STUDIO THEMES – KTH School of Architecture, Advanced Level 2014-2015

KTH ROYAL INSTITUTE OF TECHNOLOGY

STUDIO THEMES KTH school of Architecture Advanced level 2014 – 2015

BJÖRN EHRLEMARK directs the KTH School of Architecture’s programme of public events, exhibitions and publications.

He is an architect and journalist, and co-founder of Neighbours of Architecture.

He has designed and edited the Studio Themes catalogue.

HELEN RUNTING has copyedited this publication. She is an urban planner and designer, and a PhD Candidate within Critical Studies at the KTH School of Architecture. Her research addresses practices of criticism and the relation between art, architecture, marketing, and urban planning.

www.arch.kth.se twitter.com/KTH_A facebook.com/KTHArkitektur youtube.com/KTHArkitekturskolan issuu.com/KTH-Arkitekturskolan KTH School of Architecture Östermalmsgatan 26 100 44 Stockholm, Sweden Printed by Edita Bobergs AB, Falun, Sweden, in August 2014

DEAR STUDENT,

whether you are joining us for the first time, or have already been with us for several years, we would like to wish you a warm welcome to a new academic year at the KTH School of Architecture.

Entering the final two years of studies in architecture, a wide array of possible study paths and design projects await you. It is our hope that the range of available studios and supplementary courses will act to both fulfil your curiosity for learning and deepen your architectural interests.

Overall, the KTH School of Architecture aims to offer its students an education that encompasses the many different tasks that you can expect to encounter as architects – both today and in future, uncharted settings. The purpose of our studio teaching model is to ensure learning progression and an individual deepening of knowledge, skill, and judgment within architecture and related fields.

While undertaking studies in architecture at the Advanced Level, students are expected to complete six design courses, or “studio projects,” each of which provides an opportunity to apply and develop a range of analytical and design skills, as well as the tools needed to reflect on the learning process itself. At this level, one should demonstrate the ability (using adequate methods) to critically and independently evaluate and design an architectural project to completion.

As we have learned from previous generations of students, you all have the capacity to reach above and beyond these prospects. It is with great anticipation that we hope to see you evolve and progress during your studies at KTH, and we look forward to sharing in and discussing the outcomes of your work.

Along the way, you will continuously be supported by the pedagogical commitment of our studio teachers. Those teachers are briefly introduced in coming pages (alongside their respective studios), and will be further introduced at the studio presentation event on September 1st.

We will see you there, and together launch a new year – dedicated to the continued production, assessment, and implementation of architectural knowledge, in all its forms.

JESÚS AZPEITIA is the Director of Undergraduate and Master’s Studies at the KTH School of Architecture. He is an architect trained at ETSASS, San Sebastian.

He works for Urban Design AB and has run his own practice, JAZ, since 2004.

ANDERS JOHANSSON is the Head of the KTH School of Architecture.

He is the founding partner of the architecture practice Testbedstudio, as well as President of Europan Sweden. He studied architecture at KTH and the Architectural Association in London, and has a PhD from KTH. FRIDA ROSENBERG is the Head of Advanced Level Studies at the KTH School of Architecture.

She is a practicing architect, educator, and researcher, with Master’s degrees from Chalmers and Yale Schoolof Architecture.

She is currently pursuing a PhD in History and Theory of Architecture at KTH.

Wishing you our very best, Jesús Azpeitia, Anders Johansson, Frida Rosenberg

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Studio spaces at KTH cleaned out before the start of the academic year. (Photo by Bjรถrn Ehrlemark)

INTRODUCTION:

STUDYING AT ADVANCED LEVEL

This Studio Themes catalogue is your guide to studies at the Advanced Level at the KTH School of Architecture. The Advanced Level consists of 2 years of study and includes a Degree Project, which is carried out in the final term. After its completion, students may be awarded the Degree of Master of Architecture or the Degree of Master of Science (120 credits) with a Major in Architecture, depending on whether they are enrolled in the 5-year Degree Programme in Architecture or the 2-year Master’s Programme in Architecture.

THE STUDIO SYSTEM

Our teaching is structured around a studio system, meaning that groups of students join up with tight-knit teams of teachers to embark on their studies as a shared undertaking throughout the academic year. Students develop a theme or research interest through group work as well as through individual projects. Each studio is structured around distinct pedagogical approaches, addressing their own specific topic of interest.

As you can see to the facing page, the KTH School of Architecture currently offers 9 different Advanced Level studios. In addition, students have the possibility to enter the Sustainable Urban Planning and Design programme (SUPD)

studio for one year, while still being able to graduate from the architecture programmes.

Although representing a diverse set of possible directions, all of the studios conform to a shared framework. Each term in the studio is structured around two studio projects (12 credits apiece), complemented by one orientation course (3 credits) and one elective seminar course (3 credits).

During their two years at the Advanced Level, students complete six studio projects, followed by the Degree Project (30 credits). The latter is carried out independantly but housed within a studio, with a studio teacher as supervisor.

In preparation for the work on the final project, a synopsis outlining the Degree Project is prepared in the preceding term – the “thesis booklet.”

ARCHITECTURAL EDUCATION AT KTH

Beyond the programmes at Basic and Advanced levels, the KTH School of Architecture offers an architectural education that spans a range of additional levels: it provides a foundation year – based in Tensta in north-western Stockholm – and independent courses, as well as a PhD programme, which is part of the Swedish Research School in Architecture (a collaboration between the four architecture schools in Sweden).

Detailed information can be found at www.arch.kth.se.

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CONTENTS:

p. 1

DEAR STUDENT

p. 4

INTRODUCTION

p. 5

CONTENTS

p. 36

2014-2015 ACADEMIC YEAR: ADVANCED LEVEL COURSES & DATES

pp. 8-9

STUDIO 1: FULL SCALE Anders Berensson Ebba Hallin Johan Paju

pp. 10-11

STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFE Tor Lindstrand Karin Matz Anders Wilhelmsson

pp. 12-13

STUDIO 3: FOUR SCALES Alexis Pontvik Pål Röjgård Harryan

pp. 14-15

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS Charlie Gullström Ori Merom

pp. 16-17

STUDIO 5: ROUND-TRIP TRANSLATIONS Ulrika Karlsson Einar Rodhe Veronica Skeppe

pp. 18-19

STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIME Leif Brodersen Teres Selberg

pp. 20-21

STUDIO 7: FRAGMENTATION AND COHERENCE Elizabeth Hatz Peter Lynch

pp. 22-23

STUDIO 8: SHIFTING GROUND Sara Grahn Rumi Kubokawa Max Zinnecker

pp. 24-25

STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCE Jonas Runberger Oliver Tessmann

pp. 26-27

SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCE Ana Betancour Ramia Mazé Meike Schalk

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Students and teachers at the Advanced Level gather for the studio introduction event in September 2013. (Photo by Charlie Gullstrรถm)

Photo by Ben Uyeda, Home-MadeModern.com

Above: What is needed in order to realise a small architectural masterpiece?

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Bottom: At which scale might the architect improve an industrialised process?

STUDIO 1: FULL SCALE There is a tendency for conceptual focus to bite its own tail. Academic architecture often fails to establish real testing grounds. Because of this, Studio 1 is a study in making; an investigation of building processes.

In general, architects have little or no experience of constructing in 1:1, and limited knowledge of the on-site factors that influence the economy and logistics of what we design. Meanwhile, today’s rationalisation and large-scale management are making it harder to fuse radical ideas with the systems of built reality. But architecture isn’t just a nice-looking layer. It is the art of building, a synthesis between material and idea. Studio 1 proposes that a return to the site will bring about the architectural masterpieces of tomorrow.

To build is a direct way of acting out architecture.

It can make material perform in ways it never knew it could. To build is to be a thoroughly active designer, with both a conscious overview and constant flexibility. Engaging in processes of production and immediacy might be just what the world needs architects to do next.

TEACHING METHODOLOGY

By taking an active part in building processes at various scales, students will gain personal experience and a better knowledge of the production chain, encountering constructions in real-time, rather than through simulated cases. Structural durability, materiality, and detailing become unavoidable topics early-on, rather than last-minute additions. Relations between resources, site, architecture, craft, and mass-production are exposed, feeding back into a critical approach and ultimately generating a more confident conceptual focus. The idea is to be a player before becoming a coach.

The year’s work is divided into four projects, two of which are more practical, and two of which are more reflexive. The first semester investigates how to construct a building, the second how to build within a city. Each of the projects will be hosted by different collaborators, spanning private, corporate, and political actors – from the carpenter to the large-scale construction corporation to the municipal decision-maker. Evaluating the potential of different systems will strengthen students’ abilities to find relevant and updated tools, and ultimately to create a more influential synthesis between architecture, industry, and the community.

