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PROJECT

design

research

art

MEMBERS

solo

pair

group

LENGTH

short

medium

long


table of contents

I

earthlings

I

solo project / spring 2013 / NTNU 2013

II

traces of people

group project / fall 2011 / BAS III

III

bridging the gap

VII

solo project / spring 2012 / BAS 2012

IV

collective living

group project / spring 2011 / BAS

V

II

the resting spot

group project / fall 2010 / BAS VIII

VI

beatbox

IV

group project / spring 2011 / BAS

VI

VII

private utopias, collective landscapes

pair project / spring 2012 / BAS

VIII

out of the blue

pair project / spring 2011 / BAS

2011

V


earthlings Symbiosis Spring 2013

Eileen G. Johnsen Kine Angelo

In a world that is becoming more and more digital, children spend less time developing their sensory abilities, their motoric skills and their connection to nature outdoors. Because of this, it is crucial to give children of all ages ample opportunities to choose these experiences in addition to their globalized indoor world. In this regard, nature kindergartens may be the way forward. In contrast to other kindergartens, these institutions focus on planned excursions, free play in non-designed areas and useful skills such as skiing, climbing and making tools and objects out of found materials. It is my belief that even in regular kindergartens, many children are naturally drawn towards the unplanned and wild. Nature kindergartens empower these urges. This kindergarten is structured around a rammed earth core. Rammed earth building is a very old way of constructing architectural elements, but one that has fallen into disuse due to the availability of faster, less labor-intensive alternatives such as concrete or brick. Now, however, with modern equipment, ramming earth is a very easy and cheap material for construction. As with concrete, formwork panels are used to give shape, and moistened subsoil is then compacted (rammed) with pneumatic rammers. This hardens the otherwise unstable soil, resulting in a very tough material with great loadbearing properties, while being pliable enough to allow for screws and nails directly into the wall. The building is designed as an attempt to use the qualities that the nature kindergarten concept and the rammed earth material has to create a new typology for kindergartens - one that takes the children’s ability to connect with nature seriously.


traces of people Byrom

Eva Kun

Fall 2011

(with Gustaf Hedberg, Karianne Sværen and Vigleik Skogerbø)

This installation project was planned, drawn and built in five days, and was part of a larger city planning project involving the Spanish firm Ecosistema Urbano. Their aim was to reshape and envigorate the central plaza in Hamar, which had been neglected for decades. Our task was to create a simple installation, or 1:1, that could draw people’s attention towards their own public space. Our way of acknowledging this problem was to emphasise the human silhouette and the gestures of the city’s inhabitants. The human body has many possible ways of expressing itself, and we think these expressions make the public spaces rich. By projecting silhouettes into the street, we wanted to multiply the gestures on our urban projection surfaces. Our own silhouettes were mixed in with the realtime interactions, making a shadow landscape of expressions and movements. The surfaces become physical elements in the square, but their translucency and placement is meant to invite interaction, rather than obscuring the street. In this way, the inhabitants of Hamar can experience not only their own magnified manifestations, but also the traces of people that were once there. This project is primarily an example of how democratic architecture can be thought about, where the sum of a crowd of people determine the look and content of the built form. Had we been able to develop the project further, we would gradually have phased out our own silhouettes in favor of recorded silhouettes of actual visitors to the installation. The result would be an everchanging display of Hamar’s inhabitants, created by themselves.


