RE/04

RE/04

RE/04 RE-DIPLOMA 2020–2021

Edited by Thordis Arrhenius and Mikael Bergquist

KTH Royal Institute of Technology — School of Architecture Stockholm

COLOPHON RE-Master Studio is an advanced architectural

Acknowledgements

course run at KTH Royal Institute of Technology School of Architecture in Stockholm.

Thanks to our many guests, hosts and critics who joined us during the academic year 2020–2021.

It is taught by Thordis Arrhenius and Mikael Bergquist

Helena Matthsson (KTH), Josef Eder (General Architects), Marcelo Torres, Nina Lundvall

Publication Design

(Caruso St. John), Dan Lindau, Mikael Olsson,

Matthew Ashton

Claes Sörstedt (KTH), Oliver Lütjens (Lütjens Padmanabhan), Irina Davidovici (ETH Zürich),

About the type

Ulrika Karlsson (KTH), James Taylor Foster

Univers is used throughout this publication. The

(ArkDes), Frida Melin (Arkdes), Anders Bodin,

typeface was designed by the Swiss typographer

Rasmus Wærn (Wingårdh Arkitekter), Léa–

Adrian Frutiger and released by Deberny &

Catherine Szacka (University of Manchester),

Peignot in 1957 — the same year as Helvetica.

Frida Grahn (ISA,Accademia di Architettura Mendrisio), Beata Labuhn (Oslo School of

© For all texts, drawings and images the

Architecture), Samuel Lundberg (HHL Arkitekter),

respective authors, unless otherwise stated.

Björn Ehrlemark (Arkitektens grannar), Carlos Mínguez Carrasco (ArkDes), Charlotte von

All rights reserved. No part of this publication

Moos (Sauter von Moos), Léone Drapeaud

may be reproduced in any manner without

(Traumnovelle), Oliver Lütjens (Lütjens &

permission from the authors and the publisher.

Padmanabhan Architekten), Philip Christou (London Metropolitan University), Thomas

ISBN 978-91-519-2350-5

Padmanabhan (Lütjens & Padmanabhan Architekten), Tor Lindstrand (Konstfack), Torsten Lange (TU Munchen), David Knight (DK-CM), Erik Langdalen (AHO) and Cristina Monteiro (DK-CM)

CONTENTS

Nora Yous.............................. In Search of Dive Bars 08 Karin Weissenegger............... Species that Connect 14 Johan Torarp.......................... Spatial-Sustainability 20 Alma Segerholm.......How Can History be Remembered 26 Sarah Sahlman............ Disassembling Slakthusområde 32 Vilhelm Regnström.................. The Dream Factory 38 Ellen Lindskog......................... Danviken’s Hospital 44 Victoria Fabian. Ornament between Reconstruction & Renewal 50 Andrea Ekman..............Architecture of the Archipelago 56 Leo Crawford

Blasieholmen, Blasieholmsudden, Tullhuset

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Sogol Baghban....................... Re-imagining Draken 68 Jan Anduaga............Mixed-use Building in Sundbyberg 74

RE­-DIPLOMA RE-Master studio addresses the notion of change, permanence and resilience through the means of re‑storation, re-use and re-pair. The overall methodological and pedagogical strategy is to explore the already present, the already built, the already thought and imagined.

One central driving objective of the studio is to critically re-engage with the representational and documentary tools used in architecture—drawing, models, digital and photographic documentation—as well as the latest representational technology of scanning. Particular attention is paid to scale as an architectural and methodological tool with a specific focus on exploring how digitalisation has affected the architectural representation.

The digital manipulation of analogue scale models and photographical images have been explored in the studio.

The diploma project at the KTH School of Architecture is an individual project concluding the masters degree, and students are free to formulate their own individual thesis projects. At the same time the students are still a vital part of the studio—through lectures, seminars and participation in formulating the studio’s agenda. Several diploma students thesis projects have directly related to the studio’s theme of reuse and repair, while others have not. The notion of economy of means however has been a consistent theme throughout all projects, steering design decisions and program, as students ask how we can pay attention to our common resources — material, spatial, social as well as aesthetic—in the present situation of the earth.

