bachelor

Husmedmur

Så nemt som at tegne i sandet med en pind, begyndte jeg for godt 20 år siden at doodle disse kruseduller imellem mine små skitser i mine små skitseblokke. Uden egentlig at tænke særlig meget over hvorfor, blev jeg ved med at gentegne disse simple figurer.

Hvad jeg kunne lide var deres naive almindelighed, forstået sådan, at alle nok på et eller andet tidspunkt har gjort den samme øvelse under møder og telefonsamtaler. Med andre ord en øjensynlig tilforladelig fætter, der ikke gør nogen fordring på at blive taget alvorligere end som så.

Måske fordi der ikke skal så meget til for at more mig, blev jeg hurtigt lun på figuren. Den var og er dog ikke så tilforladelig som den ser ud, for oversætter man den til noget korporligt bliver den pludselig mere og udfordrende underlig. Påstår jeg.

Hvor og hvordan muren forløber er underordnet, undtagen der hvor den folder sig ind og danner ufremkommeligt siamesisk tvilling hjørne med det der i mellemtiden er blevet det lille hus.

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KÅRK 38

Poul Ingemann, Arkitekt, lektor emeritus

Et lille hus, hvor man, lige så meget man gerne ville, ikke kan komme hele vejen rundt om. Et lille hus der grundet murens sammenfald aldrig helt kan træde i karakter som monument.

Den irriterende indfoldning af muren skaber et par spændende blindgyder og situationer man normalt forsøger at undgå. Det kan jeg godt lide. Jeg kan også lide, at vi gennem årene har lavet mindst 120 småhuse med mur. Desværre er de spredt for alle vinde, men havde man haft dem samlet nu, ville man have set hvorledes nogle simple regler eller benspænd kan binde tingene sammen til trods for det relativt lange tidsspand.

Det er interessant at opleve at den forankring i nogle grundlæggende arkitektoniske principper, muliggør at de enkelte huse paradoksalt nok træder i karakter som individer eller typer. Nogle charmerende, nogle med et par skavanker, nogle med misproportioner og så videre. Andre bare gode, almindeligt gode og rigtig rigtig gode. Hvad det så vil sige.

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Bachelor

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Celeste MaffĂ­a Trolle, The Royal Academy - Architecture, Institut for Bygningskunst og Kultur, 2. semester

House for an artist 21

A world within a world. That is how I would describe the Johannes Larsen Museum in Kerteminde. Only the contour of the horizon revealing another bigger world on the out- side.

I wanted to create a link between the two worlds. That link being a tower having a conversation with the other tall points in the little city – the mill, the silo, and the church tower.

The atelier tower is created by working with heaviness and lightness as two main thematics. It is heavy on the top where the atelier is and light on the bottom where the stairs lead up to the atelier. It becomes a house on legs.

The legs being created light and slender as possible, flickering under the horizon. The atelier laying heavily in line with the horizon.

Carefully analyzing the site, I chose to place the atelier on a small hill on the beach. I wanted it to be a place that connects to the outside world as well as to the the world within the museum. Here on the hill, the atelier will rise from the ground and be in an exact axis from the museum.

Bachelor

FORUM Jonas Landry Brandt, Arkitektskolen Aarhus, Habitation, 5. semester

Huset tager inspiration fra Jørn Utzons filosofi om, at en bygning skal vandre ned ad bakken og være en del af landskabet.

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Byggeriet er opdelt i to dele; et hovedhus og fire mindre pavilloner. Fra ankomsten til huset mod øst mødes man af en umiddelbart lang og lukket bygning. Hovedbygningen opdeles i to og inviterer den besøgende gennem en smal passage, hvor udsigten over landskabet langsomt åbner sig. Bevægeligheden i den vestlige facade opbryder udsigten indefra og indrammer på den måde et særligt kig fra alle åbninger. Facadens dybder skaber samtidig små lækroge og giver god beskyttelse fra solens hårde stråler. Ved at lade taget fortsætte som udhæng begrænser dette mængden af hårde solstråler, og danner ramme for et bedre indeklima. Terrasserne og taget falder i takt med landskabet, og lader den besøgende ankomme til stedets naturlige omgivelser i en blød overgang fra det byggede og fra inde til ude.

Placeringen af både hovedbygningen og de fire pavilloner tager udgangspunkt i det eksisterende mønster af mandeltræer. Dette trækker både naturen med ind i bygningen, og lader en stor del af naturen stå uberørt. Ved at placere de fire pavilloner selvstændigt i landskabet tvinges besøgende til at komme ud i naturen, betræde den uberørte jord og vil over tid selv skabe mindre stier mellem husene.

Projektet er udarbejdet efter et historisk udgangspunkt, og trækker små referencer til romernes og arabernes tilstedeværelse, samt lokal bygningskultur. Det ses især i additionen af de små ens bygningsvolumener, vindueshullernes åbenhed mod omgivelserne, samt den lukkede ydermur og rummenes orientering omkring et indre gårdrum.

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Hovedbygningens nordlige del er indrettet som den primære ankomst. Bygningen indeholder reception med åbne kontorer til de to medarbejdere, samt direkte adgang til en mindre garderobe og fællestoiletter. Hertil er også direkte kontakt til en fleksibelt fællessal med mulighed for mindre gruppedannelser eller, som vist på planen, større forelæsninger eller seminarer. Den sydlige del er indrettet som fælles spiseområde med tilhørende køkken og fælles toiletter. Hertil er også et mindre loungeområde, og mulighed for udstillinger i flere skalaer på både gulv og væg.

De fire pavilloner er indrettet til brug af mindre grupper med særligt fokus på, at møblementet kan flyttes rundt. Foldedørene giver desuden mulighed for at åbne helt op, og flytte gruppearbejdet ud i naturen.

Byggeriets materialitet tager udgangspunkt i de lokale byggetraditioner og materialer. Ligesom jorden på grunden er byggeriets vægge konstrueret i Santanyi sten, som er udskåret i håndterbare størrelser og stablet på sitet. Taget er lokalt brændt lersten arrangeret i et traditionelt sammenlåsende U-konstruktion. Betongulvet fortsætter fra fundamentet og ud i terrasserne, og skaber en sammenhæng mellem ude og inde. Spærene og vinduernes overligger er udført i den lokalt opvokset fyrretræ, og står i kontrast til det kolde betongulv. Spærene er synlige og skaber en repetitiv rytme i loftet, som fortsættes inde såvel som ude. Døre og vinduer er indrammet i den lokale hårde træsort Iroko. Foldedørene i de fire pavillioner og den vestlige facade giver fri adgang til naturen, og lader det indre blive en del af det ydre.

Bachelor

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Bachelor

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Bachelor

Nishiki Project

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KÃ…RK 38

Sofie Hybholt, Det Kongelige Akademi - Arkitektskolen, Institut for Bygningskunst, By og Landskab, Bachelor projekt

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Bachelor

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KÃ…RK 38

En fortĂŚlling om de forladte huse i Nishiki

Bachelor

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Hvordan kan arkitekturen være med til at forme og iscenesætte en bestemt oplevelse af tid, hvor tid fastholdes og udstrækkes i mødet mellem traditioner og ritualer?

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KÅRK 38

Fem særlige steder transformeres i ét greb med et særligt tidsaspekt for øje. Fortolkningen af tid finder sted på forskellige niveauer, som levende historiefortællinger, som vidne om den tid eller fortælling huset gemmer på.

Projektet er baseret på en observation af forladte huse i forfald i bjergbyen Nishiki, Japan. I takt med at folk søger mod storbyerne står byen efterhånden mere og mere i forfald og får en spøgelseslignende og historiefortællende karakter.

Min undersøgelse er baseret på en interesse i at fastholde husets historie i takt med dets forfald. Det er en måde at interagere kropsligt med byen og landskabet, med det stillestående og det bevægelige, hvor elementer og materialer viser sine spor over tid. Ideen bygger på, at man med en række greb kan formidle byens historie, og på den måde iscenesætte dens potentiale og udpege en aktualitet i en tid hvor japanerene flytter fra landet til byen.

I dette uddrag vises et ud af fem nedslag. Tehuset / Dekonstruktionen

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Bachelor

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KÃ…RK 38

Tehuset / Dekonstruktionen

Tehuset er en undersøgelse af ritualet bag den årlange tradition for teceremonien i Japan, hvor særlige regler og måder at bevæge sig i rummet på gøre sig gældende og danner rammerne om arkitekturen.

Tehuset har til opgave at repræsentere et ritual og en måde at være i rummet på der udspiller sig i dag, og har gjort det i århundrede. I en bebyggelse der afspejler en stræk japansk tradition, hvorfor husets materialer og udtryk tager en nyere moderne form i beton og træ, som fortæller om det regide og det reglrette overfor det sanselige og spirituelle.

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Bachelor

The Laboratory of Equality

Frida Nordvik og Toya Causse, Arkitektskolen Aarhus, Sustainability, Bachelor prosjekt

KĂ…RK 38

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En undersøkelse av Middelfart som havneby med vann som ressurs, element og lokal verdi. Med utgangspunkt i alger og blümuslinger funnet i overgangen mellom vand og land skisseres et klimalaboratorie som katalysator for en radikal bÌredyktig utvikling av byen.

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Bachelor

1 Skarv 2 Nise 3 Torsk 4 Strandkrabbe 5 Sild 6 BlĂĽmusslinge 7 Alger 8 Dyreplankton

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KĂ…RK 38

Danmark er historisk set en søfartsnation, og havet har vart avgjørende ressource ift transport, handel og rekreative aktiviteter. Middelfarts strategiske plassering mellom Sjælland og Jylland har vært grunnlag for fragt og handel. Historisk sett har dette gitt grobunn for industri knyttet til forvaltning av ressurser knyttet til vannet. Sundets plassering der Lillebælt er på sitt smaleste medfører kraftig strøm og dermed varierende sedimentære forhold. Kombinert med den kuperte topografien gir dette helt særlige forhold for rev og dyreliv. Dette gjør Middelfart til et reisemål for dykkere, turister og lystfiskere. Kulturelt sett har institusjoner med tilknyttning til vannet hatt stor tilslutning i en by drevet av engasjerte tilpassningsdyktige borgere. Vannet er på denne måten en viktig del av byens identitet og de kvaliteter folk oppsøker når de kommer til byen.

Byen står ovenfor en rekke utfordringer knyttet til vannet. Forholdene i Lillebælt er truet av ytre faktorer som overfiske, klimaendringer og forurening. Dette skaper en selvforsterkende ubalanse i den lokale biotopen, og går hardt utover plante- og dyreliv. Videre mangler Middelfarts økonomisk dominerende aktører tilknytning til byen. Fra et bæredyktig perspektiv lønner det seg å utnytte lokale ressurser. Samtidig gjør man seg sårbar for naturkatastrofer, pandemi og krig ved å være avhengig av varer langveis fra. Middelfart ønsker å være et forbilde for bæredyktig utvikling og egner seg derfor til å gå foran og utvikle nye bruksområder for oversette ressurser i det danske farvand. Fødevareindustrien står ovenfor store utfordringer knyttet til fordeling av ressurser og krever en omstilling som Klimalaboratoriet tar utgangspunkt i de nevnte utfordringer.

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Dyre og plantelivet i overgangen mellom land og vann er spessielt. Alger og blåsmuslinger vokser begge godt i dette segmentet. Begge artene livnærer seg av planteplankton fra havet. De har en unik evne til å binde overflødige næringstoffer i vannet og kan begge vokse i forurenet vand.

Både blåmuslinger og alger egner seg godt til matproduskjon da de krever lite vedlikehold, er tilpasningsdyktige og ikke skal forés. Det er stort potensiale i at undersøke hvordan disse aktørene kan spille en større rolle i vårt økosystem og fødenett.

