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When the well runs dry
Get PDFAn architectural approach to the water scarcity in southern Spain.
The aim of this diploma has been to show an architectural approach to the ongoing water crisis in the region of Murcia (Spain). The three projects each tackle three different challenges related to water scarcity: how to obtain more of it, how to use it in a more efficient manner and how to deal with flooding. Additionally the three proposals will relate to the social context by including programs that can involve and include the local community as well as the visiting tourists. The town of Ricote has been chosen as a site because it represents many of the challenges related to the water shortage as well as being a tourist attraction with rich history.
The first project is situated near the entrance to the valley of Ricote, on the top of a hill with a view towards the town. Today the site contains the remains of an old abandoned hotel that recently has been proposed to be remodeled. Since this will be the first meeting with the town of Ricote, it is chosen as the site to introduce the first step of the water supply chain: How to get more water. In order to acheiv this, a water harvesting tower also known as an air well is proposed on the site. In addition the tower will also serve as a viewing platform for visiting tourists. The tower will supply the new hotel with water as well as the new proposed nursery further down in the valley. The water is produced by cooling down the hot, moist air using cooling panels. This creates condensation on the panels that can be collected. The panels are tilted so that the water will run off and have a hydrophilic coating on one side and an insulating layer on the other. This process has traditionally been highly energy consuming and inefficient, but with recent advances in material technology and sustainable energy sources the option has become more reasonable
The second project is a fruit tree nursery. The structure will also host the social programs already present on the site. This includes a funeral home, a community space and a kindergarten. The valley of Ricote is known for their lemon production and this facility will provide the entire valley with all the new trees that are planted each year. The agriculture sector in the Segura basin consumes around 86% of all available water resources. Even if an efficient irrigation method is used most of the water is lost to evaporation as a result of photosynthesis. In open air farming this water is almost impossible to recover. That is why a nursery with a sealed closed hydrological system is proposed to illustrate an alternative method of farming where the used water can be recaptured and reused. The water demand for growing lemon trees is greatest during the plant’s first years of growth and a nursery will take advantage of the water-saving potential during this period.
The last of the three projects tackles some of the many challenges related to flood. Even though the Segura basin receives a scarce amount of rain during a year, it is not uncommon that most of the annual rainfall comes as torrential rain during short periods of time. This has led to many disastrous floods and preventive measures are constantly being taken into action in order to prevent new ones. In addition to constructing flood barriers the main strategy has been to channel the flood water towards areas where it poses a lower threat, mainly towards the Mediterranean sea. This is being achieved by straightening parts of the river and introducing parallel flood channels. Even though this decreases the amount of incidents it also increases the potential harm should an extreme situation occur. The project on the 3rd site illustrates an alternative option to this strategy. By capturing and storing the water locally, in an underground cistern at the lower end of the valley, it is possible to limit the amount of water that could cause a potential overflow further downstream. The space above the cistern will be utilized as a RV-park for visiting tourists. During drier periods the water can either be used locally, transported to other areas through the Tajo-Segura aqueduct or released slowly into the Segura river.submittedVersio
Vi må aldri glemme
No full textVi må aldri glemme er et designprosjekt som tar utgangspunkt i dagens utstilling på 22. juli-senteret og bruker opplevelsessentrert tjenestedesign for å utvikle forslag til senterets nye, permanente utstilling som skal åpne i 2025.
22. juli-senteret er et minne- og læringssenter for terrorangrepene som rammet Norge i 2011. Senteret ligger sentralt ved regjeringskvartalet i Oslo, og har en midlertidig utstilling som er åpen for allmennheten. I 2025 flytter senteret til permanente lokaler i høyblokka.
For å innhente innsikt til forslaget har vi observert og intervjuet besøkende ved senterets midlertidige utstilling. Vi har også hentet inspirasjon fra andre museer og opplevelser som behandler liknende tematikk.
Resultatet av oppgaven er en foreslått besøksreise for utstillingen på det fremtidige senteret. Her er brukeren satt i sentrum, med et mål om å styrke engasjementet og høytdeligheten i opplevelsen. Reisen strekker seg over analoge og digitale kontaktflater de besøkende møter før og etter utstillingen på senteret, og inneholder også noen overordnede designprinsipper for selve utstillingen.
Vi håper at oppgaven kan bidra til å se mulighetene som finnes i å involvere designere tidlig i prosessen under etableringen av det nye senteret. Å utvide forståelsen av besøksreisen fra noe som kun finner sted på senteret, til å bli en helhetlig opplevelse som strekker seg ut både før og etter, bringer opp nye perspektiver og muligheter for å engasjere gjennom ulike kontaktflater.