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Nora Yous’ In Search of Dive Bars is a personal and emotional investigation of memories and ambience in everyday architecture; Karin Weissenegger’s Species that Connect proposes a home for the elderly shared with more-than-human residents; Johan Torarp’s Spatial-Sustainability is a investigation into sustainability by addressing questions of permanence and change within an urban block; Alma Segerholm’s How History Can be Remembered and Reused explores the role history and memory can play in urban development; Sarah Salman’s Disassembling Slakthu‑ sområdet is a methodical search for new ways to reuse building components and materials; Vilhelm Regnström’s The Dream factory adds a new building for film production to a historic significant site; Ellen Lindskog’s Danviken’s Hospital: a Speculative Investigation, works with permanence and change in an historical building; Victoria Fabian’s Ornament Between Reconstruction and Renewal investigates the ornament and its complex political and symbolic role in contemporary society; Andrea Ekman’s The Architecture of the Archipelago dwells on how to construct a new building in a historic seaside village, building upon the traditional urban fabric; Leo Crawford’s Blasieholmen, Blasieholmsudden, Tullhuset constructs a detailed historical investigation of a contested public site; Sogol Baghban’s project Re-imagining Draken proposes a scenario for new uses of a former cinema space and Jan Anduaga’s Mixed-use Building in Sund‑ byberg proposes a building for a heterogeneous society offering multiple functions for different users.

This booklet is the second collection of Diploma works from studio RE-.

It is a selection of work from the extensive full material produced by the students.

Thordis Arrhenius, Mikael Bergquist

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IN SEARCH OF DIVE BARS Nora Yous

According to the Oxford English Dictionary, the colloquial use of the word dive to describe a “drinking den” or “other disreputable place of resort” comes from the fact that these types of establishments were originally housed in cellars or basements, into which“frequenters may ‘dive’ without observation.” The first documented use of the phrase appeared in the New York Herald in July 1871: “One of the gayly deco‑ rated dives where young ladies … dispense refreshments to thirsty souls.”

What architecture constitutes a dive bar? How are they recognisable? How do they differ, What is their soul, do they share a common soul? The aim of the project was to research dive bars in Stockholm. Drawing on the writings of Christian Norberg Schulz I started a case study of three bars Carmen, Krukan and No Name Bar on Södermalm, Stockholm, investigating what spatial logics produce a dive bar.

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Axonometric drawing of the dive bars

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Arched doorway bordered in white brick, television. wooden panel

Printed Photograph on canvas depicting red antique car, Mirror with decorated golden fram e, Two rifles painted in Printed Photograph on canvas depicting red antique car, Mirror with decorated golden fram e, Two rifl Printed Photograph on canvas depicting red antique car, Mirror with decorated golden fram e, Two rifle Printed Photograph on canvas depicting red antique car, Mirror with decorated golden fram e, Two rifl

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6 66 6

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1 1 3

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on glass shelving, Movie poster, Chalkboard with menu, Wooden panels placed horis

s, standing laquered pine wood, Painting of pineforest in autumn, bootled alcohol

running along stair, Television, Photograpf of famous soccer player, Mirror with black wooden frame running along sofa, Wall painted black, Wall l , furocent tube running along stair, Television, Photograpf of famous soccer player, Mirror with black wooden frame running along sofa, Wa wood, furocent tube running along stair, Television, Photograpf of famous soccer player, Mirror with black wooden frame running along s in wood, furocent tube running along stair, Television, Photograpf of famous soccer player, Mirror with black wooden frame run

gold, Mirror framed in window, Bottled alcohol on dark woode shelfing, front in brushed aluminium with borders in wood, furocent tube es painted in gold, Mirror framed in window, Bottled alcohol on dark woode shelfing, front in brushed aluminium with borders in wood s painted in gold, Mirror framed in window, Bottled alcohol on dark woode shelfing, front in brushed aluminium with borders in es painted in gold, Mirror framed in window, Bottled alcohol on dark woode shelfing, front in brushed aluminium with border

onatlly in laquered pinewood,

white blastic ted black, Wall lamp in whiWall painted black, Wall along sofa, Wall painted

amp in ll pain sofa, ning

Diagram of findings while mapping

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Furniture plan of Carmen

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SPECIES THAT CONNECT Karin Weissenegger

People are growing older than they ever have before. Species that connect is a home for the elderly in a rural environment close to Stockholm. I think there is a large group of people, including me, who love animals and recognize their positive effect on well-being. I wanted to test the limits — how close can the elderly and animals live together in a functional and species-appropriate environment for the benefit of both?

