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3rd, 4th, and 5th semester Kristoffer Codam

TABLE OF CONTENT FEEDING THE CAMPUS / workshop / CJ Lim / Groupwork: Thea Orderud, Sebastian Beck Ravn, Marie Ramsing, Fabian Francis CONSTRUCTING A CASE STUDY ARCHIVE / 5th semester project / Izabela Wieczorek / Groupwork: Victor Linus Engels, Logan Hanson, Malene Husum CONSTRUCTING MEMBRANES / 5th semester project / Izabela Wieczorek / Groupwork: Marius Makos MATERIALIZING MEMBRANES / 5th semester project / Izabela Wieczorek / Groupwork: Marius Makos REFLECTION SHEET / 5th semesterw INSTANT AARHUS / startup workshop / Izabela Wieczorek and José Miguel / Groupwork: Simone Foss Brink, Marie Hvid, Lærke Tolstrup, Nicolai Hende, Sigurd Rubin, Michael Nørskov, Jacob Bastrup EXPERIMENT R / workshop / Asbørn Søndergaard and Ruben Borup / Collaborative groupwork TRANSFORMATION / workshop / Karen Olesen / Groupwork: Camilla Wisborg, Claire Bay, Mads Bjørn, Sofia Ekberg CONSTRUCTING FICTION / 4th semester project / Izabela Wieczorek / Groupwork: Eirin Bakken CONSTRUCTING A STRATEGY / 4th semester project / Izabela Wieczorek / Groupwork: Eirin Bakken CONSTRUCTING A PLACE / 4th semester project / Izabela Wieczorek / Groupwork: Eirin Bakken REFLECTION SHEET / 4th semester EVENT SCRIPT / workshop / Erik Werner Petersen and Annette Svaneklink Jakobsen / Groupwork: Nadja Driller, Peter Dan-Wiebel, Selcuk Dn PROJECTED FUTURES / workshop / WINDOW DIARY / 3rd semester project / Izabela Wieczorek WINDOW EXPENDER / 3rd semester project / Izabela Wieczorek WINDOW IN A VALISE / 3rd semester project / Izabela Wieczorek REFLECTION SHEET / 3rd semester RECENTLY SEPERATED / startup assignment / Teaching Staff / groupwork: Anders Precht Jensen, Thea Orderud, Jens Skaarup Vium, Victor Linus Engels, Iben Enevoldsen WINDOW SAFARI / startup assignment / Teaching Staff


Cities have profound impact of climate change and its mitigation efforts. The International Energy Agency estimates in its most recent survey that urban areas are responsible for two-third of global energy-related carbon emissions. Using Aarhus school of architecture as a starting point by introducing innovate various means for reducing emissions, increase surface reflectivity and lowering the heat island effect, and varying impacts on water and energy consumption by introducing a new suite of sustainability trade-offs. The implementation of urban agriculture - the cultivation, processing and distribution of food within a campus can prove an important response to climate change, while providing a number of social, economic and health benefits.

“They now came upon more and more of the big scarlet poppies, and fewer and fewer of the other flowers; and soon they found themselves in the midst of a great meadow of poppies. Now it is well known that when there are many of these flowers together their odor is so powerful that anyone who breathes it falls asleep, and if the sleeper is not carried away from the scent of the flowers, he sleeps on and on forever. But Dorothy did not know this, nor could she get away from the bright red flowers that were everywhere about; so presently her eyes grew heavy and she felt she must sit down to rest and to sleep.� - The Wonderful Wizard Of OZ By L. Frank Baum 1900 p. 24

Taking the to words red and rest from abovementioned quote this was develop into a celebration of red, where strawberries was grown from chandelier shaped devices hanging above ones head in the streets of Aarhus celebrating the ripe of strawberries in late June and the start of summer. This device is fuel by water harvested from the clouds and brought down to fish on the ground containing a secret garden of plant filtrating the water from the clouds.





CONSTRUCTING A CASE STUDY ARCHIVE With the focus on the relationship between the loadbearing structure and cladding, the structural, material, and special properties in existing building was studied. The given building was The London Zoo Aviary by Cedric Price, a structure built from Buckminster Fuller’s principle; tensegrity. By using this principle the cladding becomes external part of the building. In this case the cladding is a mesh only used to keep the birds inside the structure. We compared this with the building Tanzbrunnen by Frei Otto, in contrary where the cladding, pre-stressed membranes, holds the structure up.