In my sketches to the design, I tried to specify our intentions with the project, and to visualize how such an idea might look in the public space. We chose to use angled frames in the end, as they created boundaries for the space that had additional qualities beside the projection. When built, the placement of the installation made it visible as a beacon from most of the city centre, signalling the entrance to the main pedestrian walkway in Hamar.


bridging the gap Complex buildings Spring 2012

Magnus WĂĽge AndrĂŠ Fontes

In my bachelor exam project, the site chosen by the course teachers was Haukeland hospital in Bergen. While doing preliminary research there, I noticed the interaction between the university spaces used for medical studies and the hospital itself. Today, the students spend their first two years in the separate university building (left), while the more advanced students study within the hospital building. This creates a strong division between the two groups, as they have no shared facilities - even separate cantinas and libraries. I wanted to create common areas for the students, but without giving priority to either. The solution became using the void between the buildings, while also creating an attractive place for hospital visitors and patients. The bridge typology sends a strong signal - not only through the impressive span, but also about the need for connection. The walkway contains lecture rooms and group study rooms, while connecting the main student areas in the hospital building with the university building. Underneath, the former maintenance building is deconstructed and reused as public lecture halls, a new welcome area for visitors and next-of-kin and a large, common university library. Breaking up the large, existing volume and replacing it with smaller, one- or two-story buildings also creates diverse spaces on the ground level, allowing for break areas and recreation areas in the middle of the hospital grounds. Finally, the top level of the walkway allows for spectacular views and clean air amidst the tree canopies. This level has wheelchair access from both buildings, and an elevator that descends down to ground level.


An important part of the conceptual design process was specifying my intentions with the project. Verticality, connection lines and using translucence as a visual attractor were all important qualities I wanted to preserve throughout the design phases. Breaking up the massive scale (bottom right) in favour of human-scale elements was a virtue that stayed with the project from the start to the end.


This model shows a section of the walkway. Inside, the hallway is dotted with small study rooms for group work, while the top level is a scenic park area. As the model shows, the interior rooms are extruded through the roof of the walkway to create seating at the level above. Skylights also provide stable natural light thoughout the year.


collective living Bofellesskap Spring 2011

(with Line Flores Myhre, Remi Iversen, Lise Messelt Fadnes and Joakim Kyrre Myklebust)

Situated between concrete apartment blocks in Gyldenpris, Bergen, this new structure of adjoined houses provide the area with a new, more intimate landscape of housing. The houses are placed in a tun structure with five separate sections, each tailored towards different user groups. The topmost house with the skylights is designed for elderly couples, and is also suitable for people with physical disabilities. Its main focus is universal design and ease of access, and its position in the plot is meant to have a observatory role. The tun also includes a studio apartment, a small family house, a rooming house for up to eight residents and a student couples’ flat. Each differ in bedroom sizes, common areas and secondary facilities to create different typologies and different price ranges, allowing social diversity even in the smallest structures. While the residents all have some sort of privacy, they share their inner courtyard, and all entrances lead towards this shared space. The idea is also that these common areas are all a part of a path, allowing residents and visitors to walk through the courtyards - albeit with some sense of the intimacy of the buildings. The houses have a wood frame construction and are clad with pressure treated wood. Each house has an integrated concrete section, typically with bathrooms. These white walls also lead through the area - each one has a visual connection to the next, giving a visual cue towards the exits. Although each tun is independent, we have sought to connect them to their neighbouring counterparts by letting at least one house connect across the broader “streets� that separate the unities. Combined, this is meant to be a dynamic structure, easily expanded or densified according to the needs of the area.


We worked with the different residential typologies as size templates, organizing them in dozens of patterns to see which ones were worth continuing to develop. While our project consists of seven of these clusters, we chose to look at one of them specifically to see how the solutions worked at a higher detail level. The colours we painted on the different volumes signify the type of occupancy - pensioners, single students, families, young couples and housing community members.


the resting spot Wood material course

Hector Pi単a-Barrios

Fall 2010

(with four co-students at BAS)