Prosjektet undersøker hvordan dyrking, opplevelse og studie av disse to artene kan danne grunnlag for et klimalaboratorium i Middelfart.

Prosjektet har som formål å skape respekt, innovere og katalysere et radikalt bæredyktig skifte samtidig som det værner om naturen. Med utgangspunkt i artene man finner i overgangen mellom land og vann undersøker klimalaboratoriet hvordan vi med respekt dyrker, forvalter og forbruker lokale ressurser. Med sin strategiske plassering er klimalaboratoriet er nasjonalt senter for forskning på og formidling av kunnskap om bæredyktige ressurser.

Samtidig er laboratoriet et sted for rekreation, opplysning og sansing, ved å fasilitere bading i beltet.

Formålet er å gi borgerne i middelfart mulighet til å interagere med vannet, kunskap om naturen og personlig relasjon til deres fysiske omgivelser.

Bachelor

Tangens anatomi

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Blæretang 1 Holdfast 2 Stribe 3 Bladder 4 Fronds 5 Receptacles

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Den foreslåtte arkitektur tar udgangspunkt i en undersøgelse av tangens anatomi

Blæretang 1 Holdfast 2 Stribe 3 Bladder 4 Fronds

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KÅRK 38

5 Receptacles

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Bachelor

Facade

Cirkulation

Teknisk lag

Kærne 10

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KÅRK 38

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16 14 12

Energiprouktion

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1 Vindusramme 2 Vindu 3 Platform 4 Trappe 5 Diagonalstag 6 Basseng 7 Vandoppsamling 8 Algetørking 9 Damp 10 Lettvegg 11 Vindusflade 12 Trappe 13 Skydedør 14 Tagterasse 15 Mur 16 Mikroalge produktion

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vindusramme vindu platform trapp diagonalstag basseng vannoppsamling algetørking damp vegg vindusparti bassengtrapp skyvedør takterrasse mur mikroalgeproduksjon

Gjennom et studie av tangens anatomi, utvikles en arkitektur i to deler. Det statiske fundamentet som fester seg til kanten og muligjør opphold på vannet, og de fleksible rummene som tilpasser seg funksjonene i programmet.

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Bachelor

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Tangproduksjon

Det offentlige laboratoriet trekker de besøkende inn og lar dem interagere med forskningen. Gjennom en rekke sanselige, varierte opplevelser, formidles potensialet i alger og blümuslinger som ressurs.

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Bachelor

Lovisa Lorén, Akademie der Bildenden Künste, Wien, 6. semester

I am wearing hedvigs wool

This project is about an approach and awareness to the use of materialities, production processes and questioning the value of an object.

The project considers clothing as a layer between skin and building, a mediator between body, space and climate.

This full body clothing is made of wool, from my neighbours’ sheep. I have been carding, felting, knitting and weaving the wool to benefit the wools properties in different ways. The garment is made out of 14 adjustable pieces to adapt the breathing material to the current climate. The life-time is infinite. Every stitch has a value.

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KÅRK 38

a. headpiece felted b. headpiece

woven band, felted screen c. neck and headpiece knitted

d.

upper body piece woven with carded wool

e. middle body piece knitted f.

leg piece woven with carded wool

g. foot piece knitted

h. shoulder piece woven i. upper arm piece felted j. elbow piece woven k. lower arm piece felted l. handpiece knitted m. finger piece felted

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Bachelor

Hannah Keegan, Arkitektskolen Aarhus, Habitation, 3. semester

Skulderpude

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KĂ…RK 38

lige så stille bliver du til spor de findes i dagene i stederne de ubesvarede opkald i tøjet de findes under lagene i huden og jeg kan ikke vaske dem væk krummerne i sengen de kravler ind i folderne når jeg sover imellem tæerne, under neglen, imellem tænderne

der sidder noget dér og jeg skyller og synker de spørger hvorfor jeg danser det er krummerne, siger jeg jeg har skoldkopper inden i og de er lavet af dig stikker en kroget lillefinger igennem sprækken og du spørger slet ikke om jeg er sulten åbner lågen og kravler selv ind i bålet der er varmt herinde og jeg håber du kan høre mig græde det sortner for mine øjne og de siger det går over jeg tror jeg har rejst mig for hurtigt prøver at plante sværdet i stenen men der sidder allerede for mange jeg siger det er et løfte og du siger sværdet ligger flot ved siden af

tit spørger du hvorfor jeg græder siger jeg nok skal fikse det køber gaffatape på tilbud starter med benene så armene så fingrene øjnene er de bedste for jeg er så sulten nu og tårene salter sig tilbage i kroppen der sker nogle ting i oversættelsen siger jeg og peger på bladene jeg savner dem på kvistefingrene nu fryser de og ryster og jeg kan ikke andet end at stå her og danse med for skoldkopperne er ikke nomader længere they are here to stay de tænder ild og de larmer om natten jeg kan ikke høre når du skriver og siger du har ikke set jeg har ringet nu er jeg er et bål og du siger jeg er blevet en mulighed jeg siger du stadig er min gave du spørger om jeg har fikset det jeg siger du kan være stolt jeg er holdt op med at græde jeg danser og jeg er ikke sulten mere.

du har taget mit skjold så jeg bygger mig en skulderpude fylder poser med mælk fylder poser med honning så når du puster allermest er jeg ikke den der vælter men det drejer sig vrider sig fri og der går hul det løber ned ad ryggen gipsen vinder og nu er det tungt de gør ondt når jeg sover

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Bachelor

CĂŚcilie Holbech, Det Kongelige Akademi - Arkitektskolen Institut for Bygningskunst og Kultur, 2. semester

The staircase as a mediator between the inside and the outside 50

KĂ…RK 38

House for the psychoanalyst 51

Plan sections, level +1 (above), level +2 (below)

Bachelor

Inner and outer landscapes

Facade seen from west

Axonnometric view

KĂ…RK 38

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The visualisation on the left depicts the view and the light condition in the kitchen. The ground floor is slightly lowered from the ground level, which lets the windows and the view be at the same level as the landscape. In this space the eyes of the house are not below or above the wavy field of grass which relates to a non-hierar ical stance and a notion that perceiving the outer landscape can be fruitful in regards to gaining insights about one’s inner landscape.

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Bachelor

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Fai

KÃ…RK 38

ilure 55

Bachelor

Ever tried Ever failed No matter Try again Fail again Fail better!

Samuel Beckett 56

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Fail better!

Assoc. Prof. Dr. Ruth Baumeister, Aarhus School of Architecture Beton brut (English: raw concrete) is a specific mode of using the material, where the concrete is left unfinished after the cast, revealing its textures and the seams imprinted by the formwork. It is possible in this way to almost automatically create various different surface landscapes from the same material through the cast. One of the first and certainly most famous pieces of architecture using this technique was Le Corbusier´s Unité d´habitation in Marseille, (1947-52). Realized immediately after WW II, the Unité was supposed to fight the housing shortage and was promoted as a flagship project of the French reconstruction. Therefore, the expectations for this huge ambitious building, capable of housing over 1000 people, were high. Whether Le Corbusier intentionally experimented with concrete in this new manner or it was a lack of experience and expertise in processing the material in a building of such scale that lead to the rough surface, remains unclear. Obviously though, this processing of concrete led to disappointment in the community of architects, who expected a more refined and smooth concrete. Supposedly, Le Corbusier after being criticized for the raw appearance of the building´s surface, answered: ´Voilà le beton brut!,´ pretending that what others conceived as faults in processing the material leading to irregularities in the surface was intentional.

Did the architect really experiment to achieve a more structural expressionism of the material or did he, once again, successfully deceive us by turning a vice into a virtue, a failure into a success?

The actual facts behind this anecdote shall not be subject to discussion here, nor is it my aim to investigate whether Le Corbusier ingeniously aimed to achieve this raw look through the material’s surface in this and many of his later buildings, e.g. Maison Jaoul, Monestry La Tourette, to once again reinvent himself after the many failures he created throughout his career. In 1966, Reyner Banham took up the term for his book ´The New Brutalism. Ethic or Aesthetic´ and in reference

to the Unité coined a whole period of postwar architecture worldwide, known as ´New Brutalism.´- This case in history calls for reflection about a number of issues, which are relevant for the success and failure of especially contemporary architecture: Exactitude skyrocketed in 20th-century architecture, even more so during the digital age: humans are idealized, measured in numbers and their creations are compared against rulers. The goal was and still is to exclude error from building. It is not the instrument itself though but the human being who must conceive of our build environment.

As erring is part of human nature, error must not be excluded from architecture. - Standard serves as a means to achieve a predictable level of a building’s performance, economy, fabrication, etc.

As the example of the use of concrete at the Unité shows, what is standard or not is based on a social agreement within a given professional context and/or community. It is not a given though, it is subject to change over time. - Life of Matter must be acknowledged in architecture. The Unité is a good example of how matter can take on its own life, beyond the architect´s control. Moreover, what is initially conceived as failure can eventually turn into a succuss. This means that we need to recognize a loss of control over the material life of our built creations in time. Experimentation by implementing new materials, technologies and concepts is indispensable for any further development of the discipline of architecture.

Experimentation means venturing out into the unknown and is subject to both, success and failure. We must not cease to experiment, even if that makes us subject to failure. Architects must imagine, must experiment and if that means failing, we must keep on failing and fail better.

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coping mecha nism 58

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Mathias Sagvik, Oslo School of Architecture

the body as a

there’s something physical about failure good intentions turned sour of starting-over-ness rejecting rejection body thrusts, twitching thumbs, hollow hearted clench your teeth and put on the mask to not feel pointless but that’s the point of it all keep your columns steady your beams aligned patient now, for serenity is afoot sew a cotton cocoon in the shape of you minimise either clenched up or aloof jelly-limbs between the couch cushions build your bodily haven for this is meditation

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We claim our right to fail 60

Failure is an interesting concept because it is so unavoidably subjective - anyone using the term will always have their own personal standards to relate to. By exploring the concept of ‘failure’ in our society, we are therefore already deep into the process of analyzing the fundamental values and ideals of a social context. In architecture, a failed outcome can in the same way help to clarify the true intention of a project, in a way that words and imagination simply can’t. Because of this, failure is often considered an essential part of the creative process.

Isabel Frolund Jennings

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Failure is defined by the lack of succes. The inability to perform or to succeed with a specifik action. But isn’t failure also the reason behind succes?

From failure we learn, we rise and try again.

To learn from mistakes and from failure is what gives one succes. At least if one sees failure as an opportunity to try again, doover and learn.

Failure is harsh, it is unfair and uneven. But failure can be a friend, a guide and a push which in the end makes you succeed.

Christoffer Nielsen

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At the edge of the shadow

A house for dark tourism in Chernobyl Simon Strøyer Glarborg, Aarhus School of Architecture Studio 2A - Building Design and Techniques, Thesis project

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Axonometric site plan

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‘Dark tourism’ is the name of a growing phenomenon where people travel to places where tragic events have taken place. Dark tourism is often ignored or frowned upon because many find it ethically problematic. But as popularity increases, the need to understand and develop this type of tourism in a meaningful direction also increases.

Chernobyl will soon be opened up for official tourism and will become a popular destination among ’dark tourists’. I traveled to Chernobyl to understand the accident, the consequences and the tourists, to make an architectural proposal on how to facilitate this complicated form of tourism in the future.