1) heena_mistry (2009) DSC_0716 <> [accessed: 25 september 2013] 2) OTTO, Frei (2005), Frei Otto, Complete Works: Lightweight Construction - Natural Design. Basel: Publishers for Architecture, p.183


DIAGRAM THE LONDON ZOO AVIARY - the black tone show the compression elements and the gey cables show the tension elements.

DIAGRAM TANZBRUNNEN - the black tone show the compression elements and the grey membranes and cables show the tension elements.


Suspension and tension are the main structural principles of both the Aviary and the Tanzbrunnen pavilion. Where they differentiate, is how the tension forces travels through the structure. In the London Aviary, wires alone are responsible for the tension, whereas in the tanzbrunnen, the fabric is introduced as a tension bearing element.



These models demonstrate the different principles in dealing with tension through membrane or cable. The architectural appearance of the cables is triangulated space, whereas the prestressed fabric generates a catenary appearence when tensioned.






The London aviary has a very purposful and directed route through the structure for humans, and gives the birds a wide range for flight. A heavy bridge zig-zags about the light weight structure, lifting up the human body for obseration of the birds from both above and below them. The mesh perimeter not only allows for the natural environment to enter, but provides a barrier that withholds a space of intensified nature. Rain passes through, droplets can gather on mesh

Snow passes through and can gather on mesh as a second cladding

Mesh brings light in, with hard line shadows

Wind can pass through the mesh, and affects the structure very little

Rain is shed off along the tight hyperbolic shape

snow gathers and may cause additional stress on the structure

Membrane allows light to pass through even and diffuse

Shelters the body from wind, but the shape may be affected

2) <> [accessed: 1 october 2013]

The Tanzbrunnen also has a very directed space for human occupation. The stage is lifted above the water, accessed by two narrow paths. The body is carefully kept under the protection of the membrane, as the open â&#x20AC;&#x153;occulusâ&#x20AC;? cut into the membrane is also projected into the dance floor. Unlike the London aviary, the Tanzbrunnen is not a complete enclosure, but rather a suspended roof that mediates the environment from above. The space is defined between platform and membrane and opens out to the outside from the center.

CONSTRUCTING MEMBRANES In groups of two we had to choose to different weather phenomena; in this case frost and fog. Using the material produced in the last phase we had to choose a structural principle to base the structure on. Furthermore we had to choose a time-scale and geographical situation for the building.

FOG The structural principle should be able to enhance the effect of fog as a phenomenon, giving the possiblity to distort vision and increase the other senses. If vision is distorted, the structural pricinple will have to be able to cope with the other senses, giving it a dynamic shape. 1)

FROST The structure of frost is created from snowflakes, which comes in various sizes and shapes, but all share a hexagonal symmetry. Even though they share the same geometry, every snowflake is unique, and not two alike have been found. In the previous phase, group no. 5 showed how a stric geometry, triangels and rombs, can create a very dynamic structure. By using these structual principles it is then possible to use the hexangonal shape, taken from frost, to creat the dynamic structure needed to enhance fog as a phenomenon.







To emphasize the effec of enhancing fog the structure will have to somehow work against frost as a phenomenon.

1) <> [accessed: 09 october 2013] 2) ORDERUD, Thea Dahl; ANDERSEN, Liv Skovgård; ELLINGSEN, Esther Ringer; BLUME, Max; POULSEN, Mads (2013) “Glass Pavilion, Bruno Taut, 1914 MyZeil, Studio Fuksas - Massimiliano Fuksas Architetto, 2009” Phase 2 [P2] Constructing a case study archive, Group 5, p.5






FROST Frost is the solid deposition of water vabor in humid air. Frost can only appear on a solid surface and if the solid surface is chilled below the freezing frost will form on the surface. Therefore the temperature has to be below 0 degrees celcius, which limits the situation of frost to the northern hemisphere. Also it is colder during night, which is why frost often is seen during moring time. In relation to time-scale frost will appear more often during winter due to the position of the sun.

ICE FOG It forms when the air temperature is well below freezing and is composed of tiny ice crystals that are suspended in the air. It only occurs in cold Arctic / Polar air. Generally the temperature will be 14 F or colder in order for ice fog to occur.

FREEZING FOG It occurs when the waterdroplets the fog consists of are “supercooled”. Supercooled water droplets remain in the liquid state until they come into contact with a surface upon which they can freeze. Any object will become coated with ice. Freezing fog is common in mountains.

1) < > [accessed: 09 october 2013] 2ab) <> [accessed: 09 october 2013]


RADIATION FOG It forms at night when heat absorbed by the earth’s surface during the day is radiated into space. As the earth’s surface continues to cool, the humidity will reach 100% and fog will form. It varies in depth from 3 feet to 1000 feet and it is always found at ground level and usually remains stationary. Radiation fog is common in the mountains.

