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DWELLING IN LIGHT - 70° N Arctic light as generator for new architectural typologies
No full textDwelling in Light - 70° N takes a new approach to single-family house typology within Arctic Norway. Based on a fundamental component of our daily life routine, daylight, it has guided the very characteristic of this specific outcome. The leveled floor plan is harmonic, mediating with daylight through four equal in length and height pendicular facade walls. One glazed wall is completely exposed to its circumstances; the other three facades filter the strong horizontal light through an arrangement of diagonal walls within a grid of 3x1.5m. Niches, being in between spaces, reflect the light rays, filtering the cold outdoor light into a warm, honey-like glow. The light experience given by the niches is both a shared occasion and a more intimate moment. Within the main 3x3m grid, a timber-framed structure covered with epoxy-treated plywood plates rises above the flat roof structure. It appears as a transparent crystal to the public due to its glazed octagonal base shape. The outer layer of the funnel-shaped shower within the bathroom captures light from a 360° angle, bending the light down to floor level, while the inner part gives a vertical view of changing skylight, as well as an observation point for light phenomena that occur in the arctic. The concrete pillar foundation allows for smaller excavations in the ground, along with adaptability to irregular terrain conditions. A glulam structure is placed along the axes of the pillar foundations, which are covered with CLT slabs. The roof’s glulam beams span across the whole building on mirrored load-bearing glulam pillars. Due to the stair-like shape of the beams, they diversify the height within the inner core and the filter wall areas. The core is 2.4m from floor to ceiling, while the niches are 3m high. The use of timber in the exterior and interior parts of the house emphasizes the material connection with its context, as well as the fact that the wood transmits warmer light from its reflections in an otherwise harsh and cold environment.submittedVersio
Selvsagt
No full textOpp mot 50 prosent av den norske befolkningen kommer til å få en form for psykisk plage eller lidelse. En bærekraftig helsetjeneste krever at hver enkelt må ta ansvar for egen helse. “Selvsagt” reduserer terskelen for å søke hjelp, tilgjengeliggjør informasjon, og gjør det lettere å beskrive egen situasjon ved bestilling av fastlegetime for pasienter med psykiske plager. Fastlegen får bedre innsikt i pasientens situasjon slik at konsultasjonen blir mer relevant. “Selvsagt” bygger på det eksisterende og er et supplement til dagens digitale helsetilbud.
Å søke
Å søke trygt er viktig. Søk på internett avhenger av søkemotoren, og av søkerens sin kompetanse og tydelighet når et søk plasseres. Om man søker åpent, eller vagt - vil også dette gi søkemotoren mulighet for å gi omfattende svar på det søkeren søker etter som ofte er upresist. I dette designforslaget ønsker jeg å bidra til et mer presise og relevante søk, som kan gi mer presise og relevante svar.Ved hjelp av filtrering utforskes det hvordan man kan uttrykke seg på andre måter, i et søk etter hjelp og i en bestilling av en konsultasjon.
Å ha muligheten til å velge hvordan man skal avgi informasjon
Løsningen gir pasient mulighet til å oppgi andre opplysninger som følelser og tematikker/situasjoner på en likeverdig måte som fritekst. Pasientens frihet til å velge alternative måter å beskrive sin situasjon på skal tilbys, men skal ikke oppleves som påtvunget. Det er derfor viktig å designe for valgfrie muligheter fremfor obligatoriske felter.
Å lære mer om egen situasjon
Ved bestilling av time hos fastlege kan pasient lære mer om sin egen situasjon. Det å tenke på hvilke følelser som påvirker deg, og hvilke livssituasjoner du er i, kan gi modning og innsikt i bakgrunnen for fastlegebesøket.
Å forstå bredden av hva det er vanlig å prate med legen om
Pasienten ser også at det er naturlig å snakke om følelser og livssituasjoner med fastlege. Bredden for tema er stort da livet påvirkes av mange dimensjoner. Dette kan bygge tillit til fastlegetjenesten. Dette blir også punkter til fastlegen, som en huskeliste. Med huskelisten tilgjengelig kan fastlegene bruke denne for å tilnærme seg pasient og åpne opp områder som ellers kan være vanskelig å snakke om.