As a part of a study project aiming to teach students in traditional woodcrafting and the diverse physical and chemical properties of different types of wood, we went to Balestrand in september 2010. Situated in the middle of one of very few areas in Norway focusing on deciduous forestry, we were encouraged to try out the various wood types in a number of stress tests, noting their advantages and disadvantages. This work culminated in five group projects using our new-found knowledge to create physical structures in nearby situations of our own choosing. Our group chose to work with an existing resting spot for hikers and school children on trips. The resting place consisted of a few handily sized boulders along a path leading up to higher ground. Its proximity to a nearby waterfall inspired us to create a structure that could both shelter a group of people and amplify the sound of the water. The final structure consists of a mesh of equilateral triangles made from oak, hand-carved to make an interlocking shape without the use of nails or glue. The triangles are tied together with hemp rope and clad with aspen wood boards. The oak was chosen for its strength and durability, while the aspen is lightweight and toxic to insects, making it virtually maintenance free. As none of these woods survive permanent moisture, the structure is suspended from nearby trees. Because of this, the structure does not touch the ground at any point. The triangles are either open, half-closed or closed, depending on the need for sound deflection, shade and rain sheltering at different points.


beatbox 120hours competition Spring 2011

(with Håvard Austvoll and Alexander Sejnæs)

The 2011 competition was the first year of 120hours, and its topic was the revival of a large, unused plaza in Oslo, Norway called Tullinløkka. Its program has been the subject of debate for a long time, and there were many different proposals for this area during the competition. Our project centres around a new way of storing bicycles in a public area. Creating better parking facilites for bicycles is an efficient method for increasing the number of bike commuters in central Oslo. We wanted to go one step further, and make the act of parking into an attraction itself. Our design has three different types of bike lockers. One model descend completely into the ground when occupied, one descents partly and forms a bench when locked. The idea was that these beatboxes, as we dubbed them, could be placed in groups on the plaza, simultaneously filling a need for bicycle parking while creating a moving landscape of human scale elements. In the mornings and afternoons especially, as commuters park and retrieve their bicycles, the boxes ascend and descend in a multitude of movement. This rhythm of a user-defined, moving plaza could become an attraction both for the local inhabitants and tourists in Oslo. By placing cafés and restaurant plots in new arcades along the historical buildings, as well as creating new diagonal entrances to Tullinløkka, the public could take part in this exhibition of public use. Our proposal was among the top 15 and exhibited at DogA, Oslo as part of the competition presentation.


The overview plan on the left shows the different sets of beatboxes arranged in a noise pattern, avoiding the arisal of directional patterns at any given time. Apart from the boxes, Tullinløkka is turned into an urban park with grass, plants, trees and wooden decks. Marked paths (lines) allow visually impaired and blind people to use the facilities. The sections above show the bicycle parking in use, as well as their vertical boundaries.


private utopias, collective landscapes Bygrend

Deane Simpson

Spring 2012

(with Mattias F. Josefsson)

How has the single family house impacted the development of cities, communities and popular culture in Norway? What were the reasons for the rise of this typology, and how does it influence us today? These were questions we were tasked to answer in this research project during my final year at BAS. The work was distributed into twelve topics, with two or three students in each group. These topics ranged from a theoretical study of the detached housing phenomenon to a detailed visual and historical mapping of pre-fabricated homes as well as an infrastructural comparison of the major cities of Norway of the 1950’s to the urban sprawl of the present. The group topic I was assigned to aimed to investigate the cultural influences that changed post-war Norway so dramatically. We did this by mapping articles and advertisements in every issue of Bonytt from its start in 1941 to 1990, as well as looking at popular Norwegian movies from the different decades for clues about what the ideals that promoted this way of living were. In order to understand these “drives�, we separated them by sub-chapters, discussing them seperately. On the following pages, examples of these drives can be seen. In addition to working on our own material, me and two other students were chosen as an editorial group. Our task was making templates, setting deadlines, doing quality control on the work being done and acting as technical support for using Illustrator and InDesign. As the lead editor, many of the organizational tasks fell to me. At the end of the project, we published a 312-page book which can be purchased through BAS.