The Chernobyl accident has been portrayed and interpreted many times in both film, video games and literature. HBO’s 2019 miniseries was the latest in a series and its success testifies to the fact that Chernobyl is still a source of fear and fascination 34 years after the explosion. We are captivated by the events due to the scale of the accident, but also due to the incomprehensible and therefore frightening force that ionizing radiation is. Tourists seek answers in Chernobyl’s post-apocalyptic landscape and if the experience is conveyed right, an enormous potential for learning is unleashed. The journey can be an insight into the environmental, technological and health consequences of a nuclear accident.

Moreover, the ruined landscape is a testament to man’s capacity to render our planet uninhabitable and this is perhaps the most important lesson: It is a glimpse of a possible future, a post-apocalyptic world where life is banished forever. To some it presents itself as a spiritual journey, because Chernobyl confronts the visitor with existential perspectives on life.

My project is a hotel in the epicenter of the accident, which tourists can visit as part of their journey. In addition to regular hotel functions, the building should give the visitor a greater awareness of the consequences of a nuclear accident. This happens through a series of sensory experiences

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that arise in the meeting between body, architecture and landscape. The way you inhabit, interact with and move around the hotel will highlight the power that makes this place so difficult to inhabit - the ever present but invisible radioactivity.

My main focus was to explore how architecture can make the invisible visible. My own journey started with a mapping of places where the accident manifested itself in the landscape around the nuclear power plant. I visited places where I instinctively felt fear and fascination, without being able to pinpoint the exact source of my reaction. Instead of reducing this reaction to something irrational, I realized that I could use my sensory apparatus to point out situations where the invisible danger of radiation was made visible in the meeting between my body and the specific place. Based on photographs and notes, I developed physical models of six locations.

The goal was not to create exact reproductions, but abstractions that could provide answers to how I spatially visualize radiation as a phenomenon in the hotel. Based on the work with the six scenes, I selected three phenomena which I worked on further in models:

1) Dust as an image on the spread of radioactive particles 2) The spatial densification as experience of security and loss of control 3) The staging of the landscape as a source of both beauty and danger.

The design was based on the three phenomena with a focus on materiality, space and sequence, respectively.

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Models of six locations

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Materiality: On the basis of my own measurements of radiation levels in the area, I registered a generally low background radiation with locally large fluctuations. This is because radioactivity is dust particles carried by the wind, depositing on surfaces and eventually accumulating in pockets where radiation levels can be high. As part of my design, I experimented with ways to recreate this phenomenon in the building by visualizing particle deposition in the facade. The wind is conducted via spaces between the building’s arms. Where the arms bend, the wind will also bend off and deposit the particles that it brings with it. The facade consists of concrete bricks with depressions where particles can accumulate. Eventually, the building will blend in with the landscape as algae and moss grow, and the facade becomes an image of the dynamic way radioactivity spreads over time and space.

The impact of nature on these surfaces will create an ornamental and tactile effect, which the guest will at first glance find beautiful or alluring, but which on closer inspection will be experienced as something dangerous. In this way, different surface textures can signal which zones in the hotel pose a risk and which offer security.

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Sequence: The building’s encounter with the landscape also contains important information in relation to the understanding of the accident. Rescue workers who arrived after the accident sailed from Kiev to Chernobyl and lived on ships on the riverbank because the ground had become radioactive.

Hotel guests sail the same route as rescue workers did in 1986 and find the hotel among the remains of the old ships that were left on the riverbank after the major clean-up. The arms of the building meander from the water, into the former shipyard and into the emerging forest. Where the building encounters trees, ruins and shipwrecks on its way, its course is broken or deflected. The fact that the building and not the landscape must give way becomes a powerful indicator of the danger that potentially dwells here, which at the same time gives an aura of significance, which allows guests to “rediscover” the surroundings as objects of both beauty and strangeness.

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Dark tourism is a growing but controversial variant of experiential travel, which in its worst form appears sensational and cynical and at its best contributes with learning about and understanding of man’s greatest challenges. Dark tourism is based on complex historical events and the success of the experiences depends on good communication. The experimental work with material, space and sequence puts the body at the center which can unlock learning because certain things must be felt and sensed for us to understand them. The architecture’s encounter with the Chernobyl landscape transforms ionizing radiation from an abstract to a bodily phenomenon and gives guests an understanding of the consequences of a nuclear disaster.

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“The architecture’s encounter with the Chernobyl landscape transforms ionizing radiation from an abstract to a bodily phenomenon and gives guests an understanding of the consequences of a nuclear disaster.”

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The Trauma of a Space Alexander Auris, Master in Science of Architecture, Bruxelles

government of Brussels. After several unsuccessful attempts to sell the buildings to developers, the government of Brussels decided to demolish them. The plots were located in central areas of the city, one of them in front of the water canal in the border between the Molenbeek commune and the center of the city. These qualities that for any developer would be attractive, have not been able to erase the memory of the sites.

Andras Pandy was a Romanian citizen who immigrated to Belgium in 1956. He worked there as a religious teacher. He got married twice and had five biological children and three step daughters. In 1992, Agnes, his oldest daughter, accused him of rape to the police and in 1997 she confessed that she had been part of the assassination and mutilation of the bodies of six of her family members conducted by his father. When the police searched the houses, they did not find complete body parts, only traces of blood, bones, hair, teeth and a strong acid used to dissolve the bodies of seven people. The assassination and torture that the family of Pandy experienced happened in the three houses that he owned in Brussels.

Andras Pany and his daughter were taken to trial and he was condemned to life sentence. The three plots that he owned passed to belong to the

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Convicts to prison go through a process of reinsertion in society. What is necessary for spaces to be accepted again and be part of the dynamics of the city and society again?

Spaces are also bodies that have memory, the events that took place there are part of its history. Heterocronic spaces, as Foucault would say, are spaces that collect and contain the process of time. The three houses that belonged to Pandy still keep the trauma of the events that occurred in them. Not even a demolition, as an action of exorcism, a ritual of healing or cleanse could erase the history that people from Brussels know. The trauma that these houses have kept has not allowed them to convert into something else.

The incapacity of the government and the developers to try to see in these spaces an opportunity, allows other agents to think on possibilities for the future of them. Architects, urban designers or artists can also be part of the discussion. If we analyze the spaces of punishment and violence in the city, we can see that the majority of main squares of European cities have been places of public punishment and many streets have been spaces of violence too. In the past, the majority of these practices were committed by circles of the

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power such as the church or the government, but when a violent act is committed by a person like Andras Pandy, someone like any other, a common citizen or a neighbor, the act of violence is more familiar to us. It Is no longer something that an entity does but an action that any of us could do.

This closeness and confrontation with a part of human nature that we are not comfortable seeing make us also look for ways to hide it.

Regarding spaces, these are rejected. We deny to inhabit them and create new artifacts to make them more bearable. We demolish buildings, reuse or build them in a sustainable way, add solar panels, create passive system of energy recuperation… we green wash our society as we green wash our buildings.

In the last years several projects have been drawn by the commune of Molenbeek and Brussels in order to convert the plots into community gardens, green public spaces or eco-friendly housing projects. Recently, the municipality has published that two of Pandy’s houses will be an eco-friendly- sustainable - social housing building, and an open green space. These are projects by the commune of Molenbeek, but is there another alternative way to approach spaces like these that do not negate the history of these spaces and also give something to the community?

On one hand, lie the examples of the greenwashed

proposals and, on the other, spaces that take the events that occurred in them as topics of interest or as touristic attractions such as the museum of Santa Inquisicion in Spain or the concentration camps of Aushcwitz in Germany. Can we think of something that does not negate what happened and confronts it but without celebrating or convert it into a monument? Maybe what should be rethought is the idea of the necessity of a space or program. Is it a space, architectural element, a rite or even a performance that the sites have to go through in order to be forgiven and reaccepted by society and the city?

In this crack we find a possibility, a space for discussion on the relevance of memory and architecture, but also human nature and darkness. The plots for now are still vacant, they are still a possibility. The possible projects are opportunities to think about architecture and start a reflection about spaces that represent parts of humanity that we do not want to see. The inability to coexist with part of humanity is also expressed in architecture and the city and it creates a new frame for experimental approaches to space.

Bibliography: Cohen, R. (1997, November 03). A New Set of Killings Deepens Belgium’s Darkness. Retrieved November 06, 2020, from https://www.nytimes.com/1997/11/03/world/a-new-set-of-killingsdeepens-belgium-s-darkness.html Foucault, M., & Miskowiec, J. (1986). Of Other Spaces. Diacritics, 16(1), 22-27. doi:10.2307/464648 Huyghebaert, T. (2020, August 19). Het groenparkje om de gruwelijke geschiedenis van seriemoordenaar Andras Pandy te doen vergeten. Retrieved November 06, 2020, from https:// www.nieuwsblad.be/cnt/dmf20200819_92358690

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“The heterotopia begins to function at full capacity when men arrive at a sort of absolute break with their traditional time.

This situation shows us that the cemetery is indeed a highly heterotopic place since, for the individual, the cemetery begins with this strange heterochrony, the loss of life, and with this quasi-eternity in which her permanent lot is dissolution and disappearance.”

Foucault, Michel. “Of Other Spaces,” Diacritics 16 (Spring 1986), 24.

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We claim our right to fail 74

Failure, meaning NO SUCCESS. Lack of success in doing something. The fact of not doing something you should have done. The fact of something not working as it should. (Failure from Cambridge) The only “real failure” is the failure with a dead-end, where nothing new arises from that failure. This specific kind of failure is almost non existing, I would say, especially not in the process of a project. The more frequent type of failure is leading new ways.

So not a failure? but what then? Is there a better word to describe this type of “failure”?. Using the word failure as a definite must mean that the word success is definite.

And how do we define success? The achieving of results wanted or hoped for? Does success exist without failure? If failure can be the fact of not doing something you should have done, then success must be doing what you have to do, follow the path, meaning success can only be achieved if planned or done right?

Freja Lassen

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In failure we relate it to its opposite; suc cess. Success is determined by a preconceived end, something that we seek to achieve.

In understanding through failure we meet the limits of our proceeding. In the act of creating with a material, it reveals to us its limits leading to new shapes and forms.

Physical and material limits become our own limits. In this lies an alignment between the physical and mental, the subject and the object. The means to an end might reveal a new possible end, that we did not know of before.

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Skaters

By Huiru Huang, Aarhus School of Architecture, Studio 1A, Urban Design and Landscape Architecture, 10. semester

You can find them everywhere in the streets, in front of the palace where stairs fall like a waterfall where statues stare in silence

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You will see them doing magic tricks but more likely you will see them fail time and time again corners scraped off Know how to self-protect when they fall Stand up right away and try once more Never afraid of failure, neither any stare Skaters just skate.

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just skate

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Torkild Helland Kleppe, Det Kongelige Akademi - Arkitektskolen Institut for Bygningskunst, By og Landskab

Åpningstalen, BLM og KADK

Den 24-minutter lange talen tar utgangspunkt i et åpent brev datert d. 14. juni1 skrevet av en rekke studenter, som ba skolens ledelse komme med en offisiell støtteerklæring til BLM-bevegelsen. Studentene anmodet skolen i tillegg om å inkludere en normkritisk tilgang til de strukturer som inngår i faget. Brevet henviser videre til at flere kreative skoler, eksempelvis Gerrit Rietvelt, Rhode Island School of Design, Royal College of Arts, har anerkjent BLM. Jeg vil her å belyse noen av Lene Dammand Lunds problematiske uttalelser og argumentere for at skolen burde ta et oppgjør med strukturell rasisme.

Den 1. september holder Lene Dammand Lund, rektor ved Det Kongelige Akademi (DKA), den årlige åpningstale, som ligger publisert på skolens intranet. I år talte Lund om Black Lives Matter-bevegelsen (BLM).

