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MATERIAL MATTERS a r c h i t e c t u r e p o r t f ol io Lydia Winninge +46 70 627 84 63


Hej! I’m Lydia – a 26-year-old nature lover, climber and yogi who loves to cook. Passionate about speciality coffee, I enjoy it with a good book. In architecture, as in life, I believe what Eileen Grey one’s said: To create – one must first question everything.

RÉSUMÉ E duc at ion

Sk i l l s

B.Sc. Architecture & Engineering / 2018 Chalmers University

PS / Lightroom / Illustrator / Id Autodesk AutoCAD / Revit Sketchup Rhino / Grasshopper / C# Vray MATLAB Microsoft Office Laser cutting / 3D printing / CNC

Natural science / 2011 Kunskapsg ymnasiet Uppsala

E mploy me nt Professor assistant, construction / 2018 Chalmers University Restaurant Manager / 2016, 2017 Walaker Hotel, Norway Waiter and Barista / 2006-2017 Fine Dining restaurants, Hotels, French chocolatier

Volu nt e e r

Structural Mechanics Load-bearing structures Building physics and materials Acoustics

L a n g u a ge

Architect on site / 2016 ECONEF, Tanzania

Swedish / Mother tongue English, Norwegian / Fluent French, Spanish, Italian / Beginner

Reforestation / 2014 Sadhana Forest, Haiti

Re fe r e nc e s

C o m m i s s ion s of t r u s t Chairwoman / 2016 Gender group, Chalmers architecture Chairwoman / 2009 - 2010 Uppsala Cathedral girls’ choir


K nowle d ge

Given on request

CONTENT P rojec t s


S e n s o r y B r ic k s


C o m mu n it y Ac t


Mole c u l a r l ig ht


S c u lpt u r e fo r S c u lpt u r e s


P r iv at e i n P ubl ic

Row houses Gothenburg, / spring 2017

Naturum, Gothenburg / autumn 2015

Design method project, Dance stage Liverpool / autumn 2017

Sculpture hall, Hunnebostrand / spring 2015

Public Sauna Gothenburg / autumn 2014

O t her


B r id ge t o S pa c e


C a s a de l Fa s c io


T he e s s e nc e i n one t o one


C r e at ive

Structural design challenge, Chalmers / autumn 2015

Introduction to academic paper / spring 2017

Experiences on a building site in Tanzania / spring 2016

Travel sketches, Croquis and travel Photography



A l l phot og r aph s i n t h i s p o r t fol io a r e my ow n .


SENSORY BRICKS Row houses, Robertshรถjd, Gothenburg Forth semester, Spring 2017 Group of three Focus on Materiality & Urban gardening Applied building physics and low energy housing


The roof is tilted south for use of solar panels. A wall south generates ultimate grow house climate. East faรงade 1:100, 85 /145 m2



The heart of the house is a fireplace. You move around it, and it will tell you the story of a slow thermal material, warming your feet and fingers. Living section A-A, aquarelle


1. Interior perspective towards balcony, 145 m2. 2. Perforated brick wall on balcony


Process model 125m2 1:50, bricks 1:10

A row house made with the brick in focus. Texture and modularity inspired by works of Sigurd Lewerentz, Arne Jacobsens row houses in Klampenborg and the Kingo houses by Jørn Utzon. All measurements are adopted to the Danish yellow brick, so only whole stones are used. A celebration of handcraft. The massive brick walls between the houses contains niches which fill many of the needs in a home. Directly from the kitchen is a greenhouse creating possibility to grow vegetables all year around with a floor made

of perforated bricks for easy drainage and maintenance. The front yard separates public from private and serves with spaces to enjoy the morning sun. On the backside, the classic row house garden is replaced with a yard merging into the terrain, with houses set so no dynamite needs to be used in the landscape. Instead, the slope and vegetation are handled with a balcony oriented west, to maximize the use of hours of sunlight.









Plan 145m2, first floor 1:100








Plan 145m2, Second floor 1:100


To suit today’s many family constellations, a design statement in many small bedrooms rather than few big ones became part of the project. In retrospective it might have been truer to the essence in the design to focus on less but better planned rooms on the second floor.



