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Brutalistiske omsorgsarkitektur sett gjennom tre ulike perspektiv
Get PDFDenne oppgåva handlar i all hovudsak om brutalistisk omsorgsarkitektur. Dette er belyst på tre ulike måtar: Først gjennom den historiske utviklinga og betydninga av omgrepet brutalisme. Funna eg har gjort undervegs, viser at det ennå finns hol og uklarheiter når det gjeld både definisjon av brutalisme og kartlegging av denne som kulturarv. I neste perspektiv, der synsvinkelen på tema er kvinna si rolle i utviklinga viser det seg at sjølv om det ikkje har vore eller er mykje dokumentasjon av norske kvinner innan brutalistisk omsorgsarkitektur er det tydeleg at dei likevel har sett sine spor. Gjennom berekraftsperspektivet til slutt er det fokusert på korleis ein kan og bør nytta denne arkitekturen i dag for å redusera ressursforbruket, samstundes som den tek vare på og foredla vår felles historie, men i ei revidert og inkluderande form.submittedVersio
From Taboos to Talk: Exploring Futures of Sexuality Education in Norway
No full textWith From Taboos to Talk we explore new ways of approaching sexual health, in order to promote open and honest conversations. Explore the scenarios at taboostotalk.com.
Through four future scenarios we speculate around two main driving forces that might lead the development of sexuality education in Norway in different directions. Through storytelling we want to contribute to a broader discussion about sexual health and sexuality education.
This speculative design diploma reimagines how we deal with sexuality education. It explores new ways sexuality might be learnt, as well as new arenas where reflection and mutual understanding might occur. Through four future scenarios we explore two main questions:
We ask who might be the focus in sexual education;
A strong focus directed at the children or a cross generational focus?
We ask where it might take place;
Should it take place in the public sphere or the private sphere?
Towards the end of our diploma we hosted an exhibition as a final test to see how our future scenarios actually perform as a tool. The exhibition sparked valuable discussions and reflections regarding sexuality education and sexual health between the around 20 participants.
After the exhibition we set out to translate the experience of the exhibition into something lasting. This resulted in a workshop toolkit, designed to provide the same kind of experience as the exhibition, but also adding a final important step, urging participants to take action today! This toolkit is available at taboostotalk.com/workshop.submittedVersio
Messages from food
Get PDF“Messages from Food” is a service design project that seeks to cultivate a deeper connection and appreciation towards food by encouraging individuals to embark on a journey of self-exploration and education. While I initially focused on addressing food waste in households through food storing knowledge providing, the project delves deeper into the underlying problem of human detachment from food. The modern industrial food system has controlled a lot of uncertainty but has also made us less sensitive to the complex entanglement between nature, food, and life. And we are less understanding and curious about food. Indeed, as food consumers at the end of this system, we are passive. But what if we return to the identity of eaters? What if we treat food as an actor rather than a commodity or a product?
The outcome of this diploma project is the establishment of the Food Carer Community, designed to facilitate the transition towards a deeper connection with food. This transition encompasses three progressive stages. The Food Carer Community advocates for a supportive and collective food education environment that fosters discussion and exchange, starting with food carers, whether individuals or organizations, to deepen people’s connection towards food gradually. The Food Carer Centre provides tools for food carers to communicate with general food consumers. Through the continuous development of this relationship, an open and mutually supportive food education environment can be established. By triggering reflexivity in this service ecosystem, we can create structural malleability, resulting in an open platform that provides resources and opportunities for food carers to co-create more possibilities and tools to connect with food.
My design interventions aim to provide support and facilitate different stages of the transition, promoting the continuous transformation of people from general food consumers to explorers, and eventually food carers. The four interventions, namely “Messages from food,” “Cook from your friends’ fridge,” “Activities box,” and “Food knowledge base”submittedVersio
Program: A room for running in a world in flux
Get PDFFor all the attention paid to notions of flux in philosophy and architecture in recent years – of the movement and oscillation between seemingly hermetic states, the perpetual becoming of the world – it is surprising how little effort has been devoted to the architectural element most concerned with the dispersal of bodies between static spaces, namely the corridor.