Gjennom intervjuer med Martin Krasnik (sjefsredaktør for Weekendavisen) og Moussa Mchangama (leder for Mino Danmark) innledet Lund debatten om strukturell rasisme på skolen, for etterfølgende å invitere skolens studenter og ansatte til en åpen diskusjon om emnet. Jeg setter stor pris på at rektor inviterer oss til å være med å forme en så viktig og aktuell samtale. Nå er tiden for å være kritisk!

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BLM bevegelsen demonstrerer hva rasisme er i dag på samme måte som #metoo demonstrerer diskriminering basert på kjønn. Rasisme er ikke bare han merkelige onkelen din som er i overkant aktiv på Facebook. Rasisme inngår i et system, og man kan faktisk være rasistisk selv om man betegner seg selv som antirasist. Systematisk rasisme er vanskelig å få øye på i enkelttilfeller, men dukker ofte opp i forskningsprosjekter for eksempel ved at personer med et ikke-europeisk navn har mindre sjanse for å bli kalt inn til et jobbintervju.2 Dette vitner om at vi som samfunn har en lang vei å gå, og at kampen mot diskriminering er en aktiv og kontinuerlig prosess. Brevet kom som et friskt pust, og var en invitasjon til å utfordre en skole som, i min erfaring, består av en klar majoritet hvite studenter og undervisere - og det i et land som praktiserer eksplisitt rasistisk lovgivning (les: ghettoloven).

Lambert, Léopold (2020) under Oliver Wilsons kommentar, Available at: https://www.facebook.com/leopold.funambulist/posts/1015705917853660 Sonne, Frederik Guy Hoff (2020) Hvad er strukturel racisme? Og findes strukturel racisme i Danmark?

Available at: https://videnskab.dk/kultur-samfund/hvad-er-strukturel-racisme-og-findes-strukturel-racisme-i-danmark

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Hvordan posisjonerer DKA - “en aktiv, kreativ og toneangivende aktør i forhold til de store nationale og globale dagsordener” - seg i en sånn kontekst?

Lene Dammand Lund erkjenner at hun selv, og DKA som instutisjon antakeligvis har et par blinde vinkler på diskriminering. Men man kan undre seg om hun forstår problematikken når hun samtidig sier at skolen «overholder all lovgivning hva angår mangfoldighet», og at «på KADK kan, og, skal vi ikke ha den samme diversitet som man finner i resten av samfunnet.». Det er vanskelig å lese dette som annet enn en invitasjon til å opprettholde status quo. Om skolen ønsker større diversitet er et spørsmål om rektors vilje. DKA har oppnådd diversitet blant underviserne på alder og kjønn. Så hvorfor skulle man stille seg kritisk til mangfoldighet når det kommer til hudfarge? Om det var flere etnisiteter representert i lærerstaben, ville det også være flere forbilder som ulike personer kan identifisere seg med, hvilket igjen kan tiltrekke flere typer mennesker til skolen. For som Måns Wrange, avgående rektor ved Kunsthøyskolen i Oslo spør retorisk: ‘Mener man at den feministiske kampen for likestilling i kunstverdenen, som har vært helt dominert av menn, har forverret det faglige innholdet ved kunsthøyskolene?’3 Martin Krasnik uttrykker sin bekymring for den frie tanke og utdannelse i rektors intervju med ham. Når Krasnik tar opp en potensielt truet ytringsfrihet, unnviker han kjernen av problemet.

Hvorfor ser han det å utfordre de rasistiske normene som ubevisst påvirker vår tanke og handling, som en trussel? Kan ikke det bidra til å skape mer nyanserte samtaler? Skal skolen for

eksempel fortsette å romantisere eurosentrisk antikk arkitektur? Og hva betyr det når man reproduserer disse idealene i dag? Hvorfor har vi ingen problematisering av bachelorprosjektene på instituttene “Finder Sted” eller “By og Landskap”, hvor hovedsakelig hvite rike arkitektstudenter skal tegne rammene for mennesker i Mozambique eller Etiopia? Er det studentens eget ansvar å undervise sine egne undervisere i denne problematikken?

Sammen med ledere fra flere andre utdannelser signerte Lund for nylig et åpent brev mot sexisme. Dette er en god ting, og jeg tror jeg kan snakke for mange medstudenter når jeg sier at vi gleder oss til endringene det vil gi i forholdet mellom studenter og undervisere. Det er også et bevis på at rektor kan, hvis hun vil. Hvorfor ikke kjempe begge kampene side om side? Som Ayse Dudu Tepe gjør, når hun så klokt skriver: “Mekanismerne bag rasisme og sexisme er de samme. Sexisme diskriminerer og undertrykker på basis av kjønn. Rasisme diskriminerer og undertrykker på basis av hudfarge og etnisitet.”

Moussa Mchangama leverer en skarp oppfordring om at skolen skal ta eierskap over hvem det er som utdannes, fordi de neste arkitekter og designere bokstavelig talt vil forme fremtiden.

Hvem vil DKA invitere til å sitte ved bordet og ta avgjørelsene?

Rektor uttaler at “Vi er først og fremst satt i verden for at levere utdannelse og forskning på beste internasjonale nivå.” Så hva, Lene Dammand Lund, får deg til å tro at sorte mennesker vil redusere kvaliteten på utdannelsen og forskning?

3 Vollan, Mari Brenna (2020) Skal gjøre skolen trygg

Available at: https://klassekampen.no/utgave/2020-08-28/skal-gjore-skolen-trygg 4 Tepe, Ayse Dudu (2020) Hvorfor var der ingen i mediebranchen, der skrev et støttebrev til Lucia Odoom?

Available at: https://politiken.dk/kultur/art7915932/Hvorfor-var-der-ingen-i-mediebranchen-der-skrev-et-støttebrev-til-Lucia-Odoom

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What is failure in architecture?

Assoc. Prof. Dr. Ruth Baumeister in conversation with Kristine Leth Juul, Prorektor, Aarhus School of Architecture

In this interview, I would like to cover some of the general aspects related to the issue of failure in the field of architecture and subsequently, talk about this phenomenon in regards to our new school, NEW AARCH. Before getting into the subject matter though, may I ask you to briefly introduce yourself?

I graduated from Aarhus School of Architecture in 2001, from Department X. Ever since, I have worked in the fields of landscape architecture and urban planning, with both the large and small scale. In 2004, I started working for Møller & Grønborg A/S (now Lytt Architecture), where I became a co-owner in 2008. I was also a managing director for four years. As design architect and as a project manager I have worked with all stages - from the conceptual level to design, execution and construction.

education, cooperating with practice in the education, in particular, the transition from studying to working.

What takes up most of my time though is the project management of our new school. Even though the Danish Building & Property Agency is the building owner, we, as tenants, need to bring all our knowledge into the project so that we can create the best possible school within the available framework.

Many people at our school are involved in the process and all of them have discipline-specific knowledge about e.g. the workshops, the logistics of the library, about teaching and studying in studios. It is my task to bring all this together and communicate it to and discuss it with the architects, engineers and contractors who subsequently come up with suggestions on how to design and build the school.

In 2017, I became Prorector at Aarhus School of Architecture. As part of the management I am involved in the tasks this entails. My responsibilities are postgraduate

I have to start and manage processes in order to achieve the best possible objectives within the existing economy in order to ensure we use our money in the right way. It is

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also my responsibility to say ‘no’ to things - unfortunately also sometimes to dreams that we may only be able to realize later, or not at all, because the funding or available space do not allow for them - or when they benefit too few people compared with the investment they require.

Apart from that, applying for funding, dialogues with our new neighbours, the authorities, and those who take an interest in the new school, and launching its start-up next year is part of my daily business.

economic aspects of projects at an early stage and give priority to incorporating this like any other parameter of developing the architecture. It’s a lot about being able to make the right priorities in terms of the architecture, the materials, the uses, the scope of the project - and what has to be excluded from the project to avoid it becoming too thinly stretched. I think the mistake I made in my work was that I failed to take an interest in or prioritise controlling the project’s economy at an early stage.

When I asked you for this interview, you gladly accepted and wrote that ´failure´ is a very important topic today? - Why do you think that is?

In the second project, I had ethical doubts and felt I did not act on them. I had to come up with a professional assessment of two alternative solutions, one was very obviously the best but the other was the least expensive. I felt that my professional assessment was being distorted, that the difference between the two solutions was addressed as less significant than it actually was to make choosing the cheaper solution easier. Did I do enough to point this out to the client? Should I have taken the issue to a higher level of management with the client? In this case, the project ended up staying on the shelf, but it still feels like a mistake that I did not bring enough attention to it.

I think this is a problem many people can recognise. It is important that you are able to discuss these things openly with your colleagues, both to avoid carrying this responsibility on your own, and, at other times, to test whether the issue is really as crucially important as it seems to you.

I really want to help diversify our perception of failure.

The fear to fail can easily overshadow the urge to explore new paths - or it may shake the courage to make choices or decisions as you go along. Both are important aspects of the work process we, the architects, use when we develop architectural solutions. We cannot just think up the right solutions. We need to act and work by trial and error. You have to choose the path leading to a solution that appears to be the right one at a specific time in the process. What then often happens is that you acquire new knowledge or a new understanding later in the process, which makes you doubt the choice you made earlier whether it was a mistake or not. Perhaps it was not the right path to a solution, but this is learning or experience.

It it very important for me to say that I don’t think of this as failing. Such learning you will experience many times in your professional life, e.g. when losing a competition.

It can be frustrating and may affect your confidence, but it will pass. Sometimes, unfortunately, your failures also get built and you only realise this in retrospect, which is a hard lesson. As you gain experience, you become more confident in terms of choosing a path to a solution and following this path closely. More importantly, you hopefully learn about your own limitations - in which areas you lack knowledge - when you need to ask for advice.

To me, failure is much more when you fail to act on a gut feeling of disquiet, on an emerging feeling that something is wrong.

Can you point at some failures in your professional career before you came to AAA and describe what they were, what they meant for you and how you handled them?

There are two projects I still wake up and think about at night - even though they are both many years in the past.

In one, I failed by making wrong choices - in terms of the available funding. This resulted in a much too costly result of the tender which had to go through several rounds of cost reduction. The built project had no significant spatial qualities left and was only the remains of an idea.

This was a hard lesson for me to take an interest in the economic aspects of projects at an early stage and give

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You are now in charge of the building for our new school. Did you encounter any failures along the way and, if so, please describe how you dealt with them?

I think it is still too early to say anything about precisely which mistakes we are going to see in the building solely for the reason that we have not yet moved in and begun using the building, we simply do not feel these mistakes yet. We, therefore, do not yet know what kind of dilemmas we will be facing in a year’s time - and there are certainly going to be a lot of them. Some things we can try to change when we know more about the way we are going to be using the building - other things we must simply accept and live with. Most likely, we did make priorities that should have been different in light of what we will then know. Perhaps we will realise that some specific knowledge should have been brought in at an earlier stage. This must be material for a later issue of KÅRK. This is why reflections on possible failures in the building can only be seen from where we are now.

In relation to the overall approach to the design, there are only a few things that I wish we had researched better during the early stages. In two places installation rooms are located along the facades in the concrete cores, which means they

Failure

will be taking up an area we could have used for functions that might have benefited from the daylight. I am not going to call this a failure, because I know how difficult the whole exercise of ‘packing in’ correctly the different uses in the concrete cores is. And calling it a failure suggests that it was not done well enough - it was. Today, we simply have a different knowledge of how we will be using the house than we had two years ago. But we would have had much more flexibility today if, for example, some of the internal meeting rooms had access to daylight, thus allowing us to change them into permanent workplaces at any time. This is more a loss of potential flexibility than a failure.

