Studio Themes 2019-20

Studio Catalogue 2019–2020 School of Architecture, KTH Royal Institute of Technology

Studios 2019/2020

Stop Making Sense

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Infrastructural Cares

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RE- 6 Architecture and Daylight

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Peripheral Futures 10

Muddy and Motley Mass Housing for Millions of Homes 12

Fragmentation and Coherence 14

Making 16

Headquarters 18

Searching for Ma – Investigations of Space and Time 20

Stop Making Sense Teachers: Ulrika Karlsson, Pablo Miranda Carranza, Veronica Skeppe

Studio Theme The studio will this year explore an architecture, mediating between the irregularities formed by heaping and excavation, and something that starts to figure, architecturally make sense. Composites of the accumulation or removal of stuff, and architectural logics of stereotomy and tectonic. Architectural examples are the many excavated artificial mounds composed of discarded materials such as Monte Testaccio in Rome and Hödalstoppen in Stockholm as well as the excavated town of Lalibela, Ethipoia and region of Cappadocia, Turkey.

Sites that negotiates rural, recreational and urban interests.

Studio 5 is interested in the materiality of architectural representations: representational processes condition the appearance of concepts in the forms of notations, diagrams, images or models and their actualization into buildings, landscapes, furniture or cities. At the Studio we propose a critical aesthetics that looks at how these mediations of architecture promote different values and subjectivities. Stop Making Sense is not only the title of a Talking Heads film, but it expresses the ludic surrender to machines of architectural production at the heart of this aesthetics.

Project 1: To Heap and Figure To heap, to pile, to amass is a basic structural organizational logic that is characterized by its process of appearance. The architectural focus in project 1 will be the material and structural meeting of a heap and a figure, articulated in the design of a foundation and a roof, assembled into a small-scale building of a root cellar. The aesthetic expression of falling in and out of form, making or not making sense, will be studied in stereotomic and tectonic detail and carefully crafted in a series of both physical and digital models.

Teaching Methodology How we work affects what we produce. The studio has a focus on design research through making. Our special interest is in the aesthetic implications of machinic processes of representation and production, from computer programs and files to robotic manufacture and numerically controlled fabrication. Mediating between the abstract and concrete, the physical and the digital, the artificial and the real. These entwined relationships continue to produce sensibilities where our understanding of the division is ambiguous. The studio welcomes different approaches to how architectural history and theory, professional practice, teamwork and culture informs the work.

Contrary to a linear approach where technological processes are applied in the interest of optimization, the studio adopts a bi-directional approach where technological processes are drivers for design development. Through design, the students’ work will contribute to architectural discourse and its dialog with society, art, popular culture and aesthetics today.

Project 3: Excavate During the Spring of 2020 we will continue looking at architecture that results of accumulations of procedures and operations, but in this case these will be based on processes of subtraction and excavation, linked to milling and cutting using robots and CNC or to traditional stereotomy. The results of this project will be a set of models showing diagrammatic interventions on an urban site and the types of spaces they generate.

Ulrika Karlsson UK is an architect and landscape architect, partner of the architectural studio Brrum as well as of Servo Stockholm. She is a Professor at the KTH School of Architecture. She recently curated the exhibition Plots Prints Projections in conjunction with the Biennale Architettura 2018, Venice.

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Project 2: Refiguring In the second project Studio 5 will engage more in the programmatical, organizational and site-specific aspects of architecture in the design proposal of a restaurant on, in, around the artificial mound of Högdalstoppen in Stockholm. Studio 5 will make study trip to Rome where we specifically will study Monte Testaccio, an artificial mound from the days of the Roman Empire. Architectural and aesthetical postures and design methods of heaping, amassment and figuring will be throughout the project deepened and further explored.

Project 4: Configure The Spring’s second project will further develop this approach as it applies it to the specific program of a civic center in a Swedish town.

This phase will specially look at how the accumulation of operations configure and organize space both in plan and section in terms of objects and backgrounds or rasters and figures. Fluctuations between these correspond also to those of the program: architecture becoming city or landscape, being read as one thing and stop making sense as another.

Pablo Miranda Carranza PMC is an architect who critically investigates the use and history of programming in architecture. He has a PhD in the subject and is currently a researcher at KTH School of Architecture, after many years of work in research and practice.

Veronica Skeppe VS is an architect and partner of the architectural studio Brrum. She is a Lecturer at KTH School of Architecture, teaching at both bachelor and master level and has previously been a Lecturer of Interior architecture at Konstfack.

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1. HĂśgdalstoppen, Svenska Dagbladet, photo: Ă…ke Blomquist, 1957.

2. Monte Testaccio, Guiseppe Vasi, Rome 1782 3. Pin-up in Studio, spring semester 2019.

4. Shades and Shadows workshop with the robot. 2019.

5. Deatail of Super Model, Antonia Heidenborg, student project. In and Out of the Hothouse, 2019.

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Infrastructural Cares Teachers: Adrià Carbonell-Rabassa, Hélène Frichot, Hannes Frykholm

Studio Theme This design studio is dedicated to our Infrastructural Cares. We will focus on architectural infrastructures, how they support us, and how they fail us. Our understanding of architecture is not as a discrete object in a field nor as an icon in an urban milieu, instead we posit that architecture is what maintains the relations between peoples, places and things. What is infrastructure, or what can infrastructure do? Infrastructure is everywhere, ubiquitous: it is in the fibre-optics of telecommunications; it supports the basic utilities of water, electricity, and gas; it coordinates massive transport networks; it is the socio-technical, spatio-temporal and material glue that ties everything together. Look around you, reflect briefly on your everyday world, and your everyday practices, much of what you do is made possible because of the infrastructures that support you. When infrastructures fail, this is not just a technological, but a social failure.

Infrastructures require the loving care of architecture to make them work, to achieve good relations between environments and technologies, natures and cultures. In this studio we will map, intervene in, and propose new and renovated infrastructures at cosmopolitical scales. This will be our way of ethically responding to contemporary environmental and socio-political crises. ‘Infrastructural Cares’ demands that we spend more time caring for, repairing and maintaining the architectural infrastructures that facilitate our daily lives.

Teaching Methodology This studio engages in both design action and design research in an integrated way by offering critical design thinking seminars, lectures and intense design studio work organised around iterative tasks. Drawing on the environmental humanities, posthumanities, feminist new materialism, care ethics and affect theory, we integrate critical thinking with design acting. By engaging creative, critical and feminist tools of design and analysis we can better understand and act on the urgent need for societal shifts in terms of decreasing our material and spatial consumptions and better engaging in social and political relations amidst the general crises of the Anthropocene. We encourage students to undertake collaborative work with their peers, and engage in dialogue with the broader community. How can we aim toward a future practice as architects who actively engage in social and political transformation with love and care?