UPSLOPE FOG It forms when light winds push moist air up a hillside or mountainside to a level where the air becomes saturated and condensation occurs. Upslope fog occurs in mountains usually during winter.


ADVECTION FOG Condensation is caused by horizontal movement of warm air over a cold surface. Sea fogs are always advection fogs. Sometimes this fog is drawn inland by low pressure.

EVAPORATION OR MIXING FOG It forms when water is added to the air by evaporation and the moist air mixes with cooler, relatively drier air. Steam fog forms when cold air moves over warm water.




Ice fog has an obvious relation to frost, and does not appear any other places than the polar areas. It would be interresting to choose a situation in either the north or south pole because of the extreme weather. The biggest difference between the north and south pole is the temperature. The north pole melts and reduces its areal to half its size during the summer. The constant frost on the south pole would be something we could work against in our further investigations.

By choosing a mountain area we would be able to use the different terrains in our advantage, but it might also make it more difficult to construct. The changing seasons and extreme conditions would be a potential forces we could use in our further investigations.

By choosing a situation near the ocean or an inland water system, we would be able to use the water and changing seasons in our further investigations. The foggiest place on earth is Grand Banks of Newfoundland, wich would be interresting because it also has a long frost season.

Due to the constant extreme temperature Anarctica will be the situation for further investigations.


FROST Due to the conditions of frost mentioned earlier, the time-scale for frost are very different in relation to the situation. For the choosen situation, Anarctica, frost is permanent, which is marked with a solid color like showed beneath.

FOG At Anartica fog on the other hand becomes a temporarily and unpredictable phenomenon, which is marked with occational strokes like showed beneath.




In the polar areas frost is found every day, but fog is very unpredictable. This cycle might have been interesting if fog occurred every day, but it does not.

In this cycle we will experience both fog and frost. We will also experience different types and amounts of fog/ frost. It would be interesting to relate our investigations to a 12-month cycle.

In this cycle we will experience both fog and frost, but we dont know how the climate might change. It will not be necessary to relate our investigations to a 20-year cycle when 12 months is more than enough time.

PROBE#1 - EXPERIMENT WITH TEMPERATURE AND TRANSPARENCY 1 MIN AT -18 C 100 C water This experiment is going to examine the relationship between the temperature in a transparent box and the amount of fog created. The hypothesis is that the warmer the water is in the box the more fog is created.

METHOD 1 dl of water at different temperature was poured into a closed clear acrylic box and then put in the freezer (-18 C) at different intervals. The results were carefully photgraphed as it is shown on the follwing page.

75 C water

50 C water

5 MIN AT -18 C

10 MIN AT -18 C

20 MIN AT-18 C

1 MIN AT-18 C

1 MIN AT -18 C

5 MIN AT -18 C

10 MIN AT -18 C

20 MIN AT-18 C

1 MIN AT-18 C

25 C water CONCLUSION The warm water created steam, which is different than fog, but the warm water will create both steam and fog. The photos show that the longer boxes fille with hot water is exposed to cold temperature the bigger the droplets becomes on the inside of the box. This effect is not seen with cold water. When the box without water is exposed to cold temperatures condense will emerge on the outside of the box. This might be due to either the fact that the pictures were taken in a warmer environment than the freezer, or i might be because the materiale is a very bad isolator. Either way it is therefore difficult to say wether there is condense on the outside, steam or fog on the inside. No water


When creating the initial probe, some very interesting structures came from the frozen water. The amount of frost created was clearly related to the temperature of the water and it is therefore possible to see how the frost is created, strating from the edge of the box moving towards the middle.

METHOD 1 dl of water at 25 C, 50 C, 75 C, and 100 C were poured into a closed clear acrylic box for 1 hour. The results were photographed in detail shown at the next page.

75 C

50 C

25 C


This experiment is going to examine the relationship between a transparent or semitransparent surface covered in fog and a frozen transparent or semi-transparent surface covered in fog. The hypothesis the frozen surfaces are going to be more visible than the surfaces not frozen.

METHOD a box of 16x65cm (inner dimentions) was created and every 10 cm a groove was cut for placing the different materials. The box was then placed in a room with three different light source; diffuse light, direct light front, and direct light back. The materials used was clear acrylic glass, a mesh, and perforated cardbard. Respectively a gradient of transparent/semi-transparent materials. Each materials where then frozen for at least an hour and then carefully photographed with and without fog as shown on the next page.