One concern may be that we have not fully succeeded in retaining our storage space requirements. This primarily applies to solutions where storage is integrated in the building, something I think we will regret not having more of. This will, to a large extent, be something we have to come up with afterwards as part of the furnishing.

Another thing which had annoyed me in the process is that it was not possible to affiliate a research project with the construction project itself. It would have been a very obvious choice for us, an educational and research institution, to have a research project running in parallel with the building project, or at least being able to incorporate, to a greater extent, knowledge from research into some of the processes we have carried out. Currently, however, work is underway to affiliate a research project both during the latter part of the period and after we have moved in, just as we are also working on ways of integrating our research knowledge and special work methods in a landscape lab. So, even if a research project will not be following the entire construction process, hopefully, opportunities will arise when we have moved in and begun using the building.

Can you point out examples, where something that was initially conceived as a failure turned into something positive and vice versa?

possible to seat 120 students in a studio, and ADEPT has drawn up plans for many different versions of this. We, finally, ended up deciding on a good interior design plan as a starting point for the project planning. Subsequently, Triconsult, the engineers, drew up ceiling plans in which electrical outlets, lighting, etc. exactly matched this layout. But during discussions in a task group at the school, we found out that this did not give us enough flexibility.

That having the opportunity to furnish the building in a more varied way was essential. But just saying ‘we want flexibility’ is not enough of an answer - the electricians need to know exactly where to place the cable trays with electrical outlets. Therefore, some of our teachers drew up different interior design proposals - and we found out that, in our case, flexibility meant having a field of opportunity in the physical arrangement. This was solved by installing extra rows of electrical outlets and removing all fixed furniture on the floor. Finally, we chose a solution in which our own ability to influence the studios was the most important thing - not having a finished solution on 1 September 2021. It was actually a mistake that required us to make alterations to the project - in return, we at the school learnt much more about which values we actually approach the studios with.

Another challenge that has turned into something positive is our ‘container city’, which is located in The Green Wedge. One might say that our fundraising strategy has failed, as it has not yet succeeded in obtaining funding for the construction of a light structure located next to the school. This was always intended as a way of providing more square meters. This is still the case, but we have also realized that the two buildings will not proceed in parallel. For this reason, we came up with the solution of solving our need for e.g. a concrete and casting workshop, a ceramics workshop, waste management, depots, etc. by means of a temporary ‘container city’. This means we will be using a lot of resources, which might have been used better towards a permanent building. But, on the other hand, it has given us a completely different take on the area as a more experimental site, where we can do fullscale testing and can easily rebuild or continue building.

Failing is what you risk if you venture out into the unknown, as an architect. It is often argued that taking risks in architecture and engaging in experimentation are becoming increasingly impossible under the current conditions for designing and building. What is your opinion on this?

I think we have prevented many stupid mistakes because we have accepted changes again and again - even at times when the contractors thought we had by far exceeded the deadline for doing so. We have discussed solutions several times and were aware that changing things so late in the process was expensive. But it was better than ‘building a failure’, simply because the time was too advanced. This has been possible due to the really good spirit of cooperation and trust in the project group; a group comprising The Danish Building & Property Agency, A Enggaard, ADEPT, Tri-Consult, and Aarhus School of Architecture.

A good example of this is the way the studios are designed. It has always been a requirement that it should be

Unfortunately, I have to agree with that. The number of lawyers working in the construction industry keeps on growing, as does the number of arbitration disputes - i.e. errors in construction projects which are taken to court due to disagreements about who is responsible.

An incredible amount of time is spent securing yourself

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against mistakes by sending emails around to exempt yourself from liability or make someone else liable. The documentation requirements continually increase - and this is simply detrimental to the amount of time available for project development. You are required to succeed with your objectives faster, with the result that you are less willing to experiment. The people in charge of projects also have a great responsibility - whether it is in the internal project group, the client sitting at the end of the table, or in the interdisciplinary collaboration between those who build the projects. This is the responsibility to create a good work environment where you are not afraid to bring to attention possible mistakes, so they can be solved by people working together, before they develop into insurmountable problems for which someone needs to be held accountable.

Is there any advice you would like to give young emerging architects when it comes to failures?

You should openly discuss with your fellow students, your future colleagues, but also the builders, any mistakes you find. This makes it much easier to get help - and it makes it much easier to gain useful experience that you can use actively in the future. Be curious about why the mistake came about and what you can learn, instead of concealing it and rushing on. Don’t allow it to pile up and turn into low professional confidence. Be courageous and let it develop into an experience that allows you to tackle your next project in a better way.

Thank you very much!

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Beautiful Failure Hanna Solfridsdotter Klepp and Trine Mellemstrand Jarstø, Aarhus School of Architecture, Studio 2A, Building Design and Techniques, Studio 3, Shifting Territories for an (un)Stable Environment, 8. semester

When you haven’t seen the digital, small screen preview indicating whether you’re all off or on point with your manual settings, photographing can become quite an anticipatory wait for a potential disappointment.

But when I revisit my [so far many] ‘miss-shootings’ I also see how they can tell yet another layer of the story. In other cases they give the viewer a slightly different perspective then then a “just as expected-digital photo” would.

All photography is an interpretation of a situation or place. But where digital photography base itself on being life-like, and a sharp base for post editing, analog photography has a playfulness that from time to time transforms into moments of brilliant failure.

The imperfect analog look is framing our memories in unexpected ways, not quite as we remember them. Obscured images can make us utilize more of our brain capacity and rediscover what we are looking at. The technical errors or failed frames may end up being amongst the best in the pile. The coincidental and a partly uncontrollable process can be closely compared to how we actually live our own lives.

Preconception is seldomly accurate, let’s not watch the trailer before we live the movie.

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The potential of failure

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In a world where the result is the main focus and everything seems to move incredibly fast, it can be hard to find room for failure. The pressure is not eased by the fact that as an observer, it can be challenging to distinguish between the difference of a perfect performance and a perfect presentation. By cutting out time to fail, maybe we overlook the potential of failure. Failure holds the possibilities of new insights and expanded views.

It is the process of getting better and more secure, as well as a place to find unexpected answers. And sometimes, the honesty and coincidence of a failure can seem more beautiful and alluring than a finished result. I think we sometimes overlook the big potential in the embrace of the experiment and thereby the chance of failure. I think we overlook the potential of failure.

Clara Winterberg

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Dine feil kan i andres øyne være revolusjon. Det tror jeg på. Feiltagelser kan forandre menneskers liv, og det er veldig sjelden de faktisk blir katastrofe. Ta for eksempel Penicillinkuren, denne oppdagelsen har reddet utallige liv, men ble til ved en glemsel.

Innenfor den kreative verden, er det veldig sjelden at sluttresultatet blir det man hadde tenkt. Men nettopp feiltrinn, omveier, misoppfatninger osv, er det som får hele prosessen til å bevege seg. Uten alle feil på veien, ville man mest sannsynlig ende opp med et resultat som i seg selv er en ufeilbar feiltagelse. Altså langt i fra det beste resultat! Det du ser som «feil» i dine øyne, er ikke alltid det andre ser. Tenk på Picasso, ville du kalt han mislykket?

Oda Gjøsæter

Failure er muligvis et af tidens vigtigste emner.

I dag skal studerende levere opgaver på højt niveau som aldrig før. Eller skal vi? Og hvad resulterer dette pres på hver enkelte studerende? Arkitekter danner rum som former mennesker og som manipulerer mennesket til at føle noget specifikt. Men kan vi som arkitektstuderende ændre på formen, hvorpå rum lægger op til, at der skal være plads til fejl. Failure betyder mange ting og ikke nødvendigvis kun negative aspekter. Denne udgave undersøger tendensen til at se fejl som en forkert ting samt omfanget af stress sat i kontekst med projektarbejde herunder dets både positive og negative sider. Derudover diskuteres menneskets tilgang til at måle størrelsen på samtidens perfektionisme og det at stille sig tilfreds med noget “uperfekt”.

Sarah Smidt Martinez

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Faulty Towers

Thomas Hudson-Davies, Aarhus School of Architecture, Studio 2A, Building Design and Techniques, Thesis project

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Situated opposite the town hall, and a couple of hundred metres from Blackpool Tower, Faulty Towers utilises a prominent location in the town, acting as a new landmark that works as both a civic building for the locals and as a new attraction for tourists.

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Faulty Towers is a radical new typology in Blackpool, that combines permanent residences for the active senior local with a hotel fit for the young pleasure-seeking tourist. In this strange hybrid, tourists are encouraged to meet with locals, and the active, senior residents act as creative ambassadors for their town. In stark contrast to the character-diluting, generic hotels being constructed in the town today, Faulty Towers represents a bold, rooted alternative.

Blackpool has been a holiday destination for over two centuries and in its heyday, was a place celebrated for ‘Health and Pleasure’. For decades now, it has endured a reputation for being outdated and tacky, but in many ways, this shift contributes towards the weird and amusing character of the place today. Responding to this intriguing character, and the social conditions of the town.

Standing on the edge, physically, socially, and culturally, British coastal towns have become aging hotspots, whilst topping the deprivation charts. As we propel towards a world with a lot more ‘old people’, this project adopts an optimistic attitude towards looking at our future selves, investigating how these coastal towns, reliant on tourism might survive their unique charms.

The idea for the accommodation floor plans is to allow some separation but retain the connection, to try and acknowledge the differing mindsets between the two groups of users but to exploit the mutual benefits of their coexistence. On each floor there are two residences - on the north wing of the building and a creative studio. The creative studio acts as a spatial and social buffer, as a less private space between the residences and the hotel rooms which are situated on the south wing. These two wings diverging in form and character also express themselves differently externally.

The section shows how different aspects of the building come together, starting with the two different street conditions at ground level. On the accommodating floors above, the creative studios inform the character of each floor, whilst encouraging growth for residents and providing a non-domestic space where spontaneous social interactions could happen. Crowning the building is the rooftop solarium, which acts not only as a community garden for residents but also as a place for locals and guests to get a drink or relax from a hangover with panoramic views of the town - a place of Health and Pleasure.

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20 forsø

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Nanna Hagedorn Olsen, Arkitektskolen Aarhus, Sustainability, 3. semester

øg

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b6c2a9

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Der går lang tid mellem at jeg trykker på udløseren, og jeg har det blanke billede mellem hænderne. Så lang tid at jeg ofte glemmer, hvad jeg egentlig har taget billeder af. Ude af øje ude af sind.

Når jeg så åbner pakken med billeder, er nogle mere vellykkede end andre.

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Nogle er for mørke andre for lyse. Nogle skæve og andre med lidt pegefinger foran linsen. Nogle gange knækker filmen, bogstavelig talt. Nogle er svære overhovedet at se, hvad forestiller. Det bliver en gætteleg. Hvis disse billeder blev taget digitalt, ville jeg nok slette dem efter få sekunder. Men når jeg sidder med dem mellem hænderne, føler jeg mig tvunget til at beholde dem og finde kvalitet i deres fejl. Selvom der er øjeblikke, der går tabt eller skævt, sætter jeg altid en ny film i. Velvidende, at ikke alle 36 kommer til at lykkes.

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Faults Aida Espanol Vilanova, Aarhus School of Architecture PhD project - The works of the Danish architect, Hans Christian Hansen (1901-1978), Tectonic Matters

Hans Christian Hansen was a project leader at the office of the City architect in Copenhagen between the late 1930’s and the early 1970’s and was responsible for developing different public buildings which are material and tectonic-wise extraordinarily rich, and quite unusual in its geographical historical and cultural context.