At the end of the academic year, Studio 1 will compile its research and conclusions in a publication.

1:1 BASE

How much is a house? To find out, the studio will realise a climate-shielded space capable of housing the studio for a year. The project involves research, design, planning, and building. The design process will be linked to comfort, timing, and economy in their most practical senses; the idea being to gain knowledge through experience.

The main project is collaborative, and the task is to produce and transform the material in order to realise a small masterpiece.

ANDERS BERENSSON is an architect and a Lecturer at the KTH School of Architecture.

He is a co-founder of Visiondivision, a member of Svensk Standard, and founder of Anders Berensson Architecture.

Studio Project 1, Course A42A13/A52A13

1:2 MASS

Stepping up in scale, Project 2 is a study of industrialised building components and systematisation. By getting to know the processes at work on a large construction site, from the role of management consultants to that of the manufacturing industry, we aim to review the commercial and logistical factors in building processes. What dominates the market and why does everything look the same? How does mass production respond to the variables of a context? At which scale or stage might the architect improve an industrialised process? The task is to invent a new component or material, and develop a project which uses it.

Studio Project 2, course A42B13/A52B13

2:1 FRAME

The built environment is drawn through boundaries, regulations, and conventions. To better understand this context, Project 3 addresses the political management and planning structures that set the standards for building processes. Which agreements and rules are relevant, and who gets to make that decision? Which boundaries are actual and which are possible to change? Through concrete cases, the course aims to map rights and responsibilities within building processes, to propose new models for immediate improvement, and new visions for a greater city. The course will be held in collaboration with municipal actors.

Studio Project 3, Course A42C14

2:2 ACT

Using previous investigations to build a programme, Project 4 asks students to create an intervention in public space, and to study spatial performance by making full-scale installations.

The course is an opportunity to process a structure for public use, and to improve common spaces. As in preceding projects, the issue is to relate architectural design to production, and students are encouraged to work in teams to realise a full-scale, real-time architectural masterpiece.

EBBA HALLIN is an architect and a Lecturer at the KTH School of Architecture.

She is a co-founder of Himmelfahrtskommando.

JOHAN PAJU (Co-teacher) is a landscape architect and a Lecturer at the KTH School of Architecture. He is co-founder of N.O.D. and Paju Architecture and Landscape, and Studio Manager of Landscape at Fojab Arkitekter.

COLLABORATIONS Studio 1 is collaborating with KTH Förvaltning, Akademiska hus and Djurgårdsförvaltningen. The project sites and testing grounds will be located on the KTH campus and in surrounding park areas. The studio will exchange knowledge and ideas with small-scale contractors like Bromma Bygg as well as large building companies like NCC.

Studio Project 4, Course A42D14 9

Above: ‘Remember the Future,’ Degree Project

by Nils Sandström and Jakob Wiklander (top, photo by Tove Freij); Student housing in Fittja, project by Felicia Wahlborn (bottom).

Left: ‘XYZ,’ a shapehifting scaffold pavillion in the KTH-A courtyard, Degree Project by Ragnar Eythorsson and Viktor Nilsson (top); ‘Haningeskolan,’ the Studio 2 theme for 2012-2013 exhibited at Haninge Konsthall (middle); Guest lecture

by Per Wirtén at Fittja Cube in Fittja (bottom).

Below: Student housing in Fittja, project by Jenny Schinkler (top); ‘Mountain Mimesis,’ Degree Project by Julia Eriksson (bottom).

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STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFE Since the spring of 2013, the studio has been working in collaboration with Botkyrka municipality on a series of projects in the neighbourhoods of northern Botkyrka. These residential areas were all primarily constructed as part of the Million Program and have, since their completion in the mid-seventies, been heavily criticised. Planning and late modernist architecture marked a paradigmatic shift in the history of Swedish architecture and still today constitutes a reccurring topic in almost every discussion of architecture and planning. This year, the studio will mostly work in the neighbourhoods of Alby and Fittja. Together with Botkyrka municipality, Botkyrka konsthall, local organisations, and other institutions for art and architecture education, we will work with projects which address public space and buildings in relation to the specific qualities of late modernist architecture. Whilst the projects are downto-earth and straightforward, the overall theme engages with difficult questions regarding the future of public space, identity politics, and the role that architecture plays in creating a segregated city.

If the contemporary city can increasingly be seen as an integrated extension of an overarching marketisation of society and a shift from politics to economics, then neighbourhoods like Fittja, Alby, Norsborg, and Hallunda stand as physical reminders of a different society.

TEACHING METHODOLOGY

The studio focuses on the social dimension in architecture. We are less about what architecture looks like, and more oriented towards what architecture does and how it performs. A design process is not merely about finding a method to create an object, but is also about engaging in the complex and contradictory field of relationships that inform our making and understanding of the built environment. It is about introducing questions and uncertainties right before consensus is established; about what we architects do, and how we do it.

Rather than a collection of tools, methods, vantage points, and positions, the aim of a design process is to question and reflect upon the fundamental conditions of what constitutes a contemporary architecture practice; to unravel the very ground on which we stand.

CIVIC CENTRE FOR NORTHERN BOTKYRKA

The neighbourhoods in northern Botkyrka have a strong tradition of establishing cultural, sporting, political, and religious associations. The municipality of Botkyrka is looking into the possibility to house some of these associations.

The assignment in this course is to propose a location, develop a program, and make a proposal for what such a civic centre could be. Theoretical seminars on topics of gentrification, segregation, and public space will be running parallel to the Studio Project course.

Studio Project 1, Course A42A13/A52A13

TEMPORARY PUBLIC SPACE

In 2009, the school next to Alby Centrum was demolished. The one-hectare site is now empty and is waiting to be developed. According to the buildings and environment administration, this development will probably not happen for 15-20 years. In this course, we will make proposals for the temporary use of the site, something inbetween a building and a park. What kind of public activities and spaces could we imagine?

Studio Project 2, Course A42B13/A52B13

PRE-SCHOOL / CULTURAL CENTRE

Today, schools are not only seen as places for students, but in a larger context as places for learning. They are for example often combined with a library, meeting rooms, and auditoriums.

The existing pre-schools are in temporary building barracks or in worn-down buildings from the sixties and seventies. In this assignment, we will make proposals for a new, or the re-building of an existing, pre-school and develop a program that combines the interests of different groups in society.

Studio Project 3, Course A42C14

PUBLIC WORK

This course will introduce both new concepts and tools for working with topics of urban development – a more down-to-earth, active, and participatory approach to urban and spatial questions.

Each student will produce a concept for a project that can be realised with the help of their fellow students as co-workers and with a limited economy. We will learn how to go from concept to complete project, dealing with project management, communication, design, and hands-on work with construction and materials.

TOR LINDSTRAND is an architect and an Assistant Professor at the KTH School of Architecture and a co-owner of the office of Larsson, Lindstrand and Palme (LLP). He is currently working in ‘Power, Space and Ideology,’ a collaborative research project between KTH and Södertörn University.

He is also co-founder of International Festival and Economy.

KARIN MATZ is an architect working at Vera Arkitekter and running her own office, Karin Matz Arkitekt. She is a member of the Swedish architecture collective Svensk Standard and has had her work published in numerous international magazines.

ANDERS WILHELMSON is an architect and a Professor at the KTH School of Architecture, and was Professor of Architecture at the Royal Institute of Art in Stockholm for 10 years. He runs his own practice, Wilhelmson arkitekter.

In 2006, he founded Peepoople AB, a company engaged in delivering hygiene and sanitation to the world’s urban slums, refugee camps, and emergencies.

Studio Project 4, Course A42D14

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Above: Scale 1, room – Fredriksborgs Fortress, project by Johan Andersson.

Right: Scale 2, house – Kopparlunden student housing, project by Lars Aebersold; Scale 3, block – city extension, project by Robin Lee. Below: Scale 4, neighborhood – project by Rachel Durot, Afonso Ferreira, Naseer Nasiri, Sara Beth Riley, and Vidar Sörman.

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STUDIO 3: FOUR SCALES For the academic year 2014-2015, Studio 3 engages in exercises following a succession of spatial scales. Scales are measurements of order in different areas of knowledge and art. In music, scales refer to different times and cultures. In architecture, the meanings of scale are manifold: different degrees of detailing all referring to the scale of reality (1:1). Whilst the parts of a building may differ in scale, buildings in the city also maintain scale relationships with each other. Aspects of scale are at play in the definition of regions, and even in global scales of things and relationships.

In all these scales, we find interventions, specific conditions, and know ledge. The scale is a measure, which orders and facilitates both reading and understanding.

We will embark on a journey in scale, from the room to the dwelling, from the dwelling to the building, from the building to the block, and from the block to the urban neighbourhood.