The thesis is theoretically oriented – aiming to think and discuss architectural ideas. The first part is an essay, which explores the corridor as a narrative element: a concept which oscillates between real and fictional (non-)spaces, even connecting them (as corridors tend to do). The second part of the thesis researches the corridor through works, testing and twisting the architectural typology.
There are many stories about the corridor, that by no means falsify each other as much as they reveal the subtleties by which the truths and meanings of concepts are constructed and negotiated about in the social world. Etymologically, the corridor denotes “to run” (from the latin curere), a word initially used to describe a person carrying political messages across vast territorial distances. Later, political communication was progressively veiled by architecture, such as in the elevated Vassari Corridor connecting the Palazzo Vecchio to the Palazzo Pitti in Florence. From 1565 and onwards, the room served as a secret passageway for the Medici family. The political dynasty did not wish to disclose to their surroundings when, why, or by whom its communication channels were roamed. When the corridor-word appeared in plan drawings in the following century as the metonymic “room for the runner,” replacing the runner-person with the architectural element, they were new manifestations of Giorgio Vasari’s political invention. In the 1600s, the corridor’s capacity for covert communication made it essential in aiding the Counter-Reformation alliances between the Jesuits and Roman administration. Separating circulation from the official courtyard entrance, the corridor spread to monastic construction, particularly in Austria and Germany, such as in the vast Augustinian complex of St. Florian (1686–1751)2. Importantly, the functional political passageway concurrently entered the symbolic realm. By implying to outsiders that the corridor’s proprietor needed a political pipeline into their residences, the corridor itself became a potent sign of influence. The optical illusion of Francesco Borromini’s transformation of Palazzo Spada in 1632, plays out the fantasy of a purely symbolic corridor in emblematic fashion: while the visual appearance the arcaded passageway suggests thirty-seven meters long corridor, it is in fact only eight.
Nowadays corridors are most often “narrow hallways” – spatial entities with walls on either side that distributes traffic to connecting rooms, or “a passageway (as in a hotel or office building) into which compartments or rooms open.”4 Yet, this general definition enables the corridor to be proficiently used as analogy, applicable for a wide range of phenomena. In the Norwegian national news media in 2022, the corridor was used as analogy in association with the Russian war in Ukraine, the COVID-19 pandemic, global warming, and the electricity crisis, to name a few examples. These so-called corridors varied in dimension from some interior square meters of a building (“We are standing in the end of a corridor in an office building in Kongsvinger [...]”) to contiguous spatial sequences crossing geographical borders (“For many years, polar bears have commuted between the ice edge and Svalbard. In the past, there was a corridor of ice between the two destinations all year round, this is no longer the case.”). There are instances where it is more ambiguous whether the corridor-word refers to a physical place or an abstract phenomenon: “On Wednesday, the Russians tried to storm the facility, although claiming to be opening a humanitarian corridor from it.” Or: “20,000 civilians finally got out through a humanitarian corridor.” Or even: “Such a corridor will give Russia control over the entire Sea of Azov.” The corridor-word insinuates both spatial and temporal events, and is even used in poetic subversion, when Willy Pedersen writes of Maria Stepanova’s new book that “the hope is to find a corridor leading to new knowledge, and to new, bright rooms.”
Despite the fit-for-all, explanatory potential inherent to the term’s vagueness, and its fullcircle morphology from exterior route to interior passageway and back to exterior route, there are several reports of architectural corridor-fatigue. According to Rem Koolhaas, the corridor is now “simply an exit-route” from what is regarded the architecture proper, only a “void sustained by a glimmering array of devices, from exit signs to motion sensors to fire sprinklers to illuminated, way-finding carpets.” “To be honest, these spaces are merely passages, volumes to pass through on the way to somewhere else. These are the parts of the journey most likely to be done on autopilot, the minutes and hours vanishing into routine habit. Dead time and dead space,” writes Roger Luckhurst of the space separating the territory of his London duplex from the street outside.