The purpose of the project is to identify and interpret those buildings by following a Research through Design (RtD) methodology, in which experiments of different nature and duration, are supposed to expand on the overall knowledge of the project. Although, the specific methodologies and tools differ according to each experiment, however, from a general perspective, the project starts out at the building site, rather than the archive. The lack of HCH’s personal information and the author’s belief on the capacity of the built works to reveal data support and motivate this approach.

Faults, aims at exhibiting certain continuities, and therefore discontinuities, within HCH’s buildings. Mostly, it focuses on relations comprised within the facades of the buildings and the subject of tectonics from a very bottom-up approach. A series of photo collages comprised of 2 photos belonging to 2 different buildings are joined together in order to display both, alignments and fractures of materials, rhythms, compositions, dimensions, colors, elements, material formats.

Here, the name Fault is basically understood as movements, displacements, breaks but also junctions, between two buildings. Therefore, it adopts the original geological meaning of tectonic faults of rock’s or earth’s surface.

Furthermore, the mere act of merging together 2 distinct buildings constructs a fake reality.

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Nørrebro Vænge, housing, 1939-42

Hulgårds Plads, housing, 1943-45

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Svanemølle Transformer Station 1966-68

Bremerholm Transformer Station, 1962-63

Hansted School, 1954-59

Tagensbo Church, 1966-69

Gasværksvejens School, 1969-71

Svanemølle Transformer Station 1966-68

Skydebanehaven, childcare, 1948-50

(Self) Storage Esther Fröhlich, Det Kongelige Akademi - Arkitektskolen Institut for Bygningskunst og Kultur, Bachelor projekt

Intentionen med bachelorprojektet er at udvikle en self storage-facilitet på Old Kent Road, London. Projektet arbejder hypotetisk og metodisk med det arkivariske menneske og udviklingen af en self storage-facilitet som resultat af den øgede globalisering og tilflytning til London. Projektet ønsker at skabe en facilitet, som kan rumme hele London og arbejde som et snit igennem tiden. Et felt, der vokser i takt med byens udvidelse. En lokalitet, der imiterer den tæthed, der forekommer i London. Et sted, der arbejder som opbevaring for alt det, vi går rundt med. Lige så meget som det er en self storage facilitet, handlede det for mig også om at udvikle et projekt, som levede i processen.

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Collage lavet af udklip af John Soanes hus

Plan af self storage-faciliteten.

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Modelstudier i omkreds, forskalning, mĂŚngde og system.

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Den sidder i maven. Og somme tider spreder den sig til resten af kroppen, med frustrationer der bliver til en rastløs sitren.Den kan gøre én vred, og give lyst til råbe ud i lokalet. Eller få tårerne til at løbe ned af kinderne. Få hænderne til at knyttes til knoerne bliver hvide, og neglene er på vej ind i håndfladen. Låse én fast så man intet kan stille op, og bare må lade alt stå til. Eller sætte benenei bevægelse, for bare at løbe langt langt væk.

Forsøge at få alt på afstand.

Følelsen af at fejle.

Nanna Hagedorn Olsen

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Why is it relevant to have a magazine with the theme failure?

What is failure?

It is relevant because we begin to dig into something that we fear.

Failure is essential for the process of an architectural project. If we don’t allow ourselves to be out of one’s depth with the possibility of failure, we would never be able to take a risk.

And failure is not a dead end and not necessarily an embarrassment. It might be the opposite.

When a project has flaws and failures, you have content to work with, content to enhance. A flawed project has a voice and something to debate.

And debating is important because failure is political as well. Actually, it would be failure not to be political especially in the subject of architecture as it is a part of its context. Architecture shares history with colonialism and sexism. Being apolitical as an architect of today is a political choice as well.

Anders Rovsing Kristiansen

”At vove er at miste fodfæstet en kort stund, ikke at vove er at miste sig selv” skriver Søren Kierkegaard i 1800-tallet. Et meget filosofisk citat, som stadig gør sig svært bemærket og relevant ca. 200 år efter det blev skrevet. For hvad sker der, hvis vi aldrig vover? Hvad sker der, hvis vi som mennesker aldrig er modige, stiller os imod strømmen eller fejler? Vi forbliver trygge. Vante. Og uden erfaring. For kun gennem de svære episoder af vores liv, kun gennem vores fejl, har vi lært noget. Det er i disse tider, at vi lærer os selv at kende. Vi lærer af vores fiasko, så vi kan gøre det bedre næste gang. Blive bedre.

Udvikle os. Så vi er bedre rustet til næste gang, hvor vi begår en fejl.

Karoline Haugaard

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Laurits Thingholm, The Royal Academy - Architecture Institut for Bygningskunst, By og Landskab, 1. semester

Expanding our understanding (and vocabulary)

We should expand our understanding of the word failure.

In case we fail to do this, we should expand our vocabulary concerning the concepts of failure.

Firstly we must understand the word failure in its current contextual meaning. Today, the word is defined in relation to its opposite; success. Our postmodern society is obsessed with success culture, leaving failure as a non-success. Our postmodern society is obsessed with success culture, leaving failure as a non-success. Success has an end goal, a function that it must fulfill in order to be considered successful whether it is economical, political, personal or something else.

The idea of success leaves us constantly striving for something, with failure being the obstacle to avoid. We refuse to recognize the nature of failure, leading to a subtle failure in-and-of itself.1 108 KĂ…RK 38

If we turn to the historical understanding of the word failure, the etymology reveals that the word originates from latin “fallere”. This can directly be translated to “to trip, cause to fall”.

The latin word is traced back to sanskrit “skhalate” meaning to “stumble”.2 This reveals that the word contains something else than being a non-success, rather it is the act of stumbling upon something when proceeding towards a preconceived end or expression. In this act, however, it can be recognized that whatever is stumbled upon might actually be as valuable as the initial end.

The failure is not a definite opposite of the end, but something that is unknown before the act of proceeding towards it. Perhaps we realize that another end result is worth pursuing.

In this understanding we meet the limits of our proceeding through failure. Creating with one particular material reveals to us its limits leading to new shapes and forms. Physical and material limits become our own limits in the act of creating. In this lies an alignment between the physical and mental, the subject and the object.

As a part of the creative process failure is as inevitable as it is in every aspect of life. If we expand our understanding, it would be possible to further develop architecture and design. Failure could be thought into the design of a product. The implications and imprints of the design should it fail or be abandoned? We should not design to fail, but keep the understanding of failure in mind when designing, both in the process and in the end result.

1

William Desmond, ‘Philosophy and Failure’, The Journal of Speculative Philosophy, Penn State University Press 1988 pp. 288-305

2

Failure Etymology History, Available at: https://etymologeek.com/eng/failure

Bulut Tümer Bursali, Det Kongelige Akademi - Arkitektskolen, Institut for Bygningskunst og Kultur

Andet

I dette rum, hvilket man vurderer ud fra og bliver vurderet ud fra, forsøger man at finde fodfæste.

Der er mange steder at træde og mange steder at kigge hen, men det er svært at få følelsen af det rigtige.

Når man er tæt på, kan man være langt væk.

Hvordan bevæger man sig på et kreativt studie, hvor der ikke decideret er et entydigt rigtigt eller forkert?

Det der vurderes, vurderes ud fra andet.

Erfaringer, referencer og idéer skaber rammer for hvad der forventes. Af anden og af en selv.

Dette andet skaber et rum der fysisk og mentalt slutter sig om os.

Det ene øjeblik aner man blot en kontur i tågen.

Dagen efter er tågen blevet erstattet af en vind, der driver ens tanker mod noget der giver mening.

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På trods af at tanker, tegninger og modeller kan skabes på utallige måder, kan det ene så stadig være bedre end det andet?

Man vil altid gerne lykkes med sit eget, og sammenligningen mellem det ene og det andet vil være uundgåelig.

Det forkerte udpeges ud fra en vurdering, og en vurdering bunder i en sammenligning med en forventning.

Forskellen på det realiserede og det forventede kan vise sig som en kløft.

Når man er langt væk, er man måske tæt på.

For denne kløft der distancerer to forskelligheder, er måske selvsamme rum mellem det ene og det andet, hvori mulighederne ligger.

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Excavating failures Archeologists - Marius Strathe Sørensen, Alberto Gazzotti Photos - Lauritz Flensholt, Aarhus School of Architecture, 1. semester

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We wanted to shine a light upon the unwanted and abandoned fragments of creation. To adopt these dumped glimpses of time and space and to worship their mystery. Anonymous scribbled words, forms of events that had taken place, actions having been completed. Manifestations of thought. Findings connected with a specific series of events; in a constellation they somehow did not function in any longer. If one had the desire to trace back to the point in time, where these creations were formed, one could. The author could show the path that led from creation to discardment. We did not have this desire, instead we focused on the isolated object, withdrawn from context. We wish the objects to be observed as their own entity.

A trashcan excavation was executed, firstly, in Unit 1B, in the search for objects deemed unwanted, rejected and unworthy of attention and authorship. Our search was executed in the most direct manner, the studio bins were emptied. Many bins held the most peculiar things; some of which are shown in the pictures. After completing a smaller excavation in our own studio, the project was upscaled. “Failure bins” were made and distributed. The bins were made for collecting material that would normally have been thrown in regular bins. Objects of process and failures with traces of intentional creation. In the “Failure bins” you could anonymously donate whatever you wanted; anything was appreciated. The donated “failures” were exhibited in the canteen.

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Meteorite

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Paperfold

Modular Plastic

Rectangular composition Failure

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DIVERCITY Rebecca Liebermann, Aarhus School of Architecture, Studio 2A, Building Design and Techniques, Thesis project

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With the exponentially increased movement of people across the globe during the last decade, the frequency of the immigrant condition has increased to the point that the lines between nationality, culture and belonging begin to blur. At the same time, however, we see a rise in nationalistic sentiment as people feel their cultures are being threatened by the influx of strangers and the introduction of alternative cultural practices. This thesis project, DIVERCITY, looks to address some of the challenges presented by the topic of immigration within Denmark and explore the role of architecture as a spatial catalyst for cultural exchange.

The project site is located on the Mellemarmen Dock, which sits within the industrial district of Aarhus Docklands. The project reprograms the Dock as an urban landscape within the public realm and draws in to focus on the position of the market within this landscape. The design of the market centres on the transformation of an existing industrial building, formerly used as a grain storage silo. The building behaves as the central figure within a series of programmatic ‘attractors’ that begin to weave a language of strangeness throughout the existing life of the Dock and start to subvert that which is familiar, both socially and architecturally.

The project program centres on the design of a food market located within the urban context of the city of Aarhus, and provokes the celebration of diversity through the action of exchange; both physical and cultural. The design of the market examines the role of architecture as a stranger within the city and behaves as a spatial manifestation of that which is ‘other’ and unfamiliar, through a language of playfulness, curiosity and pleasure.

Strangeness has long been a characteristic associated with seaside architecture and one might argue that its proximity to the edge, of both sea and society, has granted it the opportunity to transcend not only the social boundaries of class, gender, age and race but also architectural conventions of style and taste. The project draws inspiration from the typologically bizarre architecture of the British ‘pleasure pier’ in its unique expression of ‘otherness’ through that which is both playful and yet peculiar. The design explores a language of transgression and expresses the rejection of convention both conceptually and architecturally. It combines pleasure with function and articulates a narrative of architectural extremes in the pursuit of discovering a playful answer to a complex and challenging topic.