Every individual on the site —human and non-human —is providing care to some extent, and the built environment supports these meetings and tasks in a subtle and natural way.

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Layout spaces in-between

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Karin Weissenegger_Re-Studio

Species that connect

View from the south

View_East

View from the north

View from the north (Cont.)

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Meetings and activities including humans and non-humans

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Karin Weissenegger_Re-Studio

Species that connect

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South view, Heights study

Sneak peek

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Karin Weissenegger_Re-Studio

Species that connect

SPATIAL SUSTAINABILITY Johan Torarp In 2018 the building sector was responsible for almost 40% of Sweden’s domestic greenhouse gas emissions. These numbers demand a response from our profession and highlight the importance of the topic of sustainability. Spatial Sustainability explores the architecture that lasts, based on the conclusion that this demands balance between the contradicting terms adaptability and stability. I believe that the architecture that’s both adaptable and stable should be, re-usable and capable of being re-organised, but it should also have a strong physical presence in it’s urban situation.

At the intersection of this contradiction I hope to find a path leading towards a long-lasting architecture.

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HOW CAN HISTORY BE REMEMBERED AND REUSED IN URBAN PLANNING Alma Segerholm How can we learn to get to know a site and understand which elements should be remembered and acknowledged, and which ones should be given a farewell, or translated into something new? This project is an exploration of methods which could help us answer this question, using the former Liljeholmen train station as a case study.

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The piece bridge 1:40

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DISASSEMBLING SLAKTHUSOMRÅDET Sarah Sahlman

Disassembling Slakthusområdet investigates the urban transformation of the former meat packing district in Stockholm, with intentions to broaden our understanding of the site.

How can we incorporate the existing architectural qualities of the site through working with the already built environment when developing new areas? How can new buildings be made in such a way that we feel like they belong to a specific site? Between notions of the present and the future, as well as the protected and preserved, a tension arises that is worth investigating. Can change and preservation be considered simultaneously?

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Master thesis / Disassembling Slakthusområdet

Fronting the upcoming transformation of Slakthusområdet, I want to pay attention to the buildings and the physical site. Some buildings will be preserved and some demolished.

Inventory of existing building at Slakthusområted. Some will be preserved while others will be demolished 20 (55)

SCALE 1:2000 (A3)

SITEPLAN SLAKTHUSOMRÅDET

Student

Sarah Salman / Supervisors Thordis Arrhenius & Mikael Bergquist

Axonometric of Slakthusområdet illustrating the case study of a collage block of building volumes

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THE DREAM FACTORY Vilhelm Regnström Filmstaden Råsunda was one of Sweden’s most prominent film studios in the twentieth century. Over 400 films were produced there during its lifetime. A majority of the buildings in Filmstaden were demolished in 1999 and replaced with housing, however eight buildings were preserved. This thesis project has investigated the traces of Filmstaden as well as the possibilities to return film production to the site. The project resulted in a film center, The Dream Factory. It is inspired by the site’s heritage and is integrated with one of the preserved buildings, an old shed called Kasematt. This addition to Filmstaden will function as a headquarters for film making in Stockholm and encourage film makers to produce more films in the region.

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INTERIÖRPERSPEKTIV FILMSTUDIO [39]

STORA ATELJÉN, INTERIÖR © AB SVENSK FILMINDUSTRI STORA ATELJÉN, INTERIÖR © AB SVENSK FILMINDUSTRI

STORA ATELJÉN, EXTERIÖR © AB SVENSK FILMINDUSTRI STORA ATELJÉN, EXTERIÖR © AB SVENSK FILMINDUSTRI

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STORA ATELJÉN STORA ATELJÉN

STORA ATELJÉN INTERIÖR [41]

Remains of Gamla Filmstaden

Model photo

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DANVIKEN’S HOSPITAL: A SPECULATIVE INVESTIGATION Ellen Lindskog This thesis project is an investigation of time and endurance, temporality and change. It is an intuitive journey through the past. By collecting, redrawing and speculating I have explored the past and present of a site. The hospital institution at Danviken dates back to the 16th century, and the current building by Göran Josua Adelqrantz from 1719 can be seen as the first monumental hospital building in Sweden. The site went through irreversible infrastructural changes at the beginning of the 20th century, with the excavation of the Hammarby canal. Following this, the building has had short identities as a museum archive, workshop and hotel. This project works with findings from the past, using textiles to create a new identity and life for the building.