However, fatigued circumstances in combination with ambiguity can provide first-rate growth conditions for curiosity. Thus, A room for running in a world in flux investigates whether the architectural potential of the corridor is not entirely exhausted. This thesis postulates that architecture becomes more readable as processes in the stories that it co-produces. The text is structured into three separate, but interconnecting corridor-stories. Here, the concept of story refers to a purposeful narrative frame of meaning. The corridorconcept becomes in the systematization of historical accounts, architectural plans and the abundance of fiction and non-fiction in which it is propositioned. This form of analysis does not suggest a mechanical 1:1 relationship between a story and a physical building. While stories and their propositions about space do not faithfully represent “true” events, they still have an affective purchase on reality, since stories exchange affect as “intensities that pass body to body (human, nonhuman, part-body, and otherwise).”
The first story, Corridic grandeur and modern progress, revolves around the notion of the corridor as a device for modern progress. The second, Corridic alienation and modern discontent is unsurprisingly more skeptical, dealing with the corridor as a manifestation of class division and disaffection. The third and final story, Corridic non-space, discusses the corridor as neutral, insignificant-bordering-invisible – what will be called, paraphrasing Marc Augé, non-space. In the final work-based part of the thesis the parallel truths these stories contain are treated as generative, not of specific architectural instructions, but of an architectural way of thinking, judging and valuing.submittedVersio
Reinterpretation: Folketeateret
No full textReinterpreting: Folketeateret explores how a comprehensive building analysis can expand stakeholders’ definition of a building’s significance. By highlighting different examination entries, the aim is to exemplify how alternative narratives can point to the complexity of a building’s history. The project tests a perspective of dismantling the physical building into five (theoretical) scales, where building components are isolated in advancing complexity from the fragment (the building material) to the environment (the physical context the building is placed within) – revealing how the point of view contextualises the building in different ways. The project uses Folketeateret, a building complex in Oslo, as the case study.
The five-scale model
Fragment:
A fragment refers to the various building materials used to construct a building, including those that are made by a producer and those arranged on site. This scale examines the fragment’s material, material quality (durability, tactility, malleability, etc.), craftmanship and/or dimensions. Furthermore, the scale includes the contextual history of the fragment, both related to the building and its physical context.
Element:
An element is a combination of fragments that together form building components such as segments of a wall, the roof, a column, the floor slab, a window, a staircase and more. Elements can be composed of multiple materials. The outline of an element is defined in the meeting with other elements. The transition from one element to the next is observed in the change of material and/or a shift from one volume to another. For example, a façade can consist of several geometrical volumes arranged in such a way that creates a shift from the baseline of the façade. The shift can therefore distinguish two elements from each other, even if they are made of the same fragments. Architects and producers alike can design elements, which can be assembled on-site, or in a factory or workshop setting. Furthermore, the scale includes the contextual history of the element, both related to the building and its physical context.
Fabric:
Fabric is the spatial composition of fragments and elements where the architect’s act of assembling the different components materializes towards a functional building with an artistic expression or intension. Fabric is the scale where the building’s characteristics start to take shape: where configurations of fragments and elements are given directions and rhythm in a geometric composition. The elements become functional: walls, floors, and roofs become structural; windows let in light and give visual contact between inside and outside; stairs connect floors, etc. Fabrics are distinguished from each other by their geometric composition, where different shapes and sizes of elements create a distinct visual arrangement that separates them. Example from Folketeateret: recessed- or protruding volumes.
Structure:
Structure refers to the complete building and encompasses both its form and function. Fabrics are the entities that in structures are constituents in the formulation of the building’s features and characteristics, which can be defined in a typology. Structure points to the overall appearance of the exterior and to the three-dimensional layout of the building. The scale includes the re-interpretation of the architect’s holistic vision for the building as a cohesive entirety.
Environment:
Environment refers to the immediate context in which the building is situated, experienced, and perceived. This includes its relationship with neighbouring structures, streets, squares. The scale considers the location, orientation, and scale, and how they interact with the surrounding district. Additionally, the scale may also examine how the building’s inhabited functions and activities relate to the surrounding area.