Hélène Frichot HF is an architect and philosopher, writer and critic, Professor of Architecture in Critical Studies and Gender Theory, Director of Critical Studies in Architecture. HF has over 20 years of experience teaching into the pedagogical environment of the architectural design studio. Recent publications include: Creative Ecologies: Theorizing the Practice of Architecture (Bloomsbury 2018).

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Project 1: Infrastructural Cares Infrastructures organize what can be called ‘logistical worlds’, determining the transport of peoples and things, including an Internet of Things. Tangled traffic nodes (like Slussen, or Gullmarsplan in Stockholm), intersections between bridges and water traffic, city ‘tolls’, ports and warehouses and ferry terminals, airports, foyers and waiting rooms, parking lots and retail outlets, a vast array of human and non-human actors circulate through these spaces and times. All such spaces-times can be studied from the micro to the macro scale, and as architectural designers we have the capacity to intervene in these complex systems. In this first project we will take a journey to the Stockholm outer archipelago to visit the island of Utö.

Project 2: Infrastructural Repair and Maintenance Based on the work produced in Project One, we will intervene with a distributed series of architectural spatial supports that facilitate infrastructures where they are at risk of failure, or that expand their operational potential. How can architecture contribute to the spatialities of feeling that pertain to infrastructure? This project will not be isolated to one site, but will be distributed across a larger infrastructural network.

Project 3: Infrastructural Concerns Elaborate entanglements of infrastructures that compose urban centres, reaching into the peri-urban fringe toward the rural hinterlands, effect the way a local population feels about itself and about things.

How does architectural image making reveal the mood, oppressive or liberating, of the infrastructural spaces we daily inhabit?

Project 4: Infrastructural Speculations Could it be that there are infrastructures we have never imagined before, enabling new relations between peoples, places and things, between human and non-human agents? Could an architectural infrastructure inaugurate new relations between humans and non-humans so we better understand the complex entanglements of natures and cultures? Moving between the micro and the macro scale, and proposing designs that occupy distributed sites across large territories this project will attempt to look at the daily life of infrastructure from non-human points of view.

Adrià Carbonell-Rabassa ACR is an architect and urban designer. He is a lecturer at the Royal Institute of Technology (KTH) in Stockholm. He is also founder of the research platform Aside, where he writes on the relationships between architecture, urbanism and geography. His writings have been published in Zarch Journal of Interdisciplinary Studies in Architecture and Urbanism, San Rocco, MONU and Cartha, among others.

Hannes Frykholm HF is an architect and PhD researcher. His doctoral thesis investigates the construction of the city from inside three building interiors.

By analysing form, materials, and usage of three buildings, the project considers interiors as thresholds where the external city – often perceived as lost or beyond comprehension – is understood and consumed as a commodified experience. He is a member of research and design collective FyR Archiects.

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1. Malin Bergman, An Infrastructural Performance: Caring for the Posthuman Landscape, Barkaby Stockholm, Infrastructural Love, 2019.

2. Erik Lokrantz, The Non-Human Embassy, Veddesta Stockholm. Infrastructural Love, 2019.

3. Richard Gray, The Pre-emptive City, Kymlinge, Stockholm, Infrastructural Love, 2019.

4. Chang Hyun Ahn, Monument of Post-Anthropocene, Kymlinge, Stockholm, Infrastructural Love, 2019.

5. Marie Le Rouzic, The Arrival of the Pigeons, Veddesta Stockholm, Infrastructural Love, 2019.

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RETeachers: Thordis Arrhenius, Mikael Bergquist

Studio Theme CHANGE Driven by contemporary concerns with scarcity and overflow, the building stock is constantly altered and architects are progressively concerned with adjusting and reprogramming what is already there. A central effect of global capitalism is the pressure of change. Urban patterns and building programs are increasingly becoming redundant, demanding change to accommodate new functions and identities. This in turn raises a new urgency for contemporary architectural culture to start addressing the pressure of change in alternative modes.

PRESERVATION With the fundamentally shift in our contemporary understanding of spatial and material resources the architect no longer is primarily occupied with making the new from scratch but with making the new out of the past. In that condition preservation has won a new relevance for architecture that goes far beyond saving its canon of buildings. The studio will address the notion of change, permeance and resilience by the means of, restoration, reuse and re-pair. The overall methodological and pedagogical strategy will be to explore the already present, the already built, the already thought and imagined.

Teaching Methodology As a working method the studio will critically re-engage the representational tools conventionally available in architectural preservation – drawing, modeling, photographic and archival documentation – and put them to work in critical and novel ways. Understanding preservation as a design tool we will use the figures of the bricoleur and the cobbler as methodological guides.

Savage thought, Claude Lévi-Strauss argues (La Pensée Sauvage, 1962), continually gathers and applies structures wherever they can be used. If scientific thought is represented by the engineer who asks a question and tries to design an optimal or complete solution, savage thought resembles the bricoleur who constructs things using whatever materials are at hand. Likewise, the cobbler has to fix and repair to make new shoes of the old worn ones. The terms cordwainer and cobbler have often been considered not interchangeable, according to a tradition in Britain that restricted cobblers to repairing shoes. In this usage, a cordwainer is someone who makes new shoes using new leather, where as a cobbler is someone who repairs shoes. In the historic London guild, the cobblers and cordwainers were separate guilds, and the cobblers were forbidden from working in new leather.

Thordis Arrhenius TA is an architect and architectural researcher educated at KTH, the Academy of Fine Arts, Copenhagen and the AA, London. Her teaching and research is characterised by a dedication to contemporary critical issues in heritage and urbanism where the historical perspective informs actions and strategies.

Her latest published book is Experimental Preservation, Lars Müller, 2016.

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Project 1: Re-future Project 1 is dived into four collaborative workshops that will explore the modern heritage of Stockholm. The workshops will form the studios documentary archive and establish a material for the student’s individual project. In collaboration with ArkDes and Stockholm Rejects, Axel Burvall Terán the first workshop will work with re-scaling archive drawings. In the second workshop the studio will build large scale speculative models of the finding in the archive. The third workshop will document the city with photographer Ioana Marinescu, Slade School of Art. The forth workshop will, in collaboration with Stockholm City Library and Claes Sörstedt, KTH, explore the documentary tool of scanning.