Ventetiden
Innholdet som tilbys i ventetiden må være balansert. Det bør ikke gis helsetilbud, applikasjoner, eller tips som indikerer at pasienten har en diagnose. Ut fra delt informasjon ved bestilling av time settes det ikke diagnose.
Det kan også være vanskelig å foreslå hjelpetiltak basert på begrenset informasjon. Designforslaget viser hvordan påminnelser, bekreftelser, oppmuntring til egen refleksjon, og andre type forberedelser er positivt for at pasienten er klar når konsultasjon finner sted.
Når du bestiller time er det fordi du trenger hjelp. Ikke om to uker, men umiddelbart. 2 ukers ventetid er bare 14 dager, men kan av pasient oppleves som en evighet. Ventetiden er blitt endret til en periode for å bli hørt. Det å føle at det er noen andre som lurer på hvordan det går, bruke ventetiden til å jobbe med seg selv, til å forberede seg til konsultasjon, og eventuelt kunne modnes på egen situasjon er verdifullt og viktig.submittedVersio
River Tracing: Providing Land for Future Water Events
Get PDFThe project proposes an accumulating copperhancing planning of landscape through scales to handle flooding and future water events in the riverways of the Norwegian mountain landscapes, based on the logic of water and topograhy. Through digital water accumulations and tracings of the valley and river in Hemsedal, the project challenge the act of separation of land and water. This seperation”line” has come into sharp focus during extreme floods, with proposals of walls, levees, natural defenses, land retirement schemes and recomendations for retreat. These responses raise questions on where this line is drawn, but they also raise questions on the separation that this line facilitates. Is this separation found in nature or does nature follow from its assertion? When people see flood, they see water tragressing this line.
Tracings of water accumulations, extracted into digital models, function as a method to find the underlying landscape and propose a siteplan of potential waterflows and escapes if the water were let free from its predicted wayes of the river and into the landscape. The micro topography still speaks about the dynamics of the water and the past wet landscape. The flood distributes these spaces, proposing its space during spring-flood and demanding its space during extreme flood. This becomes a landscape which can take the floods, give the water its space and propose an organisation of water and land due to the logic of water; a landscape design embedded from the present geological and climatic record, erasing the line seperating land and water.
Tracings repetative waterflows of spesific dimentions can pronounce where the water through time has placed and conducted the soil.
When the flows collide or almost meet, they leave concaves and convaxes, depressions and elevations.
The waterflows reorganisation of soil finds a new duett between land and water and areas where the land can be provided to the waterevents. When the riverwater raise to a certain level it will flow over its edges, and escape into these areas. One of these areas is the meanderings of the river.
On a day of heavy rains the water arrives. From the mountains it comes as runof into the river, some of it infiltrated in the soil. The ground water is raising and the soil of the valleyfloor is filled with water. The moraines deposists appears as repetative sequences under the surface, becoming ””watergates” with their high infiltrationabilities, tranfering and infiltrating water between the surface and the deepsoil. These watergates appears as gravelbeds.
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The meanderings of the river, are pronounced through vegetation, soil and gravel. The flows and dynamics of the river becomes visible through lines of vegetation and water. When the river escapes is predicted wayes, during heavy rain and springflood, it enters this stage and fills in the meanderng tracings.
Within this landscape the vegetation lines create sequences of narrow and wide spaces where the meanderings almost meet, and where they move apart. The bands of soil and the gravelbeds are created by moving the first layer of topsoil to the side, revealing the moraine deposits and gravel underneath. The removed soil placed aside, becomes soil bands of raw earth, with cultivationvalue.
The water will infiltrate through the gravelbeds which becomes watergates between the surfacewater and groundwater. Through this act of moving the topsoil aside the original infaltration abilitites of the landscape is reactivated: The geological record of moraindeposits and gravel and the present climatic record of water events meets. The tracing of waterflows, and the meandering echos finds a lansdcape were the water can escape the riverbed into the provided land. The river as a dynamic element becomes visible and preformative, leaving reminders and traces of its forces and wayes.submittedVersio
Deep in the mountains
No full textMy hometown is a small city in Guizhou Province in southeastern China. Sometimes I dream about things taking place there. The connections become stronger when I am farther from there. Since I worked in one of the biggest metropolitan cities, Shenzhen, I have been thinking about how I can be an architect in my hometown. Even though architects are an unnecessary profession in the small city, the connection with this land leads me to make architectural attempts.