CONCLUSION Confirming the hypothisis, a frozen transparent or semi-transparent surface is more visible in fog than a transparent or semi-transparent surface, which is not frozen. To add, the more transparent the surface is when not frozen, the more opaque it becomes when freezing it. Also the positioning og the light while perceiving the transparent or semi-transparent surface, no matter if there is fog or not, is very important to the degree og transparency. A direct light will make the surface more visible than a diffuse light.

Frozen acrylic glass


Frozen mesh

Perforated surface

Frozen perforated surface


This experiment is going to examine the relationship between two membranes that will effect each other when the temperature either rises or falls.

CONCLUSION It was not possible to get first membrane to rise in relation to temperture, it would either melt or it would burn. To heat up the contruction a small candle was used. There are several reasons why it did not work. The area of heating was too concentrated on one point, the shape of the membrane was not optimal, and unless there is a constant flow of heated air, the air will cool down and ventilate through the room not giving any enlargement. There are a lot of potential in interacting membranes, so by being precise about the paramtres to which the membranes should act upon, it can be solve with machinery.


The builing should react to temperature

Antarctica is the coldst place on earth and the lowest temperature recorded is -89.2 C, and compared with an average living room that is about 20 C. There is a huge range in temperature of being inside and outside. On of the best isolator is still air which appears between membranes. By using several membranes that are conected, the structure will act upon the temperature outside, so when it is cold outside each membrane will expand creating more stil air beween each membrane. Thereby increasing the transition form inside to outside in cold condtions and vice versa, making the transition more fluent.



The structure is based on a hexagonal principle and is placed on the coast of Antarctica.The extreme low temperatures in Antarctica and the moisture in the air near the coast creates a rare phenomenon called ice fog, where ice crystals is created from the water in the air. This fog will then instantly freeze every surface it touches. The structure has three membranes that are interconnected and expands in relation to the temperature differences between inside and outside, giving a constantly changing structure.











AIR SENSOR This component senses the humidity and temperature in the air. It can also calculate dewpoint and other data.

MICROCONTROLLER Gets input from the sensor creating an algoritm for the actor

MOTOR An actor that creates a rotation in the joints.



GLASS Can either be opaque or transparent depending on the light

GLASS EFFECTED BY FROST When effected by frost the otherwise transparent material becomes translucent

MESH Can either seem solid or transparent depending on the angle which the material is seen

MESH EFFECTED BY FROST When effected by frost ice begins to appear in the caps between the metal.

PERFORATED SURFACE The effect when frozen is not as distinct as the other material, but the holes create an interesting play with light


MATERIALIZING MEMBRANES CATALOGUE We created a catalogue where we showed the changing of the structure throughout the 12-month cycle. In order to include every possible senerio we had following variables: outer membrane - intermediate membrane - inner membrane summer - in between - winter fog - without fog inside - outside static - moveable





REFLECTION SHEET / 5th semester

CONSTRUCTING A STUDY ARCHIVE In the assignment there was one case study given, which was the London Zoo Aviary by Cedric Price built in 1964. The case study chosen was Tanzbrunnen by Frei Otto built in 1957. The London Zoo Aviary builds upon a structural principle called tensegrity, where all compression elements are isolated by tension elements. Early in the process this principle was explored intuitively in models and the model work in this assignment was the strengths of the assignment because it then made it possible to see the decisions and thoughts very clearly trough the process. Also by building these models one learned how forces react together was a great experience. Especially the final model on London Zoo Aviary, where all the tension cables holding the compression poles had to be redone several times because everything was interconnected and by physical touching the cables it was very easy to see where the forces where. The final model of Tanzbrunnen could have been developed even further, by pushing the capacity of the membrane and what is possible. CONSTRUCTING MEMBRANES - pin-up#1 In teams of two dealing with two different phenomena in this case fog and frost. Choosing a structural principle, the parameters for fog was that the structure had to enhance fog playing with visibility and thereby increasing the other senses. Using the strict geometry from frost using hexagons the structural principle will be able to create a dynamic structure that is needed in order to follow the parameters of fog. The situation where the structure will take place was decided by geographically looking at where different types of fog appear and where they clash with frost. The decision was narrow down to three types of fog; fog near water, fog in mountains, and fog at the arctic poles. Antarctica was chosen as the situation for further development, because it would give an interesting play between frost being a constant factor and fog being a more temporarily and ephemeral factor. The time-scale chosen was a 12 month aspect due to 1 day being to short and the possibility of fog unlikely and 20 years to far into the future to predict in an environment that is changing so much as Antarctica. The strength in the assignment was the clear and systematically procedure in developing the project. Another strength in the project was that while developing the project, material was produced which could be used in the final presentation without further editing. The weakness in the assignment was that Antarctica is a huge area and a more precise description of the situation will be needed further on in the project. CONSTRUCTING MEMBRANES - pin-up#2 In this phase probes were created. The initial probe was to experiment with temperature differences between inside and outside. From this a probe was accidental create showing how water freezes in its different stages. The next probe experimented with frozen transparent and semi-transparent material in foggy environment. The last probe was an experiment with two interconnecting membranes that would affect one another when the room was heated. This experiment failed due to use of a candle as a heating source. It concentrated the heat on one small point where the membranes would melt and it was possible to heat the whole room enough. From the failed experiment the conclusion was to let the