References for the workshops are: The Exhibition and catalogue Alternative Histories, Drawing Matter and Architecture Foundation, 2019; The diploma project Stockholm Rejects: a history of the built unbuilt by Axel Burvall Terán, 2019; The project Bauwelt 1968/2011 by Brandlhuber+, 2012; the exhibition and film The Battle of Orgreave, Archive by artist Jeremy Deller 2001. The database Book of Copies, San Rocco. The publications and exhibitions: Forensic Architecture, 2017, Experimental Preservation, 2016, Collage City, 1967 and Roma Interrotta, 1978.

Project 2: Re-constructions Project 2 is the development of an individual project based on the finding in the workshops. The project should be developed from architectural detail to urban scale and be set in the city of the past, the present or the future.

Project 3-4: Re-pair Project 3 and 4 are an individual design proposal for the restoration and of a public city library relating to the preset condition of the library as public welfare institution. Based on a real case scenario, the project should be fully developed from site and program to building scale, and presented in a collaborative exhibition of the studios work.

Mikael Bergquist MB is an architect living and working in Stockholm. Educated at KTH and the Academy of Fine Arts, Copenhagen. Started his own office 1996. Editor and curator of various books and exhibitions. The latest published book is Josef Frank: Villa Carlsten, Park Books, 2019. Participated in the Alternative Histories exhibition in London, 2019

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1. Badezimmer / Bathroom, Thomas Demand, 1997.

2. When Attitudes Become Form: Bern 1969/Venice 2013, curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas, Fondazione Prada, Venice, 2013 3. Main Hall Stockholm City Library, 3D scan, Claes Sรถrstedt and Einar Rodhe.

4. Book of Copies, San Rocco.

5. City of composite presence: Hans Kollhoff, David Griffin, published in Collage City by Colin Rowe and Fred Koetter, 1978.

6. Battle of Orgrave, Jeremy Deller, 2002.

7. Library, Andreas Gursky, 1999.

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Architecture and Daylight Teachers: Rodrigo Muro, Ute Besenecker, Per Franson

Studio Theme Based on the intimate correlation of light & architecture and their dependency on each other we´ll dive into perception and human experience of a space, all done through a strong interdisciplinary approach of Light, Architecture, Art & Engineering.

Architects who orchestrate light & darkness as materials from the beginning of the design process will have a better chance to create human centred and empathic spaces, capable of addressing both the visible and the invisible.

The binomial condition that light & architecture have and the value & potential of their shaping qualities on different scales are unquestionable. The poetic proportions as well as the tectonic properties of architecture are enhanced and conveyed by using light & darkness as materials.

The aim is to create a synergy between Light & Architecture through an interdisciplinary platform. Architecture will be observed, analysed, discussed and interpreted by means of a design based approach where light is the common thread. Modelling and experiencing light at different scales, from working models to immersive large scale models will be a fundamental part of this journey.

Teaching Methodology Theory and practice support each other in parallel by applying theoretical knowledge to experiments and projects and learning through trying and first-hand experience. Observation is at the core of the method, to capture the visible through image and architectural expression, exploring the multisensory and multidisciplinary aspects of architecture.

For understanding the daylight diversification and variation, the studio focuses on a specific location in the Nordic context, nevertheless the teaching methodology and practical exercises enables the students to contextualize for any desired geographical point.

We place emphasis on both the materialization of architecture (its materialities, spatial logics, semiotics, tectonics, affective qualities, and politics) and the mediation of architecture (through text and drawing; as well as in exhibitions, publications, social media, and international architectural biennales).

Rodrigo Muro Architect with masters in Lighting Design and Industrial design. Lecturer and course responsible at KTH for the masters in Architectural Lighting Design since 2011.

Has worked internationally as a practicing architect and lighting designer in different offices and independently in Mexico, Spain and Sweden.

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Project 1: Daylight Observations & (re)Interpretations Introductory and deep module where through experience, analysis and reflection you´ll will be able to grasp terminology, concepts and qualities of light and space. We will move between lectures and theory of light and the human perception through hands on exercises using both analogue and digital tools; daylight models & calculations Project 2: Daylight exploration and experience Exploration of the prolonged twilight as a Nordic daylight phenomenon is the starting point to focus towards the daylight variation of a Nordic sky. P2 focuses on openings in Architecture and collaborate with Civil Engineers and Construction Management students in 4 workshops. The task involves design, construction and energy calculations for an apartment within a fictitious apartment building. The final result consists of a half scale window design.

Project 3: Material, Spatial and Daylight Implementation Re - introductory and deep module where through experience, analysis and reflection you´ll be able to grasp terminology, concepts and qualities of light and space.. The main task of P3 is a Real scenario architectural project for an extension to Kristineberg Marine Research Center outside Lysekil on the West Coast of Sweden. Working with the existing environmental conditions, village infrastructure and mix of locals, tourists and researchers we will explore the possibility of a new blue industry and economy. What happens when we as architects collaborate with material scientists, marine biologists and local conditions.

Project 4: Architectural Project The participants continue the project and develop their concepts from architectural detail to the building scale. After extensive reviews of P3 and interdisciplinary tutorials with external experts in sustainable design, climate design, and structure, the project development process gains an eco-tectonic focus around daylight design and architectural sustainability with a progressive program.

Ute Besenecker Associate Professor in Architectural Lighting, KTH, researcher and designer with 20 years of professional architectural and lighting design experience and. Special interest in facilitating interdisciplinary education and collaboration between design practice, research and engineering, especially pertaining to facilitating spatial environments that support health and wellbeing.

Per Franson Architect and educator as well as the Head of the Architectural Lighting Department.

Per has been teaching in numerous courses on all levels. 15 years of running his own practice Per has great experience of the profession and is keen on bringing practice and education closer together.

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1. Restaurant “Under” at Lindesnes Havshotel. Snöhetta Architects 2. Think Corner, Helsinki University. JKMM Architects 3. Modeling Light, Alba Lópex Campmany & Tuula Kemppainen. Students in Studio 12 4. Seaweed Structures, Julia Lohman. Department of Seaweed, Aalto University 5. Restaurant “Under” at Lindesnes Havshotel. Snöhetta Architects

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Peripheral Futures Teachers: Rumi Kubokawa, Ori Merom

Studio Theme Peripheries are commonly understood as marginal geographic locations, the outskirts of larger cities, the outside, an expanding zone that extends from a given boundary line. The periphery has its own peculiar dynamism. This year we will consider the idea of the periphery as a project, and examine ways in which architecture can work with models and methods that respond to the possibility of re-thinking the occupation of such territories. We will work with cities and communities outside of the centre, relating to the post-urban notion of ‘everywhere is urban’ thanks to mass communications and cities becoming decentralized, while setting the context beyond the geographical place, where relationships and connections between people, artifacts, histories describe the world. We will attempt to define peripheral cities in regards to their urbanity in a way that challenges the dichotomy centre/periphery, while working from a condition of being in the periphery, inside the outside.