Selv om det er nesten elleve år siden terrorangrepene rammet Norge, er minnet om hendelsene og tematikken viktigere enn noensinne å formidle, og da spesielt til de som er for unge til å ha opplevd det selv. Å skape en mer engasjerende opplevelse ved senteret er på den måten helt avgjørende – for å bidra til at vi aldri glemmer.submittedVersio
The fluid garden of Kitakami : weaving boundaries along the Tsunami coast
No full textThe fluid garden of Kitakami is an experimental project that rethinks adaptive disaster lifestyle in the coastal area of Japan where a Tsunami hit communities in 2011. The approach is to weave several aspects of traditional Japanese culture to design a new resilient landscape that celebrates natural cycles and understands humans as part of them.
Shortly after the disaster, the reconstruction process was top-down; the government planned the reconstruction budget and quickly implemented the same generic super-dike design for every municipality to trigger fast economic recovery. However, the seawalls do not prevent the Tsunami from hitting the settlements. Instead, it delays the arrival of the giant waves, increasing the time available to evacuate the local populations. On the other hand, the seawalls have not improved the surrounding natural environment in the long term; at the same time, it has puzzled the land use of the locals since the crops, and the soil behind the dikes will still be hit by the saltwater eventually. Moreover, most plans are not well thought through, as all the walls had to be finished before 2020; thus, many of the quickly built constructions are not well fitted to specific site’s needs and realities; their efficacy is also questionable.
The proposal explores how people could deal with the natural disaster cycles of the Tsunami coast by using traditional knowledge. The seawall solution ignores ancient Japanese cultural practices, as it relies on a rigid tool that aims to fight nature rather than dialogue with it and explore the dynamics of Tsunami landscapes. This dialogue between humans and the natural forces is based on Japanese traditions. In a proverbial way, most of the Shinto shrines in the disaster area remained intact when the Tsunami hit – as it reached the inland area, many of the shrines were standing on the very edge of the waves. Most of these constructions were dedicated to Susanoo or its relative deities, the gods of water, sea, storm, and pestilence.
Ancient knowledge as an emergency route
The first strategy is to create an emergency path based on the mapped shrine locations. Today the main road connecting the ria is at the edge of the land with the water, right behind the seawall; in case of a Tsunami, the road would be blocked for several days. Therefore, I place a new emergency path connecting the shrines of the valley along the 8 meters contour, the “ancestral safe zone.” It is a small road, wide enough for emergency vehicles to drive through.
From fighting nature to absorbing and caring
This strategy is inspired by the Japanese traditional technique of Mizutsuka, developed by people in an area that suffers extreme seasonal floods. They terraced the land, creating different flood levels where constructions and plantations were adapted to the natural fluxes. I propose to adopt the topography of Kitakami into different micro-terraces according to their exposure to Tsunami saline waters. The first or lower level would be the brackish-water reed habitat, historically utilized by locals as a roofing material. The second level will be used as a recreational garden to test crops’ resistance to temporary saline flood; the residents will join in creating the garden. The third terrace, above the 8 meters contour, would be the rice field and orchard. Keeping rice production above the safe height allows continuing current food production practices while cultivating other species that can also be used for economic turn-out. Above the fertile plain, a new forest edge is created by planting deciduous trees like Oak and Maple. Clearing up and planting new species is a strategy to renew the monoculture of cedar and cypress, as it has deteriorated the water quality in the area. Although all the species re-introduced have been traditionally used for production, I aim to inspire a possible circular, diversified and resilient economy to counter the current fragile rice-monoculture in the valley.
Animistic celebration of natural cycles.
Japanese animism is all about natural cycles, interacting, and living with them. People worshiped natural elements such as forests, rivers, mountains, rocks, waterfalls, and trees in ancient Japan. The religion called Shinto is practiced in the area and is still today the substrate of mainstream Japanese beliefs. This understanding of the world is embedded in traditional design practices that take inspiration from observations of landscape scenery, such as the traditional dry gardens. As an homage to this creative practice, the new topography of the gardens is carefully shaped through the figure of the Matushima archipelago, a worshiped landscape in the same prefecture as Kitakami. Different water level scenarios are considered, and the garden will change its appearance through water from time to time. Spaces designed for people to meet natural phenomenology are created, such as two spots to observe the solstice sunlight and sunset, the traditional “hour of the gods.” The observation points will disappear when the first levels of flood happen, manifesting the fluid nature of the landscape.submittedVersio
Sameksistens; merker under føttene
No full textProsjektet er et utvidet pilegrimssenter på Granavollen på Hadeland og ligger ved den bergenske kongevei som er en del av pilegrimsleden til Nidaros. Tilhørende program er spredt utover kulturlandskapet og hver av dem er inspirert av kulturhistorien som har lagt sine spor i landskapet.