TEACHING METHODOLOGY

Changes in the physical environment constantly affect built and un-built places. Most architectural praxis today will have to deal with how to transform existing building structures to fit new needs.

We will investigate the contextual frames, making programs and designing for new and existing – modern and historic – spaces. During the year, we will approach architectural design from the detailed to the urban scale. Methods will be developed to gain knowledge about buildings, spaces, and sites through experimentation as a creative, spatial tool of design. We will identify values and threats and understand the built in relation to its physical and urban surroundings, in shifting geographical places, with different materials and building techniques.

The development of the skills and techniques of model-making and drawing will be an ongoing and important disciplinary task in each project and through out the year.

FROM OBJECTS TO RELATIONSHIPS, PART I

During the first semester, we will frame spatial concepts in experiments with physical models, drawings, and photographs. The identification of value in various existing contexts will be followed by programmatic and spatial interaction on sites and in buildings that need to be revitalised to fulfill new needs.

This studio project will be closely connected to the following project.

Studio Project 1, Course A42A13/A52A13

FROM OBJECTS TO RELATIONSHIPS, PART II

In collaboration with the municipality of Norrköping, we will interact in an on-going process that links strategic points in the city centre with former industrial and historical zones along the shoreline of Motala Ström.

Various buildings from different periods, like the power plant, prison, silo, warehouse, fortifications, and other spaces in the area of the industrial harbour, will be examined for new, creative interventions by adding new values in a context of great change. Testing solutions by developing them in further detail will ensure variety and complexity in the design process.

Studio Project 2, Course A42B13/A52B13

COMPACT CITIES

The extreme growth of cities worldwide demands a discussion and analysis regarding the form of the city. Our third studio project involves the investigation and development of sustainable and compact urban city block typologies, and patterns of larger urban environments.

A limited number of parameters such as transportation, public space, sunlight, urban green, etc., will be introduced and tested in a Swedish climate. The project is collaborative, undertaken by teams of students working together.

ALEXIS PONTVIK received his professional education at HBZ, Bern, Staatliche Kunstakademie Düsseldorf, and the Architectural Association, in London. He has run an architecture and urban design practice in his own name since 1981, and is Professor of Urban Design at the KTH School of Architecture.

PÅL RÖJGÅRD HARRYAN is an architect trained at the Royal Danish Academy of Fine Arts in Copenhagen and is a Lecturer at the KTH School of Architecture.

His professional practice, Harryan Arkitektur & Design, is based in Stockholm.

COLLABORATIONS University of Cairo (EG)

Studio Project 3, Course A42C14

CITY EXTENSIONS, CAIRO

With the dual purpose of developing compact urban typologies and at the same time engaging in international cooperation – particularly in developing countries – we will this year collaborate with the University of Cairo. The central idea is to test and apply the outcomes of Studio Project 3 on a site with a different local topography, culture, climate, and other specific parameters.

The study and understanding of the local conditions will be compared with the local conditions in Sweden studied in the previous project.

Studio Project 4, Course A42D14

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Bridge over troubled water

The city of Istanbul is situated on two sides of the Bosphorus which divides the Asian and the European continent.

We want to connect the two sides as a unification between the continents, religions and cultures by slowly merging them together. A structure is set as a base for the city to grow over time, facilities such as hospitals, schools, etc. are planned and situated regularly into the structure, in order to permit a development of the housing around those cores. By offering people a spot to build houses or establish businesses, the community is self-developed. The fact that the inhabitants can freely arrange their own spot generates interactions between them. This offers the possibility to densify the city and respond to the growth of population.

The system is connected to the rest of Istanbul by boat which can moor in the piers connected to the structure. A metro is integrated inside the structure to improve the connections between both sides as well as to enhance the circulations inside the system. A path reserved for pedestrians and bikes allows the inhabitants to reach houses, parks and facilities.

Top: Studio Project 3 2012, Urban Development for Kibbutz Neot Smadar, by Björn Ingridsson.

Above: In 2014, ‘A Competitive Edge’ was dedicated to skyscrapers. This proposal, ‘Bridge Over Troubled Water’ by Julien Donzé and Linnéa Zickerman, addresses the fragile connection between Asia and Europe.

Asia

Europe

The public buildings create cores along the structure

Right: The pedagogic strategy of Studio 4 can be illustrated like a whirlpool. (Image by Ori Merom) Far right: Extreme living conditions – Maat Mons vulcano on planet Venus. (Image Licensed under public domain via Wikimedia Commons) 14

The houses are developed around those cores

The city grows over time and continues to expands verticaly

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS Studio 4 seeks to push the boundaries of what architecture is, by exploring what architecture can be. Our chosen theme this year is architecture for extreme conditions. As a team, and with input from researchers in various fields, we will investigate the conditions for design in space and extreme environments.

To meet the challenges of global warming and our planet’s limited resources, researchers are currently developing new materials and technologies that could be applied to architectural design. What are these materials? What are their qualities and how do they compare to traditional materials in architectural design, such as stone, wood, glass and steel? In short, the studio will explore new materials and innovative space technologies that are applicable to extreme living conditions. This could be a tropical-heat disaster area in the southern hemisphere; a temporary building in the extreme north; or perhaps even a building on Mars.

The autumn starts with an exploration of materiality and results in a proposed architectural design for an extreme environment (hot, cold, wet, or extra-terrestrial). As a next step, you will design a KTH Space Pavilion, for an international astronaut conference, hosted by Christer Fuglesang, KTH, and the European Space Agency. One of the studio projects will be built on campus in the summer of 2015.

TEACHING METHODOLOGY

Taking an abstract bird’s eye view, the studio can be seen as a whirlpool in which your personal development is a vertical flow rising upwards.

As teachers, we work as a team to maintain the forces of spin and uplift, and to keep the momentum going. Embedded in this metaphor is a form of custom-tailored teaching that we have developed over many years and that centres on the specific skills and abilities of each student.

At Master’s level, you already have an individual approach to design thinking. Our view is that although architectural training has equipped you with various design tools and methodologies, you still need to sharpen your personal artistic voice. It is our job in the studio to help you mature, step-by-step, by scrutinising your design intentions, so that you can position yourself in a greater context – always facing the challenges of our future society. We want to ensure that your final Degree Project becomes a personal landmark and a springboard for your future career as an architect. For this reason, we sometimes make slight adaptations of the course design, allowing our 5th-year students to work in preparation for their Degree Project.

Studio Projects 1 and 2 are linked to each other. We will run workshops and invite guest lecturers from relevant research areas to facilitate the understanding and application of these new issues.

1: MATERIALITY IN ARCHITECTURE

Week 1-2: Choose a building material you like.

Explore it and push it to its limits, way beyond its conventional usage, by modelling and testing.

At which point does it change character? How can you describe and represent its qualities and limitations? Produce a thorough account of the potential of the material, through physical, artistic expression. Tools: eyes, hands, mass, and sketching.

Week 3-4: Choose a completely new material, a substance you’ve never seen used in a built environment. The task is to investigate its potential and to find a usage for it in the built environment. Use suitable tools for the exploration of the material.

Week 5-6: Based on the previous investigation and a given programme for a new headquarters and research and production unit, you will develop a first concept sketch and a model.

Studio Project 1, Course A42A13/A52A13

2: BUILDING FOR EXTREME CONDITIONS

Design the building, based on your explorations in Studio Project 1. Pin-ups every two weeks.

Studio Project 2, Course A42B13/A52B13

3: KTH SPACE PAVILLION

Design a showcase pavilion for Space and extreme conditions, to be built on KTH campus. The activity is aligned with an international astronaut conference in September 2015 hosted by KTH Space Centre, European Space Agency (ESA) and NASA.

CHARLIE GULLSTRÖM is an architect and a University Lecturer at the KTH School of Architecture, combining teaching with design-led research in architecture and interactive media.

Her research group, ‘KTH Smart Spaces,’ is currently involved in an EU-funded project relating to presence design and the future of connected media.

ORI MEROM is an architect with his own practice, Merom Architects, and an expert advisor on design management strategies. He is a University Lecturer at the KTH School of Architecture.

CONTRIBUTORS Farvash Razavi has a background in chemistry and interior design, and heads the design studio Very Very Gold together with Nandi Nobell.

Both will contribute expertise in new material development.

Studio Project 3, Course A42C14

4: A COMPETITIVE EDGE

As in previous years, the students of Studio 4 will participate in an international architectural competition. However, a few students will instead develop their designs from the previous project (from Studio Project 3, the KTH Space Pavillion) into work drawings for planned construction in August 2015.

Studio Project 4, Course A42D14

At the Diploma Days in June 2014, Studio 4 was awarded the Jury’s Mention in recognition of our teaching methodologies and the way we coach our students to take risks also in the last term, encouraging them to formulate design problems outside the conventions of architecture.

