KÅRK №33 by KÅRK

MANIPULATION

Að skrifa er eins og að skissa. Verkfæri til vangaveltna og vettvangur til miðlunar. Þegar við skrifum eigum við samtal við okkur sjálf. Við greinum eigin hugsanir, skiljum þær og mótum þær. Með því að birta skrifin okkar, viðurkennum við og virðum, hugtök okkar og hugleiðingar...

Working on last edition under the theme of transparency, we took a step in a direction with Kårk as a window into the school. A mirror projecting outwards, and between each other, what there is produced and worked on within the walls of Aarhus School of Architecture. Taking it one step further, we have now divided the magazine up in sections; two general ones and one reflecting the theme. As a student run initiative, we hope the new structure presented in this edition will have created a framework encouraging contributions, regardless of their engagement with respective edition’s theme. Working under the theme of manipulation, we have questioned the role of curating and editing, and as a result created a structure for the contributions to flow within. Theme related material is packed in one continuous collective conversation. Projects, articles, interviews and speculations, elaborating on manipulation in different ways, come together, create new perspectives and raise questions. Overall, we wish to draw a portrait of the school as an institution, as well as who we are and how we engage with architecture. With contributions from

students as well as staff, we wish to be a platform for reflection and to encourage engagement. We wish to inspire and be inspired, and furthermore to hopefully learn from each other. We’ve chosen to open the magazine with early writing attempts of first years and close it down with reflections from the masters. Writing should be as if to sketch. A tool to think with and a medium to communicate one’s thinking. When we write, we communicate our own concepts to ourselves. We understand them and we refine them. By publishing our writing, we acknowledge our concepts. Sharing them with others we welcome feedback and reflections. Kårk wishes the people of our school to feel welcome to contribute and is happily utilized as a platform to practice being published. We see the magazine as an honest collective publication, from all of us to everyone. Maybe a manipulated sketchbook of the school. A place for exhibition as well as discussion. For thoughts and for inspiration. Enjoy, Sigrún Perla Gísladóttir creative director

SEKTION I

008 – 015

Emilie Markussen, Rikke Mørch & Victor Moritz

SEKTION II

038 – 041

Teori workshop

016 – 019

Johanne K. Nielsen & S. Perla Gísladóttir

Marie Stender Feltarbejde i renderingens utropia

042 – 046

Johanne Kirketerp Nielsen

048 – 052

Naina Gupta

Vala sauna

020 – 021

Emilie Kreijtz & Mathias Aaboe Manifest: arkitektonisk solidaritet

022 – 025

Frederik Ankjær Normann Pedersen

Mind the gap!

054 – 057

Ditte Horsbøl Sørensen

058 – 062

Malthe Andreassen

Et år, jeg har tænkt på det her år i flere år

026 – 035

Alberte Klysner Steffensen Built palimpsest - rooftop addition

Designing the unpleasant

064 – 065

Alette Avsnes & Line Østergaard Poulsen Selv-manipulation

066 – 071

Unit 2A & Unit 2B The city as the site of multiple representations

072 – 077

Sigrún Perla Gísladóttir Discussion: let’s talk about the male architects

078 – 079

Andrea Bjørløv Kjelstrup

SEKTION III

080 – 084

Sean Lyon, Álvaro d. Río & Mikkel E. Nikolajsen

110 – 119

Selfishnest

086 – 087

Rasmus Fjeldheim Dale

Nanna L. H. Nielsen In memory of studio 3a

120 – 131

Rosa bui The new architects - winter 2018: h m sài gòn

088 – 091

Claudia Carbone

132 – 139

Spectacle in manipulation

092 – 093

Anne-Mette Glud Hjerrild

Sigurd Rubin The new architects - winter 2018: in-between place and spirit

140 – 153

Azusa Ichimura Why should we be talking about gender in architecture?

094 – 095

Jon Martin Seternes

096 – 099

Davin Nurimba, Fan Yi Bing & Jonathan Moberg Touch

100 – 101

Helene Isabelle Millan Eiden Manipuleringsreiskap

102 – 104

Helene Isabelle Millan Eiden The moving body as an instrument for creating space

106 - 107

Mathias Kruse Jacobsen Botanical metropolis

SEKTION I

TEORI “If architecture is about concepts and ideas, it can be communicated with words as well as with space and materials.” - TSCHUMI, Bernard 2012, Architecture Concepts Red is Not a Color. Network: Rizzoli, p. 39.

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EMILIE MARKUSSEN, RIKKE B. MØRCH & VICTOR B. MORITZ

INTRODUKTION AF FREDERIK RAVN

På arkitektskolen bliver der hændelsesvist skrevet tekster. Bag akronymer som CWR og TW gemmer der sig skriveøvelser, som bærer vidnesbyrd, om at arkitektur ikke kun er noget, der foregår i den virkelige verdens vidunderlige 3-dimensionalitet. Hvis arkitektur både omhandler manifestationer af idéer og bearbejdning af koncepter, må teksten også have en plads et sted på hylderne, ikke bare som et bagatelliseret supplement, men som egne selvstændige modeller. I KÅRK bringer vi flere af de tekster, der bliver produceret som et led i undervisningen på skolen, og det sker, fordi vi vil huske på skriftens enestående evner som skitserende element. Skal skriften fungere som et rum for refleksion, må man først og fremmest huske på følgende: at skrive er først og fremmest at kommunikere sine egne tanker til sig selv. Det virker for så vidt kontraintuitivt. Tekster skrives oftest som et kommunikativt produkt, som et resultat af velovervejede og gennemtænkte pointer i et retorisk potpourri. Og hører refleksive tekster i øvrigt ikke dagbogens sfære til? Givetvis. TEORI WORKSHOP

Men det samme gør skitsen, det ufærdige og legen. De dyrkes dog alligevel som tilgange, de dyrkes til hudløshed, til perfektion. Hvor vores skitserende objekter netop har karakter af, at de vil fortælle vores egne idéer til os selv, har det at skrive stadig sine ben fastforankret i den ”færdige” sfære, påvirket af vores alt for store viden, om hvordan vores tekstkroppe skal mures op af hvert enkelt ord og hver enkelt sætning, en alt for stor viden om grammatik og argumentationsopbygning. For at kunne skitsere med skriften må man nødvendigvis glemme sin viden, man må lægge den fra sig og skrive som man tegner med kul på manifold. Således er skrivningen ikke andet end endnu en øvelse i at forholde sig til verden, vi befinder os i, og til at forstå verden for os selv. Og husker man det, så har man allerede kulstiften i sin hule hånd. Vi publicerer efterfølgende tre essays skrevet af førsteårsstuderende på Teoriworkshop, organiseret af Karen Olesen, lektor, cand. arch. og Tine Nørgaard, lektor, cand. aarch. 160

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PULS OG TEKST & BILLEDE AF EMILIE MARKUSSEN, UNIT 1A

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FORFATTER

We turn to the faculty of sight, for it is almost entirely through vision that the environment is apprehended.1 Den brostensbelagte plads er tom. Et par biler står ensomt parkeret med fronten mod et gitter, næsten skjult af en grøn, men vintertræt hæk, der adskiller pladsen fra en baggård. Adskiller offentligt rum fra privat. Det kolde formiddagslys falder tungt over pladsen fra skydækket i det åbne himmelrum over os. Violence [movement of bodies] is not always present. (…) Yet it is always implicit. (…) Each architectural space implies (and desires) the intruding presence that will inhabit it.2 Men akkurat nu er pladsen forladt. Ud fra pladsens fire hjørner dikterer de snævre stræder -parallelt med hinanden- menneskers mulige færden, omsluttet af farvestrålende, lave bygninger fra fordoms tid. De eneste bevægelser, der fanger øjet, hidrører fra caféens terasse. Gæster. The body disturbs the purity of architectural order.3 Hér afdæmpet. Fra bord til mund. Ikke yderligere. Sagte gestikulerende. Indimellem afbrudt af en vimsende tjener, der fylder brændstof i bevægelsesapparaterne. En højere bygning afgrænser pladsens ene side og definerer videre stræderne på begge sider. I bygningens midte sluses vi ind i en snæver passage. Tre skridt yderligere til højre for at komme omkring den stringente og spinkle, men samtidig stærke jernlåge, der står halvt lukket, -halvt åbent.

Så er vi inde. Eller er vi? Terrazzogulv. Lamper. En tagkonstruktion -repetitivt inkluderende glas. Himlen kan se os, men ikke røre os. Et ly. Inde eller ude? Enten eller? Både og? Grænsen er udvisket -men vi befinder os i en skærende kontrast til den åbne plads bag os. Til trods for dagslyset, der rammer os med jævne mellemrum, er her mørkt. Det snævre forløb med lys for enden vidner om en anden tid. Engang handelsgade. En arkade. Ikke et udpræget dansk byfænomen, -trods det danske vejr. Nu en tidslomme, forstyrret af et par cykler og bagindgange til butikkerne, der fra de foromtalte stræder byder folk indenfor. Vender ansigtet væk fra os. Passagen har magt til at lede, men leder ingen. Her er mennesketomt. Et slag tabt til stræderne, der besidder samme guidningsevne, men hverken samme beskyttelse mod vejrguderne eller samme lystilpasningsevne som passagen. Nederlaget kan observeres gennem butikkerne og ud på den anden side. Rude – butikrude. Kun dét er imellem os. Visuelt er vi forbundet med nutiden og dens liv derude. Men vi er fysisk afgrænsede. Begrænsede. Vi avancerer - i overensstemmelse med hensigten- mod lyset i den anden ende, reflekterende over: Spaces are qualified by actions, just as actions are qualified by spaces. (…) by ascribing to a given supposedly “autonomous” space a contradictory program, the space attains new levels of meaning. Event and space do not merge but affect one another.4 Udgangsporten dubleres i refleksionen af dagslyset på butiksruden herinde.

Overgangen til noget andet udviskes illusorisk. Fra “midtersøjen, der adskiller de to åbninger” går identiske mennesker hver til sit… Vi træder ud på brosten igen. Ud i åbenheden. Denne gang en større skala. En større plads. Højere bygninger, -men ikke højere end stadigt at underkaste sig byens Domkirke -knejsende op mod det evige himmelrum. Vinden tager fat i dét, den har kræfter til. Den menneskelige aktivitet er regelmæssig og vedvarende herude. Ikke slentrende. Men målrettet. Kontrolleret. Omvendt for butikkernes ansatte. I lidt tid endnu. En helt anden puls, helt andre bevægelser end tilbage på den mindre plads. Dramatik! Dramatik skabt af kontraster. Af overgange. Af afgrænsninger, der omvendt er i relation til hinanden. There is a [emotional] reaction to being hemmed in as in a tunnel and another to the wideness of the square. If, therefore, we design our towns from the point of view of the moving person (pedestrian or car-borne) it is easy to see how the whole city becomes a plastic experience, a journey through pressures and vacuums, a sequence of exposures and enclosures, of constraint and relief.5 In fact there is an art of relationship just as there is an art of architecture.6

1. CULLEN, GORDON, 1959, “INTRODUCTION”, THE CONCISE TOWNSCAPE, LONDON: BUTTERWORTH ARCHITECTURE, 1971, P. 8 2. BERNARD TSCHUMI, 1982 ”VIOLENCE OF ARCHITECTURE”, PUBL. I TSCHUMI, BERNARD: ARCHITECTURE AND DISJUNCTION, MASS.: MIT PRESS, 2000, P. 124. 3. BERNARD TSCHUMI, 1982 ”VIOLENCE OF ARCHITECTURE”, PUBL. I TSCHUMI, BERNARD: ARCHITECTURE AND DISJUNCTION, MASS.: MIT PRESS, 2000, P. 124. 4. BERNARD TSCHUMI, 1982 ”VIOLENCE OF ARCHITECTURE”, PUBL. I TSCHUMI, BERNARD: ARCHITECTURE AND DISJUNCTION, MASS.: MIT PRESS, 2000, P. 131. 5. CULLEN, GORDON, 1959, “INTRODUCTION”, THE CONCISE TOWNSCAPE, LONDON: BUTTERWORTH ARCHITECTURE, 1971, P. 10. 6. CULLEN, GORDON, 1959, “INTRODUCTION”, THE CONCISE TOWNSCAPE, LONDON: BUTTERWORTH ARCHITECTURE, 1971, P. 7.

TEORI WORKSHOP

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Fra baneterrænet og perronarealet mod vest, hvor gods til videre distribution i det meste af Jylland i tidligere tider blev transporteret, entrerer vi Godsbanen. Herfra opleves arkitekturen som en skarpkantet polygon, der forstærket af banegravens dyb tårner sig op; vertikalt og himmelstræbende. Vi lokkes forbi den vestlige indgang – op på bygningen, hvor vi møder et geometrisk formsprog, der ses som et trianguleret inferno af plandannelser med et utal af tilsyneladende arbitrære hældninger. Med undtagelse af dele af den østlige og vestlige facade er intet på bygningens overflade i vatter. Intet er lodret – intet er vandret! Lige så skrånende som bygningsskallen er – lige så vinklede er det, der kan forekomme at være en beskyttende ræling. De stejle overflader betyder, at der umiddelbart kan herske tvivl om, hvorvidt de enkelte bygningsdele udgør væg eller tag. Dette understøttes af materialevalget; felter af in situ-støbt beton, der, når det betrædes, giver en haptisk fornemmelse af ikke at være tag, men snarere væg. Begge dele virker lige absurde at betræde. Denne absurditet forekommer dog på én gang gribende og grænseoverskridende. En person i en forbipasserende flok af besøgende bekender: “Jeg elsker at komme her, det er også et sted for børn – man må gå på taget”! Det, at gå på taget forekommer transcenderende for de fleste mennesker og det faktum, at bygningen i kraft af dens udformning ligefrem inviterer de besøgende til en vandring hen over taget, fremkalder vores iboende trang til leg; den leg som vi oftest kun ser hos børn.

Vi har en situation, hvor taget perciperes ved, at de besøgende fysisk interagerer med det skabte rum. Der skabes en interferens mellem stedet og den besøgende. Oplevelsen kan mærkes i benene og i kroppen. Uden noget lodret eller vandret fokuspunkt at styre efter opstår fornemmelsen af at gå på et roterende isbjerg, eller dækket på et kæntrende skib. På trods af det, drages vi af vores immanente nysgerrighed videre opad. På vej op penetreres terrænet af en række cylindre, der translucerer lys til den underliggende verden og på samme tid muliggør, at de forbipasserende “bjergbestigere” fra et selvvalgt okular kan observere, hvad der foregår under dækket, under isen, nede i dybet, i det der umiddelbart kan synes at være jordens indre. En kulturel sammenblanding af koncerter, teater, udstillinger, foredrag, loppemarkeder, brunchsammenkomster, mv. kan således betragtes oppefra, af den forbipasserende. Perceptionspsykologisk drages øjet og opmærksomheden mod bygningens øverste punkt, skibets stævn. Mens højden nås, indsnævres skråplanet og spændingen stiger til det forløsende øjeblik, hvor vi en ad gangen står som vores egen ornamenterede galionsfigur med vind i håret og overvældes af udsigten. Beskuer baneterrænet og byens tage, der rækker helt ud til den fjerntliggende horisont. Når vi nu alligevel har hengivet os til legen og fantasien, så er det vanskeligt ikke at række armene ud mod verden og som Jack Dawson, den ene af hovedrollerne i James Camerons film Titanic fra 1997, brøle et højlydt “I´m king of the world”.

Med den valgte udformning af byggeriet, hvor tagarealet ved et subtilt greb er transformeret til et kæmpemæssigt udendørs rekreativt areal, opnås et maksimalt udendørsareal på en grund, der ellers er fuldt bebygget. Le Corbusier beskriver fænomet således: “Generalization: the whole ground surface of the town is free, available for walking on. The ground is in a sense doubled; transported to gardens up aloft, right in the sun”.1 Vandring over taget muliggør et cirkulerende flow af besøgende både over og gennem bygningen, ude og inde. Ubegrænset flow i alle retninger. Dette forstærker arkitekturens potentiale i forhold til det at være et rumskabende socialt samlingspunkt. Hvad ville stedet være uden den stadige strøm af mennesker? Constant beskriver betydningen af det menneskelige flow således: “For the people circulating in this enormous social space are expected to give this space its ever changing shape, to divide it, to vary it, to create its always different atmosphere, and to play their lives in the variety of these surroundings”.2 Godsbanen, dette knudepunkt, dette sted for omlastning, denne endestation, denne kulturelle transformerstation. Hvad er den for en størrelse? En gigantisk terrænregulering, en brutalistisk heterotopi, et stykke performativt arkitektur, et urbant kulturproduktionscenter? Godsbanen kan med god grund opleves som en materialiseret hybrid af dem alle.

1. LE CORBUSIER, ”TWENTIETH CENTURY BUILDING AND TWENTIETH CENTURY LIVING”, REPRINT FROM THE STUDIO YEAR BOOK ON DECORATIVE ART, LONDON 1930. PUBL. IN: RISSELADA, MAX (ED.), RAUMPLAN VERSUS PLAN LIBRE. ADOLF LOOS AND LE CORBUSIER, 1919-1930. NEW YORK: RIZZOLI, 1988, S. 147. 2. CONSTANT, ”LECTURE AT THE INSTITUTE OF CONTEMPORARY ARTS, LONDON, 1963”. PUBL. I: TEMPEL, BENNO (ED.), NEW BABYLON TO US, LIBERTY: CONSTANT. OSTFILDERN: HATJE CANTZ VERLAG, 2016, S. 213.

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EMILIE MARKUSSEN, RIKKE B. MØRCH & VICTOR B. MORITZ

EN VANDRING PÅ BYENS TAG

G O D S B A N E N - EN VA N DR I NG PÅ BY ENS TAG af Rikke Berg Mørch, Unit 1C Fra baneterrænet og perronarealet mod vest, hvor gods til videre distribution i det meste af Jylland i tidligere tider blev transporteret, entrerer vi Godsbanen. Herfra opleves arkitekturen som en skarpkantet polygon, der forstærket af banegravens dyb tårner sig op; vertikalt og himmelstræbende. Vi lokkes forbi den vestlige indgang – op på bygningen, hvor vi møder et geometrisk formsprog, der ses som et trianguleret inferno af plandannelser med et utal af tilsyneladende arbitrære hældninger. Med undtagelse af dele af den østlige og vestlige facade er intet på bygningens overflade i vatter. Intet er lodret – intet er vandret! Lige så skrånende som bygningsskallen er – lige så vinklede er det, der kan forekomme at være en beskyttende ræling. TEORI WORKSHOP

De stejle overflader betyder, at der umiddelbart kan herske tvivl om, hvorvidt de enkelte bygningsdele udgør væg eller tag. Dette understøttes af materialevalget; felter af in situ-støbt beton, der, når det betrædes, giver en haptisk fornemmelse af ikke

TEKST & BILLEDE AF

jordens indre. En kulturel sammenblanding af koncerte RIKKE BERG MØRCH, UNIT 1C udstillinger, foredrag, loppemarkeder, brunchsammenk mv. kan således betragtes oppefra, af den forbipasseren

Perceptionspsykologisk drages øjet og opmærksomh mod bygningens øverste punkt, skibets stævn. Mens h nås, indsnævres skråplanet og spændingen stiger til de løsende øjeblik, hvor vi en ad gangen står som vores e ornamenterede galionsfigur med vind i håret og overvæ af udsigten. Beskuer baneterrænet og byens tage, der r helt ud til den fjerntliggende horisont. Når vi nu allige hengivet os til legen og fantasien, så er det vanskeligt række armene ud mod verden og som Jack Dawson, de hovedrollerne i James Camerons film Titanic fra 1997, højlydt ”I´m king of the world”. ---160 013

Med den valgte udformning af byggeriet, hvor tagar et subtilt greb er transformeret til et kæmpemæssigt ud rekreativt areal, opnås et maksimalt udendørsareal på e

DET

MENNESKE

TEKST OG BILLEDE AF VICTOR BECH MORITZ, UNIT 1C

DET FORMBARE MENNESKE af Victor Bec h M or i t z , uni t 1C

Man kunne jo altid lade sig flyde. Flyde med åen, der som en ovedpulsåre gennemstrømmer byens indre. Åen, der i al sin ragt, bugter sig gennem landskabet, danner grundlaget for ores oprindelse. Man kunne jo altid lade sig flyde, blot følge ens rislen,014blot være I. I160 byen, I historien. En rejse langs åen er ---n rejse langs tiden, og vi er essensen. Åen er begyndelsen på og fundamentet for et forløb, en historie

Sjovt hvordan natten rammer byen med et smæld, og verden skifter køn. DOKK1, den arkitektoniske kamelion. Man overraskes på ny, når mørket falder på, når bygningens massivitet forsvinder i en silhuet, og undergrund bliver til ånderum. Mørket har taget over. Selv påRIKKE havnekajen virker det klare EMILIE MARKUSSEN, B. MØRCH & VICTOR B. MORITZ vandspejl som en mørk uendelighed, og viddens mørklagthed som en kvælende masse. Vi omsluttes, og som febrilske hylstre

Man kunne jo altid lade sig flyde. Flyde med åen, der som en hovedpulsåre gennemstrømmer byens indre. Åen, der i al sin pragt, bugter sig gennem landskabet, danner grundlaget for vores oprindelse. Man kunne jo altid lade sig flyde, blot følge åens rislen, blot være I. I byen, I historien. En rejse langs åen er en rejse langs tiden, og vi er essensen. Åen er begyndelsen på og fundamentet for et forløb, en historie om vores færden, en fortælling om mennesket i byen. Åen er hvor alt begyndte, og legende har arkitekturen påtaget denne begyndelse, gjort den til sin egen. Der hvor naturen møder teknologien, hvor materialer harmoniser og overtager hinanden i alt deres unikhed. Det er for enden af åen, at DOKK1 skyder op fra grunden, fanger vor sind og sjæl. Dette er en ny begyndelse, en overvældelse. Det er starten og enden, overgangen til havet, porten til byen. Der er en særlig fascination forbundet med åens forløb, men også en særlig dragelse ved den måde man suges dybt ind under DOKK1’s masive konstruktion. Spor i belægningen, trappens diskrete peg, man bevæger sig mod den omsluttende tunnel af industriel modernitet, og sanserne borer sig ud gennem huden. Man bevæger sig mod lyset for enden af omsluttetheden, man føler sig tryg, men man søger spændingen, det nye, det uoplevede. Pludselig rammes man, som en forskrækkelse og en beroligelse i én. Solen, vidden, vandet og de reflekterede glimt fra vandspejlets rolige blanke. Sanselighederne fortættes i et gribende kunstværk af vand og himmel, et kunstværk der fuldendes af betonnets robusthed, klargøres af det blanke stål. Forskellighederne harmoniserer og kulminerer i en sanse-eksplosion, som at overraskelsen og spændingen efter at kende det ukendte, skaber oplevelsen og former helheden. Danner den helstøbthed, der splitter enkeltdele til én masse af atomer. Her sendes mine tanker mod Gordon Cullens citat: “The human mind reacts to a contrast, to the difference between things, and when two pictures (…) are in mind at the same time, a vivid contrast is felt and the town becomes visible in a deeper sense. It comes alive through the drama of juxtaposition. Unless this happens the town will slip past us featureless and inert”1. TEORI WORKSHOP

Men sjovt hvordan intet er, som man forventer. Sjovt hvordan roller kan skifte, masker forbyttes, og karakterer omvendes. Sjovt hvordan natten rammer byen med et smæld, og verden skifter køn. DOKK1, den arkitektoniske kamelion. Man overraskes på ny, når mørket falder på, når bygningens massivitet forsvinder i en silhuet, og undergrund bliver til ånderum. Mørket har taget over. Selv på havnekajen virker det klare vandspejl som en mørk uendelighed, og viddens mørklagthed som en kvælende masse. Vi omsluttes, og som febrilske hylstre af hvem vi engang var, famler vi os frem mod en bedre verden. Det er her trappen griber os, leder os mod bygningens indre, der tydligere end nogensinde står oplyst af velkommenhedens skær. Trappens lys er som en flugtvej. Pludselig er vægten fra bygningen, der solidt og klippeagtigt hviler over vores hoveder, en tryghed som definerer stedet. Rollerne er skiftet, og hvad der om dagen føltes som et underjordisk hulrum, føles nu som et pusterum, der holder mørket på afstand. Men i takt med at pulsen falder, fordærves også gensynsglæden som lyset havde en pålagt. Føler man sig nu blottet? Blotte som en kronhjort på den åbne eng. Er tryghedsfølelsen en selvbedragende illusion? Kan man blot lettere elske sig selv i favnen på lyset? Det kunne være en simpel narcissistisk tendens, eller menneskets psykotiske trang til at bære det ubærlige. Er det spændingen ved den blottede krop, det udfordrende nøgne fordærv? Som Bernard Tschumi udtrykker det: “At the same time it must be stressed that the receiving subject - you or I - may wish to be subjected to such spatial aggression”2. Vi dyrker den rumlige aggression, følelsen af ubehag og ubalance. Der er tale om det forskruede sind, der skjules af alt byens, åens, og havnens idyl. Men porten er af den klareste sandhed, rå og konkret. DOKK1 står i alt sin enkelthed, som et bjerg af udviskede løgne. Her ser vi os selv i øjnene, vi bevæges og fortvivles. Her passerer byen og her kan vi være os.

pegende trappe blot en illusion metafor for vores trang. Er en trappe bare til for vores fysiske bevægelse, for vores primitive kroppe. Som Bernard Tschumi betegner det: “bodies violating space”3, styrer vi arkitekturen med behov. Eller har sindet brug for rumlig anderkendelse, brug for følelsen og fornemmelsen? Har vi overhovedet brug for formbarhedens identificerende illusion? 1. CULLEN, GORDON, 1959, ”INTRODUCTION”. PUBL. I: CULLEN, GORDON: THE CONCISE TOWNSCAPE, LONDON, BUTTERWORTH ARCHITECTURE, 1971, S. 9. 2. TSCHUMI, BERNARD, 1981, ”VIOLENCE OF ARCHITECTURE”. PUBL. I: TSCHUMI, BERNARD: ARCHITECTURE AND DISJUNCTION, MASS.: MIT PRESS, 2000, S. 125-126 3. TSCHUMI, BERNARD, IBID. S. 124.