Teaching Methodology The challenge of Architectural education arises from the teachers’ dual role: they are asked to lead, yet play only a supportive role.

Students are taught to develop and act on their own vision and creativity. This involves a pact of trust between teachers and students.

The pact is about personal development. Success means that students managed to form their own architectural identity, understand their strengths and weaknesses, exploit the former and find ways to overcome the latter.

This framework involves four efforts: First, to create custom tailored education that supports the specific development of each student.

Second, to establish a holistic teaching program that inspires students to think broadly and in an interdisciplinary manner. Third, to amalgamate learning and research into a program that supports the study of applied issues and sustainability in a cost effective manner.

Fourth, to form opportunities for students to experiment with a variety of building materials and architectural tools, and work/research in proximity to the industry, while strictly preserving ethical standards.

Rumi Kubokawa RK is an architect and teacher. Has practiced in the UK and taught at The University of East London. Is a collaborator in research on popular movements for housing and occupations in São Paulo.

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Project 1–2: Measure: A city at any scale During the first semester the studio will be working with the town of Vaasa in Finland as a case study. The site is a vast industrial area near the city centre in the process of being decommissioned, leaving behind a number of structures to be assimilated into the city.

The project will investigate the morphology of the city and question why and how the urban is urban, searching for forms and ideas that responds to a larger logic that informs the project of the periphery.

Rather than imposing the traditional dense city centre model, we will work with the existing disconnections and fragmentations and aim towards proposals that reassert a quality of urbanity. We will be working with the idea of an urban section as well as the re-use of existing structures requiring a meticulous approach, a tactical flexibility and a more discursive process.

Project 3: The Desert Settlement During the second semester the studio will be working in ‘Neot Smadar’, a self-sustained community of 250 in the Negev desert.

Beyond suburbs and satellite cities, away from any concentration of populations, lie the social experiment of cultures inhabiting forsaken places in order to practice a different way of life. These ‘assemblies’ create their own social order and physical way of life played out in complex forms that articulate socially shared spaces.

This project will be a hands on experience where the studio will live as part of the community for ten days. The long established community has developed a vast structure that sustains a number production processes, including winery, artifacts, food, water harvesting, education. The aim is to learn from this small scale operation characteristic conditions of being in the periphery. The intervention will call for projects that respond to ecological and environmental demands, while facilitating the changing needs of the community.

Project 4: Peripheral Scenarios This project will draw from the previous studies of peripheries and be a wildly speculative proposal for a future settlement, creating a close relationship between settlement, ecology and tectonics. The studio will explore a culturally relevant and contemporary way of relating to an imagined context, and suggest a set of formal, programmatic and cultural criteria that will become instrumental in the strategy for the proposal of peripheral scenarios.

Ori Merom OM is an architect and teacher www.meromarchitects.com www.corsaroarchitetti.it/ www.hey5.xyz

Antonia Myleus, Architecture of De-growth, Dip honors, 2019.

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Muddy and Motley Mass Housing for Millions of Homes Teachers: Frida Rosenberg, Erik Stenberg

Studio Theme The Housing Studio will explore and design mass housing solutions from several perspectives, such as prefabrication, material technology, tectonics and sustainability as well as portraying historical circumstances and living conditions. One focus will be on the implications of the Welfare State housing production. While we believe there are many lessons to be learned from this particular point in time in Sweden, we also argue for a broader understanding of the vast network of mass housing developments across the globe. In addition, building in the face of climate change urges us to seriously (re-)consider how to build with systems and materials. By mapping, analyzing, and recreating a catalogue of housing environments, their structural similarities as well as contextual differences may give vital clues to some of the unanswered questions of emergent and contemporary housing issues. Why does the automated production of housing still remain aesthetically similar? How much of the social challenge of Post War mass housing environments rests in their architecture? When will the Housing Question be answered?

Teaching Methodology The studio proposes a process of designing mass housing as it relates to structural and material methods intimately tied with a historical perspective. We think that design through knowledge in material and architectural technology implicates the understanding of tectonics and space. Our ambition is to give students a thorough knowledge of the processes and mechanics of housing in order to upgrade and improve the architects’ role in current building production. The studio will foster an empathetic attitude for the complementary roles of the architect and engineer. Our primary tools will be large scale models and drawings of both new and historical precedents as part of our mapping phase. Each semester will include a phase of identifying and researching existing examples as well as a design phase proposing reconstructions of existing and/or new mass housing. Our teaching methodology proactively engages with contemporary practices by extensively making use of case studies and site visits

Project 1: Flying Panels We will use examples of mass housing systems from around the world to shape a comparative foundation for our future studies. By analyzing and interpreting living conditions and structural systems we will confront issues of dwelling, domesticity, culture, tectonics and construction. The first project will be mapping a set of case studies from different parts of the world. What are the similarities and differences between different mass housing projects in East and West Europe, as well as the Middle East and North and South America? Pedro Alonso, Professor in Architecture at PUC in Santiago de Chile and curator of the exhibition Flying Panels opening at ArkDes in October, will be assisting in analyzing and explaining a methodologic approach to comparative studies of postwar mass housing.

An important aspect in the first project will be documentation and communication of your research findings. Our ambition is to exhibit the material at a specific venue.

Project 2: Muddy Homes How do we dwell? What is a contemporary idea of mass housing?

In the second project of the semester the studio will draw from successful and innovative revisions of mass housing, which reframed the idea of dwelling related to use of space as well as function specific planning of the home. With pressing issues such as climate change, social and urban living conditions, we will explore and redesign an existing mass housing area to fit contemporary living patterns.

Project 3: Swedish Systems What can we learn from current Swedish mass housing solutions?

We will pick apart, analyze and reconstruct an array of housing solutions offered by and to architects today: BoKlok, SABO’s Kombohus, Utopia’s KomBo, Stockholmshusen, Lindbäcks, Martinssons, Snabba hus, and Derome. The main objective of this project is to thoroughly engage in contemporary practice: Can we do better mass housing? How can we as architect take on the question of better housing for the masses by thoroughly understanding the fields of knowledge that are part of making architecture—building production, material technologies and sustainability issues of housing.