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The interior of the church. A. Malmström

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Main hospital building from the garden and the stream. B. Eriksson, 1915

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Speculative renders of the hospital wards and their color sceme - 41/53 -

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Model photo. 1:50, laster, paper & wood

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Site Plan

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ORNAMENT BETWEEN RECONSTRUCTION AND RENEWAL Victoria Fabian In central Stockholm awaits a transformation of the city block Sperlingens Backe at Stureplan. The project is financed by the quarter’s owner ADIA (The Investment Authority of Abu Dhabi) and will start in 2025. With this reorganisation of estates follows a reconstruction of Bångska Palace’s original façade from 1884 in a ‘New Renaissance’ style. Today the facade serves as the front of a shopping mall and office building which participates in framing the plaza Stureplan.

This project investigates different opportunities for the reconstruction of Bångska Palace with a main focus on the built surface and the search of a modern positioning for the ornament between reconstruction and renewal.

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t u t By

Proposed reconstruction of Bångska Palace

Proposal 53

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Bångska Palace 1957 12

Bångska Palace 1957

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Ornaments 1955 37

Ornaments 1955

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nt of Ornaments

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Ornaments 1884 33

Ornaments 1884

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Elevation Proposal 54

Proposed reconstructed elevation

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ARCHITECTURE OF THE ARCHIPELAGO Andrea Ekman Architecture of the archipelago examines how contemporary architecture correlates to a city’s traditional and specific context. The thesis originates in Trosa — a seaside resort developed at the beginning of the 19th century. A study of historical photographs shows how the tourists’ needs and interests evolved into traditions which still characterize the city.

Yet, the study shows how a fundamental tradition has been lost; the possibility of bathing in the center of the city. The thesis gives the lost tradition back to the town by re‑introducing a cold bath house.

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Näktergalens cold bath house - A contemporary interpretation of the traditions of Trosa

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Site plan and section

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Roof with skylights

Curved timber ceiling

Concave niches in exterior walls

Timber frame structure

Platform on supporting piles

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BLASIEHOLMEN, BLASIEHOLMSUDDEN, TULLHUSET Leo Crawford The starting point of the project has been to investigate how Blasieholmen’s public spaces can be improved, taking into account the criticism that stopped the Nobel Center. The three buildings at Blasieholmsudden (Tullhuset, North & South warehouse) have undergone many changes since port operations ended in 1942. To present the buildings accurately and to study the site carefully, a large part of the work has been dedicated to document and understand Blasieholmsudden through photography, sketches, and measurements.

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Paving stones west of Customs House, 07:28 September 17, 2020

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Mapping of paving stone patterns

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South warehouse, east façade (above) and west façade (below).

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Customs House, north-west façade (above) and south-east façade (below).

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RE-IMAGINING DRAKEN Sogol Baghban The project aims to explore the transformation of an existing structure, in an attempt to re-purpose and reconfigure a structure in an ever-evolving urban context and to accept change as a part of creation. The old cinema Draken located on Kungsholmen was inaugurated in 1938 and has on multiple occasions been renovated and used for temporary purposes. For a period of around 14 years the building stood mostly empty and unused. The empty cinemas around the city provide a great public potential. New types of spaces could emerge where the private and public commercial interests collide in new and unexpected ways. This project aims to reconcile these different potentials and uses for the building, by making room for programs to exist simultaneously without having to start over each time the building is re-purposed.

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RE-IMAGINING DRAKEN / PROPOSAL

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RE-IMAGINING DRAKEN / PROPOSAL

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Plan and Section

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MIXED-USE BUILDING IN SUNDBYBERG Jan Anduaga The project proposes a mixed-use building for a heterogeneous society that offers functions for different users at different times of the day. Focus in this project is laid in the symbiotic strengths that could result from combining multiple programs in the building where programmes lend spacial qualities from each other. Can we build denser, longer, higher? And in the context of the city, can it lend an urban gesture? The municipality of Sundbyberg is planning an urban transformation. The ambition of the city is to connect the two sides of train tracks by burying the rails and covering it with a “green boulevard”. In the speculative context of a densification the project tries to deal with the built and the unbuilt.

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