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When my eyes are closed space comes from darkness
No full textThe work is led by longing for my-ness in architecture. I attempt to get closer to understanding who am I as a human and an architect by rediscovering the way I make. When I close my eyes, I reach my own condition that I call darkness. By exploring darkness I learn to trust and believe it.
«If I tell you that the city toward which my journey tends
is discontinuous in space and time,
now scattered, now more condensed,
you must not believe the search for it can stop»
Calvino, Invisible citiessubmittedVersio
Klosterstranda - Social Housing in Skien
No full textIn the coming decade, Skien municipality and developers are bringing new housing, cultural institutions, offices and infrastructure into its urban fabric, with the city slowly pushing its center along the riverfront and towards the neighbouring city of Porsgrunn. Simultaneously, the city continues to experience a low population growth with no clear future prospects in terms of jobs or industry that determine a need for the large-scale high-density housing that is currently being developed. The city also has an unemployment rate above the national average, and combined with a rising number of low income families, it begs the question who this new development should be for and if it is sustainable.
Our diploma argues for both an alternative to the governing architectural ideals along the riverfront, and the regulation conducted by the municipality, by using one of the presently unregulated municipal plots within Skiens new development plan. We propose a collection of low density social housing, forming a row-house garden city that embeds the landscape ecology of the site into each unit and common areas.
Based on local typologies, three types of units are developed to respond to three different conditions on the site. Our three interpretations all aim to challenge the legislative bare necessities of a social housing project, while advocating for the importance of room sizes, gestures and details. By studying the urban wooden houses of the historical parts of Skien that survived the fire of 1886, the units all borrow particularities, dimensions and qualities found in researching these types. The interest for studying and abstracting the wooden courtyard house came from its historical resilience and importance as local iconography, as well as their clear urban qualities in terms of scale and density. Our three types of dwellings act both singular and as parts of a whole, sewn together by the same signifying elements and rules of construction.
By borrowing typological traits of neighbouring workers’ housing, our project similarly forms a perimeter of buildings along the edge of the site, creating smaller private gardens adapted to the figure ground of the plot, with a large communal space in the center. This more modest scale reacts to Skiens decades of stagnating growth but goes beyond the regulated density, while still arguing for comprehensive planning and certain pre-modern ideals absent in the new development.
While architecture itself will not solve the social problems of Skien or other similar Norwegian cities, we believe that an alternative to how the built environment is being developed is necessary. A non-commercial social housing development is an approach that inherently holds both possibilities in challenging type, density and different kinds of sustainability.submittedVersio
Lokomotivverkstedet
No full textLokomotivverkstedet in Middelalderparken was the first of its kind in Norway. Constructed of untreated brick in neo-gothic style with an inner cast iron construction, the depot was built on top of the ruins of the Medieval Royal Estates in a time when preservation was not in focus. Today, most of the building remains empty, undergoing costly renovations, and without any future plans for use.
Through reading theory and studying reference projects, I collected methods on how to identify a building’s properties and how to preserve the characteristics that make up a building’s identity. Through the methods I collected as an approach to my diploma, I have studied the architecture and use of Lokomotivverkstedet since it was built. By doing so, I have identified the characteristics that are important to not only preserve, but to accentuate: the light from the windows, the spans of the rooms, the inner and outer constructions, the railway tracks hidden underneath the floor, and the flexibility of the original plan.
With these five characteristics in mind, the building can be treated as three different elements: walls, inner construction, and floor.
By treating the elements separately, any interventions indoors will not directly affect the walls, preserving them as a historical element. The walls can furthermore be split into two categories: original from 1891, and extensions. The original walls will be reinstated as well as possible as representative elements for Lokomotivverkstedet as a historical building. The extensions, while built in similar style, can be altered if needed.
The inner construction is guiding the new plan’s layout.
The floor will contain the infrastructure of the building, bringing Lokomotivverkstedet back to life, the same way the floor - the traverser and the tracks - was the heart and veins of Lokomotivverkstedet.
The traverser is dug 65 cm below the floor, and the tracks lies on coke gravel. Opening the traverser allows for technical functions to be placed in the floor, branching out to the railway tracks. Electricity and ventilation will then come up through the floor and connect to the new rooms and functions of Lokomotivverkstedet. To access the technical room in the traverser, there are hatches in the floor.
With Lokomotivverkstedet, I wish to promote reparation, upcycling and craftsmanship.
My proposal will facilitate production, repair and knowledge, and will also be a place for people to gather. After a talk with Oslo’s urban farmer, it is clear that there are people waiting for a place to have their workshop or production facilities, and there are people ready to administer this place. The city council has launched an aid scheme for organisations wishing to explore solutions for sharing, reusing and repairing. The demand is there; all that remains, is the facilities.submittedVersio
Lend a Hand
No full textLend a Hand is a service and interaction design diploma project that explores how design can enhance the home care environment for next of kin.
Often, next of kin’s health declines when caring for others. Long-term care at home is a social issue that the government and society need to face together.
Lend a Hand provides a lower threshold of reaching for help for next of kin while taking care of their loved ones at home. The desired benefits are not only enhancing the life quality of next of kin but also creating a supportive culture as a social safety net for the local community. Instead of existing services, Lend a Hand provides a service that is more flexible when arranging daily errands, and it has the potential to adjust to various scales of support groups.submittedVersio
Loen Rockfall Center
No full textSeven percent of the Norwegian landscape consists of rock and bare mountains, this makes a total of thirteen thousand mountains. The Norwegian culture is strongly influenced by settlements close to the wild mountain landscape. These populations vary from small villages to larger cities.
Living close to these natural forces has resulted in many villages getting destroyed by the consequences of rock fall events.
Landslides of more than ten thousand cubic meters of rock are referred to as rockfalls.
These have led to some of the worst natural disasters we know of in Norway. In the northern parts of Western Norway, historical documentation shows that there have been two or three disasters associated with large rockfalls and tidal waves every 100 years.
The most famous disasters are the Loen landslides in 1905 and 136 and in Tafjord in 1934. The landslides caused tidal waves which led to a total of hundred and seventy four people losing their lives. (ngi.no 2016)
Rock fall events are increasing due to global warming and environmental changes. Increased temperatures, heavy rain and glacier retreat and movement in the earth crust are important factors affecting rock fall caution. (ngi.no 2016)
My diploma project is a further exploration of the topic, narrowed down to a specific place of relevance: Loen in Stryn Municipality. Loen has been strongly affected by the mountain Ramnefjellet and its rockfall events. I decided to situate my project here based on