COLLABORATIONS Astronaut Christer Fuglesang & Dr Gunnar Tibert, KTH Space Center; Designer Cecilia Hertz, Umbilical Design; Ulf Hackauf & Adrien Ravon, School of Architecture, TU Delft (NL); Professor John Stallmeyer and students, School of Architecture, University of Illinois, Urbana Champaign, UIUC, (US); Kibbutz Neot Samadar (IL).

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Top: Studio 5 Study trip to Acropolis, Olympia, and Epidaurus in Greece.

(Photos by Ulrika Karlsson) Above: Studio project for an equestrian center, by Jakob Valentin and Anna Weglin (left), Axel Bodros Wolgers and Aron Edling Fidjeland (right).

Right: ‘Mellanting,’ Degree Project

by Cecilia Lundbäck.

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Left & below: ‘Misunderstandings,’ Degree Project by Gerda Persson.

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STUDIO 5: ROUND-TRIP TRANSLATIONS Architecture as field and practice calls for procedures of translation from medium to medium, from drawing to model, from drawing to building, from mediums of representation to fabrication.

A general concern in architecture has traditionally been that of preserving the meaning and likeness from idea to drawing to building with minimum loss. Rather than blindly comply with the rules of a parametric approach to design, the studio will investigate sensibilities which disturb identity, with an interest in embracing the generative potential when going between mediums.

Translators always risk the inappropriate spillover of source-language idiom and usage into target-language translation. On the other hand, spillovers have the potential to enrich the targetlanguage in unexpected ways. The history of architecture is full of productive spillovers, such as the Falu-red paint of Swedish vernacular housing, originally mimicking central European brick architecture.

Lending a terminology from linguistics, the studio will investigate the translation as a metaphrase (literal translations) as well as a paraphrase (a saying in other words). Using backtranslations and round-trip translations, the studio will explore the generative force of changing context – media, time, place, scale. Each team or student will develop methods of serialtranslation with the potential to intermix architectural history and precedents, representation and new means of fabrication.

TEACHING METHODOLOGY

How you work will affect what you produce.

Studio 5 will continue its interest in the development of rigorous design research, and will establish new ways of thinking about the negotiation between digital and material processes for design and fabrication, professional practice, teamwork and the cultural impact of contemporary architecture. Through the iterations of drawings, models and 1:1 scale prototypes, students will develop design techniques and sensibilities, enabling the design of innovative architectural proposals. Contrary to a linear design approach where technological processes are applied in the interest of optimization, this studio adopts a bi-directional approach where technological processes are incorporated as drivers of design innovation. Through design, work will contribute to contemporary architectural discourse and its intersects with art, architecture, and aesthetic theory.

Studio 5 will further its ongoing collaboration with art institutions, this year with Tensta konsthall and Konstfack in particular.

ROUND-TRIP TRANSLATIONS _RESOLUTION

Analysing the real world in high resolution unveils its nonlinearities. Scratches, cracks from years of carrying too much load, weathering from storms, traces of past accidents, fights, and parties all build up a rich environment of alternative narratives, far from the white cube, or the streamlined surfaces associated with parametric design. In Project 1, the students will develop a strategy for an architectural transformation that embraces the high resolution of the site.

Studio Project 1, Course A42A13/A52A13

ROUND-TRIP TRANSLATIONS_A THEATRE

The aim of the second phase of the semester is to further refine the studies developed during Studio Project 1. Continuing with the same site, each team/student will now develop the design of a small size theatre, including a foyer, a stage, and an auditorium. Engaging in the design of a theater and notions of translations, the studio will take a closer look at the pioneering architect Frederick Kiesler, who transformed the design of the theater in the early 1920s. Through his project Space Stage, Kiesler brought the actors into close proximity with the audience, linking the stage and the spectators.

ULRIKA KARLSSON is a partner at the research and design studio Servo Stockholm and is a Professor at the KTH School of Architecture, as well as a Professor at Konstfack.

EINAR RODHE is a partner at the Stockholm-based studio Norell/Rodhe and is an Adjunct Lecturer at the KTH School of Architecture.

VERONICA SKEPPE is an architect and teacher at the KTH School of Architecture and Konstfack and works with the operation of the KTH Digital Fabrication Lab.

Studio Project 2, Course A42B13/A52B13

ROUND-TRIP TRANSLATIONS_mixes

The spring semester of the studio aims to address larger urban ecologies and material processes, specifically dealing with how the built environment interfaces with or translates a water condition. Studying how water forms a site, as well as how it engages in material processes of fabrication, students will consider wet, moist, and humid processes of fabrication and aspects of load and pressure caused by water mixing with the built environment. Studio Project 3, Course A42C14

ROUND-TRIP TRANSLATIONS _A PUBLIC WETLAND

The second phase of the Spring term focuses on the design development and implementation of design research from the previous project, through the design of a constructed wetland that supports ecosystems and attracts a visiting public through a combination of landscape elements and architectural structures. Addressing more extensive urban ecologies through the accumulation of knowledge gained throughout the year, students will be supported in formulating their own architectural position in relation to architectural culture and contemporary architectural discourse. Studio Project 4, Course A42D14

CONTRIBUTORS MOS architects, New York (US); Maria Lind, Director of Tensta Konsthall; Dieter Bogner, Kiesler Foundation, Vienna (AT).

COLLABORATIONS Konstfack Univeristy College of Arts, Crafts and Design; the Royal Institute of Art; and Tensta Konsthall, where students from KTH’s Studio 5, Konstfack and the Royal Institute of Art (among others) are invited to participate in the exhibition on Fredrick Kiesler, approaching the work and discourse developed by Kiesler through a series of seminars and project presentations.

17

Above: Sand experiment, student project by Eva Johansson.

Left: Garden and House, Tokyo, by Office of Ryue Nishizawa.

Right: Stari Grad plain water system, student project by Elin Vestlund.

Below: The ghost town of Famagusta, Cyprus.

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STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIME We will study how different artistic tools and methods (particularly randomness) can be transformed into architectural design processes, creating new kinds of spatial platforms for art production in Stockholm, through artistic design research and assays of film, theatre, art, music, and dance.

We will then investigate an area of conflict and develop architectural strategies to solve problems in a very important but abandoned urban context in Famagusta, Cyprus, making proposals for vivid urban life, sustainable typologies, and emblematic designs interventions.

The third studio project will focus on specificity and narrativity – students will create a story of a real or fictive person as a foundation for the development of a very specific design of a very specific home.

The last project investigates what we can learn from the Japanese context: diversity, differentiation, metabolism, interactivity, flexibility, and conceptions of space and time (at the urban scale as well as the small scale). Based on studies of similarities and differences in the Japanese and the Nordic cultures and architecture, we will design a Nordic Film Center within the urban fabric of Tokyo city.

TEACHING METHODOLOGY

This studio investigates different experiences of architecture and conceptions of space, in relation to synthesising design processes. We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, colour, tactility, etc. We have developed a methodology whereby students and teachers collaborate within a research-by-design structure. The students define and formulate their own projects from a given topic and self-program their projects to reflect the problems and possibilities described in their 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 it relates to the general theme.

We think it is important to work with different topics, problems, and scales at the same time. Every project starts with a research phase in groups, wherein students collect relevant theory and information, define different options, and try to understand the context.

Students discuss, evaluate, reflect, and make decisions; we want them to feel involved in a larger overall research-by-design movement, in which the different parts and projects are important, but the research outcome as a whole – and the multitude of different approaches and projects – is the most important thing.

NEW ART SPACES IN STOCKHOLM

In this project, we will study different artistic tools and methods, focusing on randomness as a generator for the artistic design process. We will develop individual architectural projects, designing new kinds of interactive public and urban art spaces, seeking new approaches to how art is produced and exhibited, and possibly enabling art as a political tool in participatory discussions in the city. The brief includes indoor and outdoor spaces for young, experimental, contemporary art – linking the Railway Station and the City Hall.

Studio Project 1, Course A42A13/A52A13

A UNIFIED CONTEMPORARY METROPOLITAN AREA IN FAMAGUSTA

The students will study and analyse an occupied urban district with huge potential, in the very border area between the Turkish Cypriots and the Greek Cypriots, in Famagusta. We will investigate architecture as a tool of conflict resolution – starting with a workshop in collaboration with architecture students from Cyprus and an excursion to Famagusta on the east coast of Cyprus in the first week of November. The brief will ask for new strategies for urban development, social interaction, and new sustainable typologies.

Studio Project 2, Course A42B13/A52B13

HOUSE FOR AN EXTREMELY UNIQUE PERSON

How could the conception of narrativity be transformed into very specific architectural expressions in a tectonic project? We will study and discuss narrativity, through different theories and architectural case studies. The students will choose a real or fictive client and develop an architectural project from the client’s needs and personality, making a building (a home) into an expression of that person’s character, and thus creating a narrative for that person. Where is the borderline between the generic and the specific? This project will be performed in collaboration with Professor Helena Paver Njiric.