Tilhørende program er spredt utover kulturlandskapet og hver av dem er inspirert av kulturhistorien som har lagt sine spor i landskapet. For å legge til rette for pilegrimenes ferd gjennom landskapet er senteret spredt på ulike punkter med ulike historier og henter sin inspirasjon fra sine omgivelser. Det er valgt ut 4 punkter med ulike bygninger: 1 senter, 1 kapell, 1 sovehytte og 1 mindre merke/fokuspunkt. Hver tomt har et bygg som henter inspirasjon fra sine omgivelser og de merkene som ligger i området, men det er også fellestrekk mellom de ulike byggene.
Hovedbygget til Pilegrimssenteret ligger på Granavollen, rett ovenfor søsterkirkene. Dette er et gammel kultursentrum og sentret henter inspirasjon fra bånd mot kloster og kirke. I hagen kan man stelle og spise kortreiste vekster mens man ser ut mot landskapet.
Lite kapell plassert på et tuft etter en gammel stavkirke som ble revet på 1800-tallet. Henter inspirasjon fra Stavkirken og det lokale veveriets stoffer. Det tar form av et luftig kapell som står åpent for besøkende til alle døgnets tider.
På toppen av den gamle vulkanen Sølvsberget ligger en sovehytte med vid utsikt over kulturlandskapet. Den er inspirert av bygdeborgens muren med to lukkede vegger og hvor den åpner seg mot de bratte skråningene mot øst.
Kakkelhaugene er en gruppe med gravhauger fra en tid med både brente og ubrente begravelser. Minnesmerket henter sin inspirasjon fra de brente gravene hvor man la ned restene etter bålet i en urne sentralt plassert i haugen. Selve inngrepet består av en brent trepåle på 20cm * 20 cm med en høyde på 2 m.submittedVersio
Stuck In Our Ways
No full textWe have an outdated educational narrative. We measure who can recite the most facts, rank them by grades and set them up against each other. It is a competition, where some end up on top, and others at the bottom. We do the same to our schools, the subjects within them as well as to the entirety of our educational system. We measure. We rank. We label. All from the perspective of numbers.
With my diploma project I want us to rethink some of our deeply ingrained stories. How and what are we measuring in our pupils? What are we not measuring? Where are we are headed based on our current system goals and structures? And what types of new educational narratives can help equip our children for the challenges of the future?
I have used system oriented design methods to map out the current Norwegian educational system in terms of our eval-uation and measurement methods. In these mappings and the accompanying research, I have explored key stakeholders, relevant frameworks, declarations and white papers as well as looked into practices, laws and policies surrounding our education system.
My main research areas have been synthesised into a !nal gigamap and three main insight areas. "ese three insights each have their corresponding intervention. My proposed interventions are not !nished solutions. "ey are merely starting points. A beginning to what ideally would continue as a collective e#ort towards re-imaging the desirable future of our Norwegian education system.submittedVersio
Revealing the Anthropocene - sensory laboratory for landscape processes
No full textRevealing the Anthropocene’ is a suggestion for how to deal with the Anthropocene in landscape architecture in a geological important and industrial site. The purpose is to create a site, that reveals landscape processes and becomes a laboratory for exhibiting and sensing the Anthropocene material.
The project proposes a transformation of the quarry, Huken, that deals with the potential of revealing geological and ecological processes over time as an aesthetic value. Focusing on the fact that a landscape will change over time, the project stimulates and emphasizes landscape proccesses like sedimentation, erosion, melting, water flows and succession entangled with actions from visitors on the site. Based on ecosystem services, the site will facilitate a process of cleaning asphalt waste and dirt snow through vegetation. The site will become a laboratory of those processes over time. Speculative drawings forecast how such things might turn out, however it could indeed look very differently in 50 years. The project is seen as a way of interpretate past geological traces together with present material.
Using anthropocentric material together with landscape processes this project is an exploration of how search different aesthetic may be come to form. It’s a proposal to reveal the unvalued Anthropocentric traces entangled the change of landscape processes.submittedVersio
Glipe - kommunikasjonsflyt for tidspresset og sensitivt innhold
Get PDFGlipe – kommunikasjonsflyt for tidspresset og sensitivt innhold er et designprosjekt med formål om å forandre en rutine, et tankesett og kommunikasjonen mellom nødetater og presse gjennom interaksjonsdesign.
