· PA U L I N A AY D I N
·
architecture portfolio education & professional work
1
a
Voxnegränd 9 lgh 1201 128 43 Bagarmossen Sverige
e
paulinaaydin@hotmail.com
t
073 72 47 650
w
www.paulinaaydin.com
EDUCATION KTH Royal Institute of Technology. Stockholm. 2019 - 2020 // Master Degree in Architecture ETSAM Superior Technical School. Madrid. 2018 - 2019 // Master in Architecture UPM Technical University. Madrid. 2018 // Spanish B2 Certificate KTH Royal Institute of Technology. Stockholm. 2014 - 2017 // Bachelor Degree in Architecture Norra Real Gymnasium. Stockholm. 2011 - 2014 // Science WORK Gatun Arkitekter 2017 - 2018 // Architectural Intern Twilfit 2013 - 2020 // Sales Assistant Ungzon Flemingsberg 2012 // Youth Center Assistant Solflickorna 2011 - 2013 // Gymnastics Traineer MENTION Honourable Mention of diploma project Home In Diaspora KTH 2020 Distinction & Archive Selection of master project Meat Memorial ETSAM 2019 LANGUAGE Swedish++ English++ Spanish+ Assyrian+ SOFTWARE AutoCAD Rhino SketchUp Microstation (2d) Archicad Photoshop Illustrator Indesign Qgis Microsoft Office SKILLS 3D print Laser Cutter Model Making Video Montage Narrative Writing
2
index 1 4
CV Index
5 21 27 33 39 45
Education Home in Diaspora - through voices // diploma Pink Sequences The Red Thread Membrane Prison Meat Memorial City in Forest, Forest in City
51 61
Professional Miscellaneous
4
· HOME IN DIASPORA · through voices // diploma What happens when home moves and has to resettle somewhere else because of contemporary invocations of diaspora? In a series of meaningful displacements one might have multiple homes with different reasons for maintaining some form of attachment to each. Through a semi-structured approach, letting narratives unfold as they come up, I ask: What did you leave? What did you meet? What did you get and give? What could that be? An architectural alphabet evolves that tells stories, comes with things and moments but perhaps most important questions the habitual and the culturally specific. How can we understand what a home is if I do not ask what a home was, is for someone else or could be? And not only through the homes we idealize but through the displaced homes that actually have to meet ours. Could this alphabet be used to provoke the limited one we have today and help us towards the prospect of choice by imagining a future whereupon there could, or maybe simply should, be so many more? More to be used to rethink and deviate from a standard mark that negates a past for some and make the transition more than a continuum for others. ← from interview with my father. Full narrative: https://www.paulinaaydin.com/homeindiaspora
6
8
路 What did you leave? 路
路 LIGHT 路
shadow
plant
fruit
dessert
10
-5°C winter
summer +35°C
· What did you meet? ·
· FIXED ·
3d printed models
I. AYDIN
Things were already decided for you. It was your home but you could not decide everything. There were rules for what you could change and what you could not. That was a bit unusual for the whole family. But we adapted. And compromised. It makes life easier for yourself if you adapt to where you live. And then it is easier to get into the society. This was nothing we discussed with the family, that's was just what you did and how you had to think. But of course some things were harder than others to let go of. fathe Sait - father,
Immigration Moving in With traditions and rituals Memories of lost homes Not fitting But squeezing Apartment for eleven Or apartment for four At least separate rooms Bigger but why smaller Still mattresses on the floor Not able to eat all together But also still partly on the floor Ready for company With chairs and more chairs But move the chairs When the bride is leaving Down the staircase Towards the mirror of this home Where should we put all of the food? The bulgur and the lentils But no figs Or bicycles In the storage room Maybe in the bathtub Because there is already a shower Adaptation Still squeezing Still sleeping But not close to the floor New levels, maybe two levels In our home Combining functions Reducing food To get room We need the outdoor With this new thing Getting signals Giving home With sound and image A virtual Assyria With smell and taste A casket of onions In my balcony That is my home
Integration What is Assyrian What is home I know what Swedish is I hope Many brides leaving Family of four With this new furniture But less carpets On my floor This bookshelf I have to get But in my living room There is no books Photographs, religion and history But I was told to forget I think I am almost there Bathing in my bathtub Rejection What is this? Don’t want it anymore This so called paradise I don’t like it anymore Leaving as the brides did But mostly as the Swedes did Years ago Concrete walls That is all Left on the floor No carpet anymore Packing boxes But also bicycles I don’t want to see more mirrors But a new home I think it is time to go
2000 Rejection
Integration
Adaptation
1979
Immigration
12
14
¡ What did you get & give? ¡ Extract from stream of consciousness: Why is the bed standing there the whole day, when you only sleep at night?