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VALA SAUNA

Sooma, Estonia, August 2017

TEXT & PHOTOS JOHANNE KIRKETERP NIELSEN, UNIT 2/3F & SIGRÚN PERLA GÍSLADÓTTIR, UNIT 2/3E

FLOODED SUMMER SCHOOL, ESTONIAN ACADEMY OF ARTS. TUTORS: B210 ARCHITECTS, SAMI RINTALA, HANNES PRAKS.

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J: This is the happiest photo ever taken of me. Iâ&#x20AC;&#x2122;m looking proud into Perlaâ&#x20AC;&#x2122;s eyes, pure homemade vodka in the glass and pure happiness in my eyes. I am standing on the floating sauna, which we designed and built. I am ready to jump in the river and swim into the floating and boiling warm Vala.

P: Here I am at my happiest moment. My face is sunburnt and has not seen a mirror for a week. The beer in my hand is big and the butterflies in my belly even bigger. I had enjoyed the whole day in sunshine up on a roof with a hammer in my hand and Sami on my side. Working our way through every single detail, he taught me to do and to be. I learnt that no moment is as perfect as this one.

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29. September 2016. Nordic Perspectives lecture series, lecturer Sami Rintala. We crossed the construction site of letbanen, and came kind of late to the lecture, stressed and confused - like we all are. Sami showed us some of his projects, repeatedly referring to ones built at workshops. Inspired and less confused, we shared eye contact with an understanding of a mutual dream. One that felt far far away. The following summer we find ourselves on a bus on the way to Sooma. We were literally in the middle of nowhere. The bus stops and we are told to wait for our guide. Nobody knows what is about to happen, when a barefooted man pops out of the bushes, tells us to take our shoes off and follow him. We crossed a river and walked trough a forest. Suddenly the enormous bog opens up. A void. We walk for what feels like forever, and nobody knows where we are heading. One’s feet sink in the bog, and we pull each other up, with mud to the waist and the boots left in the bog.

as – perform, fail, learn and succeed. An atmosphere where experiments and play guided the process, resulting in a project to be proud of. The moment we put Vala on water, without it sinking – to believe in the impossible and shake away the fear of failure. This is too much, but so are we, and so was Sooma. We hope for you to feel empowered, to let go of stress and reach out and catch the opportunities. They are there for us to grab them, share them and motivate each other. It is ours to catch and create, play and learn. It is a reminder that every dream deserves a chance. Vala was one that came true.

The ten days on the summer school gave us an embodied understanding for what we are learning. To engage in a project with your body, engage in the surrounding and work on site with what there is. To build and think with your own hands, negotiate with others and collectively come to a conclusion. During the first days, we drew and discussed all that we could. It was a process without Pinterest and reference projects. We could only google in each other’s minds, frustrating and fascinating. Developing a design with 14 other students and three architects, with opinions on everything, we came to bigger understandings and mutual agreements. We were alone in the world, far away from everything. Having left mobile phones and worries in town, we were able to engage intensively in the project – yet serenity was surrounding. Working with hand tools, in absence of water and electricity, we were forced to think in primitive solutions, solutions suitable for surviving. The workshop allowed us to create something new in a vulnerable environment. We got to know the environment, starting and saluting every day with a dip in the water. We learnt to believe in dreams and ide018

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JOHANNE K. NIELSEN & S. PERLA GÍSLADÓTTIR

VALA SAUNA

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MANIFEST TEKST & ILLUSTRATION AF EMILIE KREIJTZ & MATHIAS AABOE, UNIT 2/3D

Nutidens arkitektur er introvert og rodløs. Arkitekturen lader sig begrænse af skarpe matrikler og en manglende forståelse af sin kontekst. Designprocessen afspejler en manglende refleksion over sin indgriben, og er karakteriseret af en egoistisk og apatisk tilgang til sin egen betydning for sine omgivelser. Resultatet af denne mangel på solidaritet i arkitekturen, er en overflod af døde og intetsigende rum, i skellet mellem bygningerne. Denne generelle mangel på samhørighed viser sig også i form af stor differentiering i typologier, formgivning og ikke mindst materialevalg. Derudover skaber denne passive arkitektur, præget af skarpt optrukket matrikler, en dikterende bevægelse mellem dets bygninger, og begrænser dermed individets intuitive færden. Arkitekturen tænkes altså individuelt frem for som en helhed, og resultatet er et livløst og intetsigende forhold der indskrænker den menneskelige interaktion og tildragelse. Arkitektur bør have en forståelse af sin helhed, hvor bygningen forholder sig til stedets karakteristika, samtid og fællesskab. Arkitekturen skal være tro over for sin kontekst og tage udgangspunkt i de materialer, former og ideer der kendetegner dets omgivelser. I dette manifest beskrives hvilke dogmer der skal følges og opnås for at skabe arkitektonisk solidaritet. En utopi. Arkitektur skal udtænkes med udgangspunkt i sine omgivelser. En bygning skal altså være et produkt af sin kontekst og skabes med blik for det omkringliggende arkitektur og miljø. Hver bygning skal agere, som en brik i et større puslespil, der griber fat i sine omgivelser og udfylder sin plads i helhedsbilledet. Tendensen i nyopførte boligområder er, at bygningerne ikke er unikke og sammenhængende 020

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brikker, men brikker der kan lægges hvor som helst på pladen. Disse områder bærer præg af, at zonerne mellem bygningerne fungerer som inaktive områder, der blot dikterer bevægelse mellem bygningerne og ikke skaber sammenhæng og interaktion. Arkitekturen skal have forståelse og respekt for sin helhed, og opnå dette gennem en ekstrovert indgangsvinkel til designproces, så den forholder sig aktivt til sine omgivelser. Hvis dette opnås, kan man forbinde bygninger og skabe et dynamisk miljø imellem dem. Dette mellemrum vil være et rum for fællesskab, hvor matriklernes grænser bliver udvisket og med tiden helt opløst. Arkitekten skal derfor være opsat på, at gå i dialog med konteksten som det første i designprocessen. Dette skal modvirke den introverte designproces, der kun tager stilling til sig selv, inden for matriklens grænse. Samtidig er det essentielt at hver enkelt bygning har respekt for sine omkringliggende bygninger. Dette skal forstås ved, at bygningerne sagtens kan have et fysisk rum mellem sig, men det fysiske rum, skal være anvendt til liv og til gavn for menneskene i bygningerne. Arkitekten skal i højere grad fokusere på det eksterne forhold for bygningen, for at modvirke de døde rum der skabes af introverte bygninger, som både fysisk og atmosfærisk distancerer sig fra hinanden. For at sikre et atmosfærisk og visuelt samspil mellem bygninger, skal tre dogmer for arkitektonisk solidaritet opfyldes. Form, materiale og bevægelse.

bryde med den kontekstløse arkitektur, skal arkitekten bruge sine omgivelser og naboer som idégrundlag for den nye arkitektur. Arkitekten skal altså benytte de nærliggende elementer og deres formgivning som et paradigme for sin egen formgivningsproces. For at gøre op med den introverte arkitektur, skal arkitekturen etablere rum på bygningens yderside. Dette rum skal i samarbejde med naboens formgivning, skabe grundlag for aktivitet og liv. Rummet fungerer som et åbent opholdsrum i bybilledet, som kan indtages af alle. Materiale Bygningens eksterne materialevalg skal tage udgangspunkt i det materiale der præger naboens arkitektur, for at skabe sammenhæng mellem bygninger og udviske skarpe matrikler. Altså skal det mest centrale materiale fra opstødende bebyggelse inkorporeres i designet. Resultatet af dette, vil skabe en flydende graduering af materiale mellem bygninger, og skabe en arkitektonisk symbiose med afsæt i materialet. Bevægelse Man må ikke støde på unaturlige vægge, der bryder med det naturlige flow. Åbninger skal organiseres naturligt overfor hinanden, for at muliggøre individets intuitive færden. Ved at gøre bevægelsen intuitiv er man med til at gøre oplevelsen større. Dermed sagt at mellemrummet mellem bygningerne ikke skal være et rum for midlertidigt ophold som en styret bevægelse ville være. Mellemrummet skal være et rum for intuitiv færden, der vil gøre individet mere bevidst og opmærksom på sin egen bevægelse igennem arkitekturen.

Form En bygnings arkitektoniske formsprog skal lade sig vejlede af sin nabo. For at EMILIE KREIJTZ & MATHIAS AABOE

ET ÅR, I FLERE ÅR TEKST AF FREDERIK ANKJÆR NORMANN PEDERSEN, UNIT 1B

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ET ÅR, BARSELONA, PRODUCED BY RUD ASLAK, ALBUM SOMMERKYS (vers 1) Vi har danset, vi har danset, levet tiden Vi har nydt hver en dråbe, og vi har kysset lidt med livet Vi har lænet os tilbage uden at stå stille Vi har ment hvert et ord, uden det var med vilje Vi tror, vi tror på, hva’ vi tror Og vi svor, at vi sku’ drømme så stort Og kig’ på hinanden og drømme om dagen Og smage på hvert et stykke af kagen (omkvæd) Et år - jeg tænkt på det her år i flere år Jeg græd en tåre for hver en tår Og hver en bid, der blev spist Hvert et liv, der blev vist Et år - jeg tænkt på det her år i flere år Jeg græd en tåre for hver en tår Og hver en bid, der blev spist Hvert et liv, der blev vist (vers 2) Vi har grædt, vi har grædt af glæde Da tonerne spillede og vi fløj afsted Og hjerterne trillede, og vi trillede med For far vil ha’ fart på, inden vi mister os selv Fantasere, for drømmerne drømmer Men husk at levere, ved ikk’ om den kommer Bare lidt mere, la’ os se, hva’ der sker For de snakker om en sommer, som om den ikk’ eksisterer (omkvæd) Et år - jeg tænkt på det her år i flere år Jeg græd en tåre for hver en tår Og hver en bid, der blev spist Hvert et liv, der blev vist Et år - jeg tænkt på det her år i flere år Jeg græd en tåre for hver en tår Og hver en bid, der blev spist Hvert et liv, der blev vist

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Jeg hørte denne sang til en fest, og linjen ovenfor mindede mig om fortiden og hvor jeg var kommet fra. Længe har jeg vidst det. Vidst, at det var det eneste rigtige. Vidst, at der ikke kunne være andre løsninger. Nogle ville måske kalde det tunnelsyn, hvilket det nok også var, hvis du spurgte mine forældre. Men afklaret var jeg. Det var der ingen tvivl om. Jeg selv, var nok dengang mere forelsket i ideen om at gå på arkitektstudiet, end hvad jeg egentlig vidste om, hvad det vil sige at være arkitektstuderende. Jeg skulle i hvert fald studere til arkitekt. Men trods det, var vejen hertil alligevel ikke helt, som jeg havde tænkt og drømt det. Når man er forelsket, kredser tankerne om den elskede. Man tænker over betydningen af den andens signaler, om man nu er genelsket, om den anden nu betyder noget for en, og om hvordan fremtiden med den elskede kunne tænkes at ville forme sig. Man er også optaget af, hvem man selv er. Ved forelskelse gentænker man sin fortid, fortæller måske den elskede om den og har herved mulighed for at blive fri af den, skriver psykolog Martha Brink Kristensen. Efter tre år på teknisk gymnasium forsøgte jeg at søge ind. Det lykkedes ikke. Jeg tog i stedet et sabbatår, arbejdede og dygtiggjorde mig med diverse tegnekurser, modelarbejde og prøvede igen. Det lykkedes stadig ikke. Nederlaget var da stort. Nok imod min vilje startede jeg, på min fars opfordring, på bygningskonstruktøruddannelsen. Og det blev starten på en øjenåbner for et studieliv i Aarhus, der lå tæt op ad drømmen. Livet gik sin gang og jeg begyndte ligeså stille at kunne lide mit nye liv i Aarhus, også selvom det ikke var drømmestudiet. Men drømmen levede videre indeni mig. Trygt og godt. Flere gange i studiet på konstruktøren var jeg i tvivl, og tankerne om at droppe ud voksede. Jeg lærte brugbare ting og holdte derfor ud og blev på studiet. Jeg søgte og fik et semester i New Zealand, en studietur til Kina og et praktikophold i Spanien, der gjorde det til et udholdeligt studie. Men historien ændrede sig, da jeg bliver bekendt med de ændrede studie024

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regler og drømmen om at studere til arkitekt efter konstruktøren er lige ved at ryge i vasken. Derfor søger jeg ind midt i praktikopholdet og deltager i optagelsesforløbet. Efter de to nederlag, det var ikke at komme igennem optagelsesforløbet, var det denne gang, for mig, sindssygt vigtigt, jeg ikke fejlede endnu engang. I påskeferien for et år siden knoklede jeg samtlige dage, jeg havde med hjemmeopgaven. Det måtte ikke gå galt. Jeg skulle igennem nåleøjet, fortalte jeg mig selv igen og igen. Nogle siger man er tilbøjelig til at fravælge alt andet, hvilket jeg gjorde de uger, det tog. Vi bliver kun egentlig forløst som personer, hvis vi selv går efter realiseringen af vort sande selv. Efter afleveringen var jeg helt udkørt. Nu var der intet andet at gøre end at vente. Forelskelsen og håbet var stort, for jeg havde gjort alt hvad jeg kunne. Lykken var sprudlende og at komme videre til optagelsesprøven var en stor sejr. Jeg præsterede det bedste, jeg havde lært den regnfulde weekend i juni. Efter optagelsesprøven rejste jeg tilbage til praktikpladsen i Spanien og gennemførte mit ophold. Ventetiden syntes lang. Men det var alt sammen lige meget, da mailen endelig tikkede ind med beskeden om mit antal point på 24 og dermed at jeg var næsten optaget. Det var en følelse af brusende lykke og jeg følte mig i den syvende himmel. Nu stod sommerferien for døren og jeg følte mig mere fri end nogensinde før. Nu skulle drømmen endelig realiseres. Dagene der var i en lykkes rus og smilet bredte sig på mine læber, hver gang jeg tænkte på ideen om, at jeg nu skulle studere på mit drømmestudie. Det endelige optagelsesbrev med bekræftelsen kom. Jeg droppede ud af bygningskonstruktøren og skippede dermed det sidste semester. Ej en nem beslutning. Så selvom det til tider var svært, var de mange indledende øvelser til dette studieliv en rejse ud af min comfort zone og blev en stærkere karakter af mig selv. Det vigtigste er, at være sig selv, at være sandfærdig, og at handle efter det man gerne vil. FREDERIK ANKJÆR NORMANN PEDERSEN

Et år senere mindes jeg disse begivenheder, samt andre ting, der er sket siden. Andre forelskelser. Nederlag og opture. Jeg har grædt og grædt af glæde, som de synger i sangen. Og for mindre end en time siden, sagde jeg til mig selv ”Gud! Hvor jeg elsker det her studie”. Godt nok er min forelskelse aftaget og kærligheden har taget over. Det her er et studie, der skal passes og plejes ligesom et forhold, tror jeg. Man skal give meget af sig selv for at få det til at gå op i en højere enhed. Og er det tilfældigt, at der står et paradistræ i vindueskarmen? Jeg har købt og sat det her, fordi jeg synes, det giver mig en bedre oplevelse at være her. Jeg har sat mit præg på tegnesalen; det er ikke bare et sted, hvor jeg kommer, det er en del af mig. Netop den tid og energi, jeg lægger i projekterne, det sociale og vores lille hjem, tegnesalen, gør affæren med studiet mere værdifuld. Måske manipulerer jeg med sig selv i forsøget på at få det bedste ud af arkitektstudiet og dermed blive en bedre arkitekt i sidste ende? I hvert fald er denne forelskelse ikke at til at spøge med, for jeg tror nemt jeg ville kunne skuffe mig selv i de enorme forventninger, jeg havde i drømmen før studiet. Ikke desto mindre er forventningerne afløst af en kærlighed til studiet – en jeg deler med resten af skolen – og som jeg nu selv er i stand til at forme. Det bruger jeg konstruktivt, som en slags social medicin, og det udmønter sig måske i en dans i mørket på tegnesalen. Det virker.

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BUILT PALIMPSEST

TEXT BY ALBERTE KLYSNER STEFFENSEN, UNIT 2/3A

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ALBERTE KLYSNER STEFFENSEN

STUDENTS: UNIT 2/3A AND UNIT 2/3B TRANSFORMATION SUPERVISORS: ANDRIETTE AHRENKIEL AND NACHO RUIZ ALLEN TEACHING TEAM: AVIAJA FROST, TRINE KOCH, JANE WILLUMSGAARD, KATRINA WIBERG AND MADS BAY MĂ&#x2DC;LLER

Built Palimpsets was a common workshop for unit A and B running from the 5th of February to 23rd. The workshop focused on the notion of palimpsest related to the building scale, and the outcome was a catalogue of section models and drawings of existing buildings with roof-top additions which were exhibited in mock-up on Friday the 23th of February. The term palimpsest comes from Greek palimsestos: palin means again, psestos means rubbed smooth and psen to scrape and from Latin palimsestus, meaning parchment that has been cleaned for reuse. The notion refers to any surface where some writing has been erased to make room for a new text. In the language of architecture palimpsest is applied metaphorically in works of architectural manifestations. Similar to the act of erasing something on a piece of paper, where a hint of the old text remains, the idea of palimpsest can be used in transformation of buildings. Working with an existing building means working with its constraints in addition to those arising from the new design and requirements, and the past will never be entirely erased. These constraints can act as a stimulus to the imagination, enabling architectural solutions to be developed in a way that could never have been invented from scratch. In the Built Palimpsets workshop examining existing buildings with roof-top additions, the notion of palimpsest was used to describe the paradoxical space of exchange and transition between the old and the new in a field of tension, of dialogue, and of negotiation. BUILT PALIMPSEST - ROOFTOP ADDITION

The assignment Each pair of student was assigned one existing building with varying typologies, sizes, and from different cultures which had to be analysed paying attention to the base and the top, the old and the new in: a section model, a section drawing, and a section diagram. Methods In the workshop the students worked with two design intervention strategies: The weaving - one that blends old and new and the void - one that makes a void between old and new. Whether the students worked with the weaving strategy or the void strategy one or the other should be clear in the fabrication of the section model and the section drawing. Model Scale: 1:100/1:50 Solid birch wood and plywood Dimensions: 50x50x10cm Drawing Scale: 1:100/1:50 White section lines, grey tones Mix of digital lines and analogue Diagram Size: 10x10mm

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L T P A L I M P S BE U S BTI U LS TBI L-UBPTIR U ALPO ILTLAO I TM PLFA IPTMLA SOPIELPM SSI M EP TASD PTESDS-SEITR TS-STIOO RSO-O NF-RO STO RFOO TPO FOA TPFO D TAP O DDPIAD TD A II O TDINID OTSIN ITOSI N O SN S

MEURON

HERZOG & DE MEURON

RUM

UEZ ARCHITECTS

PETER ZUMTHOR

KOLUMBA MUSEUM

NY (2014)

E ARTE ROMANO (1986)

COLOGNE, GERMANY ( YEAR)

BRUNO FIORETTI MA BRQ UN UO E Z F AI OR RC EHTI T EI CMTASR QBURVEUIZCNEA ONRFZCIO HOIRLTEAEB TCTR ITNIUSOM NO A RFQI O U RE EZ TAT RI CMHAI R T EQCUTESZ A R C H I T E C T SP E T E R Z U M T H O R

P E T E RB EZRUNMATRHDOTRS C H U MPI EAT RE C R HZI U T EMCTTHSPOERT E R Z U M T H O R

V I C E N Z O L AT I N O

DESSAU, GERMANY D ( 2E0S1S4A)U , G E R M SY A RNAY C(U2 S0 ED 1 ,4E I)STSAALUY , (G2 E0 R1 M 2D)AE N S SY A(U2 ,0 G 1 4E )R M A N Y ( 2 0 1 4 ) C O L O G N E , G E R M A N Y C O( LY O EA G RN)E , G ET ROM U AR N CO Y I (NYCGEO,ALFROR) G A N EC,E G( E1 R C9 M O 9 7LA)ONGY N( EY,E G A ER R) M A N Y ( Y E A R )

CORE ARCHITECTS

ØLLER

R A FA E L M O N E O

R A F A E L M O NG EO R U P O A R RAANFEAAE L M O N EROA F A E L M O N E O

M E R I D A , S P A I N ( 1 9 8M6E) R I D A , S P ACI ENH(E1G9 Í8N6, ) SMPEARI N I D (A2, 0S1P1A) I M N E( R1 I9D8A6 ,) S P A I N ( 1 9 8 6 )

V I C E NCZLOA VL A I ETNI N R O S S I E R VAI RC CE H N IZTOE CL TAETSI VNIO C E N Z O L AT I N O

H E R Z O G & D E M E U RHOENR Z O G & D E M E U R O N H E R Z O G & D E HME ERUZ ROOG N& D E M E U R O N

T E T R A C A R C H I T E C T TE ES T R A C A R C H I T E C T E S T E T R A C A R C H TI TEETCR TAECS A R C H I T E C T E S

T A T E M O D ETRANT E M O D E R N T A T E M OT A D TE ER NML O A DFEARBNR I Q UL A E CF A U BL TR U I QR UA ELL A CC U EFN LATTBUERLRI AA Q LUF A EC BECRNUITQ LETURUER CA U L LCT EUNRTAELR C E N T E R

B E R N A R D T S C H U M I BAERRCNHAI TR EDCTTSSC H U M I A R CB H ER I TNEACRTDS T S C B H EURMNI AARRDC THSI C T EHCUTMS I A R C H I T E C LT A S V I E N R O S S I E R A RCCLHA IVTI EE CNTREOSS S I E R A R C HCI TL EACV TI EE N S ROSSC I ELRA VA IRECNHRIOT SE SC ITEERS A R C H I T E C T E S

S Y R A C U S E , I T A L Y ( 2S0Y1R2A) C UPSOEN, TI TRAE LSYI N( A2 ,0 1S 2W S)YI TR ZAECRULSAEN, DI T (A S2Y L0YR1A(02C) 0U1S2E), I T A L Y ( 2 0 1 2 )

C O R E A R C H I T E C T S C OLRUENADRGCAHAI RT D E C&T ST R A N C BO E RR G E ARC K IHTIETKECTCOETRRSE A R C H I T E C T S

GRUPO ARANEA

T O U R C O I N G , F R A N CTEO (U1R9C9 O 7 )I N G , F R A N C E ( 1T O 9 9U7R) C O I N G , FTROAUNRCCEO I( N 1 9G9, 7F)R A N C E ( 1 9P9O7N) T R E S I N A , S W I T ZPEORNL TARNEDS I (N2A0 ,1 0S )W I T Z E R P LA ON ND T R(E2S0I1N0A) , PSOWNI T Z RER S ILNAAN, DS W ( 2I0T1Z0E)R L A N D ( 2 0 1 0 )

B A S TG R U P O A R A N EGAR U P O A R A N E A L U N D G A A R D & T R A NL U B ENRDGG A A RK R IDT E&K TT RE A R N B E LRUGNADRGKAI A T ER KDT & ELRUT N RD AN GB A EARRGD A&R TKRI TAENKBTEERRG A R K I T E K T E R

COPENHAGEN, DENM CO A PR EK N( H 2A 0 1G2E)N , DFEANRMUAMRC, KOD(PE2EN0NM 1H2AA)RGKE (N2C , 0O D1 PE0 EN ) NMHAARGK E (N2,0 D 1 2E )N M A R K ( 2 0 1 2 )

MIKKELSEN ARKITEKTER

A L I S O N & P E T E R S MAI TL H I SSOONN &MPAENT SE IRL LSAM I+T H TAU SLO ÑI SN OONNA&R QP U E TI TAEELRCI SSTO M ONSI T & H SPOE N TER SMITHSON

DAMESALEN

NGDOM (1962)

ANO

OTH ARCHITEC TEN

UM EXTENSION

KRAANSPOOR

AMSTERDAM, THE NETHERLANDS (2007)

CHITECTS

CARTWRIGHT PICHARD ARCHITECTS

OL OF ART

BAST

SHEFFIELD, UNITED KINGDOM (2009)

S V E N D B O R G A R C H I TSEVCE TNSD B O J OR H G AANRSCEHNI TSEKCOSTVV SSETNEDDB A O RR KGI TASERV KCETHN E IRDT B EC O TR SG A R C H I T E C T S

V E C T O R A R C H I T E C T VS E C T O R A R C H I T E C T S

T O U L O U S E , F R A N C ET (O2U0 L1O3 U ) S E , F R A N C E ( 2 0T 1O3U) L O U S E , F RTAONUCL EO U ( 2S0E1, 3F)R A N C E ( 2 0 1 3 )

A A R H U S , D E N M A R K A A R H U S , DFEUNZMHAORUK, C HAI N AA R H( U 2 0S 1, 7D)E N A MAARRHK U S , D E N M A R K

F A R U M , D E N M A R K ( F2A0 R1 U 0 )M , D E N M S KAJREKR N( 2, 0D1FE0A N) RMUAMR ,K D( E2 N 0 1M5FAA ) RRKU (M2,0 D 1 0E )N M A R K ( 2 0 1 0 )

V E C T O R A R C HVI TE ECCT TOSR A R C H I T E C T S J O H A N S E N S K O V S T EJ D O HAAR NK SI TEENK TS EK RO V S T E D AJ O R KHIAT N E KS ET N E RS K JOOVHS AT N ED S EANR SK KI TOEVKSTTEERD A R K I T E K T E R

F U Z H O U , C H I N A ( 2 0F1U7Z) H O U , C H I N A ( 2 0 1 7 )F U Z H O U , C H I NF A U Z( H 2 0O1U7, ) C H I N A ( 2 0 1 7 )

M I K K E L S E N A R K I T E KMTIEKRK E L S E N A R K I T E KAT LE ERMAI O KK LEA L S E N A RMKI IKTKEEKLTSEERN A R K I T E K T E M R A N S I L L A + T U Ñ O NMAARNQS U I LI LT A E C+T O TU S Ñ O N A RMQAUNI TSO EI LCMLTA AO S+ TM U AÑNOSNI LALRAQ+U ITTUEÑC O TO N SA R Q U I T E C T O S