Urban explorer Rem Koolhaas warned us about the dying of rural in the Guggenheim exhibition Countryside, The Future. The countryside is an all-time topic, with political Rural Vitalization, civic Rural Reconstruction, and artistic interventions, but I am more interested in why some people are deeply rooted in villages where many traditions rest. Sibyl Moholy-Nagy1 and Juhani Pallasmaa2 both mentioned T.S.Eliot’s essay “Tradition and the Individual Talent” (1919). In this essay, Eliot argues that about how inheriting tradition cannot be inherited, and if you want it you can only needs obtained it by great labor.3 Tradition is necessary for us in order to maintain identity and connection in the world. It has however to re-created and re-invented, as Pallasmaa says. How can we access traditions and villages?
The village where my father came from is the initiative for this diploma project. It is about everyday life in an inclusive mood with the landscape around it. I made the word “Villopia” up with village and utopia. It is a concept of reconstructing utopian life in a village and making it accessible for those who are far from it to understand. This view is based on my memories, experiences, and observations, which are the main tools for “looking at” connections in an ordinary, disappearing village. I depict the mood of viewing the topography and being in the landscape. All the interpretations become memory journeys. It catches traces of lives through architectural approaches and demonstrates how we live with the vicissitudes of time in the spaces. Villopia experiment is launched as an architectural test for bringing village lives to an urban area. A flora table is made in this experimental renovation project to connect people there with here, the past with the present, and people with flora.
The whole project is to register things in a normal village. In Deep in the Mountains, the pre-diploma provides different perspectives to look at villages and architectural program for the diploma. In Villopia – The Portrait of a Village, different drawings and models are the new portraits to get to know the village. Living with Flora is an experimental project to realize rural lives in urban areas. Materials of working process and inspirations are also included. Architecture and landscape become performance stages for living beings’ lives. Invisible traditions are continued through the life performance. As an architect, I can’t stop the loss of the village, but registering is what I can do for everything living in the village.submittedVersio
Oslo`s Urban Canvas : strategic transformation for abandoned spaces
No full textOslo municipality own 198 abandoned buildings, adding up to 140 000 square meters, spread across the city. The majority of the buildings have been abandoned for a number of years, and have an uncertain future.
This project establishes a framework for the revitalization of abandoned buildings owned by Oslo municipality, focusing on the strategic transformation from temporary activations to permanent community developments, grounded in the urgent need for sustainable urban regeneration.
The research delves into understanding the characteristics and inherent possibilities of these buildings, shifting the narrative from obsolescence to opportunity. The project´s foundation lies in the hypothesis that temporary, community-focused interventions can act as catalysts, sparking a transition towards long-term, sustainable redevelopment that resonates with the social, cultural and environmental need of the city.
The methodology adopted is multi-scaled and dynamic, beginning with a city-wide analysis of the abandoned buildings, followed by a focused exploration at neighborhood and individual building levels, and then choosing three buildings as case studies to test out the different strategies. The research on all of the buildings is compiled into a book incorporated in ”binder 2”. A key aspect of the project is the ”temporary-to-permanent” strategy. This involves initiating with low-cost, flexible temporary uses for the abandoned buildings, such as pop-up cultural events or community workshops. These temporary interventions serve as platforms for testing ideas, engaging the community and assessing viability, paving the way for more permanent, substantial redevelopment plans. The approach underscores the importance of flexibility and responsiveness, allowing the project to evolve organically based on real-time feedback and changing urban dynamics.submittedVersio
Living Surface
No full textThe synthetic surfaces we are surrounded by today cause damage to nature and humans. According to recent research, paint accounts for 58% of all the microplastics that end up in the world’s oceans and waterways every year.
How might we reveal hidden processes to challenge the contemporary aesthetic of the surfaces that surround us?
By using comparison as a tool, we are suggesting a shift from synthetic to living surfaces.
This master thesis is a critical material exploration, within Industrial Design. It is led by research, and supported by visual communication. Our process has been possibility-driven, exploring alternatives to synthetic surfaces by learning from tradition and combining this knowledge with new inventions.submittedVersio