P4: Motley Homes We will design a new mass housing solution. Given a specific site and context, a new housing typology, a new series of homes, a new structural system, and/or a new urban condition will be explored and designed. A text reflecting on the design will also be written.

Frida Rosenberg FR is a lecturer in Architecture whom previously taught second year studio and degree project students. She has a PhD in Architecture history with a focus on architectural technology, which analyzed the introduction of steel construction in post war Sweden in relation to the collaborative aspect of making architecture.

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Erik Stenberg ES is an Associate Professor in Architecture with 20 years of teaching experience also engaged in housing research. He has a special affinity for the Swedish Million Program Era and is currently pursuing solutions to the contemporary Housing Question in the face of climate change.

Motto: svanenmärkta hem på 6 månader

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En hållbar affär

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årt förslag erbjuder moderna och miljövänliga lägen­ heter i Svanenmärkta flerbostadshus med hög kvalitet i utförande, standard, komfort och boendemiljö.

Fasad mot sÖDer Skala 1:100

Våra lägenheter är skapade med nordisk känsla och för svenska boendemönster – där ljusinsläpp och öppna planlösningar är två starka ledstjärnor.

Vår lösning är flexibel. Den fungerar för olika miljöer och förut­ sättningar och kan byggas i tre till åtta våningar. Tack vare hög förtillverkningsgrad och en planerad och styrd byggprocess, kan vi lova en kort genomförandetid.

Vårt byggsystem är beprövat och har använts i en lång rad projekt – företrädesvis hyresrätter.

entréparti Skala 1:40

SvANENmÄRKtA HEm, SKANSKA För tilltalande, hållbara och väl artikulerade fasader med variation i färg och struktur. Goda möjligheter till alternativa planlösningar och lägenhetslösningar, samt bra standard på valda material i lägenheter och allmänna utrymmen.

JuRyNS mOtIvERING

Aluminiumparti med glas Väderskyddande skärm i ek

Husnummer i stålplåt

Fasad av målad betong

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Fasad mot NOrr

Fasad mot väsTer

Skala 1:100

Skala 1:100

Ett klartänkt och flexibelt byggsystem

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Hängrännor och stuprör i lackad plåt

Byggsystemet är okänsligt för väder och vind.

• Format utifrån kundkrav på hyresrätter avseende planlösningar, materialval, miljöpåverkan och livscykelkostnad.

• Byggs med ”tung” stomme och vertikala schaktlösningar för installationer.

• Hög förtillverkningsgrad och fördefinierad tidplan för projektering, leverans och montage.

• Drift och underhåll utan överraskningar med kostnadseffektiva material- och systemval.

• Långsiktiga leverantörsrelationer och välkända varumärken.

• Kontinuerlig vidareutveckling genom systematiserat förbättringsarbete.

• Uppfyller BBR 19.

Montagetiden är fyra dagar per våningsplan,

Ett kvitto på vårt arbete är den kundnöjdhet vi uppnått i tidigare levererade projekt. Dessutom belönade Miljömärkning Sverige oss med en svan 2010.

SKA

inklusive komplett fasad, färdiga badrum och permanent värmesystem.

Alternativ entréplacering

• Tre alternativa placeringar av husets entré. Se planlösning till höger. Ett tredje alternativ är placering i motstående innerhörn.

• Valfri placering av sovrummens innerväggar samt möjlighet att välja bort ett sovrum till förmån för större vardagsrum.

• Val av exteriöra kulörer på fasad, sockel, entréparti, plåtdetaljer och fönsterbågar.

• Val mellan tapet eller målning interiört.

• Entrélösning med glastak.

• Alternativa planlösningar och exteriörer enligt nedan.

4 RoK 93m²

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FRD. 4,0 m²

SOV 2 7,0 m²

SOV 3 7,0 m²

VARDAGSRUM 20,8 m²

PASSAGE F

K

SOV 1 13,5 m²

WC 1,5 m²

G

G

UTEPLATS

HUVUDENTRÉ

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SOV 1 13,4 m²

2 RoK 57,5m²

BALKONG

K/F

Skjd. G

1.

Skjd. G

ALKOV 5,0 m² ENTRÉ 5,5 m²

WC/D/TV 4,4 m²

 

 

TP TP HALL 4,0 m²

HALL 4,0 m²

WC/D/T 4,4 m²

K/F









 



















Tillkommande kostnad:

 

 

 

 



 



 

 

  

 

 

Skjd. G

Skjd. G

Skjd. G

Skjd. G



 

 

 

KÖK/VARDAGSRUM 36,3 m²



F





EL

K

SOV 8,5 m² G ST

ST

SOV 8,6 m² EL

EL TP  

 

KLK 2,9 m²

G HALL 6,5 m²

ST 



 

KÖK/VARDAGSRUM 32,6 m²

HALL 8,5 m²

WC/D/T 4,4 m²

G







3 RoK 67,0m²

2 RoK 55,0m²



 

   

KLK 2,9 m²

TRAPPHUS

TP

WC/D/T 4,4 m²

 



 

 

 

SOV 1 12,9 m²

 

KÖK/VARDAGSRUM 30,6 m² SOV 2 7,0 m² K/F



KÖK/VARDAGSRUM 36,3 m²



BALKONG 



3.

HALL 6,6 m² TP

K

F

 

  





BALKONG

EL WC/D/T 4,4 m²

F 

   



 

 



F

 

 

 



 



3 RoK 73,0m²



 

  







 

K



 



 

SOV 2 8,6 m²

EL

BALKONG





   



WC/D/T 4,4 m²

2 RoK 54,0 m²

WC/D/T 4,4 m² TP

ST 





 

TP

PASSAGE EL

K

KÖK/VARDGSRUM 30,5 m²

G

HALL 8,5 m²

KÖK/VARDAGSRUM 32,5 m²



BALKONG

* Priset baseras på 8 våningar utan terrass och med bibehållen energieffektivitet under 60 kWh/m2 och år.

4.

5.

2.