2.2 The house as a fortress

Houses are fragile things, in need of constant attention to survive the dangers of rain, wind, sun, snow, vandalism and burglary. We protect our homes from these dangers, so that the house may in turn protect us. This symbiotic relationship is important to understand our valuation of houses. They are domesticated creatures we rely and depend on, and they need our support. Hierarchy is less cemented in Scandinavian culture than many other places. According to Marianne Gullestad, the typical Norwegian handles hierarchy better in the workplace than in the public sphere. In a public sphere without KLHUDUFK\WKHFRQĂ€LFWVDQGWKHDUHDVRIFRQĂ€LFW become larger. More than a mere shelter, however, the house also establishes a small sovereignty where its inhabitants rule supreme. The privacy of home

is one where the ongoings inside should not be heard or seen from the outside, and where speFLÂżFVRFLDOYDOXHVFDQEHFKDQJHGDQGHQIRUFHG in ways unthinkable in the public sphere. As for a famouse norwegian saying, “Herre i sitt eget husâ€?, translated to; master of one own house. The house and the ground they stand on seen as protective islands can also be found in the movements and reactions following the end of the Second World War, and the end of occupation. This period also marks the beginning of the large scale building of single family houses in Norway.

3

2: “Norway is a land of oil, waterfalls, large forests and cold winters� (Advertisement, Bonytt, 1/1977) 3: “There, I’ve turned on the alarm. Sleep well!� (Advertisement, Block Watne catalogue, 2011)

2

They bred potatoes, they bred health, every spring they were in preparedness, and the whole year they bred hope. - Nils Johan Rud – The plot (1945)

Š:HZKRLQWKHODVW¿YH\HDUVKDYHEHHQ XQFRQGLWLRQDORSWLPLVWVVWLOOFRQ¿GHQWO\NHHSRXU beliefs. And the plot deserves a house in peacetime, for it has faithfully been my homefront during the war.

1: “Child’s play� (Illustration, Mitt hjem og hage, 1966)

1

I dare confess it, because I know that so many other plots and parcels in this country have been like mine, that they together have been a protective force that aided the other, larger forces in this struggle. They would not be possessed, these empty plots, they remained free land. They were not so empty, anyway, although they lacked houses.


1

2

6

1: “Thermal underwear for the house!” (Advertisement, Mesterhus catalogue, 2011) 2: “My home is my castle” (Advertisement, Bonytt, 12/1942) 3: “Weather-proof paint” (Advertisement, Bonytt, 5/1979)

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4: “The only wood stain with super durability” (Advertisement, Bonytt, 7/2009) 7

4

5

5: “Resource friendly home” (Illustration, Bonytt, 2/1977) 6: “When the freezing temperatures crawls under your covers” (Illustration, Bonytt, 11-12/1956) 7: “Breathing fresh air should be a requirement!” (Advertisement, Bonytt, 8/1976)


2.7 Concerning our children

The welfare of children is a driving factor in the choices made by any parent, and the need to give our own children the best possible chance to succeed is a strong motivator. Where, then, does popular culture tell us to raise them, so as to provide a safe environment with good schools and healthy surroundings? «We have neglected to replace that which we have stolen from the children in the process of urbanization – the housing projects have eaten up the recreational areas, the explosive growth in car numbers has made the streets and roads lethal.

means that the number of apartments has been prioritized at the expense of building outdoor areas and common measures necessary to give the residents contact – and opportunities for expression. The ones most affected by this are, of course, the ones that are most dependent on their community – and here, the children and the young DUH¿UVWLQOLQH:HSD\DKLJKSULFHIRUWKH underpriorization of their needs.» - Anne Lise Refsum, Bonytt, 8/1970

The sleeping cities’ rise has made the children’s lives poorer – the natural connection between childplay and adult work has disappeared.

«On playgrounds and in high-rise areas – that is, where there are too many children and not enough space – it is established that more aggression and passive submission take place in the contact between children.