What narratives can emerge when exploring the history of a singular fragment or element, or when emphasize is set on one of the spatial characteristics of the building? Reinterpreting: Folketeateret elaborate on this through two fragments, brick and stone, and their connection to Folketeateret; and one of the spatial characteristics in the scale fabric: ”the theatre passage”. The narratives derive from examination and interpretation of archival material, asking where a building’s significance can be defined additionally to how we conventionally describe a building’s architectural historical value. Conventional is here understood as the narratives describing a building’s relation to the architectural expression it has been defined as having or taken inspiration from in hindsight; descriptions where the building as a historical structure is analysed in comparison with other buildings of the same era and with similar architectural language. When examining a building from alternative perspectives, other questions of significance emerge. The hypothesis is that by surveying the variety of contexts and narratives, stakeholders can be more precise about which aspects of the building’s history have significance and are of interest to preserve. Whether listed or not, buildings in use are continuously adapted through design alterations to accommodate a contemporary function. These design alterations add layers of narratives to the building’s history. Which role can these narratives have in the discussion about significance? Moreover, how can these narratives be activated?
Accompaning the project is an essay called ”Reinterpretation: A Comment to the Folketeateret Listing Document”, which discusses what the heritage authorities imply when a building is preserved for its architectural historical value; a critical stand is taken on the word’ tilbakeføring’ (to revert); and the essay discusses further what happens when architectural quality is summed up in a building’s response to defined architectural styles.submittedVersio
Norwegian Daylight Architecture: Exploring the Spatial Potential of Daylight at Northern Latitude
No full textThis diploma considers the spatial experience of daylight, studying relations between the geometry of daylight in Norway and the geometry of Norwegian architecture.
There is very little focus on the varying daylight in Norwegian architecture. With daylight, architecture can be an everchanging performance of spatial experiences.
Quantitative measurements and numbers conclude if the daylight conditions are good enough, and the qualitative aspects are left behind. Daylights physical reality is not all measurable, certain aspects must be experienced to be genuinely grasped.
Daylight does not scale, and the qualitative variations of daylight can be observed in models. Model making serves as an analogue approach for spatial exploration in a significant portion of the research implemented in this diploma.
The diploma can be sorted into 5 components of equal importance:
The first component is theoretical research, looking towards what architects, researchers and other academics have written about different aspects of the theory relevant to this diploma. The academic readings is the foundation for the work done in the diploma.
The second component has been given the name The Norwegian Room. The goal of this method was to observe how the geometry and character of one room change with the changing daylight in Norway. This was achieved through photographic documentations inside a 1:15 scale model over the period between summer solstice and winter solstice.
The third component is Norwegian daylighting History. With this method, the goal was to gain a better understanding of the role of daylight in Norwegian architecture history, achieved through studies of a selection of case studies.
The fourth component has been given the title Models of Daylighting. In this method different geometries of Norwegian rooms have been explored in monochrome models, stripping away the details to learn more about the geometry of the daylight that enters the models.
The fifth and final component is the application of the four previous components to a design strategy. The designs are daylight labs in three different Norwegian landscapes. Findings from each of the components make up the framework of the architectural design project, which is a continuation of the work of this diploma. This project is also a research method, where the goal is to open the discussion of ways of designing with daylight that are not based on quantitative measurements or digital modelling.submittedVersio
The Right to the Augmented City
No full textThis project argues that if citizens have the right to the city, they should also have the right to the augmented layer, especially in public spaces.
The augmented city envisions a future where augmented reality becomes a new digital public infrastructure, mediating interactions between citizens and their city. Instead of focusing on a single app augmenting a specific location, this project examines the impact of an ecosystem of augmentations facilitated by private companies. This exploration includes examining ownership models that may emerge as AR technology becomes more prevalent in urban environments.
The primary goal is to explore how strategic design can mediate the power dynamics behind location-specific digital content. By developing digital protocols that prioritize citizens’ right to the digital commons over private tech companies, the aim is to contribute to the field of design and provide a citizen-centric perspective. Drawing on concepts such as placemaking, Henri Lefebvre’s “right to the city,” and Sabina Andron’s “right to the surface,” the project approaches the speculative AR-layer from a citizen-centric perspective, considering various scales and policy implications.