Why would we not want different feelings, sounds and colors underneath our feet? Apartments are often made in one level. But why so, when the dynamic within could be so much more?
Why are we showing our books but hiding our clothes? Could the corners still be the heart of our things?
Why are tables not for those who sit on the floor? A fourth standard is missing in research made many times before.
And in the middle of the room you can not face a wall. So why are we staring at the wall when we cook? When there is a window so close?
16
· What could that be? · The one that proudly wears the story People tell me it is time to go But I don’t want to go Because Norsborg has become my home In a country that maybe doesn’t really feel like home Even with a status that would allow me to go I want to keep my identity and be in this social wealth Maintaining this boundary (1) Distinguishing myself from the bigger group I don’t really like these concrete walls But could the physical be changed? Where I don’t have to change? Where I can speak my language with some And where I can find bulgur in the store
ive
ss ce
ex
fixed
clo
se
d
18
The one that tries to balance both Because I went from home to home Dispersing (2) more and more But this time I really wanted to go Or maybe it is just that I needed to Because how to speak good Swedish And live close to where I have my job But also be able to visit family From not too far Some say I forgot what Assyrian is That I have become absorbed in this new But I say no I wanted to live in a smaller building, closer to the ground Further from the end of the red tube line
floor 1
floor 2
floor 3
The migratory bird that moves between homeland and motherland Because how can you forget when You get older and want to orient yourself back to your roots (3) I know that I have become partly Swedish I know that it is in Sweden I will die But I have two homes in my heart So please give me reasons for not having two homes in my life One Here, where I live And one that feels more like There Where I sometimes could fly away Maybe summers Or when I get old
alt d alt c
20
· PINK SEQUENCES · Arriving in Vaasa by sea, a smaller Finnish town, you are faced with a high rise of chimneys, silos and immense towers supporting electrical power-lines rising from the relative small cityscape. Like it or not, it’s apparent that Vaasa is heavily influenced and connected to the factories located in or near the town. A town so proud of their natural wonders of Kvarken located 14 km out of the city yet walking by the shoreline in Vaasa the images of industry leave a stronger expression. The people of Vaasa are dependent on industry for their livelihood but is there a possibility to establish a different type of relationship? Can one take something considered negative, detrimental, often hidden and redefine it, establishing a more honest relationship between the citizens of Vaasa and the factories interweaved in the cityscape. The old railway tracks, rarely used, are full of “non places”, that are going through transition, either fully functional, in the transition to abandonment or fully abandoned. Places like this can become an opportunity to experience Vaasa in a new dimension, re-activating these non-human parts of the city. How could life be injected back into the areas of almost unused railway tracks at the edge of the city centre before they develop into something else? Can partially temporary architecture provide new perspectives on a community-based and citizen-involving urban development while telling the history and future of Vaasa? Revealing the story instead of rewriting it.
22
Narrative: I walk by what seem to be abandoned train tracks. From a distance I can see something slowly yet steadily moving along the rail to my direction. It’s a pink wagon with no walls, a platform moving a little faster than my walking pace. On the wagon there sits an older man. I am intrigued and also tired of walking so I jump on. Stories from Below The rails twist and turn. Along the track two pink walls appear, and between them a perplexing system of pipes rise from the ground, go above my head and finally disappearing through the walls. For a moment the pipes fit exactly between the walls. I look at them and realize that to me their purpose is a mystery, yet they seem to be an important piece of a system below my feet and out of my reach.