ALEAOLEA

S K J E R N , D E N M A R K (S2K0J1E5R)N , D E N M A R K ( 2 0 1S 5K )J E R N , D E N MS A K RJ EKR (N2,0 D 1 5E )N M A R K ( 2 0 1 5 )

OMA

W H I LT S H I R E , U N I T E W D HKIILNTGS D HO I RME , ( U 1 9N6I T2 E) DC A KW ICNEHGRI D LE TSOS, M HS IP(RA 1E9I ,N6U W 2(N )2HI0ITL1ET0DS) HKI IRNEG, DUONM I T E( 1D9 K 62 I N) G D O MC (O1P9E6N2 H ) AGEN, DENM CO A PR EK N( H 2A OV G 1 I7EL)NA, NDOEVNAMDAERCKLOA(P2EBONA1H R7A C) G A ,E N SP C , AO DIPENENN (M2HA 0A1 RG6K E) (N2,OD1 E7 N ) M A R K ( 2 O 1 7 ) C A C E R E S , S P A I N ( 2 0C1A0C) E R E S , S P A IMNI L( 2A 0N1, 0I )C T AA LCYE R( 2E 0S 1, 5S )P ACI N A C( E2 R0 E1 S0 ,) S P A I N ( 2 0 V 1 0I L) A N O V A D E L A B AVRI C LA AN , O S PVAAI N D E( 2L0A1 6B )A R C V A I, LSAPNAOI NV A( 2D0E1V6LI)AL ABNAOR VCAA ,DSEP LA AI NB (A2R0C1A6 ,) S P A I N ( 2 0 1 6M) I L A N , I T A L Y ( 2 0 1 5M ) I L A N , I TA LY ( 2 0 1 5 )

OMA

NIETO SOBEJANO

N I E T O S O B EN J AE N R IO & H U N D IEESTI O G NS O B E J ANNI EOT O S O B E J A N O

O T H A R C H I T E C T E N O T H A R C H IATTEECLTI E N RS JEA ON T HN A O RUCVHE ILT E COTT EHN A R C H I T E C T E N

N E R I & H U D E S I G N N E R I &S H AV UI O D ZE SFI AGBNR I Z Z IN A E RR IC & H IH T EUC DT E N S IEGRNI & H U D E S I G N

M I L A N , I TA LY M ( 2I L0 A 1 5N), I T A L Y ( 2 0 1 5 )

A T E L I E R S J E A N N O UAVTEELL I E R S J E A N N O U V E LA T E L I E R S J E A N A TNE O L IUE VR ES L J E A N N O U V E L S A V I O Z F A B R I Z Z I A RS C AH VIO T EZC FTAE BS R I Z Z I A R C HSI A TV EC I OT ZE SF A B R I SZ AZ VI IAORZC FHAI TB ER CI ZTZE IS A R C H I T E C T E S

M O R I T Z B U RMGO M R IUT SZ EBUUM R GEMXM OTUREHSINETESZU W IM BO M AUON TREREG XIRTTHM ZEO BN UUS SRIEO EG UNMM U E XS ET U EN MS IEOX N TK ERNA SAINOSNP O O K RR ALAYNOSNP O O P ERKRRAA A HN O SUKPSROEAOARN S P O O RT H E W A T E R TO HHD OEU W ISTEA H T EORUHSO TE H UTESREW AN A ST FEHO REH RW O MAU ATSTEEI ROHNO UL YS O E N O P E RLAY O HN O UOSPEE R A LHY O U N SOE PL YE O RA N H OO PRU EO RS A D E UHI O T UHSOERUOSDE UTI RT AHNOS U F RO SO ER D M TU RAA ITTN I ROH SONFODOUURSIM ET ATHTROIAOUNN SSEF TORRAMNASTFI O RNM A T I O N

MIXED -USE DEVELOPMENT

NGDOM (2014)

R I B E , D E N M A R K ( 2 0 R1 I5B) E , D E N M A R K ( 2 0 1 5 ) R I B E , D E N M A RRKI B( E2,0 D 1 5E )N M A R K ( 2 0 1 5 )

U P P E R L A WUNP P A ER V IL A I OWNNHUO PPATPVEEILRL A I LO U TAN RPWIPON E RP A LA VW I LN I OPNA V I L I ODNA M SA E SNAT LAE M N DAR MI EAS A D LE EVNI LDAANMOEVSAADLDAEEM N LE AS ABLAERNC A H O T E L A T R H I OO TFEOL NADTAR ZI O IH OO N TE EPL RAA HTD SORATI N O E LT AA TMRAI O RSIAANDT A E VMI A LA RN I ASOAD VNA ET V A DIELM SALAN AN ROITBAA VAAD RMC EDAAEVR ILLAAADNBEO AR VA C I LAA DN E OL VAFAOBD N A ED RC AL A Z AI O BA N F RO E CNPAD RAZ D IAO N EF O P RNADDAAZFIOONNDE APZRI A OD N AE P R A D A

COPENHAGEN, DENMARK (2O17)

Y (2008)

VEC TOR ARCHITEC TS

C E H E G Í N , S P A I N ( 2 0C1E1H) E G Í N , STPOAUI NL O( U 2 0S 1E 1, )C FR EH AN E GC ÍEN (, 2S0P1A3CI)N E H( E2 G 0 1Í N1 ,) S P A I N ( 2 0 1 1 )

N . Z A H L E S NG. YZMANHALSEISE SSGKTN YO UM . LDZNEIAO AHSPLI NEO E.SSKZEG O A HYLH UM ELSN EE SA T SGI YE M S KNOALSEI E SSKAOL L EI N G P -SHAUL SL I CNAGP PT A - HI N SUA’SSL LHI O NU GS SAPEL- LHIUNSG P - H U S TS U D I O P OSSTE UHDU ISOE TP O PU S EM SHTPUE SD S ETI O TA TSPITOUN SDEI H O UPSOE ST E H U SC EATP T A I N ’ S CHAOPUT SAEI N ’ S H C O AUPS TEA I NC ’AS PHT A O IUNS’ ES H O U S EP U M P E S T A TPIUOM NP E S TAT I O PN U M P E SPTUA M T IPOENS T A T I O N

AARHUS, DENMARK

MITHSON

S E O U L , S O U T H K O R SE EA O( U2 L0 ,1 6S )O U T H KROI BR EE ,A DS(E2EN0OM 1U6AL) R, KS O( 2U0T1HS5E)KOOURLE, AS O ( 2U0T1H6 ) K O R E A ( 2 0 1 6 )

R Ø R B Æ K O G M Ø L L E R Ø R B Æ K OSGV EMNØDLBL O E R G RAØR RC BHÆ I TKE COTGS MRØØLRLBEÆ RK OG MØLLER

SALLING P-HUS

PAV I L I O N

EC TOS

H E R Z O G & D E M E U RHOENR Z O G & D ET M E TERUARCO N AH R EC RHZI TOEGC T& E D S E HME ERUZ ROOG N& D E M E U R O N

H A M B U R G , G E R M A NHY A(M 2 0B 1U6R)GL, OGNEDROMNA, NUYN(I2H T 0EA1D M6 BK ) UI NR G GD , O GM EHR A (M2MA0BN 1U 6Y R ) (G2 ,0 G 1 6E )R M A N Y ( 2 0L1O6N) D O N , U N I T E D K LI N OGNDDOOM N,(U 2 0N0I T0 E) D N K IANNGTLDEOO SN,MDF O R ( 2N A0N , 0U C0 EN ) I(LT2O E0D N 1D 1K)O I NNG, DUONM I T E( 2D0 K 00 I N) G D O M L(O2 N 0 0D0O) N , U N I T E D K LI N OGNDDOOM N,(U 2 0N1I T6 E) D K I N GLDOONMD O ( 2N0, 1U6 N ) I LT O ED N DKO I NNG, DUONM I T E( 2D0 K 16 I N) G D O M ( 2 0 1 6N)A N T E S , F R A N C E ( 2N0 A1 N 1 )T E S , F R A N C E ( 2 0 1 1N) A N T E S , F R A NNCAEN (T2E0S1, 1F)R A N C E ( 2 0 1 1 )

G R O P I U S ’ VGI LR LOAP IRUESI ’NVT IA ELG RLP R TAR EOM R EPETI U ISENID G SO T’REN VORIPPLPIA LRUV AESIT’LRELVEDII O LNLN TAE RRPERI N E TT KEE O D RP LU R EMTBEAD M KO U LS U EL U EMM BF A R EM SN UKO SOEYLUUAMM R TBKAO C ELMN UUTMSEBERA U MM UAS RE TUEMM I S I O AN R PTATE VRMIAILSNLISIOOFNO N ARPRM ATVAEITLMILO I ISAN OIRO NÀ TNECMPHA IA SVIRIOLRN LAITO P AN LVE I LF LRIEOSNN O LY EAFRRTE C SN EN O TYELA RER TF RCEESNLNETOEFYRR AE R SN T OCYE NTATRREATRNCSEFNOTREM TR RAAT N I OSNF OÀR C MHATATRR IAORNN ASTÀ F TOCRRH AMA NARSTR FI O A TRNMÀA TCIHOANR R À ACT H A R R A T

SEOUL, SOUTH KOREA (2016)

MARK (2012)

N (2015)

M A D R I D , S P A I N ( 2 0 0M8A) D R I LDO, NS D P AOINN, (U2 N 00 I T8E) D M AK D I NRGI D D,OSMP A( I2M N0 A0( D 02 )0R 0I D8 ,) S P A I N ( 2 0 0 8 )

V E R T I C A L E X T E N S I O N T O K O R EM AN U SHEOOUNS A E CMI U O SNEAOL NDAE CAI M O R TN UEA S ELROODCM N EAA UASN C SRAEIOTOO LEN UN RA DO ALEC MDIAO EVNNEAOA RRLTTIED CA ER LOAM ERVXTAETEN RETO RNIOCSM A I OLANNE O TX O VT E KRNO TS IRI CO EKAA N VALN ENTREN O HTXIO ITKCU EOAN G SRLESÅEIER AOXD NN TEEHN TNOSUIKO SOENR ET A O NK H OO R EUCASAN ES A H OL U SDEECHAOS UA S LEURDEEH ACBAI SL A I TA LU TCIDA OESNA L U D E K A N N I K E G ÅKRADNENNI K E G Å RKDAENNN I K KE G AN ÅR ND I KEENG Å RHDOEUNS E R E HHAOBUI LSIET ARTEI HOANH BO I LUI TSAET R H I OEON HUASBE I LRIETHA A T IBOI LNI T A T I O N

NASIESKOLE

NT OVER MINES

H E R Z O G & D E M E U RHOENR Z O G & D EH EMREZUORGO N & HDE ER ZMOEGU R&ODNE HME ERUZ ROOG N& D E M E U R O N

C A I X A F O R UCMA I X A FTOA RT U EM M CO AD I XEARFNO CR AU I XMA F O R U M E L B P H I L A R EMLOB N P IHEI L ATRAM T EO E LN MBIO PE D H EI LR EALNRB M PH O INL IAER M O N I ET A T E M O D L AETRA FNA T EB RMI Q O UDEE RCN TUALTTEU M R AOTLA D TC E ER E NMTOE D RERN

HAMBURG, GERMANY (2016)

EINTERPRETED

NEO

H E R Z O G & D E M E U RHOENR Z O G & D EH EMREZUORGO N & HDE ER ZMOEGU R&ODNE HME ERUZ ROOG N& D E M E U R O N

ELBPHILARMONIE

(2008)

H A L L E , G E R M A N Y ( 2H0A0L8L) E , G E R MS A HN A YN G( 2H0A0I 8H , )A CH L LI N E ,A G( E2R0 M 1 0AH)NA YL L( E2 ,0 G 0 8E )R M A N Y ( 2 A 0 0M8S)T E R D A M , T H E NAE M TH S TE ER RL A DN AD M S, T( 2H 0E 0 N7 E) TLHAYEM ORN SLT,AEFNRRDDASANM (C2E,0AT0( M H 17 9E)S 9TN3EE)RTDHAEM R ,L A TH N ED SN E( 2T 0H0E7R)L A N D S ( 2S0H0A7 N ) G H A I , C H I N A (S2H0A1 N 0 )G H C AH I , ACMHOI N SO A N( 2 , 0S 1W S0HI )TAZNEGRHL A IN, DC H (S2IHN 0A0AN5 (G ) 2H0A1 I0, ) C H I N A ( 2 0 1 0 )

S T E V E N H O L L A R C HSI T E CV TE SN H O L L A R CMHAI RT KE U SC TSTESSVCE H NEH RO E RL L SATRE CV H EN I T EHCOTLSL A R C H I T E CC TASR T W R I G H T P I C H ACRADR TA W R CR H I GI THETC PT ISC M HAR ND UCEAA LRRH CTEHWRI TRZEI G A CH RT C ST HCPIAITCREHTCA W TRSRDI GAHRTC P H II CT H E CA TR SD A R C H I T E C T S M A R K U S S C H E R E R

MARKUS SCHERER 51NM 4 EA R K U S S C H EMR A ER KUS SCHERER

L Y O N , F R A N C E ( 1 9 9 L3Y) O N , F R A N C E ( 1 9 9 3 ) L Y O N , F R A N C EL Y( O 1 9N9, 3F)R A N C E ( 1 9 9 3 ) C H A M O S O N , S W I T Z ECRHLAAMNODS (O2N0 ,0 5S )W I T Z E R L C AH NA D M( O 2 0S 0O5N) , SCWHIAT M Z EORSLOANN, DS W ( 2I0T0Z5E)R L A N D ( 2 0 0 5 )

M A N U E L H E R Z A R C HMI A T ENCUTESL H E R Z A R C H I T EMCATNS U E L H E R ZMAARNCUHEILT EHCETRSZ A R C H I T E C T S

51N4E

G L A S G O W SGCL H AO SG OO LW FOOFSRCA TGH RLO ETASOSSLGO O OGFW FLFASOSRCRGTHTOO EW Z OZLSACOHF OAM ORLITX O ED F -AURSTEMDI X EV ED E L- U O SP EM ELDM ENEG ITVXAEELDO/-PU M IM LSI LEXEN ED GD TEA-VU L ESLEO D PM E VEEFNLOTORPTM R E SNST O FO F RFTORCRE-TSEM SZIO Z N FAEF O FCO RUTRLRT EEUFSZRO SZARAO LTFC R EF SN OSTR RTOEFZ FZ O A R T EL ZE ZGAA L / I L LL EE G G AA LL / I L L E LGEAGLA L /L IELGLAE LG A/ LI LCL-E M GA I NL E C UCL-T M U RI NA EL CC U EN L TCTU -R REMAI LN ECCEC- NUMTLIRTNEUER CA U L LCT EUNRTARLE C E N T R E G L A S G O W, U N I T E D G K ILNAGS D GO M W,(U 2 0N1I T4 E) D BKOI NLGG Z LA DAN OSO M G, O(I 2TWA 0, 1LUY4 N ) (GI2TL0EA0DS9G)KOI N WG, DUONM I T E( 2D0 K 14 I N) G D O SMH (E2F0F1I E4 L) D , U N I T E D S KHIENFGFDI EOLM D,(U 2 0N0I T9 E)CDO LKO I NSGG HND EEFO , FM GI E (LR2D M0, A 0U9NN S)YH I T(E2EF0DF0I K4 E IL) NDG, DUONM I T E( 2D0 K 09 I N) G D O M ( 2 0 0B9O) L Z A N O , I T A L Y ( 2 0B 0O9L)Z A N O , I T AGLEYN (K2, 0B0E9LB) GOI LUZMA N ( 2O0, 1I0T)ABLO Y L(Z2A0 N 0 9O), I T A L Y ( 2 0 0 9 )

JOSE IGNACIO LINAZASORO

Z O N - E A R Q U I T E C T OZSO N - E A R Q U I T E C T O S B SZ AO N - E A R Q U I TZEOCNT-OE SA R Q U I T E C T O S

J O S E I G N A C I O L I N AJZOASSEO IRGON A C I O L I NI A R IZSAASJRORRSI O E+ I P G INÑAECRIAOJ OL ISNE AI ZGANSAOCRI O L I N A Z A S O R O

BSA

B AS M A A N N - C Á N O V A S - M A BR SUAR I

BSA

COLOGNE, GERMANY C O( 2L O 0 0G4N) E , G E R M A N Y ( 2C0O0L4O) G N E , G E R CM O LAONGY N( E2 ,0 G 0 4E )R M A N Y ( 2 0 0 4 )

G E N K , B E L G I U M ( 2 0G1 E0 N ) K , B E L G I U M ( 2 0 1 0 ) G E N K , B E L G I UGME N ( 2K0, 1B0E) L G I U M ( 2 0 1 0 )

IRISARRI + PIÑERA IRISARRI + PIÑERA

IRISARRI + PIÑ I REIRS AA R R I + P I Ñ E R A

A M A N N - C Á N O V A S - MAAMRAUNRNI - C Á N O V A S - M A RAUM R IA N N - C Á N OAVM A SA -NMNA- RC U Á RNIO V A S - M A R U R I

V I G O , S PA I N ( 2 0 1 4 )V I G O , S PA I N ( 2 0 1 4 )

V I G O , S P A I N ( V2 I0G1O4 ,) S P A I N ( 2 0 1 4 )

C A R T A G E N A , S P A I N C( A 2 0R 0T 8A )G E N A , S P A I N ( 2 0C0A8 R) T A G E N A , SCPAARI TNA (G2E0N0A8 ,) S P A I N ( 2 0 0 8 )

C E N T R O C U LT U R A L E S C U E L A S P I A S W DA E LLKAW V A YP -I VEWISA EW L KPW COUAI N BY I-TEV RO I EW TVW AA E PR LMO KM OW IN N I AN W TAYEAS-OSVLTVK IEER WW RIAOPM YCO-D EI VN IN ENIETETSSR W AOPNVOCEJIUU RN CLATEM TN NU O I TNRVREAEO SLR CEM SU SEICLNDTU CEEUES R N LDATE SLRLOEPOCSISCEACU NSRULTEED TRGLU EOIARSLSCTAAU RLPVO LIAEATSPSSUICDR ED UESAEELLLLAA EASCP VCUA RPUBO PI EA IIPEELSIRA SETDSDAEAPM D LC I AAU OSVBNAIDAEPESR A I TETR LSEAA QRVU M I AOEOPCD A N IUEREABSQ SISETUAREENTRCOAIU JLOUB Ó MA ID G O ENEIRNCTSAOAAS D N TMEEO JSRU EN EI O LAD ANEM SDTO EDELER SI A IN LOO NES STD EJED EUR EA ESG N A DIN ES TLJ RU OOA SSNREDEDEGE ILSDATESRPELORD OSOESPDDRIEEE D G LLAIOSDSPT RROE PSG PIA ID ESRD ETQA RLUD OAES PADRREO PQAPLURIAEQD O PUA R LEÓ O DA G P RI ECQD O PUAEDD ROEQL EU ÓLEGPM IACR OOQ LD IUNEEOETALLERÓQ M GUO IC ELOI NLDÓ E ETGEIECLOMDOEL IENL E M T EO L I N E T E M A D R I D , S PA I N ( 2 0 0 4 )

S CASAS

IRISARRI + PIÑERA

NO -LUSO

HOUSE IN TEBRA

(1998)

O C A S A L , S PA I N ( 2 0 1 1 )

028

----

RIOSECO,

S PA I N ( 2 R 0 I1O5 S) E C O ,

S P AB IUNR G ( 2O0S1, 5RS) IPOASI N E C(O2 ,0 1S5P) ARIINO S( 2E 0C 1O5, ) S P A I N ( 2 0 1 5 )

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O C A S A L , S P A I N ( 2 0O1 1C) A S A L , S SP A N I NT P( 2E 0 D 1O1R)O , SCPAASI A N L(, 2 S0P1A1O I)N C(A2 S0 A1 L1 ,) S P A I N ( 2 0 1 1 )

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DAV I S C LO S E S

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ARKITEKTSKOLEN AARHUS BACHELOR A 2 /R3K IUTA N E RKI TKTSISTKAEA O+KRLB TK ESA N IKTROEAKLKAIETTRN SEHKKA UO TA SSL RKEBH O NAU LCAESHANEBRLAHOC AURH RS H E2BLU /A O 3SCRUBH2N AE/ICL3TO HSUERAN L2O +I /TBR3S 2UA/N +3 IBTUSN A I T+SB A + B

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ALBERTE KLYSNER STEFFENSEN

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TO THE LEFT: DIAGRAM OF ALL PALIMPSESTS TO THE RIGHT: WORKSHOP EXHIBITION

BUILT PALIMPSEST - ROOFTOP ADDITION

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TANJA TOFTE THOMSEN & LINE Ã&#x2DC;STERGAARD POULSEN

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ALBERTE KLYSNER STEFFENSEN

MANUEL DE LAS CASAS

C E N T R O H I S PA N O - L U S O Z A M O R A , S PA I N ( 1 9 9 8 )

BUILT PALIMPSEST - ROOFTOP ADDITION

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HERZOG & DE MEURON

ELBPHILHARMONIE ELBPHILHARMONIE HERZOG & DE MEURON HAMBURG, GERMANY (2016)

HAMBURG, GERMANY (2016)

THOMAS MAAGAARD & PATRICK BUNKE SCALE 1/200

G R U P P E 2 : T H O M A S M A A G A A R D & PAT R I C K B U N K E SCALE 1/200

G R U P P E 2 : T H O M A S M A A G A A R D & PAT R I C K B U N K E

BUILT PALIMPSESTS - ROOFTOP ADDITIONS

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ARKITEKTSKOLEN AARHUS BACHELOR 2/3 UNITS A+B

ALBERTE KLYSNER STEFFENSEN

TP1: Andriette Ahrenkiel - Nacho Ruiz - Teaching Team: Aviaja Frost – Trine Koch – Jane Willumsgaard - Katrina Wiberg – Mads Bay Møller

BUILT PALIMPSESTS - ROOFTOP ADDITIONS

ARKITEKTSKOLEN AARHUS BACHELOR 2/3 UNITS A+B TP1: Andriette Ahrenkiel - Nacho Ruiz - Teaching Team: Aviaja Frost – Trine Koch – Jane Willumsgaard - Katrina Wiberg – Mads Bay Møller

MODEL IN THE BACK: THOMAS MAAGAARD & PATRICK BUNKE MODEL IN THE FRONT: FREDERIK BODE THORBENSEN & KÅRE RØMER CLAËSSON

TITEL

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“There are layers of meanings embedded in the existing built fabric that can be interpreted in numerous ways to create innovative designs.”

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ALBERTE KLYSNER STEFFENSEN

What will happen next - Interview with Andriette Ahrenkiel. Rumour has it that it will be possible to revisit all rooftop additions at a second exhibition? According to the plan the models will be exhibited in an existing rooftop addition in Aarhus. So once again, everybody gets the opportunity to scrutinize the many different rooftop models, this time while actually standing in the middle of one. Actually, there are not many rooftops in Aarhus. As architects we can do something about that. This is what our model catalogue of rooftops is all about: Making each other, colleagues in practices and citizens in general aware of the assets of rooftop architecture. Fantastic potential host buildings for rooftops are easy to spot. We certainly hope that the brick warehouses, the siloes, the concrete warehouses at the area of Oliemøllen will be transformed rather than erased. Can rooftop additions be a strategy for urban development? Exactly, the potentials of an architecture of rooftop additions relate to a strategy of densification of the whole urban area. The need in general for upgrading of real estate gives the opportunity to implement strategies to reduce land consumption through rooftop additions. Here, we are at odds with a conservative approach to the built heritage, where the dismantling of roofs implies a loss of material culture. But if we don’t want to cut off the roofs of existing building stock, the implication is that the construction of the same volumes BUILT PALIMPSEST - ROOFTOP ADDITION

in new areas will cause irreversible consumption of land. Just think of Aarhus Ø; probably, we will never get that piece of landscape back. The rooftop catalogue contains host buildings worth preserving - like Peter Zumthors Kolumba Museum in Cologne. But the study also included host buildings that are without heritage qualities. It’s important that transformation of architecture also work with ’the mediocre’. You don’t necessarily have to focus on the great monuments or the icons. Working strategically with an architecture of additions means recognizing the ordinary environment - injecting meaning into this environment – little by little and by small doses. As architects working with transformation we deal with the concept of adaptive re-use in contrast to preservation architects who has an urge to fix things, making them steady. All models focus on the architectural transition zone between the existing and the new, the past and the present. The students worked with identifying 2 strategies of making this space. The strategy of the weaving and the void? Why are these strategies important? The rooftop addition should give rise to a synergy connected to the existing building: the addition must never take the form of a parasite, making use of and harming the pre-existing building. Instead it should achieve a symbiotic relationship in which both the host and

the new part benefit from a reciprocal interaction, both from a functional and a technical point of view, as well as from an aesthetic and cultural one. Walter Benjamin has once said that the transition zone between the past and the present is a moment of ”a no longer” and ”a not yet”. It is a kind of resonance space that could easily ’sound bad’ if you are not able to work with it in an intelligent way. The theme of the rooftop continues at the 2 units A and B throughout the semester? Yes, the catalogue is the point of departure and the result as well. It is an interesting and challenging work to find out that the rooftop is not only ’a new top’ but a structure that has implications throughout the whole building, both regarding its organisation and its spatial qualities. How do you re-direct the daylight from the rooftop down through the building? The load bearing capacity of the existing building is also crucial; maybe the new top needs its own construction? How do you work with the alignments between new and existing elements at the facade? Etc. Everyone is welcome at our crits at June the 5th and the 6th.

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SEKTION II

FELTARBEJDE UTOPIA TEKST AF MARIE STENDER, ANTROPOLOG

Renderingens sværmeriske drømmebilleder er ikke bare uskyldige reklamer for arkitektur, rum og landskaber. De bærer i sig selv tidstypiske idealer og uudtalte dagsordener.