Studio Project 3, Course A42C14

NORDIC FILM CENTER IN TOKYO

In this project, we will study traditional and contemporary Japanese 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 the Tokyo Metropolitan Area as well as in the concept of filmmaking (directing, cutting, and producing) in relation to architecture and contemporary cultural movements. Studying the relationship between Nordic and Japanese approaches, we will discuss how one culture can be represented in another context. A study trip to Tokyo will be held in March or April 2015, where we have contacts with Bow-Wow, Fujimoto, Saana, Ishigami, Tetsuo Condo, and TIT.

LEIF BRODERSEN 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 2004-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter (formerly A1 Arkitekter), established 1999.

TERES SELBERG is an architect, artist, and dancer based in Stockholm. Along with architectural design projects, she also works artistically with video, installation, performance, and painting. She is co-founder of and an active member in ASF – Architects Without Frontiers.

CONTRIBUTORS Socrates Stratis (affiliated teacher) is an architect and urbanist, and is an Assistant Professor at the Department of Architecture, University of Cyprus.

Helena Paver Njiric (affiliated teacher) is a Professor in Architecture at the University of Zagreb and TU Graz, as well as founder of Njiric & Njiric Architects and HPN Architects in Zagreb.

Studio Project 4, Course A42D14 19

Above: Axonometric of partial structure, Baths of Diocletian (left) and Baths of Agrippa (right).

(Auguste Choisy, ‘L’art de bâtir chez les romains’, 1873).

Left: ‘Geometries of Kykeon’, student project by Lauren Quinn, Univeristy of Limerick, Ireland.

Below: Precedent study, Chatal Huyuk,

by Marian Deneen, Univerity of Limerick, Ireland (left); ‘Odradek towers’, student project by Mary Kim, Cranbrook Academy of Art, USA (right).

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STUDIO 7: FRAGMENTATION AND COHERENCE Architecture taken in its entirety is an infrastructure-like background and an enabling condition, a site that encompasses crucial elements and transcends the fragmented experiences of the everyday. Individual works of architecture are part of this background setting, and at the same time, they are interventions in it. They establish a foreground that negotiates with the background, interconnecting presence, memory, and dream.

To hold its place in background and foreground, a work of architecture must have coherence. It needs to be congruent with its setting and resolved as an entity. This imperative – to make a coherent work – is difficult to achieve. Fragmentation invades the design and building process. For example, industrialised buildings are a composite of independent building systems. Fragmentation is part of the contemporary condition.

In this studio, we challenge students to resolve a work of architecture to a high degree of refinement and development, without relying upon a priori beliefs, habits, languages, and styles.

We use the ideas of “space” and “fragment” to test the coherence of the architectural work. In this studio, we propose that architectural space arises from the coherence of the buildingartifact, and that “fragments” can be generative clues to an original architectural language.

TEACHING METHODOLOGY

Studio 7 is a newly-started explorative constellation drawing from practice, teaching, and practicebased research in Sweden, Ireland, NY, and China. We respond strongly to architecture of different times and kinds – including work from the distant past and contemporary times.

Our studio seeks to manifest the enduring qualities of architecture in new works. Selected existing, dreamed, and projected places and works will be the subject of our attentive, critical, and playful analysis.

Education and research are a critique of practice, but must be informed by practice. Using architecture as discipline and method, we make our studio a place of education, exploration, and commitment. Reading and discussion play an important role. Hand sketching and sketch-modelling are emphasised, as are precise digital drawing and modeling.

Our goal is to help you develop a strong praxis – a process of “reflection and action upon the world in order to transform it” (Paolo Freire, Pedagogy of the Oppressed).

CHOISY / FRESCO / FLOOR / SUNLIGHT

Choisy: Architectural fragments represented in Auguste Choisy’s axonometric plates are investigated in cast-plaster models. Spatial ambiguities of the models are explored through photography.

Fieldwork: photo study of architectural details.

Fresco: Imaginary spaces projected by richly rendered interiors – from Lascaux to the Barcelona Pavilion – are drawn in orthographic projection.

Floor: The life and substance of floors, grounds, and piazzas are investigated through plan drawings, auxiliary views, and reliefs. (Visit to Celsing Archive and trip to Portugal for in-depth studies of selected works.)

Sunlight: Selected buildings are analysed by drawing/modeling a fragment of their structural systems. Drawings are dialectically related to Choisy’s work. Models are used to test light conditions, as if in situ. Fall semester ends with a project that synthesises preceding work and tests the studio’s hypothesis: fragments radiate wholes, space is an index of coherence.

Studio Project 1 & 2, Course A42A13/A52A13 & A42B13/A52B13

TOWN HALL FOR KATRINEHOLM, PART I

A town hall is mundane – a place of administration – and also marvelous: manifesting a society’s ideals. Katrineholm, a provincial city in Sörmland, is changing demographically. Despite varied cultural backgrounds and ways of engaging spaces and institutions, all citizens need to recognise that that they are welcome, equal, and share a common responsibility. A town hall can embody this.

Precedent study: great civic interiors (Robson Square, Palazzo della Loggia, Gothenburg Law Courts Extension) and spatial/programmatic character is investigated in paper and plaster models.

Project Site Analysis drawing: extended floor analysis as an interpretation of wider site context.

Program analysis: Town Hall for Katrineholm, Sörmland. Spatial constructions as architectural strategy are explored in model. Preliminary scheme in plaster, pencil. Studio Project 3, Course A42C14

TOWN HALL FOR KATRINEHOLM, PART II

Fresco / Facciata / Relief: From a fragment of the façade, spatial character – within and without – is explored in model.

From detail to character of room: By exploring character of detail, character of room and construction are anticipated. Drawing and test models.

Design Development, refinement and precision: Immersion in fine drawing and fine model making. Exhibition. By the end of the year, you will have refined your architectural observation and projective tools and made a well-resolved, original work of architecture. Studio Project 4, Course A42D14

ELIZABETH HATZ is an architect and art curator, trained at the AA in London, with her own practice in Stockholm. She is Year Master at the School of Architecture, Univeristy of Limerick, Ireland, and an Associate Professor at KTH. She has experience as lecturer, guest critic, and external examiner at, among others, AHO, Yale, EPFL, Sheffield, Aberdeen, and Queen’s Univeristy Belfast.

PETER LYNCH is co-director of Lynch+Song, a Beijing/ Brooklyn/Stockholm architecture studio, and has taught design, drawing, and history/theory at Harvard, City College of New York, Rhode Island School of Design, Columbia, Parsons, and Dalhousie. He was Head of the architecture program at Cranbook Academy of Art from 1996 to 2005, Rome Prize Fellow 20042005, and has led urban design workshops in Japan, Argentina, Korea, and Spain.

COLLABORATIONS Paulo Providencia, DARQ, Coimbra (PT); Shin Egashira, AA, London (UK); Biegel & Christou, CASS, London (UK); Peter Märkli, ETH Zurich (CH); Ger Carty, SAUL, Limerick (IE); ETSA, Madrid (ES).

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Above: ‘Borders, Kiruna and São Paulo.’ (Photo by Camp Ripan & Allianz SE) Left: ‘Contemporary living, Årstafältet,’ by Kerstin Kivila & Linda Ringqvist.

Below: Excerpt of ecosystem analysis, by Kerstin Kivila & Linda Ringqvist.

Bottom: ‘Contemporary living, Årstafältet,’ by Matilda Schumann.