Water reservoir inside greenery provides fresh rainwater to the flowers. 14

T he w at e r r e s e r voi r I remember, from my first meeting with Tessenow, that in many illustrations, photographs and sketches, there was a water barrel placed under a down pipe from the gutter... ... it was quickly filled with blessed water, sent from heaven, wonderful water, that we during the dry season could give our rhododendron... ... the barrel was a water reservoir, an importat part in a natural cycle. I saw that our high developed technolog y could cause conlflicts with our organic enviroment... From the text The rainwater barrel - Henirich Tessenow and our time by Steen Eilier Rasmussen 1974







Detail 1:20



108 284 108 10


20 3 100 300 200 2


5 3 22 22 20 500 0,2 45 22





108 254 10 108

E ne r g y u s e Parallel with the design process, a course in applied building physics was held, including a report on the energy use and indoor climate of the row house. Due to the design concept of strong and honest materiality, as well as healthy houses with discussions on passive housing, the construction of walls was chosen to a load bearing brick wall filled with perlite. A choice that made it impossible to achieve passive house standard though it allows diffusion through the construction. The calculations were slightly simplified and calculated on the end house. It did not consider the grow house that would have lowered the energy use in total. The design was formed to suit a use of solar panels, to lower the total energy balance. Because of the brick’s high thermal conductivity, it would probably create better indoor climate than calculated, which led to discussions of the mathematical weak points regarding our sensorial experiences.


Perspective secition A-A, Collage


Naturum in Slottskogen, Gothenburg Third semester, Autumn 2015 Focus on a collaborative building process Light and Rammed Earth

COMMUNITY ARCHITECTURE Naturum is the environmental protection agency’s most important way on informing and teaching people about nature and environment. The architecture is part of the experience. Therefore, it is important to build Naturums of high technical quality that are environmentally friendly and accessible for all. Good architecture helps to develop our cultural heritage. Maria Ågren, general director of the Swedish environmental protection agency


Early structural process models. Grill sticks, wood, carton.


G e n iu s L o c i

Bu i ld i n g t oget he r

In Azalea, you cannot avoid falling in love sings the musician Håkan Hellström about Slottskogen. The pulsating heart of Gothenburg where urban life and nature coexist. Walking through the park, the main road leads to a beech tree hill where an old oak greets visitors in the node. Frames in oak heartwood create an arcade and along the street, symbolizing the ordered urban life. Towards the forest, they stretch out between tree trunks, framing the forest path and leave the trees where they stand, not changing the site’s original conditions.

Building on a site dear to the people, often brings opposition. People sense they are loosing something rather than receiving. How can we as planners affect that feeling? Can we make citizens feel beeing part of the development giving something back? With inspiration from the work method of Raumlabor, Santiago Cirgueda and FFB Oslo, that all bring people together to build, Gothenburg’s Naturum should be a building gathering the city in a community building workshop, creating a sense of inclusion in the city’s development.











Plan 1:200


L ig ht Inside, the treetops are present casting shadows on the information desk, letting the staff connect to the street, visitors and exhibition. Light caresses the rammed earth walls and axially a sightline goes through the building. One big window frames the trunks outside.





North, entrance

East, towards street

Faรงade 1:400


Roof to protect the earthen walls, normally approximated to one third of the wall height. Chapel of Reconciliation Berlin, Martin Rauch, October 2016

R a m me d E a r t h Rammed earth is a building method with long tradition in vernacular architecture. Using the material at hand, mud houses have taken many different shapes and expressions around the world. Earth as building material has during recent years become more frequent in many different projects, both by firms as Herzog de Meuron and Peter Zumthor, commonly known in Broder Klaus Feldekapelle. Few have taken the material in it’s pure essence and instead changed its condition with mixing it with concrete to achieve the aesthetics of the material. Martin Rauch has managed to build multiple buildings in the original and refined methods, where Haus Rauch and Chapel of Reconciliation serve as two examples. Traditionally, earth walls need protection from weather not to simply rain away. The overhanging roof is normally approximated to one third of the wall height. In Haus Rauch, thin horizontal