Smoke from a far The moment passes and I take a seat on the engraved surface. Sitting there looking at the waterfront I notice another pink concrete wall, but this one is located in the water. I wonder how the sea level rise in the city will effect its appearance over time? Passing it, I can see one of Vaasa’s chimneys on the other side of the water. I realize that it is the same chimney I sometimes observe from my balcony on the other end of town. Today there is a slow, constant stream of vapor rising in the air, being discretely framed by this wall, but if I remember correctly there was no vapor yesterday. Hopefully it is not dangerous.
24
The circular motion We continue along the waterfront. All of a sudden the man goes off, heading to the small dock near the bridge. Me and the wagon on the other hand seem to be heading to the island of Vaskiluoto. On the bridge I am sheltered for a few seconds by a wall. The wall is perforated by a circle. I get a glimpse of the beautiful views to the archipelago and in a far distance I see a wind turbine slowly moving, circle after circle.
The Sea: The End and the Beginning On the other side of the bridge a woman with her son jump on the wagon. I help them with their bags and they sit down. We slowly move through the island, either enclosed by forest or industrial buildings. Suddenly I can see the ocean and in the grey environment a block of pink concrete ends the track. Finally we stop and I notice that a part of the engraving on the surface matches with the ladder reaching from the harbor down to the water. The women and the child move to the block, and from their bag appear towels and swimsuits. They must be crazy going into the cold water.
26
· THE RED THREAD · If you live here you have a quiet unique way of walking to and from your home in an area where the whole ground hasn’t been flattened to build. Where instead the aim was to spare as much as possible of the nature on the ground. To make sure that at least some grass and dandelions could grow under the buildings and that deers and bugs can walk somehow freely without the disruption of a big building volume that only the human beings have the keys to enter. Within the housing buildings, connected with a bridge park structure, there are places you could go to if you want to have a view, eat lunch or a have coffee. It could also be where you have your own small office business or where your gym is located. This could be where you take a walk with your dog, take a jogging tour or where your kids play in the middle of a building. If you want to visit the theatre, this could be the way you take from the new metro station Nacka Centrum. But If you are someone that still wants to walk on the ground, that would be a quiet special experience too, with this network of bridges over you head. A way of building in the near future, in areas that are forested but need to be exploited because of the housing situation we have in this city. To save some nature because we live in a country, where exactly that is highly valued and desired, also in close relation to our home.
28
section a-a
30
a
a
32
· MEMBRANE PRISON · “Closed city means over-determined, balanced, integrated, linear. Open means incomplete, errant, conflictual, non-linear. The closed city is full of boundaries and walls; the open city possesses more borders and membranes. The closed city … belongs to the masters. The open city … belongs to the people.” - Richard Sennett, The Open City, 2006 ← [From the view of caring, one care most of things closest to ones center and less further out towards the periphery. A membrane is separating one side from the other. Yet in human cells there are proteins with the function of transporting molecules that can not move across the membrane without their help.] The relationship between a prison and its environment has always been complex and many prisons have become ”non-urban” even when they have been built in the heart of cities. Often enclosed by a wall with one or more buildings inside, the treatment of the boundary between the inside and the outside is often forgotten. An open prison is in contrast an extreme form of a minimum-security prison where inmates aren’t kept under lock and key or watched over by guards 24 hours a day. The boundary between the two sides is more blurred and inmates can work in the community, are allowed to visit the library, shop in the local industrial town of Vaasa and wear their own clothes. As inmates are citizens that need service, prisons should not be about punishment but about rehabilitation and preparing for the return to civilian life. There need to be a transition between the sentence and the release. That transition could be an open prison built up by ”proteins” that function as passages where inmates share buildings with others and where inmates could choose to contribute to public life and functions.