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - ENERGY - ENERGY (HEAT) (HEAT)

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - FARMING - FARMING / FOOD/ FOOD

RESOURCE MANAGEMENT - ENERGY (HEAT)

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - WATER- WATER

RESOURCE MANAGEMENT - FARMING / FOOD

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - SOCIAL - SOCIAL

RESOURCE MANAGEMENT - WATER

WINTER

food sold infood localsold shops in local shops

RESOURCE MANAGEMENT - SOC

WINTER

WINTER

food sold in local shops

heat up: water/ heat spaces/ up: water/ outdoor spaces/ streets outdoor in winter streets in winter

excess heat from compost

fertiliser

heat up: water/ spaces/ outdoor winter heat exchanger heat streets exchanger reducesinenergy reduces energy

ENERGY (HEAT) ENERGY (HEAT)

requirement requirement

pool for collecting melted

geothermalgeothermal system system

washing and washing peopleand people

excess heatexcess from nearby heat from of- nearby offices/ stores/ fices/ industries stores/ industries

solar thermal solar collector thermal collector geothermal systemheat producing producing heat

solar thermal collector producing heat

heat melts snow

compost

passive solar heat

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washing

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kitchen

melted snow melted collected snow collected and stonedand in the stoned pondin the pond and filteredand filtered

melted snow collected and stoned in the pond and filtered

heat SUMMER

food production

basement living machine

washing machine

heat melts heat snowmelts snow

compost compost

passive solar passive heat solar heat

excess heat from nearby offices/ stores/ industries

day-care day-care facilities facilities

water pumped water from pumped the from the wc flushingwc flushing snow pond and cleaned pond and in cleaned in basement living basement machine living machine washing washingwc flushing water pumped from the machine machine washing washing pond and cleaned in kitchen kitchen

nutrients for people

soil for growing

COO common meeting gym-energy gym-energy places day-care production production food production food production facilities

pool for collecting pool formelted collecting melted snow snow

nutrients for nutrients for people people

fertiliser soil for growing soil for growing

fertiliser

heat exchanger reduces energy requirement

excess heat from shops/ ENERGY (HEAT) excess heatexcess from heat from gym excess heat from washing and people

COOPERATION COOPERATION

using snow from the roofs

excess heatexcess from compost heat from compost

excess heatexcess from shops/ heat from shops/ gym gym

SOCIOLOGY/CU SO

using snowusing from snow the roofs from the roofs

SUMMER

PVs

PVs

collecting rainwater collecting rainwater

heat SUMMER

A

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RESOURCE RESOURCE MANAGEMENT MANAGEMENT - ENERGY - ENERGY (ELECTRICITY) (ELECTRICITY)

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greenhouses on the roofs / courtyards

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RESOURCE MANAGEMENT - ENERGY (ELECTRICITY)

fruittrees infruittrees gardens in / on gardens / on streets streets

gardens in gardens holes throught in holes throught the buildings the buildings

water to the water pondto the pondmachine

C

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ELECTRICITYELECTRICITY

heat

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algae

algae

fruittrees in gardens / on streets

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recycling WASTE CARED WASTE FOR CARED FOR ON-SITE (POSSIBLE ON-SITE (POSSIBLE TODAY)

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CLOTHES + CLOTHES + FABRICS FABRICS

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4. OFF-SI (WHOLE “ ON + OFF RESOURC

resources x resources x

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HEAT+CO2

DEFINING NET-ZERO

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ELECTRONIC WASTE

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Kerstin Kivila Kerstin & Linda Kivila Ringqvist & Linda Ringqvist EcosystemsEcosystems workshop workshop Studio #8 autumn Studio #8 2013 autumn 2013

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Kerstin Kivila Kerstin & Linda Kivila Ringqvist & Linda Ringqvist EcosystemsEcosystems workshop workshop Studio #8 autumn Studio #8 2013 autumn 2013

Kerstin Kivila Kerstin & Linda Kivila Ringqvist & Linda Ringqvist EcosystemsEcosystems workshop workshop Studio #8 autumn Studio #8 2013 autumn 2013

HOUSEHOLDHOUSEHOLD WASTE WASTE

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RESOURCE RESOURCE MANAGEMENT MANAGEMENT - WASTE- WASTE TODAY TODAY

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tree variation variation pollinationpolli

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BIOLOGY/ECOL BIO

RESOURCE MANAGEMENT - BIO

creating habitats, creating primarily habitats,inprimarily the in the park, but also park, in but courtyards, also in courtyards, on on roofs and terraces, roofs and terraces,

water to the pond

evaporation

piezo electricity from busy public spaces

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - BIOLOGY - BIOLOGY

water pumped from the pond and cleaned in basement living machine

kitchen

E

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excess heat from industrial areas

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A

excess heatexcess from industrial heat fromareas industrial areas

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SCALESSCALES

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BUILDING

BUILDING

BLOCK O

Small systemsSmall systems Effective use Effective of roof, basement, use of roof, facade basement, facade Adaption of systems Adaption toof location systems to location

recycling

solar panels solar panels

resources x

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growing food

SHARED-INDIVIDUAL SHARED-INDIVIDUAL environmental environmental stations in thestations municipality in the of municipality landfills of in thelandfills region in of the Stockholm region of Stockholm Stockholm (miljöstationer) Stockholm (miljöstationer) (Stockholmslän) (Stockholmslän) recycling centres recycling in thecentres municipality in the of municipality Stockholmof Stockholm Årstafältet Årstafältet (återviningscentraler) (återviningscentraler) incinerating plant incinerating in the municipality plant in the of municipality of Stockholm (återviningscentraler) Stockholm (återviningscentraler) Årstafältet Årstafältet

SCALES

Glass separating Glass plant separating plant Metal separating Metal plant separating (outsideplant of Sweden (outside there of Sweden are several there in are Europe) several in Europe) Paper separating Paper plant separating plant Plastic separating Plastic plant separating (outsideplant of Sweden (outside there of Sweden are 2 in there Germany) are 2 in Germany) Cardboard separating Cardboard plant separating (outsideplant of Sweden (outside there of Sweden are several there in are Europe several andin Europe and Asia) Asia) Årstafältet Årstafältet

terraces

RESOURCE RESOURCE MANAGEMENT MANAGEMENT - WASTE- WASTE TOMORROW TOMORROW WASTE

waste reused/ GREY+BLACK GREY+BLACK waste reused/

solar panels

hybrids/mixhybrids/mix metals

clothes

clothes

WASTE

GREY+BLACK WATER

waste reused/ recycled/degraded on-site

waste transported from site

AIR

cardboard paper

glass plastic

paint clothes

22

hybrids/mix

SHARED-INDIVIDUAL

GROUP BEHAVIOUR GROUP BEHAVIOUR

PLAN 1:1000

Studio #8 autumn Studio #8 2013 autumn 2013

PLAN 1:1000

PRINCIPLE PLAN PRINCIPLE OF SITEPLAN G OF SITE G Kerstin Kivila Kerstin & Linda Kivila Ringqvist & Linda Ringqvist1:500 1:500

EcosystemsEcosystems workshop workshop Studio #8 autumn Studio #8 2013 autumn 2013

electronics

building material+furniture

inner courtyards

Kerstin Kivila Kerstin & Linda Kivila Ringqvist & Linda Ringqvist EcosystemsEcosystems workshop workshop Studio #8 autumn Studio #8 2013 autumn 2013

farming/food water treatment sociology/activities

LEARNING FROM BIOMIMICRY

packaging etc. recycle center in each block collected and recycled/ treated/stored off-site

GROUP BEHAVIOUR termites/ants/bees: colaboration among specicies with each other

M 1:500 M 1:1000 Kerstin Kivila & Linda Ringqvist Ecosystems workshop Studio #8 autumn 2013

MATERIA

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M 1:500 M 1:500

metals chemicals

ceramics FOOD+COMPOST

LEARNING LEARNING FROM BIOMIMICRY FROM BIOMIMICRY

packaging packaging etc. recycleetc. recycle center in each center block in each block collected and collected recycled/ and recycled/ treated/stored treated/stored off-site off-site

metals

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RESOURCE MANAGEMENT - WASTE TOMORROW

WHAT IS

air biology/s

Effective use of roof, basement Adaption of systems to locatio

inner courtyards inner courtyards

WASTE

waste trans-waste trans-

WHAT CAN BE WHAT SHARED? CAN BE SHARED? energy production energy production waste management waste management BUILDING farming/foodfarming/food water treatment water treatment sociology/activities sociology/activities Small systems

mutualism and symbiosis synergy effects PLAN 1:1000

Kerstin Kivila & Linda Ringqvist Ecosystems workshop Studio #8 autumn 2013

PRINCIPLE PLAN OF SITE G 1:500

Kerstin Kivila & Linda Ringqvist Ecosystems workshop Studio #8 autumn 2013

STUDIO 8: SHIFTING GROUND Erasure is never merely a matter of making things disappear: there is always some detritus strewn about in the aftermath, some bruising to the surface from which word or image has been removed, some reminder of the violence done to make the world look new again. Whether rubbed away, crossed out or reinscribed, the rejected entity has a habit of returning, ghostlike: if only in the marks that usurp its place and attest to its passing.

– Brian Dillon

This year, the studio will investigate the full corollary of moving the town of Kiruna, and in contrast the fast-changing pace of the São Paulo metropolis. Contemporary urban models have long prioritised centres over borders, effectively creating boundary lines that either contain or segregate neighbourhoods. Walls that divide, traffic that separates, and absolute form all contribute to generate a sterile condition. We will investigate the notion of borders, suggesting development at the edges, which we consider to be a place at its most fertile; a permeable state where two conditions meet and respond to as well as resist one another. With a focus on the spatial poetics of climate, we will continue to explore the way the body responds to climate, in order to redefine the building in the context of an urban ecosystem.