structure be mechanically controlled and influenced on the weather conditions outside. The strength of the assignment was the precision in documenting the experiment, which clearly stated the purpose and the result, also shown in comparable pictures. The process was well explained, but the text on the paper could have been more precise. When developing this project further it is important to choose which aspects that are investigated and then be extremely and precise in the examination, and having a clear description of the intentions with the investigation and what outcome is sought. The task ahead is to materialize the cover and showing the wanted affects. MATERIALIZING MEMBRANES This 5th semester has been the best so far. I believe that the main reasons for this development are hard work from the beginning and a continuous reflection upon the material produced. Also I have been reading more than the earlier semesters, which gave confidence in my own work when I had some relevant references. While producing material, the presentation was always in consideration, which gave the material high quality from the start. The weakness in the project for the 5th semester was that it was conceptual. In the next semester the goal is to go more in depth and develop the project into further detail. Some of models built this semester did not inform me about the project and could easily been shown in diagram, which is less time consuming. So for next year also thinking about what media is used for what purpose.

INSTANT AARHUS Experimenting with transparant materials as a cover and inflatable structures Through experiments with inflating and deflating we found out that the concept of the final structure should interact with the wind.



13 m 260.47




268.39 233.12










24.9 4.05

12.9 497.43

43.2 294.97

94.2 173.52 145.72 61.5


















Helping a PhD student with his PhD in digital fabrication we had to design a pavilion in Aarhus at Tangkroen using minimum amount of concrete.




In this assignment we had to make a spatial analysis in model of a museum, in our case The Museum Of Western Art in Tokyo by Le Corbusier from 1957, focusing on spatial organization and hierarchy. Then we had to implement the building using the qualities found in the pedestrian way of Aarhus. We took the grid structure of the columns used in the museum and skewed it so that it would fit the site. Last we removed the roof and the walls, which create new and unforeseen aspect to the site of Aarhus.


The project is located in Williamsburg, New York, on the corner of S 4th Street and Keap Street. The site is to consist of some public programs of our choice and a private program, which at least 50% of the area should be dedicated to. Furthermore the private program consists of micro units 25-35 m2. To design our housing unit, we had to create a character that had to live in the building and make a movie about him or her. I built my character upon Bret Ellis Eastonâ&#x20AC;&#x2122;s novel American Psycho. My character moved to Williamsburg because that is the upcoming part of New York, where he could go to galleries and different underground concerts.

VIDEO 1 - the characterâ&#x20AC;&#x2122;s relation to the site

VIDEO 2 - from the characters perspective


There is a need for social interaction on the site in Williamsburg. People on the site are hanging out on the corners and in the shops because there are no other places for them to interact. That is why it is important that our public program contains some social interaction.

Through brainstorms on public programs that would fit our characters and serve as a place for social interaction we ended up by choosing swimming pool and whereabouts, because they complement housing by being active most of the day.





PROGRAM SHEET This program sheet shows the relationship between the programs and elements of each program; the red box being the housing program, the yellow being the whereabouts program, and the cyan being the swimming pool program. The size of each box is relating to the minimum of percentage that each program should cover of the total site; the housing program covers minimum 50%, the whereabouts program covers minimum 25%, and the swimming pool program covers minimum 25%. Inside each box are all the elements of the program. The size of each element was difined on last page and are here shown in 1:100 scale of a gray surface. There are two types of connection between the different program, the visual connection and the physical connection, the visual connection is marked with a dashed line and the physical connection is marked with a solid line.

These are the following connections: - Physical connection between micro unit and whereabouts - Visual connection between micro unit and whereabouts - Physical connection between micro unit and stairs - Physical connection between spa elements - Physical connection between pool elements - Physical connection between micro unit and pool elements - Visual connection between swimming pool and whereabouts

MODELS By using the size of each element we were able to make volumes, where we try different arrangements in diagrammatic models in 1:100 using the beforementioned parameters.