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MARIE STENDER

GENGIVELSE AF ARTIKLEN ‘FELTARBEJDE I RENDERINGENS UTOPIA’, ARKITKTEN.DK, 25 APRIL 2017. Renderingernes sværmeriske drømmebilleder er ikke bare uskyldige reklamer for det egentlige: arkitektur, rum og landskaber. Forskningen peger på, at de i sig selv bærer på tidstypiske idealer og uudtalte dagsordner, former folks forventninger til stederne og i praksis bliver et politisk værktøj til at tilegne steder til nogen frem for andre1. Uanset om renderingen skildrer en omdannelse af et udsat boligområde som Urbanplanen eller udviklingen af en forstad på fraflytningsplagede Falster, synes det nemlig at være ét og samme urbane Utopia, der fremmanes propfyldt med hvide middelklassefamilier, der kører ladcykler, går på galleri og dyrker deres fælles byhaver. Indimellem afløses det evige solskin af en frostklar vinterdag, et fuldmånebeskinnet aftenscenarie eller måske endda en billedskøn regnbyge. Det får dog ikke Utopias indbyggere til at tage overtøj på endsige blive inden døre, og selvom der kan dukke en tørklædeklædt kvinde op, hvis konkurrenceprogrammet eksplicit har udpeget mangfoldighed som værdi, er det overvejende solskin og letpåklædte, hvide mennesker, som præger renderingerne. Vision vs sted Der kan komme særdeles interessante indsigter ud af at sammenholde renderinger med undersøgelser af det færdigbyggede og ibrugtagne sted. Ikke for at pege fingre ad manglen på byliv, butikker og kirsebærtræer, forkerte facadematerialer, udebleven infrastruktur eller andet, der ikke blev som skitseret. Arkitekterne er kun én blandt mange aktører i virkeliggørelsen af det planlagte sted, men må ikke desto mindre have interesse i at tage ved lære af, hvilket slags levet sted, der rent faktisk kan vokse ud af deres visioner. Det kan undre, at byggebranchen ikke for længst har udviklet en evalueringspraksis, hvor viden og erfaringer fra det ene projekt mere systematisk overføres til det næste. Pointen her er dog ikke bare, at renderingerne tegner et urealistisk billede. FELTARBEJDE I RENDERINGENS UTOPIA

Arkitekt-etnocentrisme Renderinger er og skal være utopiske drømmebilleder, der viser en retning snarere end en nidkært realistisk fremtid. Og selvfølgelig skal vi have lov at drømme om, at en ørkesløs dansk provinsforstad kan springe ud som et mini-Manhattan midt i en våd og vildt blomstrende biotop. Arkitekter har vel alle dage været mestre i at sætte form, rum og billeder på også de drømme, vi end ikke kan sætte ord på. Men kan det virkelig passe, at vi drømmer så forholdsvis ens, uanset hvor vi bor, og hvem vi er? Har billedmagerne besøgt – eller blot googlet – de steder, hvis fremtid de fremmaner? Eller er der simpelthen tale om en form for urban arkitekt-etnocentrisme, hvor man dårligt kan forestille sig et liv uden cafeer, gallerier, kajakker og byhaver? Mig bekendt er netop tegnestuerne ofte ret multikulturelle arbejdspladser, der tiltrækker unge arkitekter fra mange lande og baggrunde. Så mon ikke nærmere renderingernes ensartede kreativ klasse-Utopia er et mere eller mindre bevidst forsøg på at tækkes en imaginær bygherre eller konkurrencedommers omverdensopfattelse eller urealistiske drøm om et land befolket af lutter lykkelige børnefamilier på ladcykler? Social udsanering starter på renderingerne Som en deltager i Lejerbos nyligt afholdte løsningslaboratorium om social bæredygtighed påpegede, kan det som beboer i et alment boligområde ofte være ret vanskeligt at genkende sig selv og sit boligområde i arkitekternes glittede visualiseringer. Det giver næring til berettigede bekymringer, når man på renderingerne kan se, at det ikke bare er bygningernes facade, udformning og funktion, men også beboernes hudfarve, udseende og opførsel, der er som forvandlet i ens boligområde. Sociale udsaneringer, hvor de svageste grupper fortrænges fra boligområder, finder selvfølgelig reelt set allerede sted hjulpet på vej af lejlighedssammenlægninger, huslejeforhøjelser, nye ventelistesystemer og lignende.

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Renderinger tages bogstaveligt Alligevel er det nok sjældent hverken realistisk eller hensigtsmæssigt at tegne et billede af en så radikalt forandret beboersammensætning. Bevares, renderingerne er skabt som velmenende stemningsbilleder, der skal tages med et gran salt, for overdrivelse fremmer som bekendt forståelsen. Alligevel tages de i praksis typisk langt mere bogstaveligt end som så, fordi de er lettere at aflæse for lægmand end de mere eksakte tegninger og planer. Det gælder ikke bare i de udsatte boligområder, men i allerhøjeste grad også i nye byområder. Man køber et billede Især i forbindelse med projektsalg spiller renderinger en vigtig rolle. Den kommende beboer vælger sin bolig på baggrund af renderinger, plantegninger og eventuelt en prøvebolig indrettet i en container, hvor det ofte er vanskeligt at danne sig et nøjagtigt indtryk af det endelige sted. Snarere end et konkret fysisk rum køber man i første omgang et billede af en bolig, et sted og en stemning, og i beboerens efterfølgende beskrivelser høres ofte tydelige ekkoer af salgsmaterialets sprog og billeder2. Men også indimellem slemme skuffelser over, at det sprudlende byliv, man var blevet stillet i udsigt på Amerika Plads, udeblev, at man alligevel slet ikke kunne slikke sol på 8-Tallets grønne tage, eller at det vist aldrig for alvor har været hensigten at etablere et kæmpemæssigt friluftsbad med udspring direkte fra de gamle bygninger i Carlsberg Byen. At reklamer per definition opreklamerer, er selvfølgelig en banal erkendelse. Men arkitektur og byggede omgivelser er trods alt et andet og mere varigt samfundsmæssigt anliggende end de varer, vi hver især blot kan smide væk og erstatte, når vi indser, at reklamens lovprisninger ikke holdt stik.

og sumplandskaber befolket af kajakker og vilde dyr, afspejler det vel ikke bare skiftende modeluner og nye tilbud i billedbanken. Det vidner snarere om, at dagsordenen gennemgående er ændret fra spørgsmål om byliv, bevægelse og sociale mødesteder til et altoverskyggende fokus på klimatilpasning og antropocæn arkitektur, der gør sig sit samspil med naturens elementer bevidst. Og når renderingernes Utopia overvejende er befolket af smukke, slanke, hvide, aktive mennesker og masser af børn, har det selvfølgelig at gøre med, at ressourcestærke familier med voksende børn og skattegrundlag er en yderst yndet målgruppe. Når de portrætteres stråhat-klædte, sejlende og legende som ved vor barndoms å, blot ved kanalkanten med byens eller forstadens huse i baggrunden, afspejler det også de stærke interesser i at overbevise børnefamilier om, at man godt kan udleve et idyllisk landligt fritidsliv i by eller forstad. Og når udsigten til samme bys tårne, spir, lys og liv i renderingerne skildres meget mere detaljeret end boligernes konkrete rum, vidner det om et tilsvarende nyt blik på byen som en ejendomsmæglermæssig herlighedsværdi og en fælles dagligstue for de nye byboeres netværksbaserede livsstil. Arkitekten bør blive mere bevidst om sin rolle Et længerevarende feltarbejde i renderingernes Utopia kunne givetvis gøre os endnu klogere på, hvem vi er, hvem vi drømmer om at være, og hvem vi reelt får mulighed for at være, hvis det står til dem, der skaber de steder, vi bor og lever. Placemaking – stedskabelse – er den disciplin, som handler om ikke bare at forme de byggede omgivelser, men samtidig stedets kulturelle identitet og sociale liv3. Her spiller renderinger og anden visuel og sproglig branding en stadigt vigtigere rolle4.

Kæler for målgruppen At renderinger er gjort af samme forførende og forvrængede stof som drømme, gør dem til gengæld til guf for kulturanalytisk samtidskarakteristik. Når de tidligere så talrige skatere og parkour-udøvere i renderingernes Utopia efterhånden må se sig afløst af allestedsnærværende guerilla-gartnere 040

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MARIE STENDER

Derfor kan arkitekten fremover med fordel gøre sig sin rolle og virkemidler som billedmager endnu mere bevidst. Renderingen skal i den optik ikke blot betragtes som et værktøj til at skildre rumligheder og stemninger, eller et middel til at overbevise bygherre og konkurrencedommere. De legende drømmebilleder fra renderingernes Utopia tjener også som værktøjer for magtfulde politiske diskurser og bliver dermed i sig selv en del af målet, en del af det forestillede, såvel som det levede sted. Noter 1. Se f.eks. Albena Yaneva: “Politics of Architectural Imaging. Four ways of assembling a city” I Elements of Architecture, Routledge 2015, og Sophie Houdart: “Copying, cutting and pasting social spheres: Computer designer’ participation in architectural projects”. Science Studies: An Interdisciplinary Journal of Science and Technology. 2008, 21 (1) pp. 47-64. 2. Eksempler herpå er beskrevet i Marie Stender: Om at bo i glashus. En antropologisk analyse af rum, synliggørelse og beboelsespraksisser i københavnske boliger og arbejdspladser med transparent arkitektur, Kandidatspeciale Institut for Antropologi, Københavns Universitet, 2006. 3. Se f.eks. Kathy Madden: “Placemaking in Urban Design” in Banerjee, Tridib & Anastasia Loukaitou-Sideris (ed.): Companion to Urban Design. Oxon & New York: Routledge, 2011 og Hans Kiib (ed.): Performative Urban Design. Aalborg University Press, 2010. 4. Marie Stender: Nye steder med liv og sjæl?: Stedsskabelse i tre danske boligbyggerier, Ph.d.-serien for Det Teknisk-Naturvidenskabelige Fakultet, Aalborg Universitetsforlag, 2014.

FELTARBEJDE I RENDERINGENS UTOPIA

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JOHANNE KIRKETERP NIELSEN

TEKST & FOTOS AF JOHANNE KIRKETERP NIELSEN, UNIT 2/3F

DET ER ÅR TOTUSINDOGACTION, OG HVIS DU SIDDER FAST, OG DIN COMPUTER IKKE VIL SOM DU VIL, SÅ ER DU VELKOMMEN I MIN KLUB, DER TRYKKER VI PRINT OG MANIPULERER COMPUTERENS STREGER SOM MANIPULERER MED DINE IDEER.

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JOHANNE KIRKETERP NIELSEN

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JOHANNE KIRKETERP NIELSEN

To manipulate is to consciously misrepresent the conditions which exist. Manipulations can be superficial, deceiving and even invisible, however they all share a desire to simulate the reality we inhabit. In architecture, manipulation is a tool used in for example architectonic representations. Reality, in all that it encompasses, is often far to complex and complicated to be properly understood, if presented unedited. By simplification, distortion, and deletion, reality can be molded, so as to becomes visually readable. As a means of understanding and reinterpreting existing conditions visually, manipulation then becomes a powerful and almost unavoidable tool. AKSEL BRANDT

Manipulation forstås ofte negativt, dog kan nogle påvirkninger af menneskers adfærd i flere sammenhænge faktisk bruges positivt. I arkitektfaget påvirker vi uundgåeligt brugerne af vores projekter og dette kan ofte udnyttes til samfundsmæssige fordele. Et populært begreb for en positivt ladet manipulation er nodging. Princippet hvor man giver brugerne et kærligt puf i den ønskede retning eller belønner dem, når de gør det rigtige. De klassiske eksempler er klistermærkefodsporene der viser vej eller et ”pling”, når du smider skrald i skraldespanden. Metoden er yderst aktuel og kan muligvis være med til at løse mange af de problemer, vi står overfor i de stadig mere tætbefolkede byer. LINE ØSTERGAARD POULSEN

ANIPULATION ON 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION ON 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION ON 100 WORDS

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION ON 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD M

MIND THE

TEXT BY NAINA GUPTA, M.ARCH

In the Eternal Evidence, René Magritte portrays the idealised nude as an assemblage of body parts rather than a whole. Undeniably, at a distance it is still possible to read the image as a single subject; however, as one gets closer to the work the fragmentary nature of the object dominates the vision. The fragments are constructed by a gap that is composed of two distinct elements –the emptiness between the framed canvases that is suggestive of the missing parts of the painting, and the frame around the canvas which defines and articulates the part. The disposition of the canvases on the wall surface in their deliberate misalignment ensures that they appear as if they do not quite fit with each other. Magritte was known as an artist who ‘rendered thought visible’1. I would like to suggest that in this particular piece of work, the design of the gap is as much a part of the painting as the fragments itself, and allows the provocations fundamental to his work to reveal themselves - the ideal nude as a set of perfectly formed parts that do not necessarily fit perfectly together.

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NAINA GUPTA

Staring for an inordinately long time at a reproduced print of the Eternal Evidence in a book, the gap, as I call it, acquires a life of its own, detached from the very source of its conception, it becomes dominant in the way I begin to read things around me. I try to understand its role, not as a metaphorical or metaphysical concept but rather as a deliberate designed object. This forms the pretext for this paper where I argue that the gap is an act of design with its own intelligent content, deployed in a collage-like technique, as an operative element used to challenge preconceptions, distort existing meaning and foster new relations between parts. The gap is essentially not an absence of content but rather through its absence generates content. This paper is only a start of an exploration and should be read in that manner – as an instrument through which this object, the gap, is being investigated, qualified and thus, rendered visible. In the 1830s, Abel Blouet, an architect with considerable experience in prison design was invited to collaborate with Michael Faraday - the inventor - to design wall sections for the cell divisions in Millbank penitentiary.2 A successful design, for the brief that they were given, would entail that prisoners would not be able to communicate with each other across the dividing walls between MIND THE GAP!

their cells. The project was based on the belief, prevalent in the early nineteenth century, that silence in the prison was an important quality that needed to be designed within the space to ‘fabricate virtue’ in the criminal mind. Criminality was considered an illness that could be cured in a space that fostered self-reflection, which was of course, best practiced in silence. Silence was translated into segregation: an act which would protect the criminal mind from ‘infectious thoughts’ that if left unchecked, would spread rapidly within an already contaminated community. In earlier versions of prisons designed in the same period and founded on similar reasoning, silence manifested itself as solitary confinement, which was proved to foster mental and social side effects; thus, forcing its rapid demise except in extenuating circumstances. Within that context, Blouet and Faraday interpreted their assignment not as a way to insulate the cell from all sound but rather, as a way to ensure that intelligible communication between the cells was scrambled, leading instead to a form of white noise. Some of their more successful experiments relied on a double wall with serrated interior voids and a sail cloth suspended within.

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The most rudimentary experiment - a double wall with an air gap in between – was the least successful, in the sense, that while it dampened the volume of the information across the wall, it did not alter the message that was being transmitted and it could be easily bypassed by increasing the spoken volume. The serrated gap on the other hand, with its formal intelligence through distortion challenges the very idea of proximity, silence and communication. While the prisons in the 19th century used the thickness of the wall in order to distort audible content; however, in the glass pavilion for the glass museum in Toledo designed by SANAA in 2002, the thickness of the wall becomes a device that questions the very attributes of glass and its purported transparency. Summarily the pavilion can be described, as a series of habitable and inhabitable spaces both unambiguously defined and limited by glass walls, which are assembled under a single horizontal plane. Beatriz Colomina describes the design act as:3 Most importantly what they are showing is the cut between them, the inaccessible space of the wall itself: you cannot enter that space: the double line of the wall undoes any sense of solidity. SANAA’s vision is far from Crystal clear, in fact the glass pavilion seems more like a blurring of the view, a softening of the focus, than about the transparency of the early European avant-garde. Reimagining the plan of the pavilion to make visible what she identifies as the ‘inaccessible space of the wall’, the plan can be read in parallel to the painting by Magritte discussed above: the glass walls perform a similar role as the frames in the painting do; whereas, the ‘inaccessible space of the wall’ can be related to the emptiness between each of these frames. The gap - glass plus ‘inaccessible space of the wall’, or material plus form – performs numerous roles in the project: defines individual spaces, revealing the unexpected, multifarious attributes of glass and thus, questioning and challenging its idealisation, and lastly, exposing the gap itself as an operative apparatus within the design.

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Moving away from the thickness of the wall towards the thickness of the ceiling we pause at Double Bind, an installation by Juan Muñoz, in the Turbine Hall in the Tate Modern in 2001 which, pays homage to the artist’s interest with the work of Gregory Bateson as evident in its title.4 The installation is a series of horizontal layers: the spectators walk along the sloping ramp in a tight horizontal volume of space controlled by a low ceiling pierced intermittently by vertical shafts, that allow the other layers of the installation to become knowable. Looking upwards into the shaft one becomes aware of two more layers: the first displays fragments of life animated by architectural elements and human figures, and the other is an inaccessible space just below the ceiling of the turbine hall, which is brightly lit and in effect, creates the conditions for being able to see the in-between space of life. The fragmented view of a life that is viewed but unknowable is compounded by the unusable elevators that traverse across the different layers of the installation. The installation plays with the gap as device that reveals but, through this act, shows what is still concealed, which can be read as a way of making visible the concepts of impenetrability and limits even when they are known. Here I would read the gap not only as the shaft cut-outs which makes some things visible but rather as all the spaces that are in-between - the lighting sandwich as well as the spaces that are in between the shaft cut-outs as the gap through which the installation provokes the imagination and questions knowing itself.

NAINA GUPTA

Lastly, as a foil to the way that the gap has been discussed to far – an inaccessible device that aims to distort, challenge and reveal – I am going to present RPJ,5 an unbuilt Giulia Foscari project in collaboration with Office for Metropolitan Architecture and Metro architects in São Paulo which uses the gap as an un-programmed device, deliberately accessible and in fact suggestive of increasing penetration into the heart of the building. Foscari explains that the Lina Bo Bardi museum in São Paulo, the São Paulo Museum of Art (MASP), was an important reference for this design. In MASP, bo Bardi rips the mid-section of the building out and continues it with the street plane, consequently pushing part of the building under the ground and part as hovering above this constructed public space. This act should be read as different to the act of simply erasing the ground floor of the building, as it ambiguously stages the ownership of the public space between the city and the museum, in effect, forging joint ownership, a truly a public-public partnership. In addition, by programming the below and the above it forces the ‘public space’ to move from an external condition to one that is exterior but intimately connected with the circulation and activity of the museum. MIND THE GAP!

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In the high rise horizontal slab building proposed by Foscari et al, bo Bardi’s act is repeated multiple times across the section of the buildings. Each public terrace with its unique spatial organisation and topography would, inevitably affect the programmed space both below and above and in turn be affected by them. This act forces two different design logics on to the same building – programmatic organisation and spatial organisation, which is apparent in the diagrams. This collage-like technique of introducing a designed gap into a programmed space is not unique to this project and can be traced to other works by OMA, for example, the unbuilt Agadir convention centre, the unbuilt Très Grand Bibliothèque, to mention a few. Conceptually the gap is not a single thing and it is deployed in different ways, as evident in the examples mentioned above: in the prison the gap, or absence of material is in fact is a double wall separated by a serrated air gap and

this in effect reconstructs the notion of silence as something that is not necessarily the absence of noise; whereas, in the pavilion, the ‘wall thickness’ is a constructed inaccessible space between programmed spaces that forces a re-evaluation of the quality of transparency attributed to glass because of optics. The installation is essentially an act of selectively piercing horizontal layers to highlight the visible and the unknowable; on the other hand, the building uses the gap as a programming strategy to juxtapose two different design logics the planned but typically organised visà-vis the unplanned but modulated. I started this paper by defining what I mean by a gap, which I read as designed absence that operationally functions in a collage-like manner: by recalibrating the relationships between itself and the rest of the work; by continuing a dialog with other projects in both the architectural discipline and across to other disciplines. ‘Mind the Gap!’ is a beginning and should be continued…

1: MARCEL PAQUET, MAGRITTE, (TASCHEN GMBH, 2000) 2: ROBIN EVANS, FABRICATION OF VIRTUE: ENGLISH PRISON ARCHITECTURE 1750-1840, (CAMBRIDGE: CAMBRIDGE UNIVERSITY PRESS, 1982). IN THIS BOOK EVANS DISCUSSES THE TRANSFORMATION OF PRISONS AND IS IMPORTANT FOR THE GENERAL UNDERSTANDING OF THE ROLE OF SILENCE WITHIN THE PRISON REFORMATION. EVANS HAS REUSED THE FACTUAL INFORMATION FROM HIS BOOK TO TALK ABOUT THE ARCHITECTURE FOR RESTRICTING INFORMATION IN A SHORTER ESSAY ‘THE RIGHTS OF RETREAT AND THE RITES OF EXCLUSION’ WHICH CAN BE FOUND IN HIS BOOK TRANSLATION FROM DRAWING TO BUILDING AND OTHER ESSAYS, AND IT IS IN HERE THAT ONE WOULD BE ABLE TO ALSO FIND THE DRAWINGS FOR THE WALL SECTION AND MORE DETAILS ABOUT THEM. 3: BEATRIZ COLOMINA, ‘BLURRED VISION: ARCHITECTURES OF SURVEILLANCE FROM MIES TO SANAA’, FILMED JANUARY 2009 AT THE ARCHITECTURAL ASSOCIATION, SCHOOL OF ARCHITECTURE, LONDON, HTTP://WWW.AASCHOOL.AC.UK// VIDEO/LECTURE.PHP?ID=30 4: ‘THE UNILEVER SERIES: JUAN MUÑOZ: DOUBLE BIND’, TATE MODERN, HTTP://WWW.TATE.ORG.UK/WHATS-ON/ TATE-MODERN/EXHIBITION/UNILEVER-SERIES/UNILEVER-SERIES-JUAN-MUNOZ-DOUBLE-BIND, <ACCESSED 9 APRIL 2018>. IN ADDITION, THE WEBSITE BELOW IS AN ARTICLE IN THE SPANISH MEDIA, IN SPANISH: HTTP:// WWW.ABC.ES/CULTURA/ARTE/ABCI-DOUBLE-BIND-TESTAMENTO-ARTISTICO-JUAN-MUNOZ-EXHIBE-PRIMERA-ESPANA-201710200148_NOTICIA.HTML. 5: ‘RPJ’ , UNA, HTTP://WWW.U-N-A.EU/ARCHITECTURE/PROJECT/RPJ, <ACCESSED 9 APRIL 2018>

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NAINA GUPTA

SELMA GULDEN

mennesket mot naturen best før: 20xx Vi bygger i bratte skråninger, ved strandkanten, under havet og i ørkener. Vi sprenger i fjell, graver oss til vann, utvider landegrenser og sammenkobler øyer. Vi trosser det varige og motstandsdyktige for å skape skjønnhet for øyet og tilgjengelighet mellom a og b. Et «best før»-stempel er klistret på byggverkene med «alt ansvar fraskrives» i liten tekst. For vi vet jo egentlig at naturen ikke lar seg avlede. Plutselig vil den reagere, rasere, storme, drukne, brenne og skjelve. Den flytter grenser og forholder seg ikke til siste forbruksdatoer. Når skal mennesket vedkjenne at naturen ikke er en ressurs som lar seg manipulere? ALETTE AVSNES

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

Manipulasjon. En kontrollerende handling på godt og vondt. Det ligger en ferdighet eller dyktighet bak som kan forandre noe om til det man selv ønsker. Man kan være kynisk kalkulerende og få andre til å gjøre noe som kanskje ikke er så godt. Eller så kan man dytte noen i den riktige retning og forandre deres handlinger til noe positiv. Manus betyr hånd og pele er å fylle. Man kan tenke seg at man fyller hendene opp med egen kunnskap og videre bruker dem bevisst for å intervenere og gjøre en forskjell.

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

TEXT, ILLUSTRATIONS & PHOTOS BY DITTE HORSBĂ&#x2DC;L SĂ&#x2DC;RENSEN, UNIT 2/3E

Playing with the idea of omnipresence, the device has been developed from a study trip to Faxe quarry where I used the potential of mirrors to analyse and understand an unknown territory. By walking with a mirror in my hand, positioned in front of one of my eyes, I experienced how mirrors generate space and offer new spatial possibilities, when they close and open. Operating as a portable companion, the device offers a prosthetic expansion of our senses. It invites you to engage in movement and to be a part of a performative relationship. The device has two static and two movable mirrors which create four belts of vision, all with different angles, sensitive to movement, position and perception. By entwining different routes of exploration, the device deconstructs what we know as the architectural plan, and offers a more plastic and fragmented composition and experience of space.

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PLAN 01

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DITTE HORSBØL SØRENSEN

PLAN 02

PLAN 03

DESIGNING THE TEXT & PHOTOS BY MALTHE ANDREASSEN, UNIT 2/3F

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MALTHE ANDREASSEN

Unpleasant design is an aspect of design that focuses on intentionally transient experiences - user experiences meant not to last. Unpleasant design focusses on disturbing particular undesirable groups of people, eg. skaters, drug dealers or the homeless. It does this by intentionally making things unpleasant for the user. This can for example be done by the design of benches, fences or playing loud music in front of a shop preventing people from using public spaces in ways that are undesirable to the shop owner or the general public. So, an unpleasant design is something that works well at deterring certain behaviors and certain users from particularly public spaces. The purpose of unpleasant design is to make it non-negotiable and unchangeable, meaning that for instance a police officer isn’t needed to enforce the intended use of it. The design should in itself enforce the intended use of it, and therefore it also needs to be unchangeable. Unpleasant designs often end up pushing “undesirable people” out of one space and into another. By targeting these undesirable groups it seeks to make a space unpleasant for its members and thereby making the space more pleasant for others. However in reality this way of designing “good” intentions is a part of a bigger picture, since by designing for the “normal man”, you design someone “out” so who does one exclude? Unpleasant design is not a new thing, in fact there have been behavior restricting design since since we started designing public spaces and cities and unpleasant designing has been a part of DESIGNING THE UNPLEASANT

government strategies for a long time. Putting spikes on walls and fences is an early example of a way to limiting the use of an object. In the start of the 20th century street lights began to be a part of the city scape and by the public seen as a way to deter nighttime gatherings that could lead to resistance or rebellion. When the Austrian-Hungarian empire annexed Bosnia in 1908, the government installed bright streetlights in the streets of Visegrad, their goal was to prevent night time gatherings which could lead to rebellion and resistance. The locals, displeased with the light, would break the lamps by night only for the government to reinstall them by morning. This is an example of an issue that has been going on in architectural design ever since the first time architects began to design urban spaces and cities. Today streetlights are generally seen as a pleasant design, but is still has some of the same functions.

watched. Although it is physically impossible for the single watchman to observe all the inmates' cells at once, the fact that the inmates cannot know when they are being watched means that they are incentivized to act as though they are being watched at all times. This scheme effectively compels the inmates to constantly control their own behavior as if someone is watching them. Furthermore this allows governments to retain social control over public spaces, without the everlasting presence of police or agents and even without the need for surveillance. Thereby people will behave in a particular way, the way that the design allows. Like the panopticon the unpleasant design is an apparatus of invisible power, in the panopticon its is the knowledge that you might be watched that is the power factor, but in the public design it is more in the structure and in the design of the objects the panoptical functions lie.