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The Mellemarmen dock holds a unique position within the context of Aarhus as a space on the edge of both society and sea. It behaves as an exception to the city as somewhere seldom visited by those familiar with the area and as a place belonging neither fully to the cultural, commercial or industrial districts of Aarhus. This choice of the site draws a marked parallel to the edge condition of many immigrant communities living on the outskirts of the city and highlights the spatial marginalisation that has arisen as a result of ‘Ghettoisation’. The proposal presents the Docklands as a site where the diversity to be found in the existing physical infrastructure, offers a framework for the cultivation of social diversity and imagines the activation of the area as an opportunity for participation and representation of city residents from all different backgrounds through the exchange of both food and culture.

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The project program is designed at two scales; the first describes the project at the scale of the urban and proposes a series of building interventions within the public landscape of the Dock. The second explores the scale of the building and focuses on the design of the market within the context of this landscape.

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At the scale of the urban, the landscape of the Dock performs as an extension of the public realm within the city and behaves as a point of encounter between tourists and citizens, arriving from both nearby and afar.

Visitors are met by a series of spatial interventions set within the context of the existing buildings on the Dock.

The interventions perform as strange attractors that draw visitors through the site and behave as catalysts for interaction between strangers.

The proposed Market is located within an existing industrial building on the Dock, formerly a grain storage silo and currently used partly by Crossfit gym.

The silo building behaves as a critical link between new and old, industrial and commercial, familiar and unfamiliar. The transformation of the structure re-interprets the building as a stranger within a familiar context and describes an architectural encounter between the ordinary and the extra-ordinary. The cultural and historic value of the existing is held in balance with its reinterpretation that which presents visitors, both local and foreign, with a shared experience of strangeness and wonder.

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The market behaves as a point of navigation within both the landscape of the Dock and the wider context of the city. It provides a place of gathering, interaction, production and exchange where the collective and the individual can represent themselves through both food and space. It simultaneously provides an opportunity for those who are economically marginalised to start their own businesses, whilst injecting not only a diversity of people into the existing landscape but also a diversity of commerce and enterprise.

The design centres on the spatial translation of the traditional public market square within the vertical layout of the multi-storey concrete silo structures. The ground floor of the silo building is defined as an extension of the public realm of the Dock, above which the silos rise as vertical streets. The market stalls are constructed within the framework of the silos, creating a multi-level space of interactive solid and void that meets the existing through a language of juxtaposition, weaving itself through and around the industrial shell of the building.

The relationship between the existing and proposed explores how the building might be inhabited to behave both functionally for the delivery, production and sale of food, as well as conceptually in the composition of moments of encounter, interaction and cultural exchange. The design considers how the structure might at points be embraced, at other moments be subverted and, at times, how it might also be rejected.

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The design centres on the spatial translation of the traditional public market square within the vertical layout of the multi-storey concrete silo structures. The ground floor of the silo building is defined as an extension of the public realm of the Dock, above which the silos rise as vertical streets. The market stalls are constructed within the framework of the silos, creating a multi-level space of interactive solid and void that meets the existing through a language of juxtaposition, weaving itself through and around the industrial shell of the building.

The relationship between the existing and proposed explores how the building might be inhabited to behave both functionally for the delivery, production and sale of food, as well as conceptually in the composition of moments of encounter, interaction and cultural exchange. The design considers how the structure might at points be embraced, at other moments be subverted and, at times, how it might also be rejected.

The composition of the spaces forms a labyrinth within which visitors are immersed; separated from the outside city and transported into a world where the overlay of light, colour, smell and sound blend into a carnival of culture. The diversity of different food types, preparation techniques and rituals of eating are exposed to one another throughout the overlapping spaces of intimate stalls and extensive voids. The visitor is unable to walk through the market without being exposed to the entire spectrum of the food stalls and is confronted by an architecture of insistent interaction.

The market seeks to celebrate the richness of human life in all its diversity. It offers a space for the rituals, relationships, differences, misunderstandings and chaos of humanity through architecture and behaves, not as a solution to the challenges of immigration, but as a playful vision of the diverse-city and its strange inhabitants.

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The project depicts only a moment in the lifetime of the Dock and its ever-changing relationship to the continuously evolving entities of society, the city and the sea.

The design does not describe a finite architecture, but rather one of constant transition that offers the opportunity for both collectives and individuals to represent themselves through the transformation of their environment.

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Mathias Kruse, Aarhus School of Architecture, Studio 2A, Building Design and Techniques, Thesis project

A Field of Persuasive Gestures Swiss and Foreign Affairs Thesis proposal

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This thesis derives from a personal interest in the relationship between archives, preservation and institutional buildings, as well as its ethical and pragmat ic potentials for contemporary culture and architecture.

Particularly, the thesis proposes an addition to Port Francs, a confidential building in Geneva, Switzerland, that stores art and other valuables of an estimated value of â‚Ź100 billion euros. The addition will be situated in Basel, a city with a strong art scene.

The proposal revisits the archive as a cultural institution proposing a new archive typology that critiques the current state of confidentiality and speculation, and discloses the act of concealing. The building proposal will address both programs; the confidential archiving of values and the public experience of such secrets. Further more, the proposal strives for a pro- ductive meeting of the conflicts that may occur when ethics, economy and culture overlay.

It is not a secret that Switzerland is a host to many confidential buildings. Switzerlands known political neutrality has long offered a field of persuasive gestures that denote stability and security to the many wealthy speculators willing to store values in Swiss lands.

Amongst these confidential facilities, there are archives with valuable artefacts inaccessible to the public. Within these buildings, art, culture and history are privately owned and preserved, while their value increase parallel to stocks and market fluctuations. Essentially the objects, here representing a cultural value, behave as a financial asset as well.

I believe it is appropriate to reinstate these build ings as public institutions, thus giving something in return for their privileged behavior. As an architect it is important to engage with these issues. Furthermore, I believe the values, documents, cultural objects, and the people working with them, deserve a better architecture.

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Speculative studies of arrival and departure from cargo platform

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The building derives from the meeting between two programs. The merge of public and confidential, an archive and a museum, proposes several architectural challenges.

The design strategy is to involve the public with the private through several intersections, amongst them being,

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A common ground (train platform).

A display (museum).

A path (through the archive).

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Full plan drawing

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Platform, inviting the railway into the building

Considered to be at the center of the proposal is the train platform. The platform not only serves the arrival and departure of trains, it is also a common ground for ob serving and waiting. This combination of viewing, waiting and the pragmatic, is one of the main elements in bringing together the infrastructure of the archive, and the viewing of the museums. The platform will serve as a conductor of passengers throughout the building.

Archive, partial access for the public, to the archives

To engage in a dialogue with the confidential and private, the archive is to be fitted with a public path through the aisle of storage cabinets. This will provide an insight and a broadened awareness of what is actually happening in the building. This path is in relation to the platform, conducting the course through the building.

The path is a unidirectional line that is choerographed give an insight without contaminating the solitude of the archive.

Museum, involving the infrastructure with the exhibition

Partial insight of the practicalities of shipping and recieving is important in the development of the exhibi tion building. By revealing certain curated elements of the moving of goods, the building will strive to mediate the transfer from concealed to disclosed. This will be apparent in the choice of materiality but also in the arrangement of spaces. By overlaying the paths of the public, with the flow of the shipping and transit, a renewed insight is to be achieved.

Garden, pedestrian arrival

In addition to the arrival by train, visitors can arrive by foot, walking from Basel centrum to the Wolf gottesacker cem- etery. Through the cemetery gardens the visitors will stroll through an alleĂŠ of pinetrees as they make their way to the entrance. During this walk they will see the building from afar, and become aware of its compo nents the platform, the archive and the museum.

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Drawing of platform arrival and foyer, filtering public and private

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Facade in sandstone, marble, opalglass and terazzo

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View of gallery and exhibition department

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HOUSE OF ADDITION

Alexander Hugo Shackleton, Aarhus School of Architecture, Studio 3, Sustainable Architecture, 9. semester

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Altering a way of doing something is perhaps best attained with change to the way it is learned. This project aims to combine a utilitarian attitude to building reuse, with the establishing of a new architectural interface. One in which students are taught the art of addition. One which redefines their role as agent of change - as designer, labourer and social entrepreneur.

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Worm’s-eye perspective.

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Richly patterned history. Volatile identity. Tried systems. Failed systems. A city.

Among many. Changing. Berlin is a nexus of human activity. It has been host to various periods of affluence, whether in innovation during the Enlightenment period or in philosophy, arts and culture during the Roaring Twenties. But combined with two major 20th century conflicts, historically extensive bombardment, ensuing economic and political troubles, mass immigration and a staggering period of ideological division, the city is a brutally honest artifact of man our recent activity. In 2014, Berlin was named a ‘failed state’ for its financial burden on the country’s economy, its high number of welfare seekers, its delayed and over-budget airport and its enormous school drop-out rate.

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But of German society, David Chipperfield notes: “it is rebuilding itself morally and culture occupies a major role within it, it is more aware and self-reflective than any other [..] They are self-scrutinising and they are articulating contemporary issues.�

Berlin is a nexus of temporal, geographical and cultural events. The city gives rise to a variety of interactions - collision, collaboration, and competition - that help drive the shifting of its cultural landscape. As a backdrop for an interest in the role of Architects within that changing context, Berlin offers a provocation to react.

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Architects have long found themselves at the mercy of the powers on which they count for financial and political support. Though studies in Architecture often cite social value as their goal, the profession of Architecture might amend this to economic value. As a profession, it is faced with a significant sense of impotence at its incapacity to enact what its evangelizes.

But in a shifting socioeconomic climate, the next generation of Architect seeks a foothold in the wave of novelty to come. Bottom-up, user-lead projects in densifying areas mark the start of a rebellion against a ruthlessly wasteful market economy. Inequality, excess and obsolescence in cities, paired with universal access to information are turning these zones into test-beds for change. A change that demands solutions to problems within the social and environmental realms in which Architects might be adept to contribute.

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The project assembles a diverse team of builders - with expertise in electrics, plumbing, joinery, horticulture and computing - to mentor groups of post-graduate Architecture students and form the basis of a new ‘School of Architecture’. The School would occupy a derelict building and the curriculum would consist of its renovation.

A phased revitalization of the old parts would encompass a series of short term occupancy that’d kick-start a public utility for the place. The end result is a transformation of the entire building and its successful social reintegration.

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This project aims to unveil the ambiguous life and conception of the Norwegian landscape painter Lars Hertervig by introducing a museum and art residency between the overgrown reliquary ruins of his birth place on the loosely populated island of Borgøy.

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Between the ruins of Lars Hertevig’s provenance Tord Johann Breivik, The Royal Academy - Architecture, Kunst & Arkitektur, Thesis project

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The initial idea of my thesis evolved from an already existing ambition from the municipality of TysvĂŚr to establish a museum and monument to honour the artist Lars Hertervig. The museum contains a permanent exhibition for the 8 pieces in the collection of the municipality. In addition to this, a temporary exhibition for the great oil paintings owned by the museums in Stavanger, Bergen and Oslo and a contemporary exhibition for the artists in residence at the museum are to be displayed.

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The art residency is introduced to the museum as way of contributing cultural continuity to the island.

As well as reflecting the persona and artistry of Hertervig, the building will constantly resemble the conflict of housing a contemporary artist. This conflict appears in the dualism of local–global, vernacular–industrial and historical–modern.

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When arriving at the island by boat the building appears alien, floating among the trees. With its monumental presence it seems obvious that it wants to provoke the traditional customs. From the pier signs will guide you along a path to what is now left of the place where Hertervig spent his early years.

When at the entrance of the museum the building changes its character. Here it adapts to its surroundings, the nature and the vernacular houses. Between the ruins a big concrete void is carved down into the mountain. The void is an attempt imitate the ruins. On the wall in front of you his date of birth and death is engraved under this psalm:

In the cellar the bare and open concrete structure represents the modern and global world in which we exist. Above, the wooden structure resembles something from the past, finely decorated with traditional Norwegian rose-paintings, reminding us of the great cultural heritage. Walking through the house, you will meet awkward architectural elements, forcing you to slow down and therefore be present.