In a world of climate change and biodiversity loss, the built environment is still responsible for 40% of the planet’s overall energy consumption, CO2 emissions, and landfills. With an urgent need to renew architecture practice, the studio will engage in the current research and debate to instigate an innovative and sustainable architectural response to these challenges.

TEACHING METHODOLOGY

The studio profile, with three teachers with different experience and expertise, offers students a wide field to test and reflect their ideas.

Students are encouraged to examine the relationship between architectural design and environmental performance, with the opportunity to go deeper into specific questions within the context of the studio. We motivate students to formulate their personal design strategies and to position themselves within contemporary architectural discourse, working with ideas-lead, provocative, and critical projects.

Research and development are an important part of the studio culture and our students should develop their own network of experts during their studies. We will collaborate with the main experts within the field of sustainability, as it is essential to develop interdisciplinary, integrated design strategies in the search for innovative sustainable design. We will introduce digital tools for conceptual, analytical, and technical design methods.

EXPLORING KIRUNA – DESIGN RESEARCH

Study trip to Kiruna: The town of Kiruna sits above an expansive iron ore reserve. With the intended expansion of mining activities, the town is to be relocated 3 km to the east. The slow process that left residents in limbo for years has been concluded and planning is underway. Within this context, our research will revolve around issues of extreme climate, and the potential of borders, transition, re-construction, waiting, and erasure. We will introduce basic components of sustainable design, its main concepts, and performative criteria through a series of design workshops and seminars, providing the critical basis needed for design research and practice.

Studio Project 1, Course A42A13/A52A13

KIRUNA – DESIGN DEVELOPMENT

Departing from an individual analysis related to the research questions set out in the first projects, the students will develop speculative projects around the borders of the town, setting its transition against the certainty of the temporary, casting a challenging 30-year plan for its subsequent transformation. Projects will enable transformation and court the ephemeral, testing and challenging the idea of erasure and creation.

Studio Project 2, Course A42B13/A52B13

SÃO PAULO – URBAN RESOURCES

Study trip to São Paulo (preliminary planning): São Paulo is amongst the ten largest metropolitan areas in the world. The struggle for housing is one of the main popular movements in the city today, with an estimated 130,000 families without housing provision. With the proliferation of informal communities, the tendency of creating walled neighbourhoods has become the norm, severing the flow and access to the city and failing to create a coherent community. In this context, we will work at analysing the flow of urban resources and their life cycles, and study the shantytown as a rapidly developing, changing, and adapting model of sustainable community.

Studio Project 3, Course A42C14

SÃO PAULO – URBAN INCISION

We will continue to develop the concept of transition, through small-scale projects that address the potential of borders as porous membranes and places of exchange, rather than of exclusion.

Studio Project 4, Course A42D14 The Degree Project preparation work (thesis booklet) will run parallel to and be integrated into the course. Fifth-year students may have the opportunity to individually define the focus of their investigation in response to the issues raised.

SARA GRAHN studied architecture at Aarhus School of Architecture and KTH, where she graduated in 1995.

She is Professor in Sustainable Design at the KTH School of Architecture and a partner at White arkitekter AB. RUMI KUBOKAWA studied architecture at the Architectural Association in London, where she graduated in 2001. She has been a Lecturer at KTH since 2012.

MAX ZINNECKER studied architecture at ETH Zurich where he graduated in 2002. He practises as an architect at White arkitekter AB. CONTRIBUTORS External specialists within the field of sustainability and architecture will be invited to the studio for workshops and seminars throughout the whole year, including Marja Lundgren and Anna-Maria Orru, amongst others.

COLLABORATIONS The KTH ABE institutions of Building Technology and Construction Management will collaborate on the Kiruna project.

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Above: ‘The Cloud,’ full-scale installation

by Laura Eckstein, Maxime Bolieau, Jessica King, Björn Johansson, and Tom Steeg.

Far left: ‘On-Fill,’ Degree Project by Elsa Wifstrand.

Left: ‘Technical Study’ by Marios Aphram.

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STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCE Studio 9 will explore architectures and structures of different temporal durations, addressing their inherent performative qualities as social and cultural enablers and catalysts for urban transformation. Using advanced digital design techniques, the studio will investigate how initial concepts can be developed iteratively into built structure, supported through direct links to digital fabrication technologies, and informed by expertise in other fields. In this sense, design projects will be used as experimental platforms for new modes of design and future practice.

Throughout the year, students will develop and apply specific strategies at different sites, scales, and temporal longevities. Interior installations will explore our immediate surroundings. Architectural installations at the intermediate scale will be developed for two sites currently in planning in the Stockholm area. In the final stage, students will have the option of developing a larger architectural scheme or exploring in-depth issues, using a research-by-design approach. Emphasis is placed on the following aspects: – Design proposals that range from a tactile relation to human interaction to an organisational affect on urban life.

– Solutions for details, structure, and fabrication appropriate to scale and temporal longevity.

– The new roles that design and prototyping techniques can play in architectural practice.

TEACHING METHODOLOGY

Studio 9 explores the critical implementation of digital techniques within architectural design practice. This year, the studio takes on issues of temporality – how architecture can operate in time scales from the event to a season, a year, or a decade, and the repercussions temporality brings to materials, modes of construction, and programmatic use. Previous areas of application have included industrial architecture, landscape approaches, and pedestrian infrastructures.

Areas of investigation include digital design techniques for computational design, performance simulation, and digital fabrication, applied though conceptual design and full-scale fabrication. Students in the studio will get handson experience, exploring techniques through design development, prototyping, and critical examination.

Practical experience is accompanied by theoretical discourse, where architectural performance is related to issues of urban planning, critical studies, and modes of practice. Experienced and 5th-year students are encouraged to define their own agendas within the framework of the studio.

IMMEDIATE INTERVENTION

Students will design and construct architectural interventions that incorporate function with the fusing of traditional and digital construction principles. Implemented in selected areas of the School of Architecture building, they will remain until the move to the new building in the summer of 2015.

Design techniques and fabrication strategies will be explored through workshops, including a collaborative workshop on concrete formwork with students from the University of Kassel and tutors from the renewed engineering office Bollinger + Grohmann, Frankfurt.

JONAS RUNBERGER is a Lecturer and an Adjunct Professor at the KTH School of Architecture, and the Director of Dsearch, a digital design environment within White arkitekter AB. His interests include strategic and collaborative aspects of computational design.

Studio Project 1, Course A42A13/A52A13

SPECULATIVE DISCOURSE

Design strategies and digital simulation tools will be used as instruments of design research in the development of speculative proposals for the future development of the Albano area, between KTH and the University of Stockholm. The proposals will be developed in affiliation with the ongoing research project Design for an Energy Efficient Campus Life in Albano, supported by the Swedish Energy Agency, and will explore how awareness of energy use can be induced through architectural design.

Studio Project 2, Course A42B13/A52B13

URBAN INTERFERENCE

The urban district of Söderstaden will act as a site for investigation with the development of a series of urban interventions at different scales, lifespans and uses. Proposals will explore new temporal infrastructures (bridges, walkways, bike routes), activities (culture, sport, communal venues), and aesthetics (enabled by applied digital design technologies) in order to propose catalysing interventions that will transform life in, and the experience of, the area over time, long before the full implementation of the current plans in 2030.

Studio Project 3, Course A42C14

SUSTAINED PROGRESSION

Students can now choose from one of three routes of continued study: they may redevelop their Project 3 scheme into a more complex and permanent architectural proposal relating to the future plans of Söderstaden; they may go deeper into research on a selected design and fabrication strategy, conducting design experiments and documenting these in a paper for publication; or, they may (in teams) develop one proposal as a full-scale on-site installation in Söderstaden.

OLIVER TESSMANN is an Assistant Professor at the KTH School of Architecture. His teaching and research in the Architectural Technology Group revolves around computational design and digital manufacturing in architecture.

CONTRIBUTOR Kayrokh Moattar, architect, computational design specialist and an assistant teacher in the studio since 2013. He is working at Belatchew Arkitekter and runs his own practice, HitchStan Arkitektur.

COLLABORATIONS Bollinger + Grohmann Structural Engineers, Frankfurt (DE); Arthur Mamou-Mani, University of Westminster, London (UK); the University of Kassel School of Architecture (DE); Concrete Performance Research Group, KTH; Design for Energy / Albano Research Group, KTH.

Studio Project 4, Course A42D14 25

Above: ‘Connecting Årstafältet’, key components and masterplan, by Yiran Xu. Right: Exchange System for Haparanda Tornio, studio project by Olga Borfileva, Amanda Fröler, Martin Phillips, and Simon Tirkel.