Lighting as a way of unpleasant design is still used today. In some places pink lighting is put up to highlight teenagers blemishes and make them hangout in another area, or blue light is used in public restrooms to make it hard to determine where your veins is, and there by making it a difficult place to do drugs intravenously.

In the analysis of the panopticon Michel Foucault shows that behavior can be regulated by norms, laws, punishments and the design of objects. An example of such design of objects you see almost everyday is the use of opaque walls or windows that make it impossible to look where one ought not look. Another example is graffiti-proof surfaces for the cladding of buildings. Likewise the design parameters that work in the panopticon to maintain social control, the Camden Bench parameters are able to maintain this by only allowing one behavior.

There is something similar going on in the panopticon designed by Jeremy Bentham. The purpose of the design of the panopticon is that a single watchman would be able to observe all the inmates of the prison without the inmates being able to tell whether they are being

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The Camden Bench is a bench situated in the London borough of Camden, thereby the name, which is designed to tackle today’s street seating needs, e.g. being as inclusive as possible whilst resisting criminal and anti-social behavior: It is designed to resist almost everything in a city that it might come into contact with. The Camden Bench has a special coating which makes it impervious to graffiti and vandalism. The squat, featureless surface gives drug dealers nowhere to hide their secret caches. The angled sides repel skateboarders and flyposters, litter and rain. The cambered top throws off rough sleepers. In fact, it is specially crafted to make sure that it is not used as anything except a bench. Thus, it is defined far more by what it is not than what it is. The Camden Bench is an effort to create an anti-object, only allowing the bench to do one thing, seating, and this thing only. The Camden bench clearly shows, how unpleasant design can reduce complexity and possible behaviors in a public space, by only allowing the space to be used in one particular way. The designers of the Camden Bench describes its functions as: -- A safer place to sit: the recesses (front and back) allow the public to store bags behind their legs out of reach of opportunistic thieves; while the lack of slots and crevices deters those wishing to stash drugs. -- A cleaner place to sit: there are no flat surfaces or crevices where litter usually accumulates. The surface is specially treated to repel dirt, water, graffiti and fly-posters. -- A more inclusive place to sit: the gentle undulations provide seating at different heights offering the perfect perch for every passer-by. Observations have shown that the Camden bench encourages more seat sharing than other, more traditional, designs.

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On the one hand all these parameters are put in play, to control the social behavior, which might seem as a perfect design. On the other hand it is instead a perfect anti-object, because it is designed through restrictions, defined by thoughts on what it should not be. Jan Gehl writes: “The social changes of our era can help explain the dramatic increase in urban recreation – premium public spaces, with their diversity of functions, multitude of people, fine views and fresh air obviously have something to offer that is in great demand in society today.” As Jan Gehl writes, designs should have a diversity of functions, and this is definitely not the case with the Camden Bench. In designing the Camden Bench the designer’s definition of, what a good city bench is, is too simple and complexity depriving. Especially in the light of Jan Gehl’s point in the quotation a bench in a public place should be able to do more than just be a bench.

Another example (picture 2) of Aarhus’ unpleasant design is found at Sankt Knuds Torv, a square located along Ryesgade, a popular shopping street in the city center. Here you’ll find some newly installed cubic metal frames with different seating options and heights on the inside, and even a box with a small tree growing. These cubes provide the possibility to have a conversation across two benches with a little table between them. But one of the more odd features of the cubes, is that they don’t provide shelter from wind neither covering for rain. Furthermore they include a bright led strip along edges at the top part of the frame, which lights up inside, even though there is plenty of street lights on the surrounding square. Therefore it is a clear example of public design, designed for the passers-by and people on the shoppingstreet, but not at all for the rough sleeper or homeless.

In the following I will discuss how other benches are similar to the Camden Bench in several ways. The above described kind of unpleasant design is not limited to the Camden bench or 1908s Bosnia, it is as present in the public designs in Aarhus too. This is a typical danish bus stop (picture 1) that is situated near the central train station in Aarhus center. It is well lit, has a narrow curved bench for leaning against, it provides shelter for wind and rain for the passenger waiting for the bus and it doesn’t take up a lot of space while doing so. However it does not contribute to a more complex or diverse environment, since the rather limited use of the bus stop prohibits longer stays, and because the narrow bench makes it impossible to lay down or sleep, and last that the lighting discomforts rough sleepers.

MALTHE ANDREASSEN

PICTURE 1

PICTURE 2

DESIGNING THE UNPLEASANT

A third example (picture 3) is a series of combined benches and plant containers located a little bit further north on Ryesgade. At first sight the planter bench might seem kind to the passers-by, providing seating for 2 people for a shorter period of time. But for the rough sleeper or homeless it provides no options, the seating length is to short for a person to sleep on, and in the opposite direction the seat there is a pattern of intertwining metal pieces, making it unsuitable for sleeping. Overall these benches in Aarhus have a limited use, being suitable for passers-by, but they are not multi-functional. These examples show that even though Denmark is not considerably high on surveillance, social control and behavior shaping is a large factor in the design of public spaces. So what about the homeless and the rough sleepers in Aarhus, where do they go, where do they live their everyday life? According to recent numbers by The Danish National Centre for Social Research homelessness has been on the

rise in Denmark, and from 2015 to 2017 the number of homeless people has increased by 8%. In Aarhus alone the number of homeless people has increased by a staggering 42 percent since March 2016 according to Kirkens KorshĂŚrs statistics. These numbers indicate an increasing need for public design to be suitable for the homeless. According to my description of benches in Aarhus this need is not met. On the contrary benches are made to exclude certain behaviors and thereby certain people. The unpleasant design gives no opportunity for rough sleepers and homeless to be living in the street, and thereby making it more difficult for them to feel accepted. Designing pleasantly will not solve the problem of increasing homelessness, because the problem is more complex. However the unpleasant design is directly influencing the lives of the homeless and thereby it can be seen as a contributor to homelessness. By designing with the homeless in mind, we can at least make the problems visible and thereby try to solve them at the level they need solving.

Throughout history of urban design man has been more and more deliberate with design choices considering ways to control the public spaces without the actual presence of visible governmental powers, but rather there have been a shift from â&#x20AC;&#x153;controlling by presenceâ&#x20AC;? to controlling by design that prohibits breaking a norm and design that encourages following a norm. This way of social control seems harmless and one might think that it is better to be controlled by design than by police and other government forces, but according to Foucault this view is the exact opposite, it makes us feel regulated and surveilled all the time, even when nobody is watching.

PICTURE 3

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MALTHE ANDREASSEN

FREDERIK V. RAVN ANDERSEN

At sammensætte ting i nye sammenhæng. Rive noget fra hinanden for blot at sætte det sammen i en sammenhæng som føjer din vilje. I nogle situationer en destruktiv og skabende proces. Manipulationen som værktøj for forbedring, men også som et destruktivt værktøj. Manipulation altså et neutralt værktøj, uden anden følelsesmæssig værdi end det vi lægger i. Ikke bundet til noget medie, manipulation benyttes i alle sammenhæng, følelser, mennesker, værdier, materialer og collager. Intet er upåvirkeligt, alt kan påvirkes til en vis grad, nogen påvirkes uden effekt, andre med største effekt. Lidt manipulation kan gøre lidt eller meget, afhængig af emnet. LASSE LØVSTRØM MADSEN

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

Manipulationen mimer maniske menneskers minder med misantropiens misforståede menneskesyn. Mellem mure af marmor og mintpastiller, midt i metropolernes markedspladser, må manipulationen findes. Måske magt, måske mimen, måske mest af alt menneskeligt. Manipulationen er et misk mask i Machiavellis forstand, muligheden for at mixe materialer til multistabile makværker, mesterværker, mindesmærker. Manipulerende må være marmoreringen og mammografien, magien og manien. Manipulerende er mottoer og mezzaniner, muleposer og marskandisere. Manipulerende vil mine ord være men først når de er minder.

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

TEKST OG ILLUSTRATION AF ALETTE AVSNES & LINE ØSTERGAARD POULSEN, UNIT 2/3B

“The Scintillating Grid Illusion” E. Lingelbach i 1994.

Manipulation er en skjult, men bevidst påvirkning af andres handlemåde og opfattelse til egen fordel. Mani- kommer af det latinske manus, som betyder hånd, og bruges i denne sammenhæng om det at kunne håndtere, hvordan andre opfatter noget. For at man kan tale om manipulation skal den manipulerede være ubevidst om påvirkningen, da der ellers er tale om reactance, hvor modtageren oplever, at de ikke selv tager et valg, men er kontrolleret. Derfor kan man på én vis sige at selv-manipulation er umuligt, da man vel altid selv er bevidst om sine handlinger. Ikke desto mindre forsøger vi her at guide dig igennem måder at snyde dit øje og foretage en form for selv-manipulation. Der udnyttes de blinde vinkler og hullerne i vores egen logik. Det er ”manus” mod hjernen og øjets autofokus. Kan du i en stadig mere selvbevidst verden manipulere dine egne opfattelser?

Fokuser på den hvide prik på næsen i 15 sekunder. Kig herefter på et hvidt område.

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ALETTE AVSNES OG LINE ØSTERGAARD POULSEN

Hold hånden for dit højre øje og kig på den hvide trekant. Ryk langsomt ansigtet tættere på magasinet.

Fokuser på den hvide prik, mens du bevæger ansigtet tættere på eller længere væk fra magasinet.

FOLD 2

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SELV-MANIPULATION

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CITY

Constructing Narratives WORKSHOP LED BY MASHA HUPALO, PHD-FELLOW, MSC & NACHO RUIZ ALLEN, M.ARCH., PHD

The purpose of this History and Theory course was to investigate fictional representations of cities, according to their narratives. Through analysing texts and movies related to certain cities, specific qualities of the urban scenarios were extracted. A comparative analysis between the early postmodern and the late-postmodern narratives was hereafter completed. Next, real constructions in Aarhus were identified as particularly manifesting the qualities defined. Lastly, a manipulated ‘fictional’ version of the chosen examples were turned into postcards. On the backside it is supported by an axonometric drawing, to make the specific characteristics of the narratives even more articulated. Here, we bring you a collection of these postcards made by 2nd year students at Transformation Units A and B during the workshop. “The architectural narrative only makes sense if it generates a productive fiction” Jeffrey Kipnis

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The billboard stands at the edge of the new neighborhood as a memory of a vision that never became a reality. A past future. The idea was to create a functional and luxurious living and working space, with high accessibility and experimental architecture. The boulevard is constructed to be a wide connection to the city, but it has ended up being a deserted space that distances the area. The neighborhood was expected to be a vibrant place full of life, but instead it has become a cold and windy place where no one wants to be. A failed dream. AAA_H&T/TP1 - Ania Plaweca, Annelie

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se in paradi One daplaydsen 1, 8000 Aarhus Banegårds

MARGARETHE SCHÜTTE-LIHOTZKY, LADY ELISABETH WILBRAHAM, JANE AND MARY PARMINTER, SARAH LASH, DENISE SCOTT BROWN, MARLI HEIMANN, GERTRUD ARNDT, GUNDA STOZL, LENE BERGNER, LIZ BEYER, OTTI BERGER, RUTH HOLLOS, GRETE REICHARDT, ANNI ALBERS, MARIANNE BRANDT, LOTTE STAMM-BEESE, TUTTI LÜTTKEN, COLLECTIVE TEGNESTUE THYRA, COLLECTIVE KAJ, BENTE LINDSTRÖM, INGE VESTERGÅRD ...

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SIGRÚN PERLA GÍSLADÓTTIR

DISCUSSION: LET’S TALK ABOUT THE ARCHITECTS Interview with prof. MSO., Dipl. Ing.Arch., PhD Ruth Baumeister, Ministry of History and Theory. INTERVIEW BY SIGRÚN PERLA GÍSLADÓTTIR, UNIT 2/3E

In February 2018, Aarhus School of Architecture presented a new lecture series “Grundlæggende forlæsninger om Arkitektur” (e. Basic lectures about Architecture). The series consists of 48 lectures spread over four semesters – lectures where the professors of the school tell us what architecture is and what it is not. It aims to “encourage the students to imagine a future and dare to dream”1, to gain empathy and imagination – “knowledge about everything.” The series is held by the professors of the school, who currently are six in total. In 2014, half a century after the school’s foundation, Ruth Baumeister was appointed as the school’s first and only female professor, a title she still carries today. Throughout history, we hear about revolutionary accomplishments of architects. What seldom is mentioned are female architects. What never is mentioned is the male architect. This is no wonder. With history written by men, it is men talking about their accomplishments in a men’s profession. Same pattern tends to happen in gender discourse – women talking to women about women. What is practically never reflected in contemporary gender discourse, is the role of the male architect. To also talk about men’s position in the discipline of architecture, within the notion of feminism, is a crucial step towards true gender equality. Reshaping an often

DISCUSSION: LET’S TALK ABOUT THE MALE ARCHITECTS

one-sided discussion, we wish to break down the echo chambers that gender discussion has been stuck within. Despite the non-existence of reverse sexism, we wish to talk about men and women respectively, with the hope to create a path towards a more inclusive profession. In Ruth’s first lecture of her series, “Existential Struggles: The Fe/male Architect in the past”, she portrayed various female architects in a man’s world, who actively contributed to the formation of our built environment. Seeing architecture as a discipline of cultural production, rather than a service industry, Ruth wants to contribute to educate becoming architects by teaching fundamental knowledge about the discipline, and thus go beyond teaching methods and skills. In her first lecture, she highlighted the manifold issues relating to the discourse of gender. With seven brave male attendants, a vivid discussion arose after the lecture, elaborating on where all the men were and what needs to be done in order to include them in the discussion. Subsequently, the idea of turning the discussion around came up. The following interview attempts to reflect on the current gender debate and address the position of men within architecture, with the goal to evoke conscious reflections and collective awareness. After all, we wish a better practice for everyone. This is only possible if the issues are discussed among all genders. 160

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Perla: What motivated you to climb all the way to the position of a professor? What role have role models played for you throughout your career? Ruth: Every year, I spent my vacation in the Alpes, because I am a passionate mountaineer, but I did not consciously climb all the way to become a professor, that just happened. At the same time though, my ambition to climb mountains retrospectively proved to be an important asset for my career. Role models, on the other hand, I think were highly important from a very early stage. I grew up in a family with strong women. My great grandma was a single mother of 4 during the 1920’s, my grandma had to raise the family on her own for many years because my grandfather was a prisoner of war. I went to an all-girls gymnasium and I just cannot remember my mom or a teacher ever telling me that there was something a boy could do, that I was unable to. As a student of architecture, I had a lecture by Margarethe Schütte Lihotzky, who revolutionized housing by inventing the built-in kitchen when she worked at the Hochbauamt Frankfurt under Ernst May. She was in her late eighties and only about a meter and a half tall, but had a strength that was almost frightening. She was also a political activist who survived Dachau concentration camp. She made an enormous impression on me, not only because of her achievements in architecture, but because of her unbreakable will, her empathy and her sincerity. 074

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P: Looking at Aarhus School of Architecture as an example, it is clear that the higher in the institution one looks, the gender balance seen among students and teachers shrinks severely. Does this in any way affect or inspire the work you do within the school? R: The situation at our school needs a more differentiated look. Within the new leadership that was appointed last year, for example, with Charlotte Bundgaard head of research and Kristine Leth Juul prorector on the one side and Torben Nielsen rector, Christian Koch Ramsig head of administration and Rasmus Grønbæk Hansen head of education on the other, we have a healthy gender balance. It is a 3:2 ratio compared to the pervious leadership, where we had 5:1. There are other areas though, that are less balanced, e.g. among the professors, as you mentioned already, and there are also some asymmetries if you look at the teachers in first year bachelor in comparison to those who teach in the Master program and for sure Research Lab II, where I am affiliated, has a serious gender problem. I am not affected on a personal level, but I think it is very important to fight for improvement, both within the school and beyond, and that is why I chose this as a subject for my lectures this semester. The change of gender balance in the leadership states a very good example,

and I hope that this will set the mark for the future development of the school as a whole, especially now that we are hiring again. P: Why do you think it is important to talk about gender issues today? R: It is important, because in architecture, unlike other professions, we are far away from a balanced gender ratio. I think that our problem today still lies in the ideology of the two spheres, which is very much rooted in the 19th century, as I have explained in my past lecture. Even though in front of the law today, men and women have equal rights, there are still a lot of inequalities that go far back in history and there are roles that both men and women are very often unconsciously and unwillingly following. I would like to stress unwillingly, also to the effect that there are a lot of men today, who do not subscribe to the unequal conditions we have in our discipline. Think of Robert Venturi, how he must have felt when he received the highly prestigious Pritzker Prize for his work, while he was collaborating for several decades with his partner Denise Scott Brown. I am positive that he would rather have had her by his side, and I know that on many occasions, he stressed how important she was as a collaborator in all of his projects. In very few instances, the page has also turned; think of the case of Patrik Schumacher, who for many years worked in the shade of Zaha Hadid. SIGRÚN PERLA GÍSLADÓTTIR

P: If we are to discuss gender in architecture, how do you suggest we do that? R: When it comes to the gender question in architecture history, the discussion often revolves around the fact that women’s achievements in the discipline did not get the same warding as men’s did. In addition, women perform less among leaders of high profile offices, professors, those who receive awards and prizes, etc. While this is of course true, and highly important to point out, we must not forget that there is another side to that problem. In my opinion, the most important challenge we have to master at the moment is to address men and make them actively contribute to the discussion. I was actually shocked and disappointed at the same time when I realized that pretty much all the 2nd year female students came to the lecture, while less than a handful of their male colleagues were present. To me, it makes little sense to talk about issues such as compatibility of the profession with family, bad performance of females in high positions, etc. among women only, as it was in the past and still is men who are in these positions, and thus have the power to bring about changes. Moreover, how can we create a professional environment that provides equal chances and opportunities for both sexes, if it’s only women to discuss these issues? DISCUSSION: LET’S TALK ABOUT THE MALE ARCHITECTS

P: It is a fact that women are missing role models when it comes to leading positions. How do you read the situation at the other end of this spectrum? R: In architecture history, the successful male architect is often pictured as a selfish individual, whose image is supported by a distinguished attire, a fancy car and a rather eccentric social behavior. Otto Wagner, Hannes Meyer, Mies van der Rohe, Frank Lloyd Wright, Louis Kahn, and I could add many more names here, were all known to be womanizers, who cared about their own passions more than anything else in life. In the best case, you would get an architect like Jørn Utzon, who would let himself be photographed among his children and his wife, enjoying family life in front of the fire place he designed himself, and who named one of his houses after his beloved wife. I cannot think of one single example in history where the architect, parallel to his professional life, would also publicly admit to taking care of his children. I think that this must be just as disappointing for any male architect who has a desire to balance his ambitions of his professional life with those of his private life. In this respect, somebody like Bjarke Ingels, still contributes to this rather antiquated idea of our profession, promoting the myth of commitment of insane working hours for the sake of the genius creative act2. 160

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P: I find it interesting how women seemingly have to or are told to “become a man” in order to succeed, and if they do so, that is celebrated with a pat on the shoulder – whereas men who show a feminine side of themselves tend to be laughed at and not taken seriously. The same can be seen among children, where tomboys (boyish girls) are generally more accepted than girly boys, who tend to be bullied in a demeaning way. What affect do you think this has on girly boys with a dream of an architectural career? R: That is a good question! Again, we have to go even a bit further down the line and look at the situation before the start of an architectural career. The 21st century belongs to the girls, is what we hear all over and in relation to that, child psychologists are telling us that the boys are in crisis because they are missing their role models, being brought up very often by single moms with the help of grandmothers, being taught in Kindergartens and schools with female teachers, etc., who attest them right away ADHD syndrome when playing rough. When it comes to an architecture career, I think they will have just as many problems as girls have when it comes to fulfilling this rather antiquated ideal of the successful, obsessively working alpha male architect. This myth that it is only possible to be successful in architecture if you are willing to totally sacrifice yourself is also highly problematic. I am absolutely positive that there are many male architects who would like to go home at 5 pm to pick up kids from the childcare or take a paternity leave, but that makes them drop or slow down on the career ladder, which is a shame. 076

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P: In the lecture, you touched upon the topic of being blinded by your own privilege. R: This is not a question of gender. I think it is important for anyone who is in a privileged situation to realize how others, who do not have the same privilege, must feel and have some empathy for them. P: As architects we are in a power position to influence and affect society, both in social structures and literally in projects, taking a stand with our design in order to make a change. Since we are in this privileged position, with a voice that is heard, I wonder if it isn’t our responsibility to actually make a mark and together aim for an equal world. How can we make sure we don’t become blindfolded by our privilege and actually use our it to change for the good? What do you think architects can do in this matter – in what ways are we able to make a change? R: On a more general level, I can only stress once again that I think it is important that we look beyond ourselves, have empathy and develop an understanding for others in order to improve the situation, because this is something we would eventually all benefit from. When it comes to the specific case of architecture, we certainly have to look beyond the toilet bowl in the discussion of gender neutral bathrooms. I have some ideas and examples on how to go about it, but I am not gonna tell you now, because you will hear about that in my next lecture: ´Perspective of Survival: The Fe/male Architect in the Future´, on May 9th, 2018. Tak for idag, vi ses!

1: HTTP://AARCH.DK/INFO/UPDATES/EVENTS/GRUNDLAEGGENDE-FORELAESNINGER/ 2: HTTPS://WWW.DEZEEN.COM/2017/06/16/BJARKE-INGELSHITS-BACK-CLAIMS-SEXISM-BIG-INTERVIEW/

DISCUSSION: LET’S TALK ABOUT THE MALE ARCHITECTS

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I. I. TEXT & ILLUSTRATIONS BY ANDREA BJØRLØV KJELSTRUP, UNIT 2/3 D

II.

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ANDREA BJØRLØV KJELSTRUP

III. III.

method. I. first drawing - coal on paper II. secend drawing - a scan of the first drawing, distortion/movement in scanner/printer III. third drawing - acetone print of the second drawing, added water color, ink, coal and pencil

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TEXT, PHOTOS & ILLUSTRATIONS BY SEAN LYON, ÁLVARO DEL RÍO & MIKKEL ELSBØL NIKOLAJSEN, STUDIO 2B

Tutors Robert B. Trempe & Jan Buthke The Selfishnest is an architectural intervention exploring the virtual and digital lives we project out onto the world. We mould and craft an online presence to exhibit the best of ourselves and to curate a life devoid of negative human experience. The meteoric rise of social media sites and instant communication platforms has propelled the human need to feel comfortable in a public world where every move, post and comment is scrutinised and prowled upon. This extroverted digital nest temporarily satisfies our cravings for the attention and validation from our peers by broadcasting this often filtered and manipulated perspective of a skewed reality onto our digital wall of images. No other physical human act beter exemplifies this contemporary phenomenon more than the act of taking a selfie. Investigating this act through mappings of bodily movement reveals how one optimises the camera position to balance flattering lighting conditions upon the face with an attractive and captivating background. Tracing these movements through space and time served as a departure point for generating a form on the given site — one that informs the body and its motion across the site to entice and encourage the operation of taking a selfie. The use of translucent foil filters and reflects the harsh incoming light, playfully illuminating the nest with a warm light that changes with time and reacts with the occupants bodily movement. The Selfishnest is on exhibition at Fabers Fabrikker, Hestehavevej 22, Ryslinge until April 13th. 080

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SEAN LYON, ÁLVARO D. RÍO & MIKKEL E. NIKOLAJSEN

MAPPED MATRIX

AXONOMETRIC

HEXAGON

FOIL DETAIL

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SEAN LYON, ÁLVARO D. RÍO & MIKKEL E. NIKOLAJSEN

Sustainability (sustain–ability) 1. The ability to be sustained, supported, upheld, or confirmed. 2. Environmental Science. The quality of not being harmful to the environment or depleting natural resources, and thereby supporting long-term ecological balance NANNA L. H. NIELSEN

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

It is unavoidable to constantly be manipulated, but you can avoid being ignorant – and partly see though the daily manipulation. You can learn the meaning of a word before using it – here I recommend you to use a dictionary: fx:

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

ILLUSTRASJONER AV RASMUS FJELDHEIM DALE, UNIT 2/3 D

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RASMUS FJELDHEIM DALE

IN MANIPULATION TEXT, PHOTOS & ILLUSTRATIONS BY CLAUDIA CARBONE, CAND.ARCH

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THIS ARTICLE ELABORATES BRIEFLY ON THE PROVENANCE AND INSTIGATORS FOR THE EXHIBITION PIECE STATIONARY STATIONERY, AND THE NOTION OF MANIPULATION.