1. Råslätt flygande element.

2. Interior, Konsumentinstitutet 3. Kombohusen 4. Lacaton Vassal Bois LePretre 5. Books

13

4-spä Norma 2–3 54–67

K/F

SOV 2 7,0 m²

3 RoK 67,0m²

   

 





SOV 1 12,4 m²

ST TP

PASSAGE

3 RoK 73,0m²

SOV 1 12,9 m²

BALKONG







  



HALL 5,3 m²



ST

WC/D/T 4,4 m²

Skjd. G

SOV 2 8,6 m²

+1300:-/kvm BOA*

4-spännare Normalplan: 3–4 RoK; 81–91 kvm

 











HALL 5,3 m²

SOV 1 12,4 m²

Skjd. G

3RoK 70,5m²

UTEPLATS





 

 



ST

SOV 1 13,3 m²

SOV 2 7,8 m²



 



   



ST

UTEPLATS



 

TRAPPHUS

 

   

 

EL

TP WC/D/T 4,4 m²

   





 

K F ST

-500:-/kvm BOA*

4-spännare Normalplan: 2–3 RoK; 66–79 kvm



  

 

KÖK/VARDAGSRUM 30,9 m²

PASSAGE

ENTRÉ 3,6 m²

KÖK/VARDAGSRUM 34,0 m²

K F ST

Tack vare byggsystemets väl genomarbetade gränss konsekvenserna av nya önskemål enkla att förutsäga. utlova en lång rad alternativ till rimliga kostnader, bla • Lägre byggnadshöjd (3–7 våningar).

• Indragen takvåning med takterrasser.

• Balkong utmed hela kortsidan på respektive läge • Färdiga och kostnadssatta tillvalspaket för energi, m planlösningar.

• FTX-system (redan förberett i byggsystemet).

• Ljudklass B (redan förberett i byggsystemet).

• Entré i två lägen, det vill säga utnyttja två av de tre lägena, för att få en genomgående lösning.

• Hissöppning åt två håll i entréplan, vilket ger möjli placera entrén något lägre än bottenplanet i övrigt upp nivåskillnader för tomten.

• Ytterligare valmöjligheter avseende planlösning oc

Avgående kostnad:

0:-/kvm BOA*

5-spännare Normalplan: 1,5–3 RoK; 43–73 kvm

ST

PASSAGE



1,5 RoK 43,5 m²

KÖK/VARDAGSRUM 28,0 m²

Skjd. G

EL

Skjd.G

G

Prisvärda tillval

Skjd. G

Tillkommande kostnad:

K/F

SOV 1 13,4 m²

2 RoK 57,5m²

KÖK/VARDAGSRUM 30,9 m²

UTEPLATS K/F

G



Tillkommande kostnad:

G ST

BAD 5,5 m²

G

2RoK 55m²

0:-/kvm BOA*

KÖK/VARDAGSRUM 28,6 m² PASSAGE

TT BAD TM 5,5 m²

TM TT

ENTRÉ TM TT FRD. Skjd.G 6,8 m² BAD 2,0 m² 5,5 m²

SOV 1 11,3 m²

SOV 1 13,1 m²

ENTRÉ 6,5 m²

TRAPPHUS

POSTBOXAR

FRD. 2,0 m²

2RoK 63,5m²

KLK. 2,2 m²

Skjd.G

TM BAD 5,5 m² TT

KÖK/VARDAGSRUM 28,8 m²

BALKONG

Skjd.G

FRD. 2,0 m²

ENTRÉ 6,5 m²

ST G

H

KÖK 16,0 m²

Skjd. G

Val inom 13 000:-/kvm BOA

Skjd. G

SKAN

Byggsystemets fundament

Skjd. G

Fasad av målad betong (gäller färgerna svart, gul och vit) Balkongfronter av aluminium (spröjsräcke)

årt byggsystem optimerar samtliga steg i byggprocessen. Byggsystemet är konstruerat för lägre byggherrekostnad, bättre driftsekonomi och kortare byggtid, d v s låga kreditivkostnader och snabb inflyttning.

För att komma dit har vi sett över varje fas, varje moment och varje resultat.

Utifrån detta har vi utvecklat verktyg, produkter, relationer och kompetens, det vill säga allt som krävs för att erbjuda flexibla hyresbostäder av hög kvalitet, till låg kostnad och med kort byggtid.

Fasad av spritputs

RULLSTOLSBARNVAGNSFRD. 4,8 m²

Aluminiumbeklädda fönster

PASSAGE

Motto: svanenmärkta hem på 6 månader

Tak av bandtäckt plåt

BALKONG

Fragmentation and Coherence Teachers: Peter Lynch, Carmen Izquierdo, Roberto Crocetti

Studio Themes Building in wood: Well-designed timber-based structures have half the environmental footprint of concrete. Projects, lectures, and optional study trip focus on advanced timber-based structural design.

Reckless places: Places that evade profit-seeking—nature sanctuaries, terrains vagues, abandoned areas—allow us to experience a different reality and sense of time. This year we emphasize a post-humanist approach to landscape and an “ethics of care.” Spaces of appearance: The urban public realm is a “space of appearance” (Arendt) where different individuals bear witness to each other.

Today the need to bear witness includes non-human species (Latour, Stengers). Aesthetics of imperfection: This year, drawing from Chinese and Japanese aesthetic traditions, we seek a refined design approach that emphasizes intuition, freedom, craft, and imperfection.

Teaching Methodology We emphasize interdisciplinary thinking, collaboration, technical knowledge, knowledge “of the hand,” intuition, sensibility, and discernment. Tools: ortho and axon drawing, physical modelmaking, photography, case study/historical analysis. You’ll make comprehensive architectural designs for complex programs; landscape and urban design proposals; detailed structural designs. Optional study trip to timber structures and manufacturers in the Alpine region. We continue working closely with Norrköping: two assignments are “real projects” the kommun intends to build. Lectures on timber structure design, timber bridge design, properties of wood, contemporary landscape design, Eastern aesthetics, informal architecture. Project 2 and study trip will be collaborations with Karlsruhe Institute of Technology (KIT). Participation in final review and public exhibition in Norrköping is part of the course.

Peter Lynch Guest Professor, US registered architect.

Has run own arch office since 1991 in NY, Beijing, and Stockholm. Head of Cranbrook Arch. Dep’t 1996-2005. Has taught at Harvard GSD, Columbia, RISD, Penn State U, Parsons, City College of NY. Writings: academia.edu Projects: buildingculture.se

14

Project 1: Study and intensification of half-wild “reckless spaces” within Stockholm. Mapping, drawing, & amplifying urban oases/ timescapes. Interventions to increase biodiversity, build habitat continuity, amplify bikeway network, strengthen Stockholm’s “alter ego” urban image.

Project 2a: Analysis of case studies of informal, incrementally designed architecture (Mosebacke torg exhibition “Utan gränser”; Open City Valparaiso; Drop City Arizona; Japanese tea houses; traditional Swedish farm settlements…) Readings and lectures on aesthetics of informality.