The atelier is reserved for the artist in residence, a place where the contemporary artist is supposed to reflect, create and exhibit. The room produces unconventional conditions for a working space. From the narrow and gloomy atmosphere in the entrance of the room, to the grand and light gesture of the window blurring the threshold to the nature outside. These conditions are made to inspire or provoke the oeuvre of Hertervig in the work of the artist.

The residence and museum are intended to interact with each other, existing side by side, but with an awareness of each others existence. The residence, both structurally and atmospheric, act as a back-drop for the exhibition. The dwelling is simply furnished, serving only the most primitive needs - just as Hertervig lived.

Melancholia, first exhibition room

The first exhibition room is reserved for Lars Hertervigs first period, from 1853-1856. In this period he painted in the German romantic tradition - dramatic and dark, oil on canvas.

The Primal Forest, the permanent exhibition

This room serves as a distribution room as well as an exhibition room. Here you will find some of Hertervigs paperwork and studies of the primal forest. The structure of the room is in constant dialogue with the outside environment attempting to imitate the forest outside.

The Tabernacle, the main exhibition room

The main exhibition room is reserved for Lars Hertervig’s latest works, the oil paintings from 18651867 and different paperworks he painted until his death in 1902. These paintings are distinguished from the rest of his work, by turning lighter and lighter, more sublime and religious parallel to the development of his illness.

These paintings appear more naive and surreal - graphite, gauche and watercolour on either tobacco paper, wrapping paper and other scraps of paper he collected.

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Adam Linde, The Royal Academy - Architecture, Bygningskunst og Teknologi, Thesis project

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A NEW FORM OF HOUSING IN CAIRO

BAYT

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Part 1, The Study Trip

Does it have many faces? Is it the face of a government, not willing to support its citizens with their basic needs? Is it the face of a family fleeing and abandoning a struggling country? Or is it the face of an architect, with ambition in his eyes, travelling back to a community he once was connected to, but never a part of?

I can feel the heat radiating from the warm desert sand underneath my Ecco sandals. I’m standing in Cairo Necropolis (City of the Dead), a large cemetery area in Cairo.

“Due to Al Qahirah’s (Cairo) massive lack of affordable housing, my family and I have been squatting here for years,” Gamal says and points to the green door hidden behind the fig tree. The door is decorated with scriptures from the Quran and is stating who is buried there. He opens the door, and we walk into the mausoleum’s courtyard, which now functions as a garden for his family. The courtyard is surrounded by yellow painted walls with casted seating niches. In the middle of the courtyard, a wood construction covers a staircase that leads down to the tombs. The construction now functions as a home for the family’s pigeons, since pigeon is an Egyptian delicacy. We turn right and walk into the main living area. One main room, where they sleep, eat and socialize. One small kitchenette and a hallway that leads to the showering niche. Gamal goes on showing me around the mausoleum he and his family have made a home. And they are not the only ones; it’s estimated that around 340.000 people illegally squat in this area of Cairo.

“The government has tried to relocate us to places such as Haram City many times. But how would we be able to afford that? The bus fare alone is my entire salary.”

Gamal is referring to Haram City, Egypts first and only social housing, located 40 kilometers outside the city. He goes on and shows me the rest of the neighboring mausoleums that sum up the community he is living in.

It is the 12th of October 2019, the second day of my ten-day study trip to Cairo. I’m here to study the modernization of Nubian architecture for a school assignment, while doing research on my thesis project I will start in January 2020. Cairo has always been a city I have had somewhat a strange connection to. Being born in Cairo but mostly raised in Denmark, I am often faced with the interesting and sometimes harsh realities of the differences between Western and Northafrican society.

It is getting late, and I say goodbye to Gamal and thank him for showing me around “The City of the Dead”. I walk along a desert road that leads up to the main street, where I catch a taxi. “Take me to Agouza, please”, I say in my broken Arabic, the taxi-driver nods and starts the car. While driving back to my childhood apartment, I feel a heaviness in my lungs. At first, I brushed it off as the air pollution surrounding the city.

But the further we drive, the nerves start to kick in. Can I really make a thesis-project about Cairo? Can I, with my cultural Western-bias, design anything for a population whose circumstances are so wildly different from my own? Or, am I using my cultural background to say something about a community I once was connected to, but never a part of?

Cairo is a mega city with many challenges. Two of the challenges the project investigates are the massive lack of affordable housing and the air-pollution due to the burning of rice-straw after every harvest. Therefore, the project investigates the potential use of rice straw as a primary building material to build more affordable and better ventilated houses.

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Part 2,The Investigation

My thesis project “Bayt (house/home in Arabic) - A New Form of Housing in Cairo” investigates the many challenges that take place in the megacity Cairo. Home to 20.9 million people, the greater area of Egypt’s capital is under distress. With 32.5% of the city’s population living under the poverty rate, and an expected 4.6 million increase in population by the year 2030, the city lacks cheap and environmentally friendly building material to help house the growing metropolitan area. North of Cairo are mainly agricultural areas, such as Mahalla, where rice is produced in large quantities. In 2019 this area alone produced 4.9 million tons of white rice. Since the rice straw has no value for the farmers, it is burned after the harvest, which creates high amounts of CO2 and pollution, also known as the “Black Cloud” over Cairo.

Cairo is a mega city with many challenges. Two of the challenges the project investigates are the massive lack of affordable housing and the air-pollution due to the burning of rice-straw after every harvest. Therefore, the project investigates the potential use of rice straw as a primary building material to build more affordable and better ventilated houses.

In short, the project proposes an alternative social housing concept. Unlike the current and only social housing in Egypt, Haram City (located 40 km outside Cairo), the project’s site is located inside the city. More specifically, the site is the informal Friday market, Souk Al Gomaa, located by the Citadel, at the foot of Mount Mokattam, separating “uptown” and “downtown” Cairo. The market functions as an informal “resell” market, where Cairos inhabitants come to fix and resell older items. While selecting an area for the “new housing concept,” it was crucial for me that it was in an area of Cairo where people work and have their livelihoods. By placing the settlements in this area, the inhabitants avoid long and expensive commutes to and from home and work.

This is how I introduced my research question for my thesis project - easy, no? Using a waste material from the rice production as a building material, to solve an array of problems facing the city of Cairo. I am back home in Copenhagen, it is the 4th of February and I have just delivered my project program. Now I can finally start designing. No more research and writing, just artistic freedom. I start mapping daily rituals, specific placements of trade in accordance to the city, and graphically pleasing concept models. A few weeks pass, and the Egyptian government announces that they will invest 230 million USD in a rice straw factory.

“Oh my God - I’m on a roll, my project is super relevant apparently,” I thought to myself. A month goes by, and the frustration kicks in. Everything I draw seems too hightech, too correct, too western. How do I design a home for people who would rather squat in cemeteries, than live in social housing Cairo?

Of course, it is given that the current social housing is located outside Cairo, but is the placement the problem? Or is it the notion of social housing that kills their spirit?

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Primary windcatcher construction

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Part 3, Design implementation

The overall masterplan design strategy of the area was to place two workshop pavilions in the north and south end of the site, in order to free the rest of the area from heavy transport, i.e. cars. Windcatchers are placed between the pavilions, and they act as the settlement. In between the “formal” windcatchers, an “informal” settlement would be able to occur through modular and rice straw-based components.

A palm tree-based vegetation strategy of the site will conceptually exaggerate the windcatchers as if being in a palm tree forest. Furthermore, the palm trees will act as a cooling agent as well. The wind catchers are grouped in units of four, which are all connected in an underground cistern. The cistern has a basin with water, which can be adjusted according to the temperature. On a hot summer day, the cold water in the underground will cool down the hot air coming from north and ventilate the settlement.

The ground floor is an open space where the people of the market can exhibit their products on exhibition plinths. By having the area open, the plinths go in direct correlation with the market space. In the periphery of the plinths, “wind columns” stabilize the informal settlements decks and walls. Furthermore, they draw wind and diffused light down in the cistern and housing units. On the 4 primary windcatchers’ sides, there is a staircase made in rice straw OSB planks, that allow the informal vertical settlements.

The vertical and horizontal modular elements are both constructed through a steel frame construction, where the “infill” in the frame differs. In the vertical module element, it is rice straw stacks attached to the frame, while in the horizontal module the frame is filled with OSB planks.

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den skandinaviske design højskole - Arkitektur & Bydesign - Mode & Tekstildesign - Møbel, Rum & Produktdesign - Visuel Kommunikation

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KURSER & WORKSHOPS RABAT PÅ FORSIKRINGER, FAGBLADE & MEGET MERE

FAOD er mere end en fagforening. Vi er et fællesskab for alle, der arbejder med arkitektur, design, byplanlægning og alt det, der ligger rundt om. I FAOD står vi sammen om at sikre og forbedre dine vilkår igennem hele arbejdslivet.

RÅDGIVNING OM LØN SPARRING PÅ CV & ANSØGNING START UP HJÆLP

www.faod.dk

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Internship Are you ready to grow city life from the bottom up?

Check out our internship programme and see what we have on offer at www.aart.dk/karriere

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THE SOUTH HARBOUR DISTRICT IN AARHUS / OUR WINNING TEAM

This is the essence of our AART approach – recently manifested in our winning proposal for the transformation of the South Harbour District in Aarhus, where we before sketching any building have engaged with local artists, entrepreneurs, homeless and business people – all with the aim to grow city life from the bottom up.

A. ENGGAARD • AART ARCHITECTS • SCHMIDT HAMMER LASSEN • LABLAND • RUM3 STUDIO

Creating great architecture starts with asking why, and challenging the ordinary. It’s not just about creating beautiful buildings, but about passionately striving to improve how people live, learn, and work – and all the things in between.

Editors

Anders Rovsing Kristiansen Ida Leonhardt Jespersen Karoline Bonde Larsen Signe Andrea Høgstad Kelstrup

Layout

Ida Houmann Kaisa Hjorth Kaja Dons Petrusson Marius Wold

Magazine

Format 200 x 265 mm Paper 120 g offset, 130 g silk, 300 g silk Fonts Minion Pro, Helvetica og Messapia (collletttivo.it) Print Lasertryk.dk Issues 1400 November 2020 168 KĂ…RK 38

Editorial team

Alberto Gazzotti Anne Katrine Petersen Christoffer Gert Clara Søgren Bøjstrup Clara T. Larson Clara Winterberg Dzifa Bravie Freja Ima Beck Lassen Gertrud Rose Jensen Isabel Frølund Jennings Jens Marcus Røisi Karoline Mutinta Jørgensen Karoline Haugaard Laurits Thingholm Lisa Sawada Petersen Mari Reme Sagedal Marius Strathe Sørensen Mathias Vang Christensen Mia Christina Forslund Nanna Hagedorn Olsen Nora Salvesen Oda Marie Gjøsæter Pauline Hoffmann Sachrøder Rune Meesenburg Sarah Smidt Martinez Sissel Esbensen Siri Dueled Sofie Amalie Christensen Tilde Platz Victor Buch Rasmussen Bachelor 169

Contact kaark@stud.aarch.dk @kaark_magasin issuu.com/kaark Send your thoughts and contributions to kaark@stud.aarch.dk

Thanks to Aarhus School of Architecture, The Royal Danish Academy - Architecture and Statens Kunstfond Aarhus School of Architecture Nørreport 20 8000 Aarhus C Royal Danish Adademy - Architecture Phillip de Langes Allé 10 1435 København K

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