About the work Stationary Stationery consists of a series of 54 cards displayed on an apparatus that offers an insight into sections in time and a given experience of the data in specific relation to the viewer. The cards are mnemonic devices, such as a drawn logbook, a depiction of a situation, specific information, and particular surroundings. Giving into the moment and the format of the cards, the stationery was appropriated as an aesthetic (fixed) backdrop for the collection of memories – as souvenirs. Stationary Stationery is part of the exhibition Logbits (22 February – 16 April 2018) that pieces together a (re)collection of different impressions experienced during an extended stay in Australia (12 July – 26 November 2017). During this period behavioural patterns were established to ensure that the accumulation of experiences added up to an abundance of representations that in combination made up an architectural view of the world. Lived experience One of the inspirations for this work can be found in Sir John Soane’s Museum in London [1]. The architecture and the objects in the building can be experienced, as a spatial encapsulation of bodily sensations. As the body is ever in motion, its defiance; the still-standing or static perception of the space – the simultaneous instant control of the perceived – is impossible. If we focus on a specific edge or threshold between two rooms and follow this edge with our eyes as the spaces interlock or overlap, we are deprived of a ‘total’ perception of the space. We read this edge to be a constant. It denies the reading of depth as expressed by Merleau-Ponty: “What makes depth invisible for me is precisely what makes it visible for the spectator as breadth: the juxtaposition of simultaneous points in one direction which is that of my gaze. The depth which is SPECTACLE SPECTACLE

declared invisible is, therefore, a depth already identiﬁed with breadth…”. [2; 297] The movement of the eyes when the body is still is therefore, reductive; the spectacle [2] invites you to wander, to project the body to move into multiple possible future positions in depth or the breadth – inhabiting space. Architectural representations are manipulations They edit, frame and contextualise the proposed project - the envisioned. Manipulations are present in the initial state and in the making of architecture. Manipulations of representations facilitate specific trajectories outlined by the author and helps to delineate the project’s outcome and our perception of it. The action of manipulation is embedded in the direct physical act of drawing or modelling. An example can be found in digital drawing applications where the construction of a curve can be modified gradually by adjusting anchor points and handles that are only visible to the draughtsman. These assistant tools are invisible in the ‘final’ representation or in-between states of manipulations, similar to projection lines in the analogue version.

how and what to experience. The etchings on the mirror, the actual card and its reflection allow for a complex visual interplay through projections and overlaps where the etched lines and curves extend one card into another. The eyes either follow the motifs or the lines through the multiple projections. It makes space intangible, while the edge of the apparatus blurs the vision when experienced close-up. 1. SIR JOHN SOANE’S MUSEUM. HTTPS://WWW.SOANE.ORG/ (ACCESSED 25 MARCH 2018) 2. MERLEAU-PONTY M. PHENOMENOLOGY OF PERCEPTION NEW YORK; NEW YORK TAYLOR AND FRANCIS E-LIBRARY; 2005.

The apparatus Stationary Stationery portrayed and documented in this article through multiple representations fails to capture the sensorium of the lived observation – what Merleau-Ponty describes as the spectacle. It dismisses and fails to be a geometrical ‘complete’ construct that can be perceived as a whole. The initial spectacle (the drawing on the card) was hand-drawn. The apparatus applies mirrors in two angles. This splits the imaginary geometrical underlay of the card with its physical presence and establishes disruptions and blind spots. The apparatus is a spatial installation that exaggerates the relation between the card and the spectator by introducing a manipulation of 160

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PANEL 9 CARDS SCAN 1:1

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mirror

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TEKST AF ANNE-METTE GLUD HJERRILD

Du siger, at jeg er voldsom ved min krop, at mine bevægelser når jeg håndterer den er skødesløse. Måden jeg klipper negle på, hurtigt og uforsigtigt, måden jeg reder hår på, hurtigt og uforsigtigt. Det at jeg bare klør i et sår, at jeg bare bider i en neglerod til den bløder. At jeg kan finde på at skrubbe mit ansigt med en karklud, at mine skinneben konstant er blå efter jeg snublede på vej op ad trappen, efter jeg er snublet nu igen. På samme måde siger jeg; du er forsigtig med din krop. At du er så omhyggelig i dine bevægelser. Når du snitter gulerødder i tynde bjælker, og tager dig så meget i agt for knivens blad, når du hælder vin op i glasset og det aldrig ender forbi kanten. Måden du kan inspicere din hud på, lade fingrene glide nærmest florlet over din underarm og konstatere at du har fået en knop, en lille tør plet kød, og du spørger mig; hvad tror du det er? Hvordan du hurtigt kan trække din krop væk og ind i sig selv, hvis jeg giver mig til at kradse i det for at undersøge. Hvordan du kan vaske din pik med så stor varsomhed, duppe den med et håndklæde, pille fnuller fra stoffet af den foldede hud og forsigtigt lægge det hele ned i et par rene underbukser. Sådan gør jeg ikke, jeg skrubber, tørrer, det er det. Forsigtig med din fine pussy, siger du lørdag morgen, da du ser mig slukke for vandet i bruseren og køre håndklædet mellem mine ben. Du kommer hen og vrister det fra mig, lader blidt det lyserøde froté suge dråberne af min hud ét sted, så det næste, så megen tid.

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I nat drømte jeg, at du gik rundt med lange, pergamenttørre hudflager langs dine neglebånd, og at det var grund til stor frustration fra min side. Hvordan jeg ihærdigt prøvede at få lov til at proppe dine fingre i munden for at bide den døde hud af, og at du igen trak dem til dig med et ryk og et særligt udtryk i ansigtet, såret næsten. Hele morgenen har jeg tænkt, at det var virkeligt, at det var noget, der skete igår. Men det må have været en drøm, for det sted vi stod, knædybt i en mose midt i en tæt klynge siv, der har jeg aldrig befundet mig før. Finder du det voldsomt, når jeg giver efter for en andens begær? En der ikke er dig. Hun hev bukserne af mig der på stranden ved Louisiana, i sidste uge hvor du var langt væk. Jeg var føjelig, løftede mine arme over hovedet, så hun kunne tage trøjen af uden besvær. Fandt rifter på mine underben og arme næste morgen, forårsaget af tornene på den hybenbusk vi så halvhjertet forsøgte at gemme os i. Småstenene og sandet ramlede mod gulvets planker, da jeg hev bukserne af senere den morgen og gik i seng. En lille strand fra mine klæder i en bunke ved fodenden. Du har vel en grænse for, hvad du vil finde dig i.

ANNE-METTE GLUD HJERRILD

Hun åndede tungt ud i mørket, smuk på alle fire, på albuerne og knæene, i albueformede og knæformede hulninger i sandet. Jeg sagde vist noget i retningen af; tænk hvis jeg kunne gøre dig gravid, for at få hende til at komme tættere på igen. I wish, sukkede hun og lagde sit hoved på min mave. Imens forsøgte jeg med ufokuserede øjne, at følge konturerne af de små flokke på stranden. Kvinderne, der havde tændt bål længere nede mod vandet og som senere i kor sagde; I skal den vej op ad stien og udenom hegnet. Ind bag busken der, kan I se den? Parret, der gik ud på badebroen. Vandet lå blankt og stille under lyden af deres såler mod de solforslåede brædder. Og så lyden af deres kejtede latter, da de fik øje på mine lår lyse hvidt bag hybenbusken, bare få meter fra dem på deres vej ind mod land igen. Næste morgen faldt sollyset i bånd ind ad vinduet, bredte sig ud på gulvet og fik noget blankt til at ligge og skinne i den lille strandbunke på gulvet. Det er noget plastik, tænkte jeg og rakte ud for at fjerne det fra bunken, som jeg synes lå der og var fin. Men det føltes anderledes end plastik, var mere fast og knasende tørt i min hånd. En insektvinge lå der og glinsede mod min håndflade strakt frem i lyset, små fragmenter var brækket af yderst på vingens spids og lå som klumpet vingefnuller jeg kunne puste væk. Der var noget på én gang dragende og frastødende ved det, af grunde jeg ikke kan sætte en finger på. Men, følelsen var en afart af den afsky jeg et øjeblik fik, da jeg lå der i sandet med hende og længtes efter dig.

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SNITTTEGNING INSPIRERT AV INSTITUT FOR X OG GODSBANEN. TEGNINGEN VISER ATMOSFÆREN OG KVALITETEN TIL GODSBANEN NÅ. OM NOEN ÅR VIL MYE AV DET BLI REVET NED OG ERSTATTET MED P-HUS, BOLIGER OG SKOLER.

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JON MARTIN SETERNES

TEKST & ILLUSTRASJONER AV JON MARTIN SETERNES, UNIT 2/3D

STEILNESET MINNESTED AV PETER ZUMTHOR, MANIPULERT SOM EN EVIG SILKEKOKONG UTEN KONTEKST ELLER STRUKTUR. DE SORTE LYSSJAKTENE STÃ&#x2026;R I KONTRAST, SOM SYMBOLISERER HVERT HEKSEOFFER SOM BLE HENRETTET I NORGE.

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ABOVE: CUT LINES FOR THE TWO SHEETS SUPERIMPOSED

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DAVIN NURIMBA, FAN YI BING & JONATHAN MOBERG

TEXT, PHOTOS & ILLUSTRATIONS BY DAVIN NURIMBA, FAN YI BING & JONATHAN MOBERG, STUDIO 2B

Touch explores the idea of human contact as a condition of nesting. That direct body-to-body contact between two individuals enables one to be removed from their immediate surroundings, a moment where two bodies are no longer separate, and two worlds collapse into one.

between the shape and size of the outer contour, the placement of the starting point, the number of cycles, the length of each cycle, and the widths between each cycle. A system of spacers and connecting bridges along the spiral is developed to create a slight rotation in the form that invites one to lean in.

The project begins with investigations into a simple moment of contact in an everyday scenario - the motion of bumping into another person on a bus as it comes to a sudden halt. The act is traced in a series of sequential diagrams of 0.1s frames. Developed in elevation is an intensity of lines as the bodies decelerate and collide, the torso leans forward and returns to an upright position. In plan, simplified lines trace the axis of the shoulders in order to examine rotational movement, where the two bodies pivot around this point of collision. Areas of contact are then studied on body maps from which the initial iteration is developed.

The structure both represents and instigates this motion of physical contact between two people, where each form derives from the order of the human body, with small forms corresponding to respective body parts of the individual, of hands, knees, legs, of two independent worlds. The largest forms bring the upper bodies forward to a small opening at the end of the spiral in a moment of collision where two becomes one.

As opposed to concentric shapes as drawn in the body map, a spiral runs the point of contact to the edge of the contour. This operation instills a sense of motion and makes possible the creation of volume from a single flat sheet. Cutting the same shape on cardboard and plywood demonstrates the rigidity of timber and the need for a balance TOUCH

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DAVIN NURIMBA, FAN YI BING & JONATHAN MOBERG

PROGRESS MODELS

TOUCH

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MANIPULERINGSREISKAP TEKST, BILDER & ILLUSTRASJONER HELENE ISABELLE MILLAN EIDE, UNIT 2/3 F

“HERE THE LONG EVENINGS MADE BRILLIANT SUNSETS OF THE SKY AND DESSERT, CROSSING THE SAILS OF THE SAND-YACHTS WITH HIEROGLYPHIC SHADOWS, SIGNATURES OF ALL THE STRANGE CIPERS OF THE DESERT SEA.”

FØREBUINGS-MODUS

STAD FOR GJENSTANDAR

J.G. BALLARD LJOSKJELDE

Basert på ein idé om å manipulera identitet gjennom oppfatning, endrar denne reiskapen på korleis gjenstandar/kroppar vert oppfatta. Reiskapen arbeidar med korleis noko(n) sin identitet kan verte endra utan å gjere om på gjenstanden/kroppen sjølv, korleis ein kan forvrengje noko(n) ved å til dømes endra omgivnad og/eller perspektiv. Frå melonar og glasbrot til landskapsbilete inspirert av sitat frå J.G. Ballard

OBSERVERINGS-MODUS

SKJERM

OPNING

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HELENE ISABELLE MILLAN EIDE

MANIPULERINGSREISKAP

THE CREATING SPACE

AS AN INSTRUMENT FOR

TEXT BY HELENE ISABELLE MILLAN EIDE, UNIT 2/3 F

THIS ESSAY WAS WRITTEN AFTER WATCHING THE REPRODUCTION OF THE PERFORMANCE DANCE BY CHOREOGRAPHER LUCINDA CHILDS, COMPOSER PHILIP GLASS AND VISUAL ARTIST SOL LEWITT. THE ESSAY IS SPLIT INTO THREE PARTS: THE FIRST PART IS A RUN THROUGH OF THE PERFORMANCE, THE MIDDLE PART A MORE EXPERIENTIAL DESCRIPTION OF THE PIECE; THE LAST PART OUTLINES THOUGHTS AROUND THE ARCHITECTURAL ELEMENTS OF THE PERFORMANCE.

Performance I am watching Dance by Lucinda Childs without any expectations, with no prior knowledge of the choreographer or any of her work. I am taken by the simplicity of the piece; it is not trying to be anything other than pure dance. Following the rhythm and repetition of the compositions of Philip Glass, the dancing is effortless. It is not the dance moves themselves that are impressive, but the repetitions of the sequences that, in the beginning seems to stay the same. Captured in the hypnotizing dream, it is not until the dancers on stage are dancing two different sequences that I realise that the dance and musical sequences has transitioned seamlessly since the beginning. The steps gradually change, creating different permutations. Even though the music has the rhythm and repetition like the dance, the music is a frantic counterpart to the smooth flow of the dance. When the music stops and the dancers donâ&#x20AC;&#x2122;t come jumping back in at the end of the first part, I am relieved that the frantic music is over. A single dancer enters the stage, a woman. It is unclear whether it is a live dancer, or a video projection on the screen in front of the stage. A second dancer appears. The two are together, dancing the same sequences: Lucinda Childs as a projection, and her embodiment live on stage. It is a private dance, almost like it is not meant for the stage. The steps

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are not impressive in themselves, not meant for showing off, but are a statement of the pure beauty of dance itself. With the play of scale between the figure on stage and the projection, the dancers are sometimes partners; other times the projected dancer overshadows the real life dancer. It is a beautiful duet, accompanied by the frantic music moving the dancers. The last sequence, much like the first, consists again of a number of dancers seemingly performing the same steps over and over, with few deviations. Both live and projected dancers are performing together to calmer, slower music. It is not as if the dancers are moved by the music anymore, but instead the music is an answer to the movements of the bodies in space. Performance as experienced The line is constantly broken, but there is a continuity in the rhythm. Like pearls on a line, as light poles along a motorway; glimmering by, blurring, but with a constant rhythm. Sometimes there is a shift in the light, suddenly dense vegetation, suddenly open landscape. The dance unfolds like a landscape of constant movements, with little shifts here and there. One enters a trance where thoughts does not wander but rather stay with the movement; one sees the shapes, sees the rhythms, dwells with the details. HELENE ISABELLE MILLAN EIDE

The dance is underplayed, but take up all the space, all the attention. The dance’s purity is nuanced by the periodical presence of projections which blur and emphasize the dancers’ movement. The projections create a contrast between the whole and the detail, between the recorded and the live performance. This merging, the playing of past and present against each other in the same physical space emphasizes the movement through doubling and repetition. An echo forms - as the dance repeats itself, the dance is also repeating the dance. The projections facilitate a heightened, dreamlike experience. The constant, human scale of the present dancers is on one’s conscience, while the dancers on the screen add the layer of a new spatial dimension. To begin with, one cannot separate who is who, digital dancer versus real dancer. There are frequently changes in scale and detail. At times, you see the whole, you are able to read the patterns unfolding on stage and see the geometries at play. The dance evolves mechanically, the sequences unfolding predictably. The figure of the master, Lucinda Childs, is projected dancing in a large scale, drawing attention to the details. Her expression is readable, her character clear. One can see the determination

in her eyes, the pride in her posture. Her eyes sees right through you, giving you the experience that she is watching you watching her. Your attention is directed at her, mesmerized by this dancer performing her master piece. The movements are not mechanical anymore but free and human. The dance is stripped back and honest, the human body moving naturally through space. She is circling on stage, circling around herself, circling in on herself. The movements and body are light. She is not flying through space, she is grounded. One experience the human scale of the dancer, though her figure is enlarged ten times; the action of dance itself emphasized. Performance as architecture The rhythm is closely related to the experience of time through its use of repetition. Rhythmic repetition forms the geometry of the piece. Both the music and dance sequences evolve through variations and accumulations, echoing one and other. With the addition of the layer of the video projection, Childs make compositions that are completed when the dancers on stage and the dancers in the video are synchronized. The movement of the dancers in the video and those on stage mirror each other and become extensions of one another to create a whole, completing one another in a complimentary manner.

THE MOVING BODY AS AN INSTRUMENT FOR CREATING SPACE

But Childs also uses the screen to make contrasts, to add complexity to the space. Sometimes the bodies are out of proportion to one another. Childs plays with the concepts of depth and detail. It is not so much the geometric relations between bodies that are important, but the composition of the one body in movement. The composition is between the detail and the whole, between the large scale projected dancer and the comparatively miniature stage dancer. The relationship between the two creates a tension between what is real and what is not. “The spectator is in motion, moving in on the dancer, moving to the side of the dancer and moving behind the dancer. The conflict in Dance between the image and the dancer is very much intended.” - Lucinda Childs As a spectator, you can begin to understand the geometries at play. One can draw out the movements, almost like a map tracing the movements of the dancers. Adding together the movements of the dancers on stage with the fragmented projections on the screen, creates a complex system of geometric shapes and lines. These movements in themselves create the boundaries, and thereby create the space the body is allowed to move through - the human body in motion creating space. The architecture 160

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in dance is inherent, just as the human body moving through architecture is inherent. The two are inseparable. In his book Experiencing Architecture, Steen Eiler Rasmussen writes about the stimulating effect of rhythms. The mesmerizing music by Philip Glass plays in repetitive rhythms, just as the dance moves in repetitive sequences. It is a fusion of the geometric and living. Within this strict geometric patterns, the presence of the human being performing the dance is felt through variations on a theme. Like architecture, choreography consists of an order; it represents a precision and a lawfulness that humans seeks to achieve.

meaning through the addition of time. Here, the human, or more precisely the moving human body itself becomes an instrument of perceiving, and therefore creating space. Lucinda Childs uses the space of the stage and light implemented through visual projection to experiment with the geometric formations in her piece. Dance and Architecture both operate in the realm of space and light and both perform as formal exercises that relate to the proportion of the human figure to space. Therefore, it is precisely the human body in movement that becomes the instrument that not only experiences, but creates space.

At the same time, the dance moves and choreographic language of Dance is rooted in everyday movements. Elegant simplicity, which at first seems immensely plain, builds into this incredible complexity. Childs is playing with the very simple, almost banal need to move and express emotions through dance. In the original set up (as seen in the video projection) the floor is covered in a grid to show how the dancers gradually move around to cover more and more of the gridded area, making the space dynamic and ever evolving. The strict and orderly grid sets up a juxtaposition to the movements of the dancers. In Dance, the body in motion and the geometries between bodies in motion creates the space, playing with the different scales and the repetitiveness of the sequences. Adding in the music, which slows the movements down or speeds them up, the spaces are constantly changing. One has a feeling of time unfolding at two different speeds at the same time; the actual speed and quickness of the dancers, and the slow evolving of the sequences. Childs plays with different notions of time, making the viewing of the performance a layered experience. Time plays an important role in experiencing, and therefore understanding space. Architect Steven Holl has rejected the notion that architecture can be captured in 2-dimensions, through photographs or viewing it at an distance. He argues that architecture can only be properly explained in four dimensions, 104

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HELENE ISABELLE MILLAN EIDE

ALBERTE KLYSNER STEFFENSEN

Representations are manipulations. (??). We are in control of what we represent and how we represent it. What we include and what we don’t. In that sense we are, as architects, in full control. Control for the sake of our own good(??). We don’t show what we don’t know. We don’t show what we don’t want you to know. We enjoy the privilege of the power of hiding. We hide as we show. We underline and emphasise. Can we represent without manipulating? SIGRÚN PERLA GÍSLADÓTTIR

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

Manipulation i/af sprog. At manipulere, at manøvrere, at aflede, vildlede, mislede, at påvirke, at influere, overbevise, ændre, bedrage, snyde. Manipulation forekommer i utallige facetter af sproget. Det er et sprogligt virkemiddel, som kan bruges til formidling. I dagligdagens sproglige udvekslinger sker der hyppige manipulationer, hvor valget af ord der tales, påvirker budskaber i bestemte retninger, og manipulerer andres opfattelser eller handlemåder. Det kan være for at overbevise eller modbevise. Det kan være bevidst eller ubevidst. Manipulation ligger som et underliggende lag i sproget, i ordvalgene, sammensætningen af ord eller i grammatikken. At være arbejdssky eller at være én arbejdssky. Selv de mindste ændringer i sproget kan være manipulerende eller kan manipuleres ved små justeringer, og derved ændre en forståelse af noget fuldstændigt.

MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS

MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD MANIPULATION IN 100 WORDS MANIPULATION PÅ 100 ORD MANIPULASJON PÅ 100 ORD

TEXT & ILLUSTRATION BY MATHIAS KRUSE JACOBSEN, UNIT 2/3 D

Project contribution, exhibited at Drawing of The Year 2017 at Aarhus School of Architecture in relation to the theme “Everyday Utopia”. The drawing is a reorganized city centre of Aarhus. By translating the parametric growth pattern of plants, I have by coordinating key points and digital manipulation, redrawn Aarhus as a botanical metropolis. The growth can be ever extended and is scalable. The process of drawing began with studies of plant systems and the branching patterns during growth, then a tracing by hand on A2 with key points marked (where branches part) scanned and redrawn in Rhinoceros, reorganised flowing along curves. The cadastral and outlines of buildings are all from the “Aarhus Bymodel”. 80x80 cm

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MATHIAS KRUSE JACOBSEN

BOTANICAL METROPOLIS

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SEKTION III

IN MEMORY OF INTERVIEW BY NANNA L. H. NIELSEN, UNIT 2/3F

Aarhus School of Architecture is closing down another studio. This time it comes to studio 3A. It is difficult to separate the studio from professor CJ Lim and his architectural practice in the field of sustainability. In the autumn I went to his lecture â&#x20AC;?Inhabitable infrastructuresâ&#x20AC;? at Barlett in London, I think more than 200 people attended, and we could barely fit in their auditorium. He had the same lecture in Aarhus, in the canteen and I that only heard 20 people attended. In this lecture, I was introduced to an interesting, and for me, a radical approach on architecture, and I concluded it would benefit us in Aarhus, to learn to open up our eyes. Before it is to late, I would like to learn more about the studio and their way of working, so I interviewed Alexandra Olsen and Erik Bean about their experience in the studio. They are both graduating this summer and have been in studio 3A during their whole master.

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NANNA L. H. NIELSEN

ERIK BEAN PROJECT TITLE: THE GRAND TOUR OF EUTOPIA 8TH SEMESTER PROJECT THE GRAND TOUR OF EUTOPIA IS A MODERN PILGRIMAGE CULMINATING AT THE ENTRANCE TO THE LIMFJORD AT THYBORØN, DENMARK. THE TOUR CRITIQUES THE NATURE OF CONTEMPORARY EUROPEAN UNITY BY EXPLORING PROTECTIVE NATIONALISM AND PROMOTING TRANSNATIONAL EMPATHY. THE TOUR EXPLORES EUROPEAN CLIMATE, COMMUNITY, CULTURE, DEVELOPMENT, AND GEOGRAPHY. THE FINAL DESTINATION OF THE TOUR IN THYBORØN DEVELOPS A DIALOG BETWEEN THE EUROPEAN UNION AND THE SMALL COASTAL TOWN RICH IN HISTORY AND PART OF DENMARK’S EXTENSIVE HABITAT PROTECTION AREA. PILGRIMS BRING INGREDIENTS TO CONFRONT THEIR OWN PAST AND FUTURE WITHIN THE EU, CONNECTING OVER FOOD, DRINK, AND THE RELEASE OF ‘GIFTS’ OF THEIR MEMORIES BACK TO EUROPE.

IN MEMORY OF STUDIO 3A

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ALEXANDRA NIEMI OLSEN PROJECT TITLE: THE VERTICAL GARDEN OF MULTICULTURALISM 8TH SEMESTER PROJECT THE VERTICAL GARDEN OF MULTICULTURALISM REIMAGINES "MØLLEPARKEN" IN ÅRHUS AS A CENTRAL MEETING POINT BETWEEN PEOPLE OF ALL CULTURES. THE OPEN STEEL STRUCTURE ENCOMPASS VARIOUS USE RELATED TO FOOD AND URBAN AGRICULTURE, USING THIS AS A COMMON INTEREST TO EMPHASISE THE IMPORTANCE OF INTEGRATION AND INCLUSION.

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NANNA L. H. NIELSEN

Nanna: How did you end up in the studio 3A? Alexandra: I knew CJ-work and was positively surprised that he were going to teach here. And I would like to work the way he works. Erik: Didn’t know anything about CJ before coming here – but it sounded like the most interesting in the brief introduction to the master studio. N: In the description (on aarch.dk) Studio 3A is called a speculative studio; can you describe how you work with fictional narratives? E: The process begins in the start of the semester where you have to select a piece of literature, which becomes a foundation for the project through out the year. CJ Lim works with you to extract these themes, different ideas or principles, and then you explored those. We have been working a lot with collage, this idea of taking out of the story and collageing it. The studio has its own briefer direction, the narrative from the story and this briefer direction get mixed in the collage, and from that you generate these ideas - along with a lot of research. A: He encourages you to take elements or topics from that story and link current issues – political and social – so you find your way into architecture though those. For this year’s project they need to be climate related and not only climate as in weather. The program comes from that. N: What is role of drawings? E: In the studio we are always working with drawings, there is big focus on drawings and learning through representation. The style of drawing is capturing several views, perspectives and the specific atmosphere. It is also about moving quickly compared to modelling, which is necessary for the way we work. N: What about scale? Are you mostly working in building scale? A: It does come down to buildings - it is about architecture. But we do various allot in scale, it is also about how the building you design performs in the context and the process or strategy for building it. E: Just to explain briefly how the year is structured: The projects we work on span over two semesters, a whole year. IN MEMORY OF STUDIO 3A

First semester is mostly large contextualities, so global issues, the narrative can have a huge context and then you wheel your way down to your site. The goal of the first semester is to get your narrative idea and this master plan idea down, which can be in quite large scale. Second semester we are getting down to the scale of building or even specific joint details. So it is really across scales. These narratives work in many scales, both in the master plan and the joint detail. N: It is my impression that the way of teaching is quite different from the rest of the school? It might be contrasting to “the Danish way of teaching”? Do you fell that? A: CJ and Eva are incredibly dedicated tutors and put a lot of effort into their students projects. I do not agree with the focus on what relates to nationality, when it is about architecture. Eva and CJ really do complement each other, with their teaching methods. N: I mean British schooled teachers might control your design process and approach more than the ones schooled in Denmark E: It does seem that there are clear differences in the way the studio works. I see this as a research team, CJ and the people he have been working with in the past have created this specific way of working and if you are engaging in the work and this way of working, you’re contributing to this research that is pushing things forward. It is not an individual action, you are not working by yourself on your project, you’re working with CJ and Eva, and with the studio together, to push this concept of narrative design a little bit further than last year. Like any kind of scientific research, you are doing new things and pushing things further. A: In that sense it contrasts other studios, but at the same time each project is super unique and related to the person doing it.