The Diagrammatic models gave us an idea of how to organize the different programs spatial. We then started creating more spatial models one focusing on light conditions, movement, and visual connections, antoher focusing on stairs in relation to the micro unit.

DETALING Through plans and sections we then developed the structure further and more detailed. For further detailing the structure was built in Rhino, and the light conditions were explored.


CONSTRUCTING A PLACE Throughtout the whole process the relationship between the public and the private has been an essiential part of the project. In small apartments the streets is often seen as an extention of the living space. The area around the site contains a lot of different ethnic groups living in small apartments, which is seen as in the density of people hanging out on the street and in the local shops. It was therefore important to focus on the ongoing social interaction on the site. The building is placed so that the low rooftops are located at the corner, closed to ongoing interactions observed at the site. Through the use of different materials the transition from public to private is emphasized. The public stairs are made out of polished concrete trying to invite people to sit on the stairs. The private stairs are made out of rusted steel trying to create a surface rough and uninviting to sit on. Furthermore the stairs are dimensioned so the public stairs are wider than the private stairs. The walls of the building is also mad out of polished concrete, but going further away from the public center at the corner, the polished concrete turns into rough and untreated concrete giving a more cave like structure. The roofs that are considered private are like the stairs covered in rusted steel, and the roofs that are considered public are made out of polished concrete.

-1 FLOOR - 1:1000

0 FLOOR - 1:1000

1 FLOOR - 1:1000












2 FLOOR - 1:1000

3 FLOOR - 1:1000








REFLECTION SHEET / 4th semester

PHASE 1.1 CONSTRUCTING AN ARCHIVE In the first phase we had to construct an Atlas of all our observation made in New York. In a group of five people we chose to create and Atlas of Social Notations or Graffiti showing that there is a correlation between the amount of social notations and how public the place is. I believe that we did a fairly good job on the Atlas itself, only some minor mistakes with line thickness in the elevations. PHASE 1.2 CONSTRUCTING FICTION In the second phase we had to create a character that would inhabit an apartment in our final building. We had to illustrate this character through video, explaining his or hers relation to the site. I chose the book “American Psycho” by Bret Easton Ellis as a starting point for my character. This phase I found very interesting and I am really happy with the result. I happened to make two videos, one explaining the characters relation to the site and then one trying to explain his impulsive behavior. PHASE 1.3 CONSTRUCTING STRATEGY This was the first phase where we had to work in pairs. I teamed up with Eirin Bakken and I believe this was a good match, because we had great discussions about the project and what direction we wanted to go. Also Eirin is very systematic, which helped me organize and prioritize elements of the project. In my opinion we got of to a really good start in this phase and made a systematic catalogue explaining our ideas and our three programs; swimming pool, whereabouts, and housing. PHASE 2.1 GENERAL PROPOSAL Having a pretty good idea of the direction of the project and a lot of inspiration from different sources we got the Funabashi Apartment Building by Ryue Nishizawa. The building itself is very minimalistic in every aspect with open rooms and huge windows giving a view through each apartment. By trying to investigate further and trying to find out about Ryue Nishizawa way of thinking architecture. Both the Funabashi Apartment Building and other works of Ryue Nishizawa have a different way of dealing with privacy, which was very interesting in relation to our project with the combination of housing, whereabouts, and swimming pool. The case study gave us a reason to think different about privacy than we else would have done. MIT-CRIT At Mid-crit we were told that our project was very systematic and that was a good thing. Now we just needed to do something that was not systematic, but with good reason. I believe we managed to do something like that by making the stairs a lot more organic and fluent. As inspiration we were told to think about the transition between wearing clothes to being naked. Unfortunately we did not have the time to look into to this issue. At last we used boxes to show the volumes of the different elements of the program, but as we were