I 2015 startet hele landet å ta i bruk et lukket Nødnett som ga nødetater og presse en annen arbeidshverdag. I etterkant av dette skulle nødetatene kommunisere med presse og offentligheten gjennom Twitter platformen. Men hvordan fungerer dette i praksis? Fra feltarbeid hos operasjonssentral i Oslo og 110-sentralen Vest i Bergen fikk jeg et innblikk i deres arbeidshverdag.
Etter intervjuer med brukergruppene nødetater og presse, fikk jeg en forståelse for deres ønsker og behov, samtidig som utfordringene ble tydeligere. Ettersom Twitter er en offentlig plattform er det begrenset informasjon nødetatene kan dele via tjenesten og journalistene får ikke informasjon rettet direkte tildem. Derfor ringer journalistene inn til sentralene via pressetelefonen. Konsekvensen av dette er en dårlig kommunikasjonsflyt for begge parter.
Gjennom oppgaven er det også stilt et kritisk blikk til nødetatene som informanter. Med min innsikt ble det klart at pressen har et samfunnsansvar og kompetanse til å videreformidle nyhetssaken til offentligheten på en god måte.For å styrke denne koplingen brukte jeg interaksjonsdesign for å skape en plattform som kobler presse og nødetatene direkte – Glipe. Denne plattformen gir nødetatene mulighet til å videreformidle sensitiv informasjon direkte til pressen. Plattformen skal dekke brukergruppenes behov for effektiv og sensitiv deling der informasjonen blir silt gjennom en presseetisk prosess for å nå ut til offentligheten med en relevant motstemme.
Målet
Målet med dette prosjektet er å forandre en rutine, et tankesett og en kommunikasjonsflyt mellom nødetater og presse ved å bruke interaksjonsdesign. Brukergruppene skal få dekket sine behov for effektivitet og ytterlige informasjon blir silt gjennom en presseetisk prosess for å nå ut til offentligheten med en relevant motstemme.
Samarbeidspartnere
NTB, Budstikka, Medietilsynet, Mediebedriftene, Norsk presseforbund, Norsk redaktørforening, Norsk journalistlag via prosjeket Oslo-piloten.submittedVersio
Pragmatic Preservation
No full textThe practice of architecture is faced with an unprecedented dilemma: How can we design new buildings, when construction has become a main contributor to the parallel crises of biodiversity loss and climate change?
The economy of obsolescence, which dictates that demolition and new construction is the core of architecture, has become increasingly difficult to subscribe to. Through different scales, from the municipality via the neighbourhood to the building, this project aims to challenge antiquarian building preservation, and suggest an architectural praxis underpinned by a pragmatic form of preservation
Tempo-materialities : encounters with time along Arctic island coasts
Get PDFTime is at the heart of this doctoral research which engages with the Arctic island coasts of Jan Mayen, Bjørnøya and Hopen. As a means to work with different dimensions and scales of time along these coasts, I have chosen to examine the materials I encountered during excursions to the islands. Through this enquiry I have observed and speculated on the processes, conditions and changing states that give a sense of agency to these coastal materials thus revealing different expressions of time.
There are significant changes impacting these islands that infiltrate their terrestrial, marine and aerial environments. These are influenced by both anthropogenic and natural factors. In order to understand these changes occurring on a number of spatial scales I have explored, developed and applied different concepts of time that, I suggest, are suited to a material study of Arctic island coasts. Key questions in this research ask if there is a need to work with Arctic coastal environments differently from other terrestrial environments. In considering some of the more typically used concepts of time in landscape architecture, I proceed to question if alternative concepts are needed to address accelerated and unprecedented material changes along Arctic coastal environments. A broader question is posed asking if an immersive approach informs a greater understanding of time in landscape architecture. I take my position from within the discipline of landscape architecture. However, to address my research questions I have consulted a range of other disciplines that include cultural geography, anthropology, archaeology, art and geology.
Methodologically the research is qualitative. I situate my heuristic study along the coasts of Bjørnøya, Jan Mayen and Hopen and I apply a number of methods that demonstrate how pluralities of time unfold and interact in various ways. In-situ knowledge is transferred to a studio environment to further interrogate expressions of time entombed and expressed in the materials studied. This practical foundation underpins my arguments to extend notions of time in landscape architecture in addressing unpredictable and non-linear change. Another key component to this research is to express the relative and experiential aspects of Arctic island coasts. This has been done both as a reflective exercise to my research and to highlight the values of human and more-than human relations. I have adopted the term practicing time in this study to articulate my thinking and doing in engaging with time throughout the research process. It embodies a conscious and immersive approach to continually engaging with time.
My research culminates with a proposal of a tempo-material framework. The foundation to this framework builds upon theoretical and practical enquiries from this research. It establishes a range of time concepts and scales that range from deep-time to spontaneous temporalities.publishedVersio