The lack of housing in the vulnerable areas

(...) During those parts of the childhood where, in

1

1: “All children are our children” (Illustration, Bonytt, 8/1970) 4

2: “Best keep them safe” (Advertisement, Bonytt, 9/1975) 3: “Our daily lead” (Illustration, Bonytt, 2/1971)

2

3

4: “Ponder..” (Advertisement, Bonytt, 7-8/1943)

particular, sudden changes in a child’s proportions take place, healthy children are driven by irrestistible impulses to be in constant movement. It is important for the child to learn to control its body and its motion, and to continously develop its skills. To not let them move is a way of tiring them; to let them move in the right way entails a form of rest and relaxation for the child.» - The Swedish civil department - The children’s outdoor environments (cited in Bonytt, 8/1972)


1

2

6

1: “Many of our cities’ inhabitants are hunted prey� (Illustration, Bonytt, 3/1981) 2: “Make a fence� (Illustration, Bonytt, 8/1978) 3: “Friendly / hostile� (Illustration, Bonytt, 10/1981)

3

³7KHUHZHUHKRXVH¿UHVLQ1RUZD\ODVW\HDUFRXOG\RXKDYHSUHYHQWHGDQ\RIWKHP"´ $GYHUWLVHPHQW%RQ\WW

7

4

5

³5RFNZRRODJDLQVW¿UHV´ $GYHUWLVHPHQW%RQ\WW

6: “A house for them� (Illustration, Bonytt, 10/1971) 7: “Children do not only fall in their sleep� (Advertisement, Bonytt 9/1982)


out of the blue Immigrant Spring 2011

Michael Obrist Richard Scheich

(with Ane-Oline Finstad)

The Blue Stone in Bergen is the most popular meeting place in the downtown area, attracting both children, students and older adults. While the top surface of the stone is heavily and regularly used, the void that the stone slab create remains unused. Can this room become a place for sleeping? In this project led by architects from Austrian collective feld72, our task was to create sleeping accomodations in the city centre by adding to the existing public areas. These immigrant structures give new use and meaning to wellestablished places in Bergen. The unused room under the stone makes for a new shelter - a private getaway in the most public place in Bergen. The gold coating is highly reflective, changing colour with the ambient lighting. The lights from inside glow blue with reflections from the underside of the stone, emphasising the fantastic materiality of the Blue Stone. Inside, the space is sufficient for two people to sleep comfortably. One part of the wall reveals a door when pulled, and is otherwise indiscernable from the rest of the boards. The walls can also be open or closed by rotating the wall boards. This can be used to control both the privacy of the bed underneath, as well as the public interest in the construction itself.


Due to the irregularity of the ground and the angling of the stone, the measurements were done with construction elements on-site. When we had the necessary information, we then built the frame at the school. The wall elements consist of gold-coated boards, each cut to fit within the frame. They are fixed to the bottom of the frame with a single screw each, allowing the boards to pivot freely along the center axis. There is also a flooring made from deconstructed wood pallets.


The frame was taken apart for easier transport, then reassembled near the site. The final job was then to place it under the stone without attracting too much attention, as we had no official permissions to place anything there. The careful measurements and the flexibility of the frame allowed us to lodge it firmlu underneath the marble block. Despite being in such a visible location, the installation remained in place for three weeks before being removed.


The Acoustic Chair

Pencil construction drawings, 2011


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The Grieg Hall, Bergen Pastel and pencil, 2011


Wall socket

Pencil drawing, 2010

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Terraรงos de Braganรงa, Lisbon Pencil drawing, 2011


Museum of Naval History, Bergen Pencil drawing, 2010

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Naval College, Greenwich, London Pencil and water colour, 2012

Naval bell

Pencil drawing, 2010


Back street in Porto Pencil drawing, 2011

63


Serpentine Gallery Pavillion Pencil and water colour, 2012

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SĂŠ Velha de Coimbra Pencil drawing, 2011


Anvil and cut stone Ink pen drawing, 2011

Sheep

Pencil drawing, 2009

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Portfolio  

Selected works during study at Bergen School of Architecture and NTNU, 2010-2013.

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