elements of burnt clay are inserted in the façade to protect the walls (conceptual detail right). In rainy Gothenburg, people need as much protection as the walls, wherefore arcades serve with space giving both people and walls protection from bad weather. Haus Rauch also challenged the building method to suit a colder climate (Swiss alps) with thick walls and thermal insulation, where the same detailing is chosen in this project. Rammed earth is traditionally built with a frame similar to casting concrete. The form is filled with around 45 cm of clay and then compacted to around 15 cm. Layer by layer the walls get their characteristic surface also serving as load bearing elements. People come together stamping earth in a workshop, learning about nature through practical experience while building their city together of a rest material at hand from the city’s infrastructure project.

Conceptual detail Haus Rauch Earth wall inserted with thin burnt clay elements to protect the facade, insulation and clay plaster.

The wooden beam creates an outdoor arcade and protects the load bearing earth wall from rain. Rammed earth, insulation and clay plaster towards interior. Thicker inner roof with a sedum roof mat. Conceptual roof detail.


MOLECULAR LIGHT a vibrant sculpture for the city


A project focusing on design process Dance stage, Edge Hill, Liverpool Fifth semester, Autumn 2017 Exploration in light, structure and form 29


A s s ig n me nt

C onc e pt

The first ever built railway stretches from Manchester to Liverpool, and today the old train station in Edge Hill is left a ruin. Today located in a residential area the space is covered behind high brick walls, non-accessible and forgotten, being a barrier in the neighbourhood. The task was to work on a concept for a dance space in the old station.

With an input of a flexible usage, an amphitheatre that could be used as a playground, park and recreational area the conceptual idea was to create a light sculptural roof to increase the identity for the area and achieve a safer environment on the street.

D e s ig n p r o ce s s

L ig ht a s obje c t

Discussing architectural movement led to an experiment in the movement of aquarelle. The paintings were transferred to 3D and this generated a landscape-like model which I enriched with colours and studied through photographs and lightning. With inspiration from stage art, work by Olafur Eliasson and Yann Kersalé, a question of how light can be handled as an object led the design process on further.

In stage art as in light taken through windows, the most interesting effect is usually in the light projected on a surface, not the light source or object itself. Light in cities is quite often caused by light projected on a building, lighting up the facade. The goal was to create a roof that wouldn’t be an object with light on, but rather “a lamp” shining up the neighbourhood with light plays using the phenomena of projections and reflections in it is shell. To explore these, a facetted geometry was necessary.

Process models. 1,2. Stable structure in glass fiber built during workshop with LoopPh. 3. Vacuum plastic through grid of aquarelle. 4. Reflections through plastic.



D ode c a he d r a

M at he m at ic s

The dodecahedra being structurally stable and modular generated 12 facets to play with mirror glass, patterns, colours and reflections on sides of the geometry. Earlier workshop with LoopPH, building a structure of dodecahedras in glass fibre-circles served as inspiration of the form.

Understanding the mathematics of the geometry in grasshopper and rhino, showed problems hidden by the flexible physical model (top left). Creating a complex structure with regularly shaped dodecahedras was not possible since branches of the geometry could not reconnect to itself.

C o mput e r mode l

Tole r a nce i n mode l s

Playing around with the geometry generated a monster-like computer model far from envisioned. Developing the project to a set design proposal would need further experiments with shapes like Archimedean bodies or irregular dodecahedras, to achieve a more flexible mathematical condition for form.

The most precise model, showing the design intention best, became the least precise in scale, showing the landscape with a shining roof. Complemented by the dodecahedras they show an intended light effect, but as a model by itself being very unprecise.

Enriching the neighbourhood with a shining roof, a light sculpture for the city Landscape model 1:500


Sculpture Hall, Hunnebostrand Second semester, Spring 2015 Subtractional form f inding and exterior room

SCULPTURE FOR SCULPTURES Hunnebostrand is an old icyllic fishing village, famous for its hew of granite. In summer, the village is bursting with life around the old red and white wooden houses. Along the coastal promenade, the remains of an old quarry are left untouched, today serving as a sculpture park. Our task was to complete the site with an exhibition hall. The site itself served with interesting spatial qualities, a narrow walk opening up to a hall of cliffs, a quality to keep and highlight through a form that created an exterior room interacting with the cliffs and direct the visitors’ attention towards it, away from sea. The volume was iterated through a subtractional method, inspired from sculpture making and breaking of stone. It created light from the north into the hall, glimpses of the sea from the exterior space and a balcony to experience the old quarry from a different perspective.