34
36
Proteins: The Open Lab
The vertical
The Living
The Hall & Market
The sport
…is the space where the direct contact between two realities appears. The free ones and the inmates. A public laboratory, municipality funded in collaboration with the open prison, where everyone in the city can use the wood workshop, the digital and media lab, the sewing hub but also find spaces for studies or meetings. The whole complex is surrounded by a green house and can be operated by the ones living in the prison to provide work and give opportunities for skill developing or hobby purposes.
…is the space where everyone living in the building will eventually meet. A glazed part that might seem like it splits the building up, is actually the part that connects it and two groups of the society. From one separated part you can always see the other. With glazing and a narrow common garden at ground level, transparency and openness are aware both visually and physically.
…is the common spaces of the two groups sharing one building. While most parts of the building are separated, the living rooms and the saunas of Finnish tradition are common. Here can at least some boundaries and borders be blurred and perhaps eventually open up for social interaction.
…is the space for shorter distances and storytelling between the city and the open prison. Citizens can attend events or enjoy some food from the market operated by the prison. Inmates can sell items from the lab (plants, greens, handicrafts, furniture etc). It can be used for exhibitions where stories are told; a sort of ”memento” that other people can find and new inmates in the future may replace with theirs.
…is the space involving sport in the form of a field and an outdoor gym. Located in the middle of the site, between the open prison, the open lab, the market but also workplaces and close to dwelling blocks and universities, it creates a natural way for different citizens to meet through movement and wellness.
38
· M E AT M E M O R I A L · Meat production plants are usually placed on the periphery of cities. We know that they exist but we do not see them to be reminded of what actually happens inside and the consequences that comes along with them. Located in the city center, this proposal seeks to respond to a combination of the scattered programs: meat production, cemetery, offices and bunkers; programs distributed randomly to me by professors. Resolved through an integrated strategy the project arose not only from the perspective of the human but also from the perspective of the pig. For every 1000 pigs that are sacrificed for us to eat meat, a red element is put up on the facade turning the initially pink complex building slowly into another color. To make sure that this is a process we can not ignore. A meat memorial that through architecture reminds us of this production. This proposal includes an exhibition part explaining the meat process, an office department responsible for the coordination, the meat factory and an associated meat restaurant. The interpretation of a bunker is that for a pig the biggest threat is the meat production. Humans use bunkers to hide inside from danger, yet in contrary the safety zone for a pig is usually outside. Therefore this industrial plant allows pigs to escape through smaller exit tunnels at some places. To let them face us but as importantly to let us face them.
40
a-a
b-b
c-c
c-c
carne
bebidas
jamรณn
exhib.
carne
1
2
bebidas
jamรณn
exhib.
d-d
d-d
1
2
distribution bleeding packing
suspension
removal skin & head refrigeration
storing
cutting & deboning
N
stunning
splitting & evisceration
42
meat production
memorial
offices
bunker
ground
44
· S TA D I S K O G , S K O G I S TA D · (city in forest, forest in city) In Sweden we love nature. We want to live close to it, have access to it and stay in it. Despite this, more and more people are moving to big cities for various reasons and this movement contributes to a worrying housing shortage with Stockholm as the clearest example. We need more housing. We need to expand and create new neighborhoods. But above all we need to think about how we do this. Can one in any way take into account both the value of nature and the need for housing and get something between a city and a forest? An environment in which the calm forest in Kymlinge, which is used extensively by exercisers, is preserved, while the conditions for using it equally frequently by residents are created without excluding the previous. A unique urban environment where nature and buildings are treated equally but as two separate elements that constantly meet under different conditions. The area ”Stad i skog, Skog i stad” gives the impression that it consists of small buildings from above. In fact it consists of taller buildings with smaller footprints that integrate with the trees in the forest and in many cases extend over the tree tops. As a method of obtaining a fade of buildings from the city center and out, treating the buildings equally with the forest and give them shape variations, a grid has been created and used as a principle throughout this new area of Kymlinge.