Project 2b: Detailed design of long-span timber-hybrid pedestrian bridge over Motala River, Norrköping. Site design of adjacent park and crematorium as well as completion of Norrköping’s promenade system will be important considerations. Collaborators: Norrköping kommun, Renzo Vallebuona Studio at KIT. Funds have been allocated for a bridge on this site. Your design proposals will influence the realized project.

Project 3: Design of a cooperative higher education institution in Loudden, a decommissioned industrial area between Frihamnen and Gardet. We take a critical approach to the proposed urban development plan and a speculative approach to the program.

Project 4: We return to Norrköping for another timber-based project, a swimming and athletic facility. The kommun intends to build such a facility on Norrköping’s promenade ring. A few students will have the option to work, instead, on design development and detailing of a bridge proposal from Project 2b, in collaboration with students from KTH Byggvetenskap and KIT. Their work will lead to construction of a durable large-scale model--an actual bridge.

Carmen Izquierdo CI, arquitecto COAM, architect SAR-MSA, runs own architecture firm Esencial AB. Practicing for 22 years in Spain and Sweden.

Received the Kasper Salin Prize 2012, Skåne Architecture Prize 2012, and Lund City Building Prize 2011. Has taught undergraduate and master’s students at KTH. Editorial board “Trä” magazine.

Roberto Crocetti RC is structural engineer, Owner Novana AB consulting engineers. Adjunct Professor KTH Byggvetenskap. Adjunct Professor, Chalmers, 2007; Professor, Lund, 2010.

Has designed over 20 timber-hybrid bridges throughout Europe. Research focus: timber joints, timber stability, timber composites.

1.

2.

3.

4.

1. Anna Östberg, Ebba Nyberg and Sanna Mattsson: Timber bridge, Karlskoga.

2. Alexander Carlsen: Timber pavilion, Norrköping.

3. Antoine Castile: Timber pavilion, Norrköping.

4. Mathilda Kinde: Housing interior model, Nynäshamn.

15

Making Teachers: Fredrik Stenberg, Nina Taghavi

Studio Theme We move in scale 1:1 and we explore the execution. We studied the built in details with details. We talk about what we can see, touch and feel with our senses and the body’s influence in the build. We look closely to the materials and study how the materials build spaces. We do not study 2d renderings but rather 3d structures though the engineering. We do not talk about scenarios and hypothesis but rather learning by MAKING and the reMAKING. We sketch 3d and we stay (or residence) in the productive zone by MAKING. Its a practical merit. ”The ability to build assumes the knowledge of all architecture and construction forms, as well as their development. To build means to advance this process, to investigate, and to make. The development of buildings began over ten thousand years ago and has reached an extremely high level, but is in no way a closed process. There are still an infinite number of open possibilities, infinite discoveries to make.”

(A Conversation with Frei Otto, Juan María Songel 2004) Teaching Methodology Designing and making is key to the design process here in order to gain new insights and knowledge. The process as well as the outcomes are essential parts of the discourse, the evidence. The results are communicated through design work as well as placed in a field of references and understanding. The design begins at the outset.

It is not about design as an adjective, it’s about design as a noun.

It’s not about consuming or referring to design, it’s about making it.

Throughout the year we will approach the design process in different ways by letting different agents be the active force within the framework of the projects. The agent being the carrier, the responsible to whom you lean towards. We will work, the agent will operate.

We will work transdisciplinary through workshops with artist, set designers, curators, carpenters and engineers. 50% of the time we will be out in the field and the rest at the school. The nature of building project demands 80% of an 40 h week during daytime. We will not do a study trip outside Stockholm or perhaps no more than small daily excursion. We relate to sustainability through making of re- and upcycled materials and by relating ourselves economically to material, time and money by examine materials diverse aspects.

Fredrik Stenberg FS is an architect based in Stockholm. He works as a lecturer at KTH since 2016 and is one of the founding members in the collective Uglycute. They participated in the Venice art biennale (2003) and the architecture biennale (2010) and are represented in the collections of Nationalmuseum, Moderna museet, Röhska museet, Magasin 3 and Indianapolis Museum of Art.

16

Project 1: Ornament – Representation Gottfried Semper talk about the ornament principle being the artform while the construction principle being the core-form. When the art-form is masking the core-form we talk about ornament or representation and when you can’t distinguish the art from the coreform we talk about tectonics. We stay in the field of art-form, asking where it begins and ends. We will make structures by letting the art-form be the active agent.

“The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true.”

(Jean Baudrillard) Project 2: Material – Tectonics There is a tradition within architecture of going to the material and asking it what I can do. Implying that there is an underlying tectonical logic in every material. We will build structures having the material being the active agent. And we will ask the material what else can you do? ”Ask not what the material can do for you, ask what you can do for the material” (Andreas Nobel) Project: 3 Form Finding – Iterative design The architect take a step back and lean against the process. The goal is not to design the ultimate form or shape but rather to find it with the help of different processes. We’ll make design by letting the process be the active agent.

“As found - where the art is in the picking up, turning over and putting with” (Alison and Peter Smithson) Project 4: Formgiving – Ideology, conviction, pathos We start with a manifest, or a letter of intent as a starting point. With conscious choices we make structures. We move towards letting the intention of the designer being the active agent.

Nina Taghavi NT has been an architect in Stockholm since 2008 (hons) and a teacher/lecturer at KTH school of Architecture since 2014. Between the years 2010-14 she worked in an architecture firm in Paris. Today she run her firm next to teaching and draw housing project, interiors or make scenography.

1.

2.

3.

5.

4.

1. The Manhattan transcripts, Bernard Tschumi 1976.

2. Supergraphics by Barbara Stauffacher Solomon in the Moonraker Athletic Center, Sea Ranch California, 1966.

3. Victor Papanek, Design for the real world (1971).

4. How to make a loom, Carpentry Handbook, by GÜsta Wass (1992) 5. Chipboard lounge by Uglycute. Invisible wealth, Färgfabriken 2003.

17

Headquarters Teachers: Karin Matz, Rutger Sjögrim

Studio Theme We need to dream big, and in ways that encourages a joyous, critical, and progressive stance on architecture. Together, we will spend a year thinking, strategizing, and designing an architectural engagement with the near future that is big enough to matter.

Headquarters will investigate the potential of large-scale architectures with a specific focus on architecture’s relationship to production.

As the border between domesticity and labor, between being at home or being at work, is being blurred, we will ask ourselves: What does it mean to work today? And what does it mean to organize?