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HELENA HAMPE PROJECT TITLE: HAPPINESS 7TH SEMESTER PROJECT HAPPINESS - A FUTILE EXERCISE MOVING DANISH DEVELOPMENT AID FROM ONE HAND TO ANOTHER.

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NANNA L. H. NIELSEN

AZUSA ICHIMURA PROJECT TITLE: SUMMER IN WINTER LÃ&#x2DC;NSTRUP

TITEL

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N: What would be the ideal place, to work or an ideal task for you after studying? A: This studio has definitely allowed us to explore how architecture relates to many different topics in different scales, and allowed us to explore the political need for architecture. In my case it has really broaden my view on architecture, I’m more interested in city planning, and sustainability on many levels (not just solar panels as many connect with the word), also what sustainability means now, and what it will mean in the future. In extension to what Erik said about pushing things a little further – it is also about predicting based on the research we find – that is why I’m interested in sustainability. E: There are all kinds of threads from what we do now that could be interesting and could be pursued in the future in terms of design approaches to any scale of work. Where I see myself the most happy I’m not sure but there is definitely methodologies and pieces of interest that you can take from projects you have done and those can inform your practice in the future. And if you look at people graduated from Cj’s studios they are working in many different places all around the world N: Something specific you want to communicate out through Kårk? E: We are all really disappointed to hear that the studio is closing, we felt that we just kind of started as a studio to have an identity in the school. I had in my mind a romanticized idea that we were creating these documents and drawings and that next year they get these documents and drawings and would build on them, again this thing of pushing things forward. When we were just starting to feel that we were picking up steam, it ends. And we are all super disappointed, we love our experience from the studio. A: Through working with CJ we had a look in what’s going on at the Bartlett and exactly what Erik has described is what we see is going on there – where they’re pushing limits and exploring further in techniques and topics. It would have amazing if that could happen here in Aarhus and we have seen a lot of interest from the bachelor level – it’s a shame that these students don’t get the chance. 116

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FORFATTER

VICTOR MOLDOVEANU PROJECT TITLE: THE MINISTRY OF OCEAN WISDOM 8TH SEMESTER PROJECT THE MINISTRY OF OCEAN WISDOM IS A PROJECT SHOWING A MODEL OF EMBRACING OCEAN LEVEL RISE AND CONSEQUENTLY TAKING UP LIFE ON WATER. THE MINISTRY OF OCEAN WISDOM IS A DEMONSTRATION PROJECT CONCERNING A REGIONAL ENVIRONMENTAL STRATEGY ADDRESSING 23 000 SQ KM OF THE DANISH TERRITORIAL WATERS AND MAINLAND JUTLAND PENINSULA, WITH A FOCUS STUDY ON THE BUILDING OF THE MINISTRY.

TITEL

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IVAN CHAN PROJECT TITLE: THE NEW PUBLIC GARDEN LOBBY OF AARHUS TRAIN STATION 8TH SEMESTER PROJECT IN THE AGE OF SPEED AND INSTANT INFORMATION OVERLOAD, THE ‘NEW PUBLIC GARDEN LOBBY’ TRANSFORMS THE AARHUS CENTRAL STATION FROM A FLEETING PUBLIC SPACE TO A PLACE FOR CONTEMPLATION, RELAXATION, AND IMAGINATION. THE TEMPLE OF THOUSAND DOORS, THE SEA OF MIST, THE CITY OF OLD EMPERORS, THE LAKE OF TEARS, THE HOUSE OF CHANGE AND THE NIGHT FOREST DRAWN FROM MICHAEL ENDE’S FANTASY FICTION ‘THE NEVERENDING STORY’ (1979), PROVIDED THE TOOLS TO REIMAGINE THE MUNDANE SPACES WITHIN THE STATION. THE NEW ARCHITECTURE OF READING AND TEAROOMS, SUN LOUNGES, AND SAUNA ALLOW THE USERS OF THE STATION TO HAVE AN OUT OF THE ORDINARY EXPERIENCE.

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NANNA L. H. NIELSEN

N: All these students on the bachelors who planned to go on studio 3A, can you recommend them some literature or projects they can look at, just to get a tiny bit of what you got out of being in the studio. A: They should read what CJ’s have published, there is quite a few of his books in the library. Particularly his latest book “Protect, provide participate” you can see the relation in the research approach to these speculative projects that is a big part of the ethos of the studio and it is a good example on how you get the two together. Erik and Alexandra took me to their studio and showed me the projects they are working on now. They explained how this deep research works as a foundation of these narratives they are building their projects around. The narratives are alternative social symbioses or structures within society that accommodate the social and climatic changes they have been researching. They are looking at global and local challenges we are or will be facing, how to deal with them and find resources and potentials in them. A: We work with how to participate in climate change rather than trying to avoid it or stop it.

IN MEMORY OF STUDIO 3A

For example Alexandra is looking at the growing third age (a big part of the population that will be retired in the future), especially in the UK. Her project takes places in 2100 where it can be predicted that some tourist cities along the cost of UK will be abandoned because of climate change. She combines these two “problems” along with other factors, and investigates how we make cities, communities and housing for all these old people in the abandoned areas. (A project that goes along with thorough research and is much more complex than explained here) N: What is the role of humour? E: Political satire is a nice format, where you laugh and cry at same time. It is also fun to make enjoyable drawings - architecture has to be so serious all the time. After this conversation I’m inspired and happy to have met people who are rethinking architecture and sustainability. And even happier that there exist spaces for big thoughts in the field of sustainability, which is very needed, and I hope not all of them get closed down. A reminder on, that in a society, to accommodate these social and climate changes we are facing, there is an urgent political need for architecture.

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WINTER 2018

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ROSA BUI & SIGURD RUBIN

In KÅRK we wish to show, in a broader extent, what goes on of projects and workshops, on the school. In that context we have selected two projects from the new architects of winter 2018, previously exhibited at Råt at Godsbanen. The two projects selected are ‘Hẻm Sài Gòn’ by Rosa Bui, Studio 2A and ‘In-between place and spirit’ by Sigurd Rubin, Studio 2A. As a contradiction to the manipulation section, the architects were given free hands in regards of representation, both selection of material and layout. The projects are here published with the architects reflection of their respective projects.

THE NEW ARCHITECTS WINTER 2018

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Site

Big roads with high towers

SAIGON IN THE MAKING - Rapid urbanisation

Ho Chi Minh City, commonly known as Saigon, is Vietnam’s biggest city and its centre of commerce. Its population of now 8.4 million is perpetually growing, demanding a considerable improvement in social services such as healthcare and education, as well as in urban planning, organisation, management and housing. The city has experienced a rapid construction boom in the last 30 years: existing inhabited zones are getting infrastructure enhancements; new urbanised areas are being created; high rise development, and the adoption of western model of large footprint curtain wall towers are “popping up” everywhere, offering dwellings, offices, hospitals, schools, supermarkets, sport centres and shopping facilities.3 Gentrification is a global urban phenomenon whereby underdeveloped areas, like hẻms, are demolished or transformed. The process is often coupled with rising rents, the influx of multinational corporations, and in many

cases, a shift in the social fabric of neighbourhoods. Additionally, the social fabric is shifting among the younger generation that is getting ready to break with traditions. Contrary to the older generation, the contemporary man is living in a city with multitudes of choices and distractions. Such citizen believes that he is in command of his own destiny.4

Straight streets with aligned tube houses endanger the hems.

From the dichotomy between demolition of traditions and support towards new living trends, there seems to be a pressing need to reform the urban typologies for living, knowledge sharing, and profit making of the place that embrace the existing local culture in order to de-gentrify Saigon as it is today. Furthermore, Vietnam is a microcosm of a global cultural situation: the disappearing deeply human local culture and the quickly enveloping global one, which makes this thesis relevant beyond the context of Vietnam.

Hem soon to be replaced Hẻm “A tangled network of narrow alleyways that host a great diversity of both social and economic activities throughout the day and night.”

Saigon‘s urban fabric

Hẻm S à i G ò n My fascination with the city of Saigon is the coexistence of so many contrasts: the old and the new, the rich and the poor, the improvised and the envisioned. One clear opposing binary which coexist in Saigon is the explosion of high rise development that is in contrast with the amazing culture of tiny lanes which fill the gaps between major streets. Hẻms spatialise a rich sociable life and intense use of urban space. Away from the main roads, everyday life feels slower, calmer, relaxed and on a more human scale. All city noises disappear, as does all traffic. The smell of fresh food makes Saigon hẻms very unique. Street vendors and shop owners are selling their local creations. People live in such close proximity that there is an intimacy to hẻm life - a feeling that life is share. However, the traditional hẻm typology is jeopardized by the rapid urbanization and therefore demolition and renewal of Saigon. What kind of intervention can be developed in order to keep the unique hẻm culture in a time of gentrification and rapid urban growth?

LEARNING FROM VIETNAM Learning from a tube house Social engagement and climate-adapted constructions are central topics in the Vietnamese architectural discourse. + Rhythm of footprint + Building structure + Climate response + Facade

Sun Cold air Warm air

Garden & Altar

Accomondation

Local business

Tube house with three generations

Vietnamese tube house typology

Learning from a hẻm house Unlike the Western context, where the streets are normally organized and structured, a hẻm is a fluid multi-functional public space. It is a street for motorbikes, a pedestrian path, it is a trading area or it is a living room. The participants in a hẻm face a constant re-negotiation of their own space. + Human scale + Blurring of inside and outside / public and private space + Density: social interactions and negotiations with ones fellow humans + Density: shaded areas + Combining of home and small commercial (shop house)

Day

zzzzZZZzz ZZZZzzZZz

Night

Hẻm: Street of Negotiations

Cross Section

FROM URBAN SCALE TO HUMAN SCALE A prototype Densiﬁcation “True density forces connections with other human beings in a way that promotes community building.” - Archie Pizzini Saigon is certainly in need of more housing units in order to maintain the population growth. However, it is negligent to flip the hẻm culture vertically into a

tower in order to provide more living area. A hẻm is an alleyway rooted on the street level and its life and intimacy would become lost by demolishing its horizontal infrastructure. Even though the Vietnamese tube houses are a good way to reduce the footprint of the area, they still endanger the unique hẻm culture. Due to the strict fire wall regulations the intimate connec-

Interior Shop house at elevated street

tion to the adjacent neighbours is being lost. The thesis project investigates a new urban form that combines the scale of the tube houses with the DNA of a hẻm.

Street creation The ground floor of the building is a continuation of the surrounding hẻms and therefore embraces the

street food culture. As part of the densification process of Saigon, hẻms are increasingly being replaced by straight streets for a better infrastructure Therefore, the new proposal acts as a prototype to create a new street while maintaining the scale and character of a hẻm.

Interior Housing unit

PROGRAM AND RESIDENTS Hybrid

Program

The new project is a combination of the structural and environmental aspects of tube houses and the social character of the hẻm.

1 - New street The new intervention connects the surrounding hẻms with an additional street that can be used as a multi-purpose space.

This new typology emphasizes the qualities of the hẻm but also faces the issues such as space and storage problems and the lack of natural light, natural ventilation and greenery. Additionally, it reacts to the population growth in Saigon and adds new apartments to the site which increases the density of the area to 180%.

2 - Street food market The inhabitants of the old demolished hẻm houses are relocated into the 13 new shop houses at street level. The layout of these house are informed by the existing context. 3 - Housing The project includes 10 additional apartments. These units specifically addresses the needs of young people who wish to live close to the centre of Saigon but still want to be connected to the traditional hẻm culture. They represent the transition of the Vietnamese society towards a modern lifestyle.

Section Maisonette apartment

Section Shop house at elevated street

A3 - 1:100

Street elevation Tube house rhythm

Section Shop house at street level

A3 - 1:50

REFLECTION During my time researching the urban fabric of Saigon and the lived Vietnamese culture, I started to get fascinated by the openness, friendliness and the constant embrace of respect and gratefulness. As a result, I always felt welcome wherever I went. However, this very unique character found in the traditional hẻm typology is jeopardized by the rapid urbanization and therefore demolition and renewal of Saigon. At the same time, there is a very young and modern generation, craving individual freedom, prosperity and success. This dynamic and international lifestyle is open to the rest of the world, seeing vibrant mega-cities like Singapore or Shanghai, and desire to catch up. In the urban context, developers and city officials are pushing state-of-the-art luxury high-rise apartment and office towers. Caught between small-scale hẻm context and large-scale developments, social and impersonal, tradition and progress, old and new, I think the challenge for me as an architect, is to find a new way of living and unique design

expressions bridging these gaps. There is a pressing need to find modern answers for typologies that support and promote social life, space usage and quality housing, based on the local culture. The project aims to combine the existing context, the tradition hẻm, as well as the forward-looking developments, both coming together so close to the centre of Saigon. Furthermore, it mirrors the period of transition, the Vietnamese society finds itself in right now. Additionally, the extreme local climate conditions and environmental pollution are pressing matters that influenced the design. Ensuring a natural ventilation throughout the hẻm and providing shade through simple vernacular techniques, result in a green, open and playful architectural expression. - Rosa Bui

Physical models

IN - BETWEEN PLACE AND SPIRIT

The theme of this thesis project derives from a fascination regarding the relationship between man and nature and its boundaries. Today, one of our ways of understanding and communicating the nature of a specific habitat is by detaching it from its origin and isolating it in bubbles we call Nature Centers. These create frames that reproduce reality becoming simply observatories of quantified data. These places offer an experience of detachment instead of one that could allow us to embody nature. Detachment is deeply rooted in our culture as a reaction to our technological development. To a greater extend, we experience the world through digital media, which selectively affect our body. We have become observers instead of participators of places. This thesis took as a point of departure this problematic in an attempt to reflect and to work with nature and its boundaries with man through a phenomenological approach. The project investigates apparent and unapparent boundaries and proposes an architecture that corresponds with nature as a mediator that amplifies the spirit of a place.

“Everything will ﬂ ourish at the edge…” - Jacques Derrida, “Parergon”.

The location is on Fanø, a changing landscape shaped by wind, water and sand. It is characterized for its many physical and cultural boundaries. The intervention is situated on a tidal flat south of Sønderho. The method for the thesis project embodies the same question that the thesis asks. For these reason the project has been designed in-time along with seasonal experiences of the place. The seasonal trips and the decoding of the place together with a post processing of the discoveries made in each visit have been the generator towards an architecture for and of this place. Every trip has contributed to the design of this project in an attempt to uncover the different layers hidden within this place. The travels and experiences also generated new questions and clues which demanded answers to continue the process. The intention with this methodology was to experience and uncover the invisible layers of a place by physically being there.

DESIGN PRINCIPS FOR THE INTERVENTION - The moving landscape and views in this place View from Kåveren

ø Fan

w 3100

in d

500

21 May - Jul

Arrival

600

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n View Kåvere

2800

Currents - Tide

nd ain la e-M Rib

21 Apr - Aug 2900

800

Currents - Tide

21 Mar - Sep

e Tid line

2600

1000

21 Feb - Oct 1100

2500

1200

2400

21 Jan -Nov

130

2300

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1500 2000

1600 1700

SUN

High

Moon

Sea

Wet

Sand

Dry

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Arrival - Low tide

r lte

o ree

d res ctu

u Str

Low Earth

ø øm -R

nø Ma

1900

Boundaries, Miljø and Place

Denmark is surrounded by water, it exists of its islands and its 8.750 kilometers of unique coastline, only a minority of the country is physically connected to Germany in southern Jutland. Today the majority of cities are situated on this natural boundary due to their development in history, whereas the sea was both, a resource and a trade route. All together, Danes have a strong perception and connection to the boundary between land and sea, culture and inexplicable nature. “–boundaries are porous edges that take in as well as give out – in contrast to borders, which act to delimit institutions and concrete practices in the life-world; Borders character-istically call for linear representation, boundaries do not”. Edward Casey A border can be understood as a line separating two environments, countries, areas, or an administrative division. Often it is illustrated as a thin dividing line which is perceived with authority. However, natural boundaries and environments are in fact; not a thin line but a fluid organism in constant change and unique

Experimental exercise - Concrete How to build and cast with sand

from place to place. The word, environment, especially used in English has become distant to us and in relation to the body, the environment is that which is outside ourselves. The use of the word, becoming popular in the XIX century, was a translation from the French word ‘milieu’ which means to be in the middle and has its origins in the Latin word ‘medius locus’ which is a ‘Place in the middle’, an inherently embodied condition. ‘Environment’ however, came to signify everything that is surrounding us, creating a clear detachment between the self and the external conditions. The Danish term “miljø”, just like the French milieu embodies the contextual qualities of the world we live in. It is difficult to define what a place is. Often, a place is a product of experiences, stories, actions, qualities and phenomena. Furthermore, the spirit of a place is not a simple description of the physical characteristic of a location. To understand the place, one must seriously take the time to be there, read the clues and pay attention to the multiple layers of its reality.

Decoding: History, Culture, Landscape and Elements

DECODING MASK

BODY MACHINE

THE MASK

BODY MACHINE

Elevation Elevation - Side mask

Elevation front Elevation - front mask

Section Section - eye eye

Field ofof view view Field

Textile texture Textile texture - detail Texture - ear Section tecture - detail ear

THE MOVEMENT OF THE LANDSCAPE

THE LINE OF THIS PLACE

MOVING LANDSCAPE

1944 Aerial photo photo 1944 Aerial

Sun

Moon 1984 Satelite photo 1984 Satelite photo

Sky

Wind 1994 Satelite photo 1994 Satelite photo

Birds

2004 Satelite photo 2004 Satelite photo

Sea

Sand

2016 Satelite photo 2016 Satelite photo

Mussels

Observatory of the landscape - Program Place to filter mussels: Chapel for an old practice Place to be sheltered: Dwelling for one or two Stairs to go up: Horizons for observation Spaces to experience the movement of the landscape: Celebration of Time Gate oriented to water tides current: Celebration of Force Arrival: Walking and Sailing

Tidal flat observation exercise Visual connection to historical landmark

Horizons for observation - Stairs - High tide

Painting by David Jacobsen SĂ¸nderhokvinder hĂ¸ster med segl. 1852 The mask, Landmark, Ship - Tidal flat.

“The spirit of a place resides in its landscape” - Edward Relph (1976,30)

Observation space - Low tide

Plan - Low tide

B A

Plan - High tide

B A

The line of this place - reflection The starting point of the assignment was to spend time in Fanø to uncover the spirit of the place, the essence of this area and the relationship between man and nature, and its boundaries. The physical presence at the place during seasonal trips was an experiment that allowed me to spend time in this landscape in order to detect traces, secrets and overlooked qualities that can only be discovered by being there. At the same time, it has been an exercise that has prepared me with awareness towards the importance of presence when investigating sites. In this way, the thesis has also been a learn-by-doing process. During the seasonal trips I was able to invent and develop different methods to map and understand the place. From nature to culture and history, this exercise has been a project of truly understanding an essential part of Denmark. It is from this understanding that the design for this thesis emerges and aims to be attuned to the spirit of this place. A place and the lines we perceive in the landscape and on the coast are not just thin lines on a piece of paper, the lines we see, are actually enormously thick.

Section - Low tide

The coastline on a map is a freeze of a picture of a landscape that is constantly changing. The lines contain many layers that need to be uncovered to understand a place and its boundaries. Arriving to the boundary or the edge is not always the goal, it can equally be a journey in itself, which can be the exciting part. The ambiguity of the English expression “approach”, where something moves closer to something else. The interesting is what lies in between, what is moving in-between. The approaching movement. The major challenge in this thesis has been to generate an architecture for and of this place, one that could bring the studies together and situate it on a tidal flat. I have been challenged by the site enormous scale that I now know consists of the earth, the horizon and the sky, together with extreme nature in constant motion. “When we designate the desert as a cosmic landscape, it is because it seems to manifest an eternal, immutable order. Thus, it does not know individual places”.

WHY SHOULD WE BE TALKING ABOUT IN ARCHITECTURE? CRITICAL WRITTEN REFLECTION BY AZUSA ICHIMURA, STUDIO 3A

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AZUSA ICHIMURA

GENDER INEQUALITY AND ARCHITECTURE

According to the World Economic Forum’s latest “Global Gender Gap Report 2017”, it would take a whole century to close the gender gap in this world. In the report, gender gap index is measured according to four criteria, “Economic Participation and Opportunity”, “Educational Attainment”, “Health and Survival” and “Political Empowerment”. Among the 144 countries assessed in the latest report, the world average score of gender gap is 0.680, which conversely means that there is average gap of 32% remaining worldwide. Even in Iceland where it has ranked 1st for nine consecutive years since 2009, the latest index is 0.878 which is 0.198 points higher than the worldwide average, but is still 0.122 points to reaching 1.000. Furthermore in the report, it claims it would take 217 years to achieve workplace equality. Workplace in architecture is no exception. Worldwide gender gap in architecture is proven in multiple researches regarding the low ratio of women in the industry and academia (especially in the higher posts), of female award recipients, and regarding lower salaries of female to male. In 2013, BD included a survey quantifying the best and the worst country for female in architectural careers in the annual report “The World’s Largest Architecture Practices”. The best country for female architects was Sweden, and the worst country was Japan followed by the United States of America and the United Kingdom. The reasons stated for Japan’s failure were the ratio of male and female ar-

chitects and the lack of support for childcare. Ratio of male architects to female architect was reported 9:1. For childcare, Japan only had 14 weeks on 60% pay for maternity leave and no paternity leave entitlement* then, which was evidently unmerciful compared to where 60 weeks full pay maternity leave and 8.5 weeks full pay paternity leave were secured. Generally, the three worst countries are not the worst countries in architecture but quite the contrary, dominating 23 schools in the “Top Architecture Schools 2017” by Quacquarelli Symonds (14 from USA, 7 from UK, 2 from Japan), producing 19 out of 44 Pritzker Prize laureate (8 from USA, 7 from Japan, 4 from UK), and even two out of three female Pritzker laureate (Zaha Hadid from UK, Kazuyo Sejima from Japan). Why does the contradiction happen? For the situation in Japan compared to Sweden, this may be simply aligned to the national gender gap irrespective of industry. According to the above mentioned report, Japan has the greatest gender gap among the G7 countries (Canada, France, Germany, Italy, Japan, the United Kingdom and the United States), and 33rd among 35 member countries of OECD (Organisation for Economic Co-operation and Development). It ranked 105th in 2013 when BD’s survey was published, but has dropped to 114th this year. On the other hand, Sweden ranked 4th in 2013, and still retains its position as 5th in the world. However, for the United States and the United Kingdom the situation differs. The United States was 23rd in 2013

WHY SHOULD WE BE TALKING ABOUT GENDER IN ARCHITECTURE?

despite dropping to 49th in 2017, and the United Kingdom was 18th in 2013 rising to 15th in 2017. Thus, in spite of being evaluated rather well as nations, both countries do not perform very well when it comes to closing gender gap in architecture. This indicates architecture industry peculiarly falling behind in gender equality among industries in general. The two researches show the situation in the United States and the United Kingdom. Research by Lian Chikako Chang for Association of Collegiate Schools of Architecture in 2014 shows the situation in the United States of how in higher stages of architecture the percentage of female existence drops. Survey conducted by The Architects’ Journal and The Architectural Review in 2017 shows the situation in the United Kingdom of how working women in building industry go through bigger hardship compared to men.

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In awarding, the Pritzker Architecture Prize has only awarded three women out of all 44 winners (Pritzker Architecture Prize, 2017). As the most prestigious international award for architects, there is little room for arguing that this is not an official statement of the global architectural community. Nevertheless, the progress is being made despite its snail’s pace. Zaha Hadid was the very first female laureate in 2004, but still today she is the only female architect awarded as an individual. For female architects in partnerships, Denise Scott Brown was excluded when her partner Robert Venturi was awarded in 1991. The award finally accepted the efficacy of design partnerships in 2001, by awarding both Jacques Herzog and Pierre de Meuron for their joint practice. This acknowledgement of architectural collaboration made possible for two more female architects, Kazuyo Sejima in 2010 as SANAA, and Carme Pigen in 2017 as RCR. Unfortunately the situation is two steps forward and one step backward, as dismissal of a partner happened again in 2012 when Wang Shu was awarded alone without his partner Lu Wenyu. This critical written reflection aims to explore the momentous question; ‘why should we be talking about gender in architecture?’ To grasp feminism in architecture, Jane Rendell remonstrates on the application of a single framework to this many-sided topic. She points out the importance of subdivision, and in editing “Gender, Space, Architecture” (2000) she introduces 16 relevant pieces and subdivides into four sections; “‘Herstory’: Women in Architectural History”, “‘Drawing

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on Diversity’: Women in Architectural Design”, “‘Sexuality and Space: Rethinking Architectural History” and “‘Desiring Practices’: Rethinking Architectural Design”. The sections are ordered chronologically to understand the transition of topics; the first two sections focus on the history and practice of women in architecture, and the second two sections introduce pieces from the end of the 20th century that examines and reconsiders the definitions of each keywords such as ‘gender’, ‘history’, ‘practice’ or ‘architecture’. Thence, this critical written reflection explores why the question is important in both ways: in acknowledging the battles fought in the 20th century, and in questioning the appropriateness of this discussion in the 21st century. In the first and the second chapter, the report introduces cases of ‘architecture by women’ in the 20th century. It focuses on two female architects, Eileen Gray and Denise Scott Brown, and how they had contributed in architectural innovation of the 20th century, but been overshadowed by their male counterparts. In the third chapter, the report introduces multiple approaches of ‘feminist architecture’ in the 20th century. In this chapter, dissimilar contributions – compared to the former chapters – are introduced, experiments of “feminine or feminist approaches” (Franck, 1989) by women who specifically identify themselves as feminist activists. In the final chapter, the report reprises the question; ‘why should we even be talking about gender in architecture now?’ It explores the rights and wrongs of referring to gender in architecture, through analysis of the precedents and the current trend.