Form finding with clay and cardboard. 1. Clay for volume studies through a subtractioal method. 2. Light studies in carton from the evoled form in clay.


Analyse of exterior space through volume studies. Left: 1. The promenade. 2. View of water and passage through building. 3. Exterior space. Right: 1. Volume inspired from stone blocks. 2. A block shaping the exterior space. 3. Interior height in cafĂŠ. 4. North light in hall.


Light studies in process model and interior renderings. Left: 1. Volume from north. 2-3. North light in hall below and above entresol. Right: 1. From entresol towards cafĂŠ. 2. From cafĂŠ towards exhibition. 3. Sculpture hall.


View from water, model 1:50


Sauna, Delsjön, Gothenburg First semester, Autumn 2014 Focus on The third persons use of the site

PRIVATE IN PUBLIC The nature reserve Delsjön attracts much people on their Sunday stroll, their long run or for a dip in the lake to escape the city pulse. On a small peninsula a public sauna is planned, for people to rent and use for private gatherings. Being able to situate the functions of relax room, sauna and changing room anywhere on the peninsula creates a problem for the Scandinavian cautiousness and care for other people’s places. Instead of giving something back to the public, a building at the centre or at the tip of the peninsula would rather interrupt the current and primary use of the site: serving as untouched nature in the city for the third person. After observing people and their behavioural pattern at site the starting point for the project was to place the sauna so that the third person could move around freely without a sense of disturbing the sauna bathers—and in the same time create a private space for the users in a public environment. With an entrance not visible from the main path a small complex is hiding itself between tree trunks and slopes. An outdoor space that you can only catch a glimpse of, letting its users activate their senses in walking outdoors.







Competition Suspension Bridge Second place Team of 7 September 2015

Suspension bridge over A-dammen at Chalmers Structural Design Challenge. Third semester students from the architecture and engineering departments were invited to participate in the structural design challenge of building a suspension bridge over the architecture pond, spanning 13 meters. 10 days of planning, drawing and 36 hours to build.


CASA DEL FASCIO Introduction to Academic paper Written in April 2017 Research in an architecture relating to its Italian Fascist context and historic formal references.

South Facade, the solid and subtractional. Photograph from field trip, Como, September 2017


The current research contains a debate in whether it is legible or not to analyze Casa del Fascio Como apart from its fascist context. As Peter Eisenman decomposes the Casa del Fascio in a matter of form (in his book Giuseppe Terragni Transformations, Decompositions, Critiques) other authors such as Terry Kirk and Diane Ghirardo are critical towards this purely formal dissection and argue that one can never analyze a building apart from its historical context. Schumacher states that architects and historicist interest in Casa del Fascio foremost has been in the appearance and the design method of Giuseppe Terragni. It has been a primary matter of understanding solid and void, and further questioning whether the composition is additional or subtractional; a composition of surfaces and planes with a loadbearing skeleton or a solid volume with subtracted openings. Casa del Fascio and the rationalist movement in Italy is comparable to other avant-garde movements in Europe, interesting because of its formal aspect adopting the rationalist language to suit a more local context. The striking balance between the historical references and a rational composition regarding Casa del Fascio is said to be one reason for its historical importance. As in the literature by Kirk and Ghirardo there is notably not a specific building analysis but rather a deeper contextual perspective on how the fascist regime affected the general architectural environment and building politics, but also symbolism and propaganda interfered into the matter of architectural form. Despite the importance of this relation, there will always be a methodical aspect of architecture; therefore, in the field of academic critique a formalistic analysis, excluding the social and political context must be valid, a case Eisenman argues for in the introduction of his book. The underlying issue in this debate might be the understanding and critique of the Deconstructivist philosophy which Eisenman is part of; and the approach on whether architecture is an independent artistic expression rather than being something relating to its surrounding context. Worth considering is therefore whether the decomposition of any building, set in a less extreme political context would be criticized as much as in the case of Casa del Fascio. The idea of Terragni being a follower of fascism brings up the moral responsibility of architects in