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SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCE ‘Resilience’ has become a key term in contemporary urbanism, as we face environmental, economic, and social crises. However, in urban design and architecture resilience is mostly approached in environmental and technical terms, rather than through social and cultural values and everyday life. In this studio, we will explore undervalued multicultural and social practices of food production and consumption, and the sharing of knowledge, skills, artefacts, and services in civic society as opportunities for socio-cultural, as well as ecological, resilience in urban design.

Our sites will be Järva Field (Järvafältet) and Årsta Field (Årstafältet), which are remnants of the historical green wedges strategy for environmental conservation in Stockholm. Formerly connected, they support vibrant biodiversity and diverse communities. They have been designated for urban renewal and expansion and are increasingly part of struggles over urban development.

Resilient urban development will increasingly have to be negotiated between various citizen groups, stakeholders, authorities, and disciplines. Architects, designers, and urban planners will hereby play a crucial role. The studio explores conflicting interests as an opportunity to critically rethink professional planning and design tools. At stake is the question: How can we explore, project, and design for resilience in ways that contribute to just environments?

TEACHING METHODOLOGY

Sustainable Urban Planning and Design (SUPD) is an interdisciplinary Master’s program, which takes advantage of world-leading interdepartmental competence at the School of Architecture, the Department of Urban and Regional Studies, and the Department for Sustainable Development at KTH. Studio pedagogy emphasises task-based learning, whereby each member of the studio, with her/his competency and background, contributes situated knowledge to the studio theme.

The studio works with interdisciplinary, practice-led design research for developing critical as well as projective proposals. Projects involve collaborative and individual work supported by lectures, seminars, workshops, reviews, and group and individual tutorials with tutors and external consultants. Each term combines research-led investigations and strategic design proposals. In particular, we emphasise research in the field, by design and through participation. Parallel to Project 3, we offer a module in Theories and Research Methodologies addressing social sciences and design research through lectures and seminars.

URBAN NETWORKS

The studio will approach the area of Stockholm as an archipelago of islands, which are divided by infrastructure, morphology, green structures, and socioeconomic conditions, distinctly present in the physical and social lines towards the periphery of the city. The site of investigation will be the suburban neighbourhood of Husby, in the context of Järvafältet. Through field studies and research, we will study existing conditions and develop propositions for a network plan of interconnected spaces, programmes, and physical and non-physical interventions.

Studio Project 1, Course A42A13/A52A13

URBAN COMMUNITIES

Project 2 builds upon Project 1. We will develop propositions for urban community spaces – spaces of social interaction for and from communities – and places that allow different conditions and functions to be interwoven into the design of urban space and architectural interventions.

We address self-sufficient places for recreation, production, learning, and exchange, in order to strengthen local identities. We frame a collective work environment, where individuals can develop personal agendas and share knowledge, allowing for civic activities and modes of working.

Studio Project 2, Course A42B13/A52B13

ÅRSTA FIELD: WHAT IS?

Årstafältet has been designated as the site for a new housing area. In Project 3 & 4, we will focus on socioecological questions and develop resilient design strategies for the area. We will learn about various claims by citizen initiatives and stakeholders in relation to current top-down planning and design processes. We will study Årstafältet in relation to Tempelhofer Field, Berlin, which is also surrounded by poorer neighbourhoods now under pressure from development.

Studio Project 3, Course A42C14

ÅRSTA FIELD: WHAT IF?

Årstafältet is symptomatic of global processes of urbanisation and related conflicts, worldwide. In these struggles, artifacts such as maps, stories, images, and scenarios play important roles in articulating different understandings and possible futures. Based on our previous mappings and research findings, we will develop affordable and resilient housing proposals, rethinking conventional planning and design instruments and relations between designers, planners, authorities, and citizens through future scenario techniques, alternative masterplan concepts, and different modes of visual representation. Studio Project 4, Course A42D14

ANA BETANCOUR is a Guest Professor at KTH and Chalmers, and co-runs the Urban + Architecture Agency.

RAMIA MAZÉ is an Adjunct Professor at Konstfack and KTH. She works with participatory and critical design for sustainable development and social innovation.

MEIKE SCHALK is responsible for the interdisciplinary SUPD Master’s programme.

She an Assistant Professor at KTH, working with co-design, feminist theories and practices, and transdisciplinary research.

CONTRIBUTORS Flavia Cozma, architect and urban designer, Alessandro Ripellino Arkitekter; Jaime Montes, architect and urban designer, Arken Arkitekter; Johanna Jarméus, urban planner and landscape architect, Lovely Landscape; Maria Ärlemo, PhD candidate in Critical Studies, KTH; Anna Maria Orru, PhD candidate at Chalmers.

COLLABORATIONS Department of Urban Design + Architecture, TU Berlin (DE); Stockholm Resilience Centre; Nätverk Årstafältet; the Stockholm City Planning Office; the Department of Urban and Regional Studies, KTH; the Department of Sustainable Development, KTH. 27

Interior of the model workshop, housed in the school’s former full-scale construction lab. (Photo by Tove Freij)

Students and studio teachers in discussion during a project review in December 2013. (Photo by Bjรถrn Ehrlemark)

Students working on Degree Projects during the final weeks of the 2014 Spring term. (Photo by Tove Freij)

Anders Johansson, Head of the KTH School of Architecture, giving a speech at the Diploma Days examination ceremony in June 2014 (Photo by Tove Freij)

2014-2015 ACADEMIC YEAR: ADVANCED LEVEL COURSES & DATES AUTUMN TERM 2014 2014-2015 Studio Themes presentations Orientation Course 1 (A42O1A/A52O1A) Start of Studio Project 1 (A42A13/A52A13) Start of Seminar Course 1 (A42SEH/A52SEH) End of Studio Project 1 Start of Studio Project 2 (A42B13/A52B13) Final session of Seminar Course 1 End of Studio Project 2 Diploma Days

Monday September 1 September 2-12 Week of September 15-19 Wednesday September 24 (runs Wednesdays in parallell with studio projects) Week of October 27-31 Week of November 3-7 Wednesday December 3 (assignents are due in early 2015) Week of December 15-19 January 12-16 (for graduating Autumn term Degree Project students)

SPRING TERM 2015 Orientation Course 2 (A42O2A/A52O2A) Start of Studio Project 3 (A42C14) Start of Seminar Course 2 (A42SEV/A52SEV) End of Studio Project 3 Start of Studio Project 4 (A42D14) Final session of Seminar Course 2 End of Studio Project 4 Diploma Days

As the schedule may be subject to changes and course-specific adjustments, please ask your respective teacher for details and updates.

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January 20-30 Week of February 2-6 Wednesday February 11 (runs Wednesdays in parallell with studio projects) Week of March 30-Apr 2 Week of April 7-10 Wednesday May 6 (assignments are due at the end of the Spring term) Week of May 25-29 June 1-5 (for graduating Spring term Degree Project students)

THE COVER

The graphic pattern on the cover of this catalogue is based on the ceiling layout of the studio spaces in the KTH School of Architecture. The building was designed by Gunnar Henriksson and inaugurated in 1970. Its studio ceilings feature acoustic elements made from cement-bonded wood-wool that are embedded in the concrete floor slabs, and a grid of exposed technical installations: light fixtures, wiring, ventilation, and an additional system of steel gutters and hooks that allow students to undertake ad-hoc additions and alterations to their workspace.

THE SCHOOL

The Royal Institute of Technology School of Architecture was founded in Stockholm in 1877 and today offers architectural education at all levels, from a prepatory course in Architecture and Urban Planning in Tensta in northwestern Stockholm, to doctoral studies within the Swedish Research School in Architecture. There are currently around 600 students enrolled in the professional programmes at Basic and Advanced level. The school has a staff of around 80 teachers, professors and researchers, and 25 administrative and technical employees. It has a well-equipped workshop, a digital fabrication lab and an architecture library with an extensive collection of books and journals.

After the summer of 2015 the school is moving to a new building, designed by Tham & Videg책rd arkitekter, currently under construction on the main KTH Campus.

STUDIO 1: FULL SCALE Anders Berensson Ebba Hallin Johan Paju

STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFE Tor Lindstrand Karin Matz Anders Wilhelmsson

STUDIO 3: FOUR SCALES Alexis Pontvik Pål Röjgård Harryan

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS Charlie Gullström Ori Merom

STUDIO 5: ROUND-TRIP TRANSLATIONS Ulrika Karlsson Einar Rodhe Veronica Skeppe

STUDIO 6: SEARCHING FOR MA –INVESTIGATIONS OF SPACE AND TIME Leif Brodersen Teres Selberg

STUDIO 7: FRAGMENTATION AND COHERENCE Elizabeth Hatz Peter Lynch

STUDIO 8: SHIFTING GROUND Sara Grahn Rumi Kubokawa Max Zinnecker

STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCE Jonas Runberger Oliver Tessmann

SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCE Ana Betancour Ramia Mazé Meike Schalk