46
Grid regulations: The grid consists of smaller squares of 5 x 5 m, which all streets, buildings, openings, public places, blocks and the forest relate to. The footprint of a building may be a maximum of 2 x 3 such boxes unless it performs special social functions such as a school.
← In the next layer of this grid comes the block structures that begin in the city center where they are the smallest (30 x 30 m) and grow outwards from the center. The distribution continues until it is limited by natural or built obstacles. The buildings in the block are built in stages. In each such block, each building can be built with a maximum of 15 of the smaller squares of (5 m x 5 m). The size of the block structure determines how many stages it can be built: the smallest block size once only, the next size twice and so on. block structure 1, 2 ↓
block structure 3 →
48
50
¡ PROFESSIONAL PROJECTS ¡ I have one year of experience from my internship at Gatun Arkitekter, where I mainly designed apartment buildings and interiors for restaurants and bars. I was involved in a couple of competitions as well, among a hotel/office complex and a shopping mall. I participated in most drawing stages such as sketch phase, concept development, physical and digital model making, pre-design, building permit, area calculations but also got to take place during presentations and meetings with customers/consultants/municipality. I gained a lot of trust from my colleagues and thus I was given in many cases responsibility beyond the internship level. All material brought is drawn either by only me or partly me except for the renderings that are used for a clearer and more comprehensive representation of the project.
52
HIMLEN. Restaurant & bar. Sรถdermalm, Sweden. Interior // Gatun Arkitekter Involved in concept development, comprehensive interior design, self-reliant design of specific objects, building drawings, & meetings with client, landlord and builders.
54
FYREN. Apartment Building. Nynäshamn, Sweden. Dwelling // Gatun Arkitekter Involved in building permit and presentations. Responsible for continuous calculations of areas in excel and production of the housing factsheet (bofaktablad).
PLAN 10
56
SICKLA STATION. Office, hotel & metro station. Sickla, Sweden. Competition // Gatun Arkitekter Involved from start to end in all phases as part of a smaller team. Concept development, volume sketching, drawing in plan and elevation, attending and presenting during mid and final presentation to the municipality and client. Facade drawings made by me exclusively.
58
JYLLAND. Student Housing. Stockholm, Sweden. Dwelling // Gatun Arkitekter Responsible to read up on the detailed development plan, planning description and SIS Svensk Standard for apartments. A leading role in drawing the project. Calculations of areas and bigger role during meetings and contact with clients and consultants.
60
· MISCELLANEOUS ·
62
· PICTOGRAMAS // 5 0 B A U H A U S P I E C E S A N D T H E C O L O U R S T H AT A P P E A R O N T H E M ·
64
· MEGAMAPPING // exhibition ·
The research is a fundamental part of every project, no less architectural projects. We collect a lot of information, we investigate, we map. How could all this work be showed in a project itself? In a studio exhibition, layering together all of 13 persons work, a collective base of information was created. A megamap of the municipality Nacka, asking the question: ”How big is big enough?” Information of different themes was separated by different colors, together on the map but with their own booklet, to give both a comprehensive perspective but also the possibility to immerse into one. In a gallery space in Stockholm at Kungsholmen, the public was invited to share our investigations and be part of this exhibition. I was in charge of the design and production of the booklets and part of the team designing and setting up the exhibition.
66
· A N I N T E R P R E TAT I O N · A composite drawing of Pantheon in plan and section is built up by dividing the building into eight ”cake pieces”, folding them outwards and then flattening them next to each other. Different colors and details are extracted from each piece to accentuate their significance and contribution to the whole. A photograph of a 3d-printed model represents the coffered concrete dome of Pantheon and highlights the ocolus, its central opening towards the sky and the illumination it creates.
68
¡ TOPOGRAPHY ¡ How cities meet and respond to topography: - piers - bridges - mountain tunnels - underground relocations of freeways - parks
70
· THANK YOU ·