What does it take to produce at the scale of the population? We will move from rural administration to Silicon Valley, we will look at structural systems as big as capitalism and as specific as ergonomic armrests, exploring the reality and visionary potential of architectural practice in the 21st century.

Teaching Methodology Our method rests on an openness to multiplicity (in interests, perspectives, and disciplines); and equal amounts of criticality, optimism, collaboration, and rigor. The schedule comprises of a weekly lecture (in tools, the practice, or theory); weekly tutorials with teachers; and a weekly editorial meeting where work and current affairs are discussed in the group. We place emphasis on both the materialization of architecture (its materialities, spatial logics, semiotics, tectonics, affective qualities, and politics) and the mediation of architecture (through text, drawings and models; as well as in exhibitions, publications, social media, and international architectural biennales).

Karin Matz Karin is an architect (Edinburgh College of Art, the University of Queensland, and KTH (MSc. Arch)), lecturer at the School of Architecture at KTH and principal at the architecture office SECRETARY.

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Project 1: It’s just a desk, right?

Our first project will investigate the relation between the human subject, labour and the physical environment in which work is performed.

Through large format models and 1:1 mock-ups, culminating in a full-scale exhibition environment, we will ask ourselves: What does it mean to work? What is work? And in what ways are architecture complicit? How can architecture be deployed in order to critically interrogate and at the same time joyously propose?

Project 2: Flows in the fringe This project will look at work as part of much larger systems of production. We will investigate the fringe of the city, where the suburbs give way to the countryside. What kind of production exists here?

What can be proposed? The project will start with a surveying of existing conditions, then the mapping of potential sites, and further to designing specific architectural interventions that engage with, reroute, negates or produce entirely new flows of production.

Project 3: Headquarters – Organization Building on the experience from the first semester, we now turn our focus to the multinational headquarters and organizations that act with a global reach. We will search through history, study references, investigate sites, organize complex and multi-layered program and propose large forms and structures on an urban scale.

Project 4: Headquarters – Inhabitation For the final project it is time to inhabit, develop, refine and explore this proposed form.

As we investigate strategies and techniques for controlling large scale projects from the urban level down to details and atmosphere, your projects will be fully articulated and detailed into a material environment.

Rutger Sjögrim Rutger is an architect (MSc. Arch, KTH), lecturer at the School of Architecture at KTH and a principal at the architecture office SECRETARY

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1. SC Johnson’s Administration Building, Wisconsin by Frank Lloyd Wright, 1939 2. Burning Man 2018 3. Lignotto – Fiat Factory, Turino by Matté Trucco,1923.

4. Gordon Clark and Joe Macmillan in Halt and Catch Fire, Season 1.

5. Model interpreting Non Stop City, Archizoom by Diana Wagner Studio 3 2018.

6. Bells Labs, New Jersey by Eero Saarinen, 1961

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Searching for Ma – Investigations of Space and Time Teachers: Teres Selberg, Leif Brodersen

Studio Theme Specificities in relation to artistic interdisciplinary production as generators for social inclusion. Studies of symmetry will be followed by complexity and contradictions. Geometrical and irregular form and patterns as generators for architectural space will be analyzed in selected architectural masterpieces - and we will propose design projects for alterations and deconstructions. In the fall, we will make an excursion to Spain, where we will design a small community center and public green space in Poblenou, Barcelona. In the spring semester, we will learn from the Japanese context examining diversity, metabolism and other conceptions of space and time. We will also study different artistic interdisciplinary tools and methods, first the relation to dance and choreography and later between filmmaking and architecture. We will design a Dance House in the “Million Programme” context of Vårberg and a Film Studio Residence within the dense urban fabric of the megacity Tokyo. The Studio is planning to make a study trip to Japan in March-April.

Teaching Methodology This studio investigates different experiences of architecture and conceptions of space in relation to the synthesizing design process.

We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, color, tactility, etc. We have developed a methodology wherein students and teachers collaborate in a kind of research-by-design structure. The students define and formulate their own projects from a given topic and self-program their projects to reflect on the problems and possibilities described in the analysis and definition of the context. The aim is to provide tools and methods in order to give the students an independent, innovative, artistic, professional, ethical, and scientific identity. Every project is specific and independent, but also relates to the general theme.

Teres Selberg TS is an Adjunct Teacher at KTH Architecture. She runs her own artistic practice connecting dance and architecture and is a member of the organization Dansbana! creating public places for dance. 2006 she co-founded Architects without frontiers in Sweden.

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Project 1: Symmetries and Form – Reinterpreting Details Through deeper studies of emblematic buildings and their specific beauty and qualities, we will develop an understanding for symmetrical and irregular composition, geometrical or random form as generators for architectural space. We will first document, re-represent and analyze existing architectural masterpieces. In the second part of the project we will develop individual architectural projects by making alterations of the studied buildings. The project definition is optional; deconstruction, studies of mannerism, reinterpretation, paraphrase, additions, alterations etc.

Project 2: Community Space in Barcelona By re-defining interpretations and using studies from the first project, we will design a small community center and a public green space in the area of Poblenou, Barcelona. We will look at the city from a critical perspective in terms of urban development, tourism, gentrification and migration and propose semi-permanent interventions with strong architectural qualities for interaction and social inclusion Project 3: Dance House in Vårberg In this project we will study different artistic tools and methods focusing on dance and choreography and develop individual architectural projects investigating the relationships between dance, movement, gravity, body and space. The brief is a small dance house for the local youth in the suburb of Vårberg, intending to use dance as social interaction and cultural production for social sustainability.

P4: Film Studio Residence in Tokyo In this project we will study Japanese traditional and contemporary culture and architecture, including important concepts such as ‘Ma’ and ‘Oku’. The brief has its starting point in the understanding of the diverse urban fabric of Tokyo Metropolitan Area as well as in the concept of film-making (directing, editing, and producing) in relation to architecture and contemporary cultural movements. These studies will be applied in the design of a Film Studio Residence in Tokyo.

Leif Brodersen LB started teaching at the KTH School of Architecture in 1996. He is an Associate Professor at the school since 2004 and served as Head of School 2005-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter, established 1999.

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1. Kunio Maekawa House, 1942.

2. Cloudscapes by Tetsuo Kondo at the 12 th Architecture Biennale in Venice, 2010.

3. La Fabrica by Ricardo Bofill, 1975– 4. Tokyo Koenji urban fabric.

5. Studio 24, Roy Andersson Film Production.

6. Costumes for The Triadic Ballet, Bauhaus, 1922.

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