told it was very difficult to let go of the box element once you have started using it. And over final proposal also consists of a box typology, but I think we manage to soften the structure by making the stairs more fluent. PHASE 2.2 GENERAL PROPOSAL DEVELOPMENT Trying to finish up the general proposal in model and drawings, we underestimate the time we had to use on the presentation and the A1 boards. I believe we made a good section drawing and some good visualizations of different events, but the overall story and the project as a whole were missing a bit. We had so many elements we wanted to include in the project that we didn’t have the time to get our story straight and plan how the project had to be presented. PHASE 2.3 MICRO UNIT I started of by wanting to do something really macabre, but as Karianne so wisely told me I had to tell the story of killing a person without showing it. So I worked with contrast and view. I made diagrams of where the windows had to be in order to create half of the room covered in darkness and half of the room in light. Then I made diagrams of how much the public could see through the windows. Through this research I created a space inside the room that would rotate during the day making it always covered in darkness and invisible to the public, giving my character room to do whatever he would please. In my opinion this was a good solution to the assignment, though I still want to do the macabre drawings. PHASE 3 CONSTRUCTING NARRATIVE By being very systematic about using the square format through the whole project, we could relatively easy make the Willamsburg Triology book, which also became a pretty extensive book showing our elaborate process. Unfortunately we did not have the time to make a final video explaining the project, because we prioritized to finish the A1 boards, which regrettably did not show the whole project as we wanted to. ACADEMIC OPTIC For the academic optic I chose “Transformations”, because it was the most inspiring in the way that we had to transform an existing building into something different. I really liked the idea about not knowing what the end project is going to be and by stealing from others you can get something that is not thought of. In the next semester I will try to use some of these ideas. CONCLUSION Last semester my project was developed in the last phase, and I believe that in this semester the majority of the project lies in the first phases. It is then a pity that we did not finish as strong as we started. Last semester I only used the references as visual inspiration and I needed to investigate further. With the case study of the Funabashi Apartment Building I tried to find the methodology behind the building and Ryue Nishizawa’s architecture. Models are my strength, which I used in creating the final model. Unfortunately it was not finished to

the presentation. I needed to develop my drawing skills, which I tried to do this semester, and I found out that by using computer drawing I could create both renderings and drawings faster and yet still very detailed. Last semester I jumped too quickly away from an interesting idea, when it became difficult. This semester we had so many great ideas that we tried to fit into the project, which meant that we had little time to finish up the project. Due to our discussions and wanting to fit everything into the project, the project became a little in between being really drastic and really ordinary in the way of thinking privacy, because we wanted the feeling of being private in a public place.


Mapping of Aarhus harbor based on texts by for example Bernard Tschumi




















The 21st of December 2012 was the end of the Maya calendar, which meant that a new era in history would begin. In relation to creating a new world, we looked at science fiction movies. In my group we compared Blade Runner (1982) and The Truman Show (1998) both movies question of what is a real reality. We started by choosing three scenes from The Truman Show, where there was a hint of this different reality that Truman is living in. Scene 1 is where there is a problem with the rain system so it only rain on Truman. Scene 2 is where Truman begins to get suspicious and therefore acts irregularly. He then finds a lunchroom hidden behind an elevator door. Scene 3 is where Truman sits in his car an predicts that things around him are running in circles. Scene 4 is where he escapes and literally sails into the sky.





Then we build then scenes in model





We then used the model to make an abstraction in bigger scale.

And then we build scene 2 and 4 again. The instalation featured a rotating lightsource that by a momentarily shadow showing the glitch of the reallity on the wall.


In two videos the aspect of visibility of my own bathroom window is explored. One video is focusing on the relationship from outside to inside, by filming the window when the rain is falling. The other video is focusing on the relationship from inside to outside, by filming the window while taking a hot shower. Both videos take time into consideration whereas the last video shows a greater and more rapidly change in visibility.


In two videos the aspect of visibility of my own bathroom window is explored. One video is focusing on the relationship from outside to inside, by filming the window when the rain is falling. The other video is focusing on the relationship from inside to outside, by filming the window while taking a hot shower. Both videos take time into consideration whereas the last video shows a greater and more rapidly change in visibility.


All Material produced over the semester was collected in a box that used same mechanism as the perceptual apparatus with a lifting system.

The different cabinets and drawers were then interconnected so when opening one, another would close. Only when looking at the process chronologically would everything make sense.