AZUSA ICHIMURA

EILEEN GRAY AND MODERNISM ‘ARCHITECTURE BY WOMEN’ IN THE 20TH CENTURY

Biggest achievement in the early 20th century architecture could be stated as the establishment of modernism, and Le Corbusier was one of the greatest contributor. Le Corbusier’s “Vers une Architecture (Toward an Architecture)” in 1923 is regarded as one of the “most important writing on the making of architecture” (Scully, 1966) and his manifesto “Cinq points de l’architecture modern (Five points of modern architecture)” in 1926 shaped modernism as a style for his juniors to follow. Five Points of Modern Architecture (Le Corbusier, 1926) 1. Piloti; to replace supporting walls and separate building from the ground 2. Free designing of plan; by absence of supporting walls 3. Free design of façade; separated from structural walls 4. Horizontal window; on the liberated façade to provide natural light 5. Roof garden; to liberate rooftop for domestic use and protect the surface His manifesto was first incorporated in designing “Maison Cook” (1926), and was completed in “Villa Savoye” (1931). According to Caroline Constant, he “gained certain acceptance among progress French architects by 1930” (2000) that lead him to his declaration “the architectural revolution is accomplished” (Le Corbusier, 1964). After his multiple successes, he was commissioned to work for Paris Expo 1937. For his “Pavillon des Temps Nouveux”, he invited Eileen Gray, an Irish architect and designer, to display her work. She was known for her art déco turned to modernist furniture design, and had been working on architectural

projects since the early 1920s with encouragement from Jean Badovici – a Romanian architect critic and lover –, J.J.P Oud and Le Corbusier himself (ARAM, 2015). Gray exhibited her first large-scale project “Centre de Vacances (Vacation and Leisure Centre)” at the exposition, but did not attend the opening as she went into reclusion in “Tempe à Pailla” (1931-1934) designed for herself in Castellar. Despite working collaboratively and admiring each other’s works, their relationship ruptures when Le Corbusier exasperates Gray for an “act of vandalism” (Adam, 2009) on her work “E-1027” (1926-1929), a retreat in Cap Martin. As Le Corbusier goes on to pursue his career as the giant of modernism until his death in 1965, Gray stayed in virtual retirement. Her works were undermined until in 1968 when they were issued in Domus magazine by critic Joseph Rykwert. Thus “E-1027” was clearly a turning point to the subsequence of the two architects, but what was so phenomenal about this retreat that derailed their careers? “E-1027” was completed in 1929, three years after “Maison Cook” and two years before “Villa Savoye”. It was a collaborative work of Gray and Badovici with the title “E-1027” as a cipher combining their names. Gray had prime responsibility for design and construction while Badovici assisted on technical aspects. Badovici also contributed in conceptualizing “particularly in its fealty to the ideas of Le Corbusier” (Constant, 2000). Badovici looked up to Le Corbusier as his mentor, which led to the explicit reference of “Five points of modern architecture”, only with Gray’s twist to it.

WHY SHOULD WE BE TALKING ABOUT GENDER IN ARCHITECTURE?

She adopted pilotis and flat roof garden from “Five Points-”, although not on a flat site postulated by Le Corbusier, but on a steep rocky precipice looking over to the ocean. Instead of using pilotis to segregate the building from the terrain, she created the piloti space as one external room with privacy by incorporating the fieldstones walls (Constant, 2000). She extended the “outdoor living room” by designing the landscape with pavements and a sunbathing pit, which on the contrary to the intension of the “Five Points-”, adheres dwellers’ experiences on the ground. This left the rooftop without much function, and although Gray credits Badovici for suggesting spiral staircase that connects to the roof (Adam, 2009) following his mentor’s advocacy, the spiral glass turret was less of a circulation but more for taking the natural light in (Constant, 2000). Adopting the reinforced concrete columns to realize “free design of plan”, she placed the columns accordingly to her spatial priorities instead of using numeric grids. For instance, the centre of the salon gained maximum flexibility and exposure by the widest column spacing. For eating and sleeping spaces she placed the columns narrower to create intimacy. She later described her work as “House envisaged from a social point of view: minimum of space, maximum of comfort” (Constant, 2000). She believed in designing for human body and experience rather than mathematical principles. As “free designing of plan”, she also eliminated gendered spaces, such as boudoir for female and study for male which were included in Le Corbusier’s ‘modern interpretation’ of bourgeois’ house “Pavillon de l’Esprit Nouveau” 160

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(1925). Gray instead inverted the spatial placement, placing her workroom off the master bedroom calling it a “boudoir-studio” (Constant, 2000), critiquing Le Corbusier’s anachronism. Adopting horizontal windows, she argued “a window without shutters is an eye without eyelids” (Gray and Badovici, 1929) and carefully designed them as “a layered membrane” (Constant, 2000). She realized filling the interior with natural light which normally comes with exposure, but with extra layers she managed to maintain privacy. She deliberately defied Le Corbusier’s architectural philosophy, leaving a counter-quote “A house is not a machine to live in. It is the shell of man, his extension, his release, his spiritual emanation” (Adam, 2009) to his famous quote “A house is a machine to live in” (Le Corbusier and Etchells, 1927). In contrast to modernists’ obsession for “transparency and spatial continuity”, Gray was interested in “opacity and indecipherability” (Constant, 2000). Her interest in opacity led her to focus on surfaces. Each piece of furniture was carefully tailored, treated equally to any architectural elements as surfaces that choreographs the spatial experiences. Hence instead of a transparent void, her retreat is described as “striptease”, with a delicate balance of revealment and concealment (Wilkinson, 2016). This associates with the objective of design for her luscious relationship with Badovici, which lead her to leave the house when she left Badovici. Badovici started inviting Le Corbusier as a frequent guest. Le Corbusier 144

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praised her work after his first visit, but tells Badovici in private “certain aspects of the house […] were ‘pseudo’, and should be removed” (Wilkinson, 2016). Le Corbusier was left with mixture of admiration to the art and loathing to the transgression. During his stay in 1938, Le Corbusier left eight explicit murals on walls, including one on the hallway screen that hides the bed alcove. This was an exposure of the sexual nature of the architecture, and it infuriated Gray. Although Le Corbusier defended his act as ‘refinement’ of space, Le Corbusier much later concedes, “I admit the mural is not to enhance the wall, but on the contrary, a means to violently destroy” (Wilkinson, 2016). His resentment towards the masterpiece is evident from his confession, which lead him to vandalize its purity and conforming her architecture to his philosophy of transparency and explicitness. He interferes with “E-1027” repeatedly, building his hut “Cabanon” in 1952 by the villa, and building a two story hostel directly overlooking the villa in 1957, which overrode the original purity of isolation. He even bestirred himself to gain “E-1027” as his property after Badovici’s death in 1956. Tragically, the existence of the murals and Le Corbusier’s interferences not only undermined Gray’s philosophy, but also made the house to be believed as Le Corbusier’s work until Gray was rediscovered. When it wasn’t mistaken for Le Corbusier’s work it was often credited under Badovici’s name, which neither of them were exactly eager to correct (Wilkinson, 2016). AZUSA ICHIMURA

However, despite their rivalry, Gray admired Le Corbusier as someone “she never stopped engaging his ideas in counterpoint to her own” (Constant, 2000). Cloé Pitiot, curator at Centre Pompidou, states “if you can say that Le Corbusier is one of the fathers of Modernity, then you can say that Eileen Gray is one of the mothers of Modernity” (Gray Matters, 2014). Conclusively, the two have equally developed the modernist movement from both sides of the spectrum, therefore deserve equal credit.

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DENISE SCOTT BROWN AND POSTMODERNISM ‘ARCHITECTURE BY WOMEN’ IN THE 20TH CENTURY

After modernism came postmodernism. By “Complexity and Contradiction in Architecture” (1966), Robert Venturi criticized the modernist architects then or “modernist-lite” turning modernism into obsolete faith in purism and oversimplified geometry after the first advocates’ deaths. Through observing and revaluating historical architecture, he alternatively advocated coexistence of contradiction and diversity, which is condensed in his antithesis “less is a bore” to modernist Mies van der Rohe’s “less is more”. Vincent Scully, an architectural historian, introduced Venturi’s “Complexity and Contradiction in Architecture” that “it is probably the most important writing on the making of architecture since Le Corbusier’s Vers une Architecture, of 1923”. However, protagonism of postmodernism can only be content with what comes later in 1972, “Learning from Las Vegas: The Forgotten Symbolism of Architectural Form” published under a joint-authorship of Robert Venturi, Denise Scott Brown, and Steven Izenour. Observing Las Vegas, it opened up the significance of pop culture, and brought back the use of symbols in architecture. Two of the authors founded Venturi, Scott Brown and associates and had been practicing architectural and urban projects, proposing ‘rational’ responses to the context not in a conventional style of modernist geometry but from the vocabulary of architecture that they themselves expanded through acknowledging “low culture” as well as “high culture”. The most famous invention from “Learning from Las Vegas” is the comparison of “duck” and “decorated shed”. The term “duck” was invented by Scott 146

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Brown to describe the state of architecture that is slavish to its symbol, distorting spatial, structural, and programmatic systems. This was used to criticize the state of modernists then and their pursuit of eliminating symbolism frantically that has paradoxically turned their architecture into symbolizing modernist style. The term “decorated shed” was invented by Venturi to describe what architecture should be, with systems that serve to each function without distortion, and treating decoration as equally as any other functions. As the ideal form of architecture, they studied the billboard tectonics in Las Vegas, which traditionally was regarded “low culture” that has less value. They esteemed “the commercial vernacular as well as the industrial vernacular” (Venturi, Scott Brown and Shigematsu, 2009). This attitude of unbiased assessment of existing conditions – which is constantly credited to Scott Brown and her witnessing of cultural and aesthetical co-existence from her multicultural background – took Venturi’s early theory to the next level. Venturi denied many times over being directly influenced by his former masters, Eero Saarinen and Louis I. Kahn, but he never forgets to acknowledge Scott Brown of introducing him to Las Vegas and admonishing of the significance of “unprejudiced view of the form and aesthetics of the contemporary city” (Stadler, Stierli, and Fischli, 2008). On the other hand, Scott Brown acknowledges the foundation of their theory built by Venturi referring to his most prominent work from his early days “Vanna Venturi House” (1959), that the “house contains in embryo almost everything we’ve done since” and that without this icon “people might not

have read the book [“Learning from Las Vegas”] as avidly” (Venturi, Scott Brown and Shigematsu, 2009). Thusly, Venturi and Scott Brown’s synergistic effect was what evolved architecture in the latter 20th century. In multiple interviews and essays, both Scott Brown and Venturi are outspoken about what part of their collaborative work are credited under whom, strength each of them brings to the table. Although they state they “cannot tease [their] contributions apart”, they do not hide their division of roles. Scott Brown acknowledges Venturi as a better designer than her, but at the same time takes pride as a better urban planner (Scott Brown, 1989). They complement each other. However, the collaborative fusion has constantly been ignored, overlooking Scott Brown’s contribution. Scott Brown published an essay in 1989 “Room at the Top? Sexism and the Star System in Architecture” – a scandalous prosecution of harassment and her “grand trauma” she confronted being a female partner of an “architecture guru”. She condemns critics, clients, and architects who underappreciated her, many with actual names. For Eileen Gray in the early 20th century, her misfortune is described in three reasons: lacking supportive networks being a woman, not sharing trajectory with other designers such as attending a major school or training in an office, and not having “the advantage of working with a powerful male mentor, like most of the other women who made an impact on early 20th century design – such as Charlotte Perriand with Le Corbusier, then Jean Prouvé; Anni Albers with her husband Josef; or Lilly Reich with Mies Van Der Röhe” AZUSA ICHIMURA

(Design Museum, 2014). Unlike Gray, Scott Brown may seem to fulfil the criteria to ‘succeed as a female architect’. Nevertheless, she gracefully refutes accusation of Venturi’s patronage in an interview, “Some people said, ‘She married the boss and thought she could get ahead’. But if anyone was the boss, I was” (Pogrebin, 2013). In “Room at the Top?” she not only criticized sexism, but also the “star system” in the industry. Her assertion was that architectural community is deeply rooted in elitism, and the myth of “magic” being created by an individual star-architect undermines the fact that architecture cannot be realized without working in a team. She points out that this crediting issue in architectural practice is not exclusive to females, but affirms that the neglect happens more frequently to female in a sexist industry. The essay was published in 1989, and in the latter part of the essay she explains how the original version was written in 1975 but was not made public as she “judged that strong sentiments on feminism in the world of architecture would ensure my ideas a hostile reception, which could hurt my career and the prospects of my firm”. In the added footage she complimented the improved architectural society that realized the publication of her feminist protest after 14 years. Even so, two years after her criticism against sexism and “star system”, the Pritzker Prize was given to Robert Venturi alone. As referred priory, the Pritzker had neglected Scott Brown when awarding her partner Venturi in 1991. In his acceptance speech, Venturi emphasized how he uses more of the first person plural “we” referring to the partnership, and

that his works “would have been less than half as rich” without Scott Brown (Pritzker Architecture Prize, 1991). Scott Brown boycotted the ceremony, and she claimed much later that “[t]hey owe me not a Pritzker Prize but a Pritzker inclusion ceremony, let’s salute the notion of joint creativity” (Chalcraft, 2013). A petition for Scott Brown’s retroactive award started on change.org after 22 years in 2013 by a group “Women in Design” founded by Arielle Assouline-Lichten and Caroline James, students at Harvard University Graduate School of Design. It gained support from many renowned architects including Rem Koolhaus, Jacques Herzog, Pierre de Meuron, Zaha Hadid, but was declined by the Pritzker committee. Lord Peter Palumbo, the chair of the 2013 Pritzker jury, gave a reason that because the juries are exchanged every year, retroactive award cannot be given by the present jury nor given a second guess of the decision made by the earlier jury. As it were a compensation, Palumbo assures that Scott Brown is still eligible for Pritzker Prize in the future (Quirk, 2013). However, awarding Scott Brown individually will contradict her and Venturi’s protest again, that Venturi’s contribution cannot be evaluated without recognizing Scott Brown and vice versa. Accordingly, Venturi and Scott Brown are equally crucial to their sensational synergism that delivered an innovation in 20th century architecture. Postmodernism had not existed if either of them were missing.

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EXPERIMENTS BY MATRIX AND DOLORES HAYDEN â&#x20AC;&#x2DC;Feminist Architectureâ&#x20AC;&#x2122; in the 20th century

First wave of feminism sprouted in the late 19th century, as a movement to gain equal rights within gender by achieving suffrage for women. Over the years, the discourse developed from women gaining the same rights as men, to questioning what it means for women to be equal as men (Rendell, 2000). Now feminism has sprawled to cover countless discussions, but ultimately it is to achieve equality regardless of gender.

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In order to apprehend the discourses of ‘female’ in architecture of the 20th century, this critical written reflection provisionally classifies them into two main streams: ‘architecture by women’ and ‘feminist architecture’. The former term is female contribution in architecture – what was represented by the works of Eileen Gray and Denise Scott Brown in the former chapters – regardless of her ideology. The latter architecture is designed purposefully to represent the ideology of feminism, and as an extreme example, does not necessarily regard the gender of the architect. This chapter explores the latter, experimental practices of ‘feminist architecture’ in the 20th century. Matrix, a feminist architectural co-op from London, practiced to prove how architecture would be different if it were done by women. They questioned every detail of architectural practice by involving women in every stage. Frances Bradshaw from Matrix urges architects’ role to be “de-mystified” and unravels the core role of architects as having the skill to “organize information”. By altering “how information is organized, whom you listen to, what question you ask, which parts of the process could be open to group involvement”, Matrix experimented to overcome the defect in conventional architecture. They also aimed to redress the unbalance between architect, client and builders in “status, class, and decision-making roles”. Concretely, they built egalitarian relationship with the client through sharing ideology, but also by discerping the role as the sponsor from the client to demolish the financial hierarchy of conventional patronage, and by receiving funding from authority instead. This realized architects and clients to work equally in designing, which compelled the architects to use languages accessible to non-professionals. In constructing, architects joined builders by obtaining construction skills, creating closer communication through skill-sharing in order to demolish the hierarchy of status and education. For architecture itself, they particularly worked on programs that they regarded to meet women’s needs such as collective residences, safe shelters, spaces for education and child-care. Bradshaw WHY SHOULD WE BE TALKING ABOUT GENDER IN ARCHITECTURE?

points out the issue with conventional architectural practices or “buildings created by a patriarchal culture” which she describes as valuing more on aesthetic preoccupations, and alternatively states the importance of designing experiences and “communication” (1984). Dolores Hayden proposed alternative designs for residential suburb to create “a community, connects social activities, wage work, and home life” (Franck, 1989). In her proposal “What would a non-sexist city be like?” (1981), she set forth as premise the urban structure and housing designs in the United States being formed through capitalism and antifeminism from earlier in the century; branding men as ‘breadwinners’ who would protect their family happily in their suburban homes while commuting to the city by automobile, prompting labour and consumption. She pointed out how the model does not comply to the emergence of women working outside their homes, as the conventional model requires someone to undertake domestic chores. She also pointed out how outsourcing private labour is merely a makeshift measure, as demands for commercial day-care and fast-food franchises not only create more low wage uninsured jobs, but also overlooks the logistical matter of those low-payed workers needing the same services outsourced. Given these premises, her prototype model inverts conventional house plans to externalize domestic functions in order to realize communal participation in domestic works. The proposal was designed to utilize the existing houses making it available for local homeowners to follow. Moreover, she not only aimed to liberate women from the entrapment in domesticity, but also acknowledged the struggles of both gender stereotypes, and aimed to liberate men from the pressure of being the sole provider.

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H.O.M.E.S. (HOMEMAKERS ORGANIZATION FOR A MORE EGALITARIAN SOCIETY) (HAYDEN, 1989) A program broad enough to transform housework, housing, and residential neighbourhoods must: 1. involve both men and women in the unpaid labor associated with housekeeping and child care on an equal basis 2. involve both men and women in the paid labor force on an equal basis 3. eliminate residential segregation by class, race, and age 4. eliminate all federal, state, and local programs and laws which offer implicit or explicit reinforcement of the unpaid role of the female homemaker 5. minimize unpaid domestic labor and wasteful energy consumption 6. maximize real choices for households concerning recreation and sociability

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To analyse these two case studies, this chapter refers to Karen A. Franck’s classification in “Feminist approach to architecture: Acknowledging Women’s Ways of Knowing”. Franck studied feminist theories to suggest four aspects of “feminine or feminists ways of knowing and analysing” that can be applied to understand “feminist approach to architecture” (1989). Four Points of Feminist Approach to Architecture (Franck, 1989) 1. Connectedness and Inclusiveness 2. Ethic of Care and Value of Everyday Life 3. Value of Subjectivity and Feelings 4. Value of Complexity and Flexibility Franck pointed out the danger in “dualistic thinking” that derives from the difference in male and female – male identity formed upon “separation” and “ethic of justice”, and female identity formed upon “connection” and “ethic of care” – and patriarchal society that justifies the former. Her four points that reassess connection and complexity works as refutation to dichotomy. Matrix’s practices provided building types based on “ethic of care”, and “inclusiveness” was achieved by participation of women and non-architects, which also lead to incorporating “subjectivity and feeling”, consequently gaining “complexity”. Hayden proposed “flexibility” in the conventional suburban model, creating “connection” in the community, valuing “everyday life” or the private realm as much as the public realm. However surprisingly, even comparing with the ‘architecture by women’, similarities can be discovered. Eileen Gray’s philosophy of designing for experience and comfort is mutual with Matrix’s priority in design. Her furniture design valued “everyday life” and provided

“flexibility” of space. She ‘un-gendered’ spaces such as creating a “boudoir office”, which aligns with Hayden’s ‘un-gendering’ of spaces. Denise Scott Brown’s unprejudiced attitude to every function overlaps with Gray’s equal perception of elements as surfaces, as well as Matrix’s egalitarian interaction of space. Scott Brown posed a problem of the myth of star-architect’s “magic”, which is common with Matrix’s urge to “de-mystify” architects’ roles. Both Matrix and the joint works of Robert Venturi and Scott Brown questioned the conventional framework and style of architecture that is stuck to formalities. Moreover, Venturi was the one to condemn dichotomy in the modernist architecture, which overlaps with Franck, and advocated “Complexity and Contradiction in Architecture” in the first place. The “feminist approaches” can be detected regardless of backgrounds. Conversely, this proves how feminist intensions can regarded as neutral intensions. Although many differences could be spotted – such as when Venturi and Scott Brown speaks about valuing “communication” they indicate the use of symbolisms to communicate from architecture to human (Belogolovsky, 2015), while Matrix uses the word “communication” for interaction they generate in between participants and for interaction of activities and spaces they design (Bradshaw, 1989) – the common features aspire to expand the realm of architecture and achieve equality for the architectural ‘underdogs’, both in terms of people and design elements. Therefore, provisional classification of ‘architecture by women’ and ‘feminist architecture’ in this report is nullified as the assumed difference is neutralized. It is the fruits of the attempts from the 20th century we must inherit to the 21st century.

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WHY SHOULD WE EVEN BE TALKING ABOUT GENDER IN ARCHITECTURE?

In 2015, P&G released an advertisement series for sanitary products “#LikeaGirl”. In the short video, adults and teenagers were asked to demonstrate certain activities “like a girl”, such as run, throw, and fight. Through showing how they caricature ‘girliness’, it points out how through puberty both women and men learn to stigmatize femininity. Then the commercial shows how a pre-pubescent girl responds to the question “What does it mean to run like a girl?” by an answer “It means to run as fast as you can”. Female practice of architecture in the 21st century must be the same as to run or to throw a ball. As the same amount of time Denise Scott Brown has been speaking up about “women’s problems” in architecture, she has not been hiding her irritation that she deserves to be appreciated neutrally for her work. In her recent interview in 2016 when she was asked for advice to young female architects, she gushes “For God’s sake, remember why you came into architecture. What made you follow your bliss? What was the bliss in architecture, and learn how to do that in the office. Learn how to make your bosses rely on you enough to give you the possibility of doing what turns you on”. Scott Brown and Robert Venturi have been using the expression “what turns you on” collectively as their beacon, and she sends the same word to her juniors to pursue their career not for their gender but genuinely for their original interests. Given the analysis of the 20th century in the previous chapter, feminism is not a motive in discussing architecture anymore theoretically. However, the debates concerning gender is still present practically. When an architectural 152

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web magazine Dezeen announced “50 inspirational women in architecture and design” to celebrate International Women’s Day 2017, Dorte Mandrup – a Danish architect who was enlisted – responded with a protest “I am not a female architect. I am an architect” (2017). Her statement pointed out the patronization in congratulating her as a “female architect”, which is contrary to how the term “male architect” is never used due to the neutrality of male in the industry. She demands to leave her gender out in evaluating her works, describing what it meant when her work was praised as “feminine architecture”, as “[Q]uite harmless. Beautiful, but harmless. No skyscrapers here. No towers. No corporate headquarters. No competition”. Scott Brown mentioned in her essay written in 1975, the myth of star-architect and his “magic” that overshadows the reality of team effort. This point of view can be applied to the perception of female as well. The expressions “feminine architecture” or ‘woman’s touch’ in design mystify countless decisions made to realize architecture into a black box. This is an act of negligence to appreciate her labour behind the accomplishment, labelling it as what comes out of her connate qualities. Mandrup’s statement evoked both positive and negative response from “female architects” (Howarth, 2017). Joan Blumenfeld, an American architect, agrees with Mandrup’s point on the gender neutrality of architectural works, but without the prefixed term female workers in the United States would be unnoticed under the harder circumstances compared to in Scandinavia, where there are far more gender diversity in

architectural firms (Fairs, 2017). Mandrup mentions the assumption of such refutation calling it “unambitious”. Nevertheless, the occurrence of a debate is effective as Maggie Toy indicates of the importance of recognizing how “women architects do not speak with one united voice about how they perceive themselves” (2000). This is to eschew generalization of women, and not agreeing on how women should be represented would paradoxically demonstrate the impossibility of representing women with a single model. Another point made by Mandrup was the questionableness of the tendency to refer only to female when discussing ‘gender’. This is due to the male neutrality and female being anomal or being “the second sex” as Simone de Beauvoir termed (1949). However, in the end of the previous chapter, even the neutrality of female and “feminine or feminist approaches” (Franck, 1989) is proven. In “Gender, Space, Architecture” (2000), Rendell acknowledged the expanding discourses of gender and the need of more examination of the relevancy with architecture on queer theory, homosexuality, and masculinity, not limiting ourselves to referring to heterosexual femininity. Therefore, when mentioning ‘gender’, we must aim to refer to more spectra as possible, ultimately for the term to gain synonymy as ‘everybody’. In doing so, neutrality of all genders will be achieved, and then ‘gender’ as motive of architectural discussion will finally be insignificant.

AZUSA ICHIMURA

HOWEVER FAR WE ARE FROM ACHIEVING EQUALITY IN THE WORKING ENVIRONMENT OF ARCHITECTURE, THIS REPORT PROVES THE THEORETICAL NONESSENTIALITY OF DISCUSSING GENDER IN ARCHITECTURE. THE 21ST CENTURY MUST BE FOR PRACTICE TO FOLLOW THEORY. ARCHITECTURE DESIGNS MUST BE PRACTICED AND ASSESSED NEUTRALLY, WHILE CONSTANTLY QUESTIONING THE PROPRIETY OF DISCUSSING GENDER ALTOGETHER. WE, IRRESPECTIVE OF GENDER, MUST ALL WORK TO ACHIEVE EQUALITY IN ARCHITECTURE AS SOON AS WE COULD, HOPEFULLY EARLIER THAN WORLD ECONOMIC FORUMâ&#x20AC;&#x2122;S ESTIMATION OF THE 217 YEARS TO ACHIEVE WORKPLACE

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