Monument of anxiety 1 - Program

Monument of Anxiety

Monument of Anxiety Moa Liew & Christel S. Nisbeth Madsen Professor: Merete Ahnfeldt-Mollerup Thesis Project, fall 2013, dep.11

Monument of Anxiety

Monument of Anxiety

INDEX

Intro 7

Time schedule 38

The Concept of Anxiety

Exhibition Time Schedule

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39

Performance 39

Communication of signs

11 Exhibitions 40

The monument 15 The monument in society 16

Monument References 42

Tatlin´s Tower 45

Danteum 46

Method 17

Cinemetrics, cybernetics and architecture

17

Cenotaph for Isac Newton 47

The composition of a narrative architecture

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The Jewish Museum 48

The narrative space and spatial emotions

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The Holocaust Memorial 49

The Chancellery Building 50

Working tools 20

Dramaturgy 21

Monument to King Frederick the Great 51

Sacrarium 52

Storytelling 21 Storyboard 24

References 54

Sequence and Scenes 24

CV 56 Props 29

Editing, cutting and rhythm

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Camera angles 33

Monument of Anxiety

Monument of Anxiety

Intro This project will discuss the potentials in an architecture that stages and enlightens a social and human phenomenon through space. The work will discuss the role that architecture plays in society today. It will also investigate the potentials in an architecture where the primary function is not based upon its practical use but based upon a message that are to be sent to its visitors.

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The concept of Anxiety The principles for The Monument of Anxiety will be based upon registrations and interpretations on the concept of the philosophical phenomenon Anxiety (Angst) made by Søren Kierkegaard. In 1844 Kierkegaard wrote ‘The Definition of Anxiety’ under the pseudonym ‘Vigilius Haufniensis’ meaning ‘The Watchman of Copenhagen’ 1 or ‘The Vigilant Citizen of Copenhagen’ 2. This definition of anxiety is based upon his experimental observations on the citizens of Copenhagen in the 19th century. This year Copenhagen is celebrating Kierkegaard’s 200th anniversary. The monument should be seen as a spatial comment to the concept of anxiety rather than a monument celebrating the person behind.

Kierkegaard divides the concept of anxiety into its being and its notorious counterpart where the last involves panic disorder, phobias, and other abnormal types of anxiety that needs professional treatment. (Garff,J.,2007,2). Our investigation will focus on the nature of anxiety as its being and not as its notorious counterpart. It will focus on the type of anxiety that is part of us all, all the time.

“Anxiety may be compared with dizziness. He whose eye happens to look down into the yawning abyss becomes dizzy. But what is the reason for this? It is just as much in his own eye as in the abyss, for suppose he had not looked down. Hence anxiety is the dizziness of freedom, which emerges when the spirit wants to posit the synthesis and freedom looks down into its own possibility, laying hold of finiteness to support itself. Freedom succumbs in this dizziness.”

(Concept of Anxiety, Ch.2, section 2) Kierkegaard defines anxiety as an internal philosophical phenomenon that is found within every human being.

A phenomenon that in this quote is closely related to our understanding of freedom. Kierkegaard states that freedom is ever related with anxiety, and because our minds are free, we’ll always be anxious “Anxiety is the dizziness of freedom”.

Through our anxiety we become aware of our freedom. Through the dizziness or the anxiety of being totally free we see that it has no boundaries. So it is the same dizziness that creates these boundaries. Hence, our anxiety of being free is what makes us realize that we are free but is at the same time what limits our freedom.

This is within many different examples the nature of Kierkegaard’s concept of anxiety (angst). Angst is a phenomenon or an understanding that is both beneficial and damaging for our wellbeing. It is a phenomenon that gives birth to knowledge and at the same time creates boundaries. It is a phenomenon that bites its own tail, and is an inseparable part of every one of us.

1 The Latin transcription, according to Kierkegaard scholar Josiah Thompson.

2 In Danish ‘Vigilus Haufnienses’ means ‘Den Årvågne Københavner’, therefore we find the translation ‘The Vigilant Citizen of 3

Copenhagen’ more correct.

Spelled as in the 1st edition of ‘The Concept of Anxiety’. There is a sensitive difference in the hierarchy between ‘examinere’ and ‘exanimere’, amplified by the outburst ‘ja’ SKS K4, 336

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“…og ingen skarpsindig Dommer forstaar saaledes at examinere ja exanimere 3 den an-klagede som Angsten, der aldrig slipper ham, ikke i Adspredelsen, ikke i Larmen, ikke under Arbeidet, ikke om Dagen, ikke i Natten” Kierkegaard, S., 1844: ’Begrebet Angest’ (Cappelørn, et al, 1998, 336) “Anxiety (angst) separates humans from animals, Kierkegaard writes, and analyses the differences between anxiety and fear, and how anxiety enable humans to become self-aware and take action.” -quote by René Rosfort, postdoc, Søren Kierkegaard Forsknings Centeret Anxiety is the notion that helps us recognise ones ‘Self’ or defined later by Freud our ‘Ego’ (Freud, S., 1923: ‘The Ego and the Id’). It helps us seize the notion of what we ought to be, what we can achieve, and what we most likely haven’t achieved. But in-stead of facing our anxiety and understanding that its nature is bound in our love and joy for the given, we run. We run as fast as we can, run through the city, run through the day run through our thoughts, run through our lives.

And at the same time we try to eliminate as many dreadful factors as possible, through complex systems, we eliminate the chance to succeed. Instead of developing our lives, our society, our cities through the insight our anxiety gives us, we might end up tightening the knots around our necks. “..Individet, i Angest ikke for at blive skyldigt men for at ansees skyldigt, bliver skyldigt” Kierkegaard, S., 1844: ’Begrebet Angest’ (Cappelørn, et al., 1998, 329) Further on Kierkegaard explains that our anxiety is devoid of subject. Our anxiety (angst) is anxious for nothing and often exceeds our rational behaviour (Garff,J.,2007,2). This concludes that our relation with anxiety can take course in different directions. It can deceive us Into an irrational action though it may be missing a definite threat.