building society, a moral discussion present throughout architectural history asking why we do build and for whom? Is it the political commissioned program or the architect that bears responsibility? Terragni’s whole career and adult life, as many of his projects were a direct result of the fascist politics and suggesting architecture as propaganda. From Monumento ai Caduti in Erba 1926-32, a monument for soldiers killed in WW1 (Schumacher 1992:111), the kindergarten Asilo Sant’Elia 1934-7 (Ghirardo 2013: 76), the competition of Palazzo Littorio 1934 and 37 (Schumacher 1991:173), and the monument for Dante, the Danteum 1938 (Schumacher 1991:192), as many other of his works, all sprung from the party announcing competitions, commissioned or built for developing fascist Italy. Terragni, being classically educated evolved his architectural language to a more rationalist approach. With the presence of nationalism, the architects of Italy held a special relationship to their heritage, and Terragni was maybe one of the most talented rationalists in being able to adopt and use historic references; he was mostly acknowledgeable regarding his use of materials and understanding solid and void. In Casa del Fascio, said to be his masterpiece, and his most classical composition, he uses light, materials as marble and glass, and a play with rational structure, resulting in an architecture aesthetically pleasing and worthy a strict analysis regarding form. But as it clearly appears in the article “Furnishing the fascist interior” by David Rifkind it becomes obvious how Terragni, assisted in artwork by Mario Radice, has designed fascism into the whole appearance and detail of Casa del Fascio. Furniture, artwork and political propaganda are present in every room with clear or subtle fascist messages; and Mussolini’s figurative presence as art is part of the building’s visibility concept. Casa del Fascio is a complex building with many aspects to take into consideration. This paper will give a brief introduction to the fascist Italian context, Giuseppe Terragni’s career and discuss how it affects Casa del Fascio in Como as well as it’s purely aesthetical approach. Scan to read the full paper.


Volunteer as Architect on site February-March 2016 ECONEF, architects without borders Kingori, Tanzania

THE ESSENCE IN ONE TO ONE A wish of doing something real beyond models, to work with what I regard as the main purpose of architecture, brought me to Tanzania, working for the NGO Econef that is building a new home and school for children at an orphanage. The main tasks were to overview the building site and make sure things were built according to the drawings, and act as a mediator between the warden and local project leader Caroline, the engineer and the architects in Sweden. Other duties were budget and accounting, buy materials and plan the following building step, which at time was to finish the roof construction. Due to earlier mistakes I was also working on adjustments of the design of courtyards since the houses and underground water tanks were not levelled properly which caused complications. I spent most of the time together with one other volunteer, Karin, and we took over from two others with a short overlap. In the end, I finished by myself before the next volunteers took over. Scan to read our blog posts.


Construction of underground water tank, casting the concrete slab. Karin, Christopher, Erici and Peter. Kingori, Tanzania, February 2016.


TRAVEL SKETCH Apart from my own travels, I have joined multiple study trips. Torino and Milan / Istanbul / London, Cambridge and East Anglia / road trip from Munich, through Switzerland, Como, and Austria. Focus on studying multiple types of architecture, bridges and structural behaviour in construction.

1. South London Gallery 2. Facade openings in a house 3. Wrong hand sketch of Matemathical bridge, Cambridge


CROQUIS Short pose’s in charcoal, November 2017. Evening course in model sketching autumn 2014 and spring 2018, and some other occasions.


TRAVEL PHOTOGRAPHY Stone, light and openings. Photographs from my own travels.

Sara’s fascination of a staircase, Kolumba, Köln / September 2017


Postal bird cave, outskirts of Jerusalem/ april 2015



TACK Lydia Winninge +46 70 627 84 63


Architecture portfolio - Lydia Winninge  

A selection of my work from two and a half years at the B.Sc. Architecture and Engineering at Chalmers University.

Architecture portfolio - Lydia Winninge  

A selection of my work from two and a half years at the B.Sc. Architecture and Engineering at Chalmers University.