The final deliverable consists of building blocks that propose an alternative approach to crafting the augmented city. These building blocks propose new digital rights for citizens, emphasizing access, contribution, context, and protection. The intention is to embed collective urban values into the design, broadening the notion of citizenship to include the digital realm.
The project aims to offer a novel perspective that contributes to the discourse on AR technology, particularly from a design perspective. It seeks to provide a lens for relevant stakeholders to approach the use of AR technology. This perspective is crucial in evaluating the implementation of the AR-layer in cities, as the profit potential associated with AR may incentivize big tech to dominate the space, influencing frameworks and values embedded in public places. Recognizing the digital layer as an influencing factor in urban space production directly impacts citizens and their right to the city. It becomes a question of how we choose to allow it.
Valuing the digital layer alongside the physical environment is essential in establishing the AR layer as a new dimension of space in cities. The digital layer represents a new domain of citizenship, influencing how citizens perceive and live within the real world. Cities must consider citizens’ rights before solidifying the AR-layer, enabling them to proactively build a digital public infrastructure that addresses the issues observed in current digital platforms. Design plays a pivotal role in shaping this future, and it is our responsibility to ensure its positive impact on society.submittedVersio
composite condition / constructed condition
No full textThis diploma works within a present condition where architecture and context cannot be separated. An approach where architecture manifests itself as diverse interpretations rather than a common order. A cultural landscape is a palimpsest, brought forth by the overlapping of countless different systems. By reading cultural landscapes as states of constant change, it has encouraged an idea of working with architecture as conditions rather than form.
The starting point for this project is my meeting with the Lista landscape, the humans and non-humans that together create a composite condition. Lista is a large peninsula in Farsund on the South Coast of Norway, full of cultural monuments, where the types of nature are many, varied and vulnerable. It is a place that has fascinated residents, tourists, artists and architects for generations. This was one of the first areas in Norway to be exposed after the last ice age, and therefore has a long history of coexistence. It is a peninsula that shows depth of time due to natural processes parallel to human impact on the landscape.
Lista has continuous protected areas along the coast, which is rare in a Norwegian context. The protected areas form a long and narrow strip of land between the sea on one side and intensively farmed agricultural land on the other. The landscape along the Lista beaches has great national and international value and the preservation areas include both land and sea areas. The conservation values are linked to natural and cultural landscapes with geology, flora, fauna, landscape qualities and cultural monuments. Heavy industry is located just outside the protection boundary and the protection areas are vulnerable in relation to emissions and pollution. There are many user interests linked to the areas - large public outdoor interests, agriculture, natural values, business development and tourism. Preservation of the beach areas requires a balance between different forms of use and protection of some very vulnerable natural qualities.
There is a total of 332 different red-listed species registered in Farsund municipality, most of them on the Lista peninsula. Several of them have their main occurrence or only occurrence in Norway on Lista. In order to safeguard the goal of preserving a unique natural and cultural landscape the County Governor of Agder is developing a visitor strategy for the nature preservation areas at Lista. The strategy focuses on paths to channel traffic and rest areas in relation to increased use. In addition to this they are mounting signs along the way to inform the visitors. The problem with the signs and information posters is that they want to capture a fluctuating landscape and place, and pin it to a specific time. Lista's soul is that it is always changing; a landscape that is built layer upon layer and is always evolving. Rather than static signs and information points, I have worked with three architectural interventions that relates to three of the red-listed species. A greenhouse for the Sea Holly, a marking of the territory of the Maritime Mason Bee and a bird observatory. They are all developed to prevent them from disappearing from Lista, to understand them better, and to celebrate our coexistence. In contrast to the signs the architectural interventions interact with and becomes a part of the landscape and its changing character, which can shape and be shaped by the landscape. Framing what the signs fail to do, reflecting the temporal.
The final project proposal illustrates the usage of this architectural approach. Where the research on Einarsneset plant and animal life preservation area, species, flora and fauna, coexisting with humans, together form the basis of an architectural program. The individual constructed conditions make use of the approach in different ways, without necessarily fusing into a new condition. Instead, they together are constructed conditions emphasizing the composite condition which they are part of. Pointing towards an approach that can inspire other composite conditions.submittedVersio