REFLECTION SHEET / 3rd semester

WINDOW DIARY In this phase we had to map our window, not having mapped anything before the main challenge was how to map something intangible. I chose to map my bathroom window which is small and sloped. I mapped the rain falling down the window and the steam created when I took a hot shower. The mapping of steam, told more about the window than the mapping of rain. You knew where the window was located, the scenario that were being described, and you could almost feel the density in the room. The mapping of the rain was not as powerful , because it could have been any window. Also when going from time-lapse to mapping some of the movement was lost. By drawing directly on the window, the movement might have been saved. In the furture I would like to try more alternative methods of mapping and by developing this skills something unseen might be revealed. WINDOW EXPANDER In the second phase we had to use this mapping to make a device in the hole of the window. I chose to make a device that would slide panels up and down differently in relation to steam and rain. By layering several panels of perforated material a play with light was created. The challenge was to get the intangible into something really practical. In this part we also had to use Rhino, which is program I want to be better at by using it more. With a 3D modelling program you can more easily create pictures of your project containing the aspect of light and material. The play with light when the panels moved up and down created an interesting filtration of light, due to the different layer of perforated material the light would be filtered differently depending on the layer of panels. The panels only covered the light aspect of the two mappings. By using panels both the density and the sensation of being in a room filled with steam were lost. Also feeling hearing the rain dropping on the window was lost. By using fabric, thread, or another material not as stiff as wood or cardboard. It might be possible to mirror the effect of something intangible. WINDOW IN A VALISE At last we had to make a box containing all what we had made so far. Inside the box I used the sliding mechanism from the device and made a lot of boxes and drawers that were interconnected, so when you opened one, another would close and so on. The first challenge was how to implement the mechanism from the device in box. The next challenge was then how to physically build the box. I could not make a drawing of the box before building it, because it was to complex. Therefore I want to develop my drawing skills and the ability to get my thoughts down on paper. The good thing about the box was the good craftsmanship and that I got a complex mechanism to work. The box had to be rewind every time i had bee used. I wanted to not have to rewind the box to and also making it more stabile. In order to get it more stabile, I should have chosen a more powerful material than brass. And then I had to use some different mechanism and materials if sheets had to fold back. This semester I have learned to think more abstract. I believe that the way of working in the unit forces an abstract way of thinking. This has opened up new ways of dealing with assignments and has inspired me to use more time on school than I have done before. By forcing one to always think abstract,

push the assignment, and myself to the limit it will help me reach my goals. Last semester my workflow was very intermittent. I had periods where my productivity would suddenly drop, because I could not find to right argumentation for a minor detail. It then became one of my goals for this semester was to have a steadier workflow, which I believe I succeeded in. This semester my workflow has been more continuous. I have very quickly changed direction, when I felt my pace slowing down or when I was not comfortably with something. I think this is an important quality if you want to end with something you can be happy with. On the other hand I need to be better at arguing why the change of direction. I need to better at getting all my thoughts down on paper in order to have the argumentation. ACADEMIC OPTIC In the academic optic, our group had to work with: The Truman Show (1998), Blade Runner (1982), and Manufactured Landscapes (2006). We found that The Truman Show and Blade Runner both were questioning our reality and that all movies were about a constructed world over time. We decided to focus on the questioning of reality and built four models of scenes from The Truman Show where Truman sees glitches of the fake reality he is living in. The challenge was how to get the element of actors into the models. I do not believe that we succeed in bring the element of the actors into the models. It is difficult to work with the element of movement in a static model and this is an aspect I want to develop. The model we built had had lot of potential. They were great replicas of the scenes and then they also contained the extensive structure behind the scenes in order to make Truman believe that his really is real. The bad things about the models were a little too static and two-dimensional. Afterwards we made two abstractions from two of the scenes by only using key elements. We hung the two compact structures in a fragile-looking frame that made the structure stand out. With rotating lights we tried to create a glitch effect with the shadows of the structures. Afterwards we made two abstractions from two of the scenes by only using key elements. We hung the two compact structures in a fragile-looking frame that made the structure stand out. With rotating lights we tried to create a glitch effect with the shadows of the structures. When making the abstractions we had to build without knowing what the final product would look like. This I found hard and is a skill I would like to develop. I believe by practice and forcing one self not to think about the final product this might be developed. The structures and the frame turned out great. The structures were very abstract and the connection to the earlier models was clear. Also the frame holding the structures were not too pronounced. The light supposedly creating a glitch effect, did not work. The room in which the structures were hung was too small and there were no clear screen for the shadows. In order to create the glitch effect the lights need to be angled at each other so the shadows of the structures will overlap. Also the shadows need a screen in order to frame the effect. Reading is probably the best way to get references, so looking forward I want to keep on reading and even try to use more time on reading relevant material in the relation to the project. This academic optic was a group project with groups of five people in each group. This made the work process different from the semester project. Everyone in our group was very competent and hardworking, but due to us being different individuals and having different standpoints, we had some stops in our work process. When we decided to divide the tasks between us the workflow was more fluent and is probably a good way of working in a group.


MODEL 1:20

Case study of Masion de Verre by Pierre Chareau. Resulting in three models (1:20, 1:1 and 1:100) and two drawing illustrating the building.


MODEL 1:100


Studying the filration of light in Aarhus

Portfolio kristoffer codam 3rd,4th,5th semester