“Nu har man ofte nok udviklet Arvesyndens Væsen, og dog har man manglet en Hovedcategorie – det er Angst, dette er den egl. Bestemmelse deraf; Angst er nemlig en Attraae efter hvad man frygter, en sympathetisk Antipathie; Angst er en fremmed Magt der griber Individet, og dog kan man ikke løsrive sig derfra, og vil det ikke, thi man frygter, men hvad man frygter det attraaer man. Angst gjør nu individet afmægtigt, og den første Synd skeer altid I Afmagt; den mangler derfor tilsyneladende Tilregnelighed, men denne Mangel er den egl. Besnærelse” Kierkegaard, S., 1844: ’Begrebet Angest’ (Cappelørn, N., m.fl, 1998, 317)

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Spelled as in the 1st edition of ‘The Concept of Anxiety’. There is a sensitive difference in the hierarchy between ‘examinere’ and ‘exanimere’, amplified by the outburst ‘ja’ SKS K4, 336

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The double nature of anxiety is what we will focus on in our investigation and spatial work. The definition of the concept is a lot more complex and will demand a lot of work. Our studies on the concept will proceed during the process but will not include a complete spatial translation of the theory. We will select parts where Kierkegaard´s definition has a spatial potential and where we can se traces of the concept in spatial behaviours in Copenhagen.

Kierkegaard´s definition of anxiety was based upon observations of the citizens of Copenhagen, so will the Monument of Anxiety be a reflection and interpretation of the concept based upon the citizens of Copenhagen, for the citizens of Copenhagen.

“Livet er imidlertid rigt nok, naar man blot forstaaer at see; man behøver ikke at reise til Paris og London – og det hjælper ikke, naar man ikke kan see.” Kierkegaard, S., 1844: ’Begrebet Angest’ (Cappelørn et al. 1998, 331) A Monument for Anxiety might seem undermining and non beneficial for the society. But if you perceive the monument as a place that helps us to recognise our anxiety, and understand how we, as a society, can grow from this insight, The Monument of Anxiety is essential.

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Communication of signs Architecture can be seen as the volume it occupies, the borders it creates and the function it contains. It can be seen as its bits and parts, its structure and construction. But it can also be seen as the matter it orders, the framing of time and the enlightening of rhythm. It can be seen as the stereoscope for revealing the secrets of human behaviour, the threshold between the imaginary and the physical space and the framework of life.

‘One cannot not communicate’ as Paul Watzlawick states. Objects, humans and space, everything communicates. For architecture the systems of communication are com-plex. If we look into the semiotic way of describing communication, defined by Pierce, we se one isolated object that sends a signal or a sign, which is received by its interpreter (See Diagram 1). This sign can be formed either by the shape of the object or by the function, and will always be affected by the interpreters’ perception. But if we look into architecture we see a puzzle consisting of multiple objects, with different scale and function. These concrete objects are put together in a composition where environmental and cultural circumstances have an impact. The message or the meaning of the signs can therefore alter, regarding the objects’ interrelation or the relation to its surroundings. This means that architecture is too complex to be fit into Peirce’s semiotic way of describing communication as a closed triangle. (Peirce, C., 1893-1913) (See Diagram 1) If we look into Henri Bergsons’ theories about memory in “Matter and Memory” we can conclude that perception of space is referring to perception based upon different memories. Bergson divides our memory into two parts; “automatic memory” and “pure memory”.

Automatic memory is described as a nonreflective memory that repeats the past like a mechanical action. It is compared to habit and can have a direct reaction upon the present. It is also described as a body memory. By working with spatial perception through the theory of automatic memory, we can come closer to understanding the non-reflective reactions towards spatial atmospheres and try to define what’s causing it. This part will discuss how the physical environment sends signals to our body, which result in a direct bodily reaction. Such as our bodily reaction to the notion of a staircase or wind in a hallway, the staircase brings us from one plane to another, wind in a hallway indicates an open window, door or space, even though we might not be able to see this opening or the next plane at the end of the stairs, we know it is there.

(Bergson, H., 1896) The pure memory is described as a form of image remembrance that registers the past and represents the past within the present. This is a more intellectual memory. A memory that is referring to knowledge gained intellectually such as teachings from school or by reading. This part discusses how the physical environment sends signals to our taught spatial knowledge, a knowledge that merges the past with the present. For instance the knowledge of material value, we know gold, mahogany and marble are expensive materials, we have seen - or been taught about - the use of them in castles, churches and monuments, therefore we often judge objects covered by these materials as exclusive and authoritative.

(Bergson, H., 1896)

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Diagram 1

Architecture and Communication Semiotic Theory of signs

One can not not - Paul Watzlanick One cannot not communicate communicate - Paul Watzlanick Fine architecture communicates on its own. But how does bad architecture communicate?

Sign

Object

Interpreter C. S Pierce, Theory of Signs, Semiotic

C.S Pierce, Theory of Signs, Semiotic 12

Monument Anxiety Channel forofthe signal

Architecture communicates with signs, even though Peirce’ semiotic way of describing how objects communicate is not enough. The architectural signs need another decoding system. Not only a decoding system that can translate the signals of objects, one by one, but a system that can decode the unique atmosphere that are created when all the architectural parameters interact.

If we look at Eames’ diagram from “A Communications Primer” and transform it into an ‘architectural communication -diagram’, we are getting closer to the core of how spatial atmosphere is communicated (See Diagram 2). Here, the creator, the architect, is introduced as an “information source” that wants to send an atmospheric message or “signal” to the interpreter or the “receiver” through architecture.

The architect defines the atmospheric “message”, interprets or “transmits” it into architectural objects or elements. The message is then sent through a “channel” where the context, named as “noise” alters or transforms the message, finally the message is received by a “receiver” (a human) that absorbs the atmospheric meaning of the message through the senses and the mind. (Eames, 1953) Now the interpreter in relation to his or her previous memories perceives the message. A subjective atmospheric perception of the space is formed. The previous spatial experiences we have had throughout our lives and the knowledge we have gained are forming an individual spatial decoding system. (De Botton, A., 2009) In our work we would like to focus upon and investigate how we can create a design that derives not from its practical function but only from its atmospheric message. Can we create a meaningful architecture that has no function, or where the only function is to tune the visitors’ perception so that the atmospheric message can be received?

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Object

Interpreter C. S Pierce, Theory of Signs, Semiotic

Diagram 2 ‘A Communications Primer’

Channel for the signal

Transmitter Information source The messenger: - Architect - Constructor - Organisation - Government

Architectural objects or elements.

Including light, acustics, temperature, rythm etc

Message

Receiver Noise

- atmosphere; light, temperature, mois etc.

- atmosphere; light, temperature, moist etc.

- culture, history, leadership, religion etc.

-culture, history, leadership, - time, regarding decay or religion changingetc. trends -time, regarding decay or changing trends

fx. sacral atmosphere

The human body with its five senses and the mind

Message

Destination Perception The perception of the message varies depending on the interpreter personal ‘automatic’ and ‘pure’ memory.

Ray and Chales Eames, a Communications Primer

Diagram based upon Ray and Charles Eames, ‘A Communications Primer’ film 1953 14

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The monument Throughout history the monument has been used as a tool to enlighten or acknowledge a specific occurrence, a phenomenon or a person. Something or someone not to be forgotten. This, often by using the form of a sculpture or by using the language of architecture. We have seen various forms, sizes and sites for the monument throughout history but they all cover the same function. A monument is a symbol, an image, a sign of this specific occurrence, phenomenon or person.

It is a translation of something concrete to a more abstract message. This message is not only a translation of the actual event, phenomenon or person, it’s also a manipulative message with the aim to emotionally affect the ‘receiver’. For example, a monument for a king or a politician often sends the message of universal power. This is interpreted into diverse feelings within the receiver, feelings of being undersized, powerless, insignificant, overwhelmed, impressed… (Heathcote, E., 1999; Vindfeld, T., 2004) If we look at monuments built through the language of architecture we see that monuments differ from other types of architecture, by missing the traditional practical function while instead bringing a symbolic message. A message sent within the parameters of architecture. Whether the message is about power or heroic bravery it is received by our automatic - and pure memory. The function of the monument is not present in the structure alone, but present in the received symbolic message.

“A house has symbolic and ritual functions but its primary purpose is to give shelter. In the negative world of the architecture of death, the primary function of the tomb is not to give shelter – the earth itself can do that – but to memorialise and signify the existence of the sacred realm, the world beyond. This is a far more important function than shelter from the elements as it becomes the embodiment of the world-view, a model of the cosmos and an archetype which touches on the most profound sense of existential angst, but also of the visions of another realm of its builders.” (Heathcote, E., 1999, 8) We have decided to create an architecture with monumental features partly because of its relation to function and symbolic messages. To enable us to explore and create a design where the purpose of the construction is to send a message about anxiety, a message through the language of architecture.

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The monument in society “..the great civilisations left us their houses of the dead and it is often from these that we create our picture of the mythologies which have shaped our world” (Heathcote, E., 1999) The monument has played different parts in society throughout history. When it comes to the definition of time, the monument has an intriguing relation to the future, the present and the past. It is a symbolic message, built in the present, a message of the past sent to the future. The timeframe of the built often indicates that the creation is eternal and the symbolic message often has a character of being statically conserved in its design. But even if the monument is built upon the assumption that it is a message to the future, it is more a representation of the fear of the present sent as a message to the present. (Heathcote, E., 1999) “When all is said and done there remains the architecture” Richard England (Pearson, C., 2009, 8) The symbolic message of a monument is fragile in relation to time. Since its function is built upon the symbolic value of something that is not present in the construction alone, but present in the received symbolic message, it depends on our pure memory. The receivers’ memory of what the monument represents. When our pure memory about our societal history disappears we can only rely upon our learned architectural knowledge and on our automatic memory. This could for example be a big door send-ing the message of power, materials that send signals about wealth or a complex structure that tells us something about how well developed the society was when the monument was built. As the memory fades through generations, the symbolic mes-sage reformulates and the function changes. But even if our memory fades when it comes to remember the exact occurrence, phenomenon or person, an architectural monument still sends a message, an atmospheric message.

As an architectural element in the society the monument plays an interesting role. Even if the symbolic message was clear in the creation of the monument it doesn´t guarantee that the same message is received in the future. This also plays along with our automatic memory that more or less stays unchanged.

So what role can an architecture with monumental features play in a society of today? Can it fill a function without having a “practical” one? Can we use the ‘time capsule’ effect and the commemorating status as a tool to enlighten what are not to be forgotten? And how can we work with architecture as a messenger of the cultural and social phenomenon; anxiety?

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Method Architecture consists of spatial relationships, movement, rhythm and time, as well as the relation between materials, light, sound, acoustics and aesthetics, and further more the intellectual relation to history, cultural references and the individual or educational narrative 4. These architectural, cultural and intellectual bits and pieces create the narrative. Here we need a method that can help us cope with, combine, challenge and develop all of these fragments into a clear message, a message sent through the architectural atmosphere.

“Narrative is one of the ways in which knowledge is organized. I have always thought it was the most important way to transmit and receive knowledge. I am less certain of that now –but the craving for narrative has never lessened… “ Toni Morrison (Bordwell, D. and Thompson, K., 2011) To work directly with this message we need a methodology that does not derive from the practical function of the structure, neither of its bits and parts or of the physical constrains. We need a method that will help us work directly with the atmospheric message. A message that puts the visitor into an emotionally state that provides insight on the complexity of anxiety.

Cinemetrics, cybernetics and architecture “Depth and movement alike come to us in the moving picture world, not as hard facts but as a mixture. They are present and yet they are not in the things.”

(Bruno, G 2002) Hugo Münsterberg´s conclusions in his laboratory of moving images. (see Appendix 1)

4 Definition of the word Narrative from Oxford Dictionaries

[noun] a spoken or written account of connected events; a story

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Appendix 1 “Laboratory of Moving Images”

Instruments for experiments on hearing

Instruments for experiments on Sight

Hugo Münsterberg’s “Laboratory of Maoving Images’’ 18

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To deal with this in our working process we will look at the theories of filmmaking. Here we have a long tradition in storytelling and an evolved toolbox with which we can send a message with extreme precision. It is not the first time that film and architecture are compared and analysed regarding to their similarities. We will look at some references where theories are built upon this fact and during our investigation process we will also develop our own. The concept of “cybernetics” here described by three items: (McGrath, B and Gardner, J, 2007; part of an index, 24) 1. “A shift from considering parts to regarding the whole, cybernetics maintains that the whole is more than the sum of its parts.”

2. “ A shift from objects to relationships: cybernetics is thinking in terms of relation-ships, not isolated parts.”

3. “A shift from measuring to mapping: parts are weighed and measured. Relationships are mapped”

The composition of a narrative architecture The composition of a film is built upon different fragments that together creates a coherent narration. These fragments or elements have their own system from which they contribute to the whole. In filmmaking it is extremely important to know how every fragment provides the film with the right information due to its nature.

The plot is the engine of the film and where the narrative derives from. A plot can be complex and a film can represent the whole world but it cannot show the whole world. Whether the plot is complex or simple it is important that it never interferes with the natural behaviour of the other elements. Even if the plot is as complex as the world it is important that the elements that are used to tell the story, are clear and simplified.

These elements that lead the story forward can be listed as, the dialogue, the action, the sound, the props, the interior and the characters. Together these parts contribute to the whole with their own set of rules. In filmmaking it is extremely important to distinguish when and where each element is leading the story onwards. To create The Monument of Anxiety we will focus our investigation on how we can work in a filmic way with sound, action and props to send a message through architecture. These are the main elements that the filmic - and the architectural palette has in common. To lead a story forward without characters and a dialogue is a challenge and demands us to work more precisely with the other elements we possess as architects. This includes light, proportion, scale and context.

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The narrative space and spatial emotions The concept of a narrative space will be essential in our investigation to be able to work precisely with the message we intend to send. A narrative space can work as a transit between the imaginary and the physical space. We would like to work with the physical boundaries of the construction as a framework, a framework from where the imagination continues the travel through space and where the spatial perception develops. “In the city, as when travelling with film, one does not end where the body or the walls end�

G. Bruno s. 8 artikel

To create an architectural design through the methods of filmmaking leaves us hanging with the complex structures of emotions. A film communicates its narrative message through the emotions of the viewer. It is a dynamic emotive journey that captures the interpreter into the universe of the film and the second the viewer looses interest is when she stops being emotionally affected. (Bruno, G, 2002)

Working tools So, how can we in a beneficial way work with the elements of film to create architecture? Here we need to have a look at the tools of filmmaking and implement them in the process of creating space. With the help of these tools we will design a framework for our process, a framework within which we can elaborate freely. For these experiments we have chosen a selection of filmic parameters. These parameters either work as tools or methods by which we will investigate how to send an atmospheric message through space.

Filmic parameters: - - - - - - -

Dramaturgy Storytelling Storyboard Sequences and Scenes Props Clipping and rhythm Camera angles

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Dramaturgy: as a method to structure spatial relations and work with the atmospheric effect on emotions due to a sequence of events. (see Diagram 3) To be able to see architecture as a spatial and atmospheric information source we shall try to work with methods that do not focus on the construction as a silhouette, a facade or a sculptural object. Instead we shall try to work with the surprise, the twist and the point where you suddenly understand the meaning of the architectural plot. Within filmmaking the narrative composition is based upon the assumption that the audience needs to be engaged with the plot. If you want people to be sensitively engaged you must appeal to their curiosity and their intellect. First you present them to the exposition; introduce the characters, afterward follows the plot (the rising action), the conflict, climax, denouement and at the end the resolution. Through combining the filmic ‘narrative composition’ with the architectural spatial composition we would like to investigate, challenge and interpret the perception of space.

“The passage through light spaces is an important issue for both cinema and architecture – practices that engage seeing in relation to movement” (Bruno, G., 1997, 4) As for architecture film can be designed with a form of symmetry. We will investigate the potentials in a dramaturgical symmetry in consideration to the movement through a building rather than the visual symmetry of physical objects. This way of looking at symmetry derives from the flow of the narration and is a form of ordering information for the perceiver.

The dramaturgical symmetry often reveals in the end where the “resolution” is connected to the “introduction”. It might be as in ‘A bout de souffle’ 5 where the film starts with a woman rejecting a man and ends with at woman being rejected a mirrored symmetry of actions, as a symmetry between images start-ing and ending with a scene from a cemetery. (see Appendix 2)

Storytelling: to present a form of informative ornament.

Modern architecture is produced by theories and tools telling stories about the society of today. This can be seen as ornaments, telling something about the present and in the future revealing something about the past. As stated by Paul Watzlanick’s quote “One cannot not communicate” everything sends signals. This means that every step of an architectural process can be seen as a message perceived more or less implicit. If we construct our process through the concept of storytelling and if we look at it as a modern ornament we will find that we can refine the message we want to send.

5 Godard. J-L. 1960: ”À bout de souffle (Breathless)”, film

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Diagram 3 Dramaturgy, as a method to structure spatial relations

The Narrative Method

- Dramturgy, as a method to structure special relations The architect (dramaturg) is the resident expert The architect (dramaturg) is the resident expert on the on the physical, social, political, and economic physical, in social, political, and economic milieusthe in which milieus which the action takes place, psy- the chological of the inhabitants (charaction takes underpinnings place, the psychological underpinnings of the acters), the various metaphorical expressions expresin inhabitants (characters), the various metaphorical the space (play) of thematic concerns; as well as sions the space (play) of thematic as (play) well as on on theintechnical consideration ofconcerns; the space theatechnical of the space (play) as a piece of as piece ofconsideration writing: structure, rhythm, flow, even individual (word choices) writing: structure,behaviour rhythm, flow, even individual behaviour - Wordgame with the definition of a Dramaturg

(word choices)

- Wordgame with the definition of a Dramaturg

Time Resolution Resolution

Denoument Denoument

Climax Climax

Confilct Conflict

Point Point of of no no return return

Plot Plot (rising (rising action) action)

Presentation Presentation

Exposition Expostion

Scross section thorugh Sir John Soanes Museum, London

Diagram based upon dramaturgical principles and a section through Sir John Soanes Museum, London

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Appendix 2 “Á bout de souffle” [Breathless] 1960 Directed by Jean-Luc Godard, it was one of the earliest, most influential of the “French New Wave” film. At the time, the film attracted much attention for its bold visual style and the innovative use of jump cuts.

Michel (Jean-Paul Belmondo) constantly begs and pleads for Patricia (Jean Seberg) to sleep with him. She rejects, as she must – merely to show the audience (and him) that she has some authority in the relationship.

At the end Michel is shot.

His last words to Patricia is: MICHEL: C’est vraiment dégueulasse.

PATRICIA: Qu’est ce qu’il a dit?

VITAL: Il a dit que vous êtes vraiment “une dégueulasse”.

PATRICIA: Qu’est ce que c’est “dégueulasse”?

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MICHEL: Makes me want to puke.

PATRICIA: What did he say?

VITAL: He said you make him want to puke.

PATRICIA: What's that mean, "puke"?

Storyboard: as a way of structuring information through graphic visualisation.

To be able to work with precision within the message, the storyboard can work as a tool to help us structuring the information we want to send. Through the storyboard we create a previsualisation that helps us in the process. In architecture it can also be used as a media to represent the final design.

Today the storyboard is used not only in filmmaking but also in different settings to structure information for the user.

Among others it is used in theatre, writing, software production and in business. The storyboard is a visualisation of different events or sequences’ that are presented for the receiver. When illustrating architecture we have to take into consideration that the storyboard helps us structuring only one view at the time. Here we can see the potential in developing the storyboard and adjusting it to represent three dimensional spaces, as they are experienced architectural.

There are different techniques when working with a storyboard. The most common is simple drawings of a sequence, which illustrates action and space where movement is illustrated by arrows in the drawings. A storyboard can also be a series of photos, animations or a collage of already existing work, called a ‘rip-o-matic‘. To supplement the visuals it is also common to work with voiceover, soundtracks or sound effects to represent the entirety. (see Appendix 3, 4 and 5)

Sequence and Scenes: as a method to arrange information in a dynamic way.

To be able to structure the atmospheric message into a dynamic flow it may be helpful to use the concept of sequences and scenes. A sequence in this case could for example be an arrival. Through combining different elements and parameters that tell the story about the arrival we create the sequence. But by dissecting the sequence into scenes we can create a more dynamic web of information about the arrival where each scene presents its own way of telling the same story. Here the first film of the “The Godfather” 6 trilogy can be an example. The first sequence tells the story about the arrival, it is dissected into many different scenes. Through these scenes the characters, the setting and props that are to be followed through the whole film, are presented to the audience. But these elements never interferes with the nature of the sequence they are part of, all of them tell stories about the arrival even though they are presenting other facts as well. (see Appendix 6) In architecture we can translate this where a sequence is a spatial message told through different architectural elements.

Elements that are presented in different settings but which all give a tone of the same atmospheric message. By combining these settings in different ways we can get a dynamic flow through each sequence.

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Coppola, F.F 1972: “The Godfather”-trilogy, film

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Appendix 3 Storyboard in architecture

by Gordon Cullen A series of drawings, revealing the sequence of changing spaces one experiences when walking from one end of an architectural plan to the other.

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Appendix 4 Storyboard in architecture

by Gordon Cullen A combination of drawings and a ‘walking-partitures’. Showing the towers’ interrelation when walking around Westminster, from Big Ben to the Abbey, London

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Appendix 5 Storyboard in architecture

by Gordon Cullen Photographs and a section drawing of the arrival to an Indian Palace, New Delhi. When working with a storyboard sequence of the arrival, one experiences that the view of the Palace changes quite dramatically. There is a big difference between standing at the foot of the hill or at a distance. One might think that the view of the palace would become clearer and clearer the closer you get, but in fact it is the opposite, the view of the palace is most shielded when you stand right in front of the gate.

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Appendix 6 “The Godfather” 1972 Directed by Francis Ford Coppola, based upon the novel by Mario Puzos.The Godfather is widely regarded as one of the greatest films in world cinema and as one of the most influential.

The opening sequence in ‘The Godfather’ tells the story about ‘the arrival’.

It’s the wedding of the Godfather, Vito Corleone’s, only daughter. The celebration works as the background to a firm introduction of the main characters, their so-cial status, their intern relations, the status of the family (ranging as one of the top mafia families in New York) and the intern hierarchy of this mafia.

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Props: as a way of telling a story through objects.

It is possible to communicate with both our ‘pure- and automatic memory’ through props. A prop is as important as any other narrative parameter. It should not be seen as an ornament that is added to the design, but as an important element that leads the atmospheric message forward.

We will dissect the concept of the prop into three categories. The atmospheric prop, the iconographic prop and the demanding prop. 7 The atmospheric prop; In film props are often used as very small and tactile, yet important, implementations that develops the narrative. The prop can work as an architectural element that alerts the person who inhabits the space and plants her with a specific mood or feeling. We will call this the atmospheric prop. Once again we use the films of “The Godfather” where we have a famous atmospheric prop; the orange. The orange is used to represent the Sicilian heritage. By appealing to our pure memory the simple orange transform into a representation of the complex relation the characters have with their native country, to the mafia and the special Italian family relations. But the presence of oranges in “The Godfather”–trilogy also indicates that a death related event is soon to come. Since the prop requires that we have the background information of the complex historical relation to Sicily, this prop is a sign communicating to our intellect, at the same time it is communicating to our automatic instincts, that - at least after seeing film number three - will alert us that something dramatic is going to happen. This introduces us to the object as a form of information source that sets an atmospheric value referring to our memory. (see Appendix 7) The iconographic prop; The iconographic prop is a way of using one kind of prop in different settings to underline the message. In this way we can represent the whole world without showing the whole world. In architecture the iconographic prop can help us to make clear decisions through the whole design process. One example of an iconographic prop is the window in Peter Greenaway´s film “Windows” from 1974. Here he represents the world regarding human behaviour with the help of one single object, the window. We also have Alfred Hitchcock´s film “Vertigo” where the recurring prop, the newspaper, plays an important role to underline the message. (see Appendix 8) The demanding prop; At last we have the demanding prop. This prop can work as a resistance that demands or intrigues the person to a specific action. The demanding prop is connected with movement and is leading the spatial or filmic story forward by action. In architecture this could be a staircase that demands us to move vertically or an opening that intrigues us to enter the next space. In the film world we can see the taxi in “Taxi driver” 8 both as an iconographic prop but also as a demanding prop.

The taxi is what presents the characters and the scenery. It is what leads the story forward through the action of driving and it encourages and presents the nature of the main characters’ behaviour. (see Appendix 9)

7 8

Catagories made through studies at The National Film School of Denmark (‘Dramaturgy’ and ‘The Filmic Narrative’) 2012 and with inspiration from the work with Demanding Props in ”Casting Traces” scenography made by Elin Eyborg, 2013 Scorsese, M. 1976: “Taxi Driver”, film

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Appendix 7 The Atmospheric Prop In “The Godfather�- trilogy the orange is used to represent the Sicilian heritage of the family, and their complex relation with their homeland and their heritage. But its also a prop that alert us that something dramatic is going to happen.

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Appendix 8 The Iconographic Prop Through the iconographic prop the window in Peter Greenaways film “Windows” from 1974 tells a story of mankind, how we live and especially how we die. In “Vertigo” from 1958 by Alfred Hitchcock, the newspaper works as an iconographic prop.

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Appendix9 The Demanding Prop In Martin Scorseses film “Taxi Driver� from 1976, the taxi works as a demanding prop.

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Editing, cutting and rhythm: as a method to deconstruct the spatial hierarchy through a cinemetric interpretation.

In movies, cutting is one of the most essential and dramatic ways of leading the story forward. Cutting doesn’t necessarily have to be linear or logical. The possibility to twist, turn and change point of view or site is what defines the rhythm of the dramaturgy.

Defining the rhythm (editing the film) is something that takes place in the postproduction. But it’s also something that has been a tactile part of the whole process of creating the film, from the early sketching of the narrative to the storyboard and the shooting of the images.

The rhythm of architecture can be understood as the pulse or beat of life within the space, but also as the interrelation between the different spaces and atmospheres. The architect Bernard Tschumi was very inspired by the cinematographer Sergi Eisenstein. In his work with the ‘Manhattan Transcripts’, he defines architecture as an interrelation between the elements of which a system is made of; space, event and movement (activity) (Tschumi, B., 1981; Eisenstein, S., 1989).

We would like to investigate how architecture can evolve from the intensions of leading the dramaturgy forward, through abrupt spatial “cutting”. It might be something as complex as a ‘montage’ 9 or as simple as the ‘short cuts’ in IKEA.

“Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes…” –Jean Nouvel (Nicolin, P., 1997)

Camera angles: the question of what is to be shown and what is to be hidden, the framing.

Camera angles are essential when telling a story trough film. Different angles, depth and distances in the pictures are used specifically to set the atmosphere in the different scenes. Roughly the shots can be divided into three groups: (McGrath, B. and Gerdener, J. 2007, 55) Perception image: A relatively long shot, that reveals three or more layers of space.

Affection image: A close-up image, usually of the actors Action image: A medium distance shot, showing action or for instance movement within a room.

9

Eisenstein, S. Was a pioneer in the use of ‘montage’ a specific way of film editing through the creation of impossible spatial matches.

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“She who wanders through a building or a site acts precisely like a film spectator absorbing and connecting visual spaces. The changing position of a body in space creates architectural and cinematic grounds.� (Bruno, G., 1997, 4) When depicting architecture other angles might be taken into consideration. Most commonly an object, a space or an atmosphere does not show affections as obviously as human actors. The thrill of the moving image in itself can be blinding.

If you want to capture the atmosphere created by objects and their interrelation, it might be appropriate to divide the camera angles into the well known way of portraying or representing architecture; plan, section, elevation and detail. We would like to investigate how different camera angles, and perspectives can distort, alter or supplement the perception of space. (see Appendix 10, 11 and 12)

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Appendix 10

Camera angels: perception image, affection image and action image.

Example 1

Brian McGrath and Jean Gerdener, ‘Cinemetrics – Architectural Drawing Today’ p.55 35

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Appendix 11

Camera angels: perception image, affection image and action image.

Example 2

Brian McGrath and Jean Gerdener, ‘Cinemetrics – Architectural Drawing Today’ p.61 36

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Appendix 12

Camera angels: perception image, affection image and action image.

Example 3

Brian McGrath and Jean Gerdener, ‘Cinemetrics – Architectural Drawing Today’ p.59 37

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Time schedule The process will be separated into three parts where each part ends with a feed back session with teachers from the department. Here follows a sketch where each part is unfolded in regard to references, methods, investigation techniques and media (the schedule is indicative and might be adjusted or changed during the process).

Part 1

9th September – 11th October

- Studies and analyses on monuments from our reference catalogue through the dramaturgic method.

- Further studies in Kierkegaard´s concept of anxiety through literature, exhibitions, performances and

other representations of the concept and his philosophy. See detailed exhibition time schedule: Kierkegaard 200Years; Exhibi-tions and Performances

- Processing the studies of Kierkegaard’s concept of anxiety in relation to his pseudonym “The Vigilant

Citizen of Copenhagen”. This, through forming a narrative and writing a manuscript with regard to the

methods of storytelling and the dramaturgic curve.

- Consideration and selection of a site in Copenhagen that can supplement and challenge our

“manuscript”.

- Site investigations with volume studies, mapping of rhythm and sound, investigation of patterns of

movement, arrival and departure, historic and future values.

- Consideration and decisions about presentation and representation of the end result of the project.

Part 2

12th October – 15th November

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-

-

-

-

-

-

-

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Construction of a spatial storyboard with regard to our narrative and the dramaturgic curve. (Storyboard, plan, section, models) Creation of a mood board, selection of materials, colours and textures.

Investigation and selection of iconographic props, (studies in 1:1, sketches and drawings) Investigation and selection of atmospheric props, (studies in 1:1, sketches and drawings) Development of the spatial storyboard through the concept of demanding props.

Development of the spatial storyboard through light studies.

Development of the spatial storyboard through the concept of dramaturgical symmetry.

Development of the spatial storyboard through the concept of camera angels.

Spatial ordering and reorganizing through the concept of “sequence and scenes”. Investigation and development of the atmospheric spatial and narrative values by looking at the interrelationships be tween the different elements. This by weaving each “clip” together to a spatial whole.

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Part 3

16th November – 6th December

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-

-

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Refine and simplify the spatial message by selecting and deselecting elements through the methods of clipping.

Further studies on the narrative and spatial rhythm through the methods of clipping.

Improve the atmospheric, spatial and narrative values by the concept of “sequence and scenes”.

Develop a performative presentation of the project.

Exhibition Time Schedule Kierkegaard 200years In regard to the 2013 celebration of Kierkegaard, there is plenty of exhibitions, performances and discussions. We have picked a few of these events and exhibitions that we find can compliment, challenge or broaden our understanding of Kierkegaard, his pseudonym ‘Vigilius Haufniensis’ and the concept of anxiety or exhibitions that might inspire to interpret his philosophy into architectural space.

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www.kierkegaard2013.dk Special webpage, celebrating Kierkegaard’s 200 year birthday and highlighting all the different events, discussions, performances and exhibitions.

Performance:

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“Tomhed, angst, kærlighed – Kierkegaard “Route” mellem reolerne” by the artists Veronica Hodges and Sacred Dust Productions, Lyngby Stadsbibliotek, 11.sep 2013 www.lyngbybib.dk/2525

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“Byvandring i Kierkegaards København”, History Tours, 14.sep 2013 http://kierkegaard2013.dk/t/byvandring#/

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”To be or not to be yourself – that is the question! - Speakers corner under åben himmel”, Kirstine An dersen, cand phil og historiefortæller, Fælledparken, 15.sep 2013 14.30-16.00 http://kierkegaard2013.dk/sep#/

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“Kierkegaard Anklager” tema: Mennesker og filosofi, politik og filosofi, anklager: Joakim Garff fra Søren Kierkegaard Forskningscenter anklagede: repræsentatenter fra brancherne; journalistik, økonomiske spåmænd og psykriatrien. Københavns Byret, ‘Golden Days’-festival, 20. Sep 2013 www.goldendaysfestival.dk/event/kierkegaard-anklager-1

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Exhibitions:

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“Den originale Kierkegaard”, Det Kongelige Bibliotek, den Sorte Diamant, 23.april-28.sep 2013: http://www.kb.dk/da/dia/udstillinger/den_originale_kierkegaard.html

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”Victor, A, Judge William, Johannes (de silentio), Constantin, Vigilius, Nicolaus, Hilarius, Johannes (Climacus), H.H., Anti-Climacus et. al. ”- Idèen om Kierke-gaard - et medieprojekt med udgangspunkt i Kierkegaards pseudonymer, Fotografisk Center, 24.august-6.oktober http://www.photography.dk/

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“Søren Kierkegaard – Kærlighedens gerninger og Genstande” - Interactive and virtuel exhibition between Kierkegaards filosophy and the citicents of Copenhagen, Museum of Copenhagen, 1.jan – 30.dec 2013 http://www.copenhagen.dk/dk/det_sker/udstillinger/sren_kierkegaard/kaerlighedens_gerninger_og_ genstande

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“Frihed” – Childrens exhibition about Kierkegaards concept of freedom, National Gallery of Denmark, 6.sep 2013 – 3.aug 2014 http://www.smk.dk/besoeg-museet/nyheder/artikel/ny-boerneudstilling-frihed-1/

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Monument References

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Monuments and monumental architecture This is a collection of monuments with a short introduction of themes that is relevant to our further studies.

Vladimir Tatlin, “Tatlin´s Tower” or “Monument to the Third International, 1920 Giuseppe Terragni, “Danteum”, 1942 Étienne-Louis Boullées, “Cenotaph for Isac Newton”, 1784 Daniel Libeskin, “The Jewish Museum”, Berlin,1999 Peter Eisenman, “The Memorial to the Murdered Jews of Europé” or “The Holocaust Memorial”, Berlin, 2004 Albert Speer, “The Chancellery Building” or “Reich Chancellery”, Berlin, 1938 Friedrich Gilly, Monument to King Frederick the Great, Leipzigerplatz, Berlin, 1797 Giovani Greppi, “Monte Grappa” or “Sacrarium”, Mount Grappa, Italy/Austria, 1935

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Dramturgy, as a method to structure spatial relations.

The following page is one example of how the references can be investigated through our methods.

In this case a section of “Sir Johns Soanes Museum” is analysed through the concept of a ‘dramaturgic curve’.

Time

Resolution Resolution

Denoument Denoument

Climax Climax

Confilct Conflict

Point Point of of no noreturn return

Plot Plot (rising (rising action) action)

Presentation Presentation

Exposition Expostion

Cross section thorugh Sir John Soanes Museum, London

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Vladimir Tatlin, “Tatlin´s Tower” or “Monument to the Third International, 1920 “A monument made of steel, glass and revolution.”

Viktor Shklovsky (Soviet critic).

A tower that with its contruction was ment to symbolize the new Russia. “A monument to the great Russia Revolution. The monument will be, in its ensemble, one unified form which is at the same time architectural, sculptural and painterly” “…the monument would be a comple, constructed thing of uncertain form.” “…and a locus of concentrated movement.” (Lynton, N., 2009: “Tatlin´s Tower”, 65)

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Giuseppe Terragni, “Danteum”, 1942 This monument was presented in 1942 at the exhibition in Rome but was never constructed. It was planned as a sequence of spaces that translates the narrative journey through heaven and hell. The monument was a dedication to celebrate Dante and designed as a symbolic translation of “The Devine Comedy.”

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Étienne-Louis Boullées, “Cenotaph for Isac Newton”, 1784 This monument was designed in 1784 but never constructed. It is a celebration to Isac Newton that stages the experience of day and night.

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Daniel Libeskin, “The Jewish Museum�, Berlin,1999 The Jewish museum in Berlin is a monument that enlightens the three realities of Jewish life in Germany with a dramaturgic path.

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Peter Eisenman, “The Memorial to the Murdered Jews of Europé” or “The Holocaust Memorial”, Berlin, 2004 This is presented as an untraditional monument because of its ambitions to leave out symbolism and instead produce an uneasy and confusing atmosphere thorugh space.

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Albert Speer, “The Chancellery Building” or “Reich Chancellery”, Berlin, 1938 The monumental architecture used as an instrument of power. How architecture played a key role in the propaganda of the “Third Reich”.

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Friedrich Gilly, Monument to King Frederick the Great, Leipzigerplatz, Berlin, 1797 A monument to celebrate King Frederick the Great. The monument consist of different parts, a monumental gate, sarcophagilids, obelisks, and a Doric temple on a massive podium. Here the temple works as a monumental icon and the real action is hidden within the podium.

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Giovani Greppi, “Monte Grappa” or “Sacrarium”, Mount Grappa, Italy/Austria, 1935 The monument is a 1st World War Memorial of the battle in the Grappa mountains between the Austro-Hungarian Empire and the Kingdom of Italy in 1917-18.

The Memorial is placed untop of the mountain as a crown. It uses the theatrical background of the landscape to express an allmost existential ‘angst’ of man fading away into an ant-like miniature. The route between the Monument and the Austro-Hungarian cemetery is build in a false perspective to increase the sense of grandeur and scale.

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References

Bergson, Henri , 1896: ‘Matter and Memory’ Bordwell, David and Thompson, Kristin, 2001 Sixth Edition: ‘Film Art – An

Introduction’, University of Wisconsin, McGraw-Hill Bruno, Giuliana, 1997: ‘Site- seeing: Architecture and the moving image’ Ohio

University School of Film.

http://www.pitzer.edu/academics/faculty/lerner/wide_angle/19_4/194bruno.htm Bruno, Guilana. 2002: ‘Atlas of Emotions- Journeys in Art, Architecture and Film’

chapter: ‘Film, Aesthetics, Science: Hugo Münsterberg’s Laboratory of Moving Images’, Verso Bruun, Søren, 1998: ‘Tekstredegørelse til ‘Begrebet Angest’ af Kierkegaard, Søren

1844’, ‘Søren Kierkegaards Skrifter K4’, Gads Forlag 1998, 307-40 Cappelørn, Niels Jørgen et al, 1998: ‘Kommentarer til ‘Begrebet Angest’ af Kierkegaard, Søren 1844’,

‘Søren Kierkegaards Skrifter K4’, Gads Forlag 1998, 341-530 De Botton, Alain , 2009: ‘Lykkens Arkitektur’, Tiderne Skifter Eames, Ray and Charles . 1953: ‘A Communications Primer’, film Eco, Umbreto. 1973: ‘Funktionen og Tegnet’ from Oxvig and Bek ‘ Rumanalyser’ 1997 Eisenstein, Sergei, 1989: Towards a Theory of Montage: selected works Volume 2.

I.B. Tauris; Re-issue edition, 2010. London.

Garff, Joakim, 2007: ‘Angstens væsen og uvæsen’, Psykriatri-Information 2007/3 Heathcote, Edwin, 1999: ‘Monument Builders – Modern Architecture and Death’, Academy

Editions, Great Britan Kierkegaard, Søren (under the pseudonym of Vigilius Haufniensis), 1844:

‘Begrebet Angst – En simple psychologisk-paapegende Overveielse’ in

‘Søren Kierkegaards skrifter 4’ Gads Forlag 1997 Lynton, Norbert, 2009: ‘Tatlin’s Tower – Monument to Revolution’ , Yale university Press, New

Haven and London McGrath, Brian and Gardner, Jean , 2007: ‘Cinemetrics – Architectural Drawing

Today’, Wiley-Academy McLain, C., 1980: ‘Imaginary Apparatus: Film Production and Urban Planning in

New Your City 1966-1975’ Nicolin, Pierluigi. (ed) 1997: ‘Jean Nouvel Film Director and Architect’ Lotus 84:

Milan Norberg-Schulz, C, 1979 : ‘Genius Loci – Towards a Phenomenology of Architecture’,

Rizzoli Pearson, Christopher E. M., 2009: ‘Monuments of Genius’, Parkstone Press

International, New York, USA

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Peirce, C.S, 1893-1913: ‘Peirce on signs: Writings on Semiotic’, Edited by James

Hoopes, 1991 Ryan, Paul . sep 2002: ‘Program for the Hall of Risk’, New York Times Schantz Lauridsen, Palle, 1996: ‘Film Byer’, Statens Humanistiske Forskningsråd, Forlaget

Spring Schuldenfrei, Robin, 2012: ‘Atomic Dwelling – Anxiety, domesticity, and post war architecture’,

TJ International Ltd, Padstow, Cornwall Tschumi, Bernard, 1981: ‘The Manhattan Transcript’ , London: Academy Editions Vindfeld, Tine, m.fl, 2004: ‘Kan der skabes Monumenter idag?’ introduction to

‘Monument – Samtidskunst I Byrummet’ , Informations Forlag

Radio Thomsen, Liv, 2013: ‘Stadier på livets vej – en fortælling om Kierkegaard’,

Program 3 and 4, P1, Danmarks Radio

http://www.dr.dk/P1/Serier/20130423104509.htm Solvang, Helle m.fl. 2013: ‘Kan man forstå Kierkegaard I dag?’, Sproghjørnet, P1,

Danmarks Radio

http://www.dr.dk/P1/Sproglaboratoriet/Udsendelser/2013/05/02110946.htm Television Søren Kirekgaard – 5x5 minutter DR K, Danskernes Akademi:

http://www.dr.dk/DR2/Danskernes+akademi/Filosofi_Tro_Historie/Kierkegaard_paa__minutter.htm

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CV Moa Liew

School/ University/ Professor 2012-2013 Master program at The Royal Danish Academy of Fine Arts, School of Architecture

4 th year Niels Grønbeck and Phil Ayers

5 th year Merete Ahnfeldt-Mollerup and Nicholas Thomas Lee 2011 CAKI, Center For Applied Artistic Innovation -Incubatorship 2010‐2011 Copenhagen Technical School, Carpenter ‐ Cabinet‐maker 2008‐2010 Bachelor Diploma in Architecture at Department 2, at The Royal Danish Academy of Fine Arts, School of Architecture

3 rd year Astrid Moody, Jakob Knudsen, Amanda Betz

2 nd year Ben Clement and Sebastian Delacour

2005‐2007 Architecture. Chalmers University of Technology. Gothenburg, Sweden Professor: Claes Caldenby 2004‐2005 Fine arts (painting, sculpture, graphic). Lunnevads Folkhögskola, Sweden

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Scholarships / Awards 1st prize winner of “Bo Taet”, “Dense Living” with the shortfilm “Yndlingsbolig” Competition administrated by Statens Kunstfond andArkitektforeningen 1st prize winner of “Laser Works” with the shortfilm “Det sidder i væggerne”

Relevant work experience 2013 Investigation of ‘Genuis Loci’ interpreted through film and exhibition design.

Exhibition “Gränssnitt Smyge” at Smygehuk, Malmö.

2011 - 2013 Research project ‘Architecture and Palliation’ in collaboration with the Danish Knowledge Centre for Palliative Care (PAVI). Funded by Realdania.

Research results published through: Film ‘Arkitektur og Lindring’ Articles at ‘Arkitektur og Lindring’, www.pavi.dk Workshop ‘Architecture and Palliation – knowledge, practice and network’ Conference ‘Architecture and Palliation’ 2011 Owner and founder of the company Within Walls. Lab for investigation of architecture and communication through different medias. www.withinwalls.dk

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CV Christel S. Nisbeth Madsen

School/ University/ Professor 2012-2013 Master program at The Royal Danish Academy of Fine Arts, School of Architecture

4 th year Niels Grønbeck and Phil Ayers

5 th year Merete Ahnfeldt-Mollerup and Nicholas Thomas Lee

2011 CAKI, Center For Applied Artistic Innovation -Incubatorship 2010‐2011 Copenhagen Technical School, Carpenter ‐ Cabinet‐maker 2008‐2010 Bachelor Diploma in Architecture at Department 2, at The Royal Danish Academy of Fine Arts, School of Architecture

3 rd year Astrid Moody, Jakob Knudsen, Amanda Betz

2 nd year Ben Clement and Sebastian Delacour

1 st year Eva Ravnborg and Anders Møller

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Scholarships / Awards 1st prize winner of “Bo Taet”, “Dense Living” with the shortfilm “Yndlingsbolig” Competition administrated by Statens Kunstfond andArkitektforeningen 1st prize winner of “Laser Works” with the shortfilm “Det sidder i væggerne”

Relevant work experience 2013 Investigation of ‘Genuis Loci’ interpreted through film and exhibition design.

Exhibition “Gränssnitt Smyge” at Smygehuk, Malmö.

2011 - 2013 Research project ‘Architecture and Palliation’ in collaboration with the Danish Knowledge Centre for Palliative Care (PAVI). Funded by Realdania.

Research results published through: Film ‘Arkitektur og Lindring’ Articles at ‘Arkitektur og Lindring’, www.pavi.dk Workshop ‘Architecture and Palliation – knowledge, practice and network’ Conference ‘Architecture and Palliation’ 2011 Owner and founder of the company Within Walls. Lab for investigation of architecture and communication through different medias. www.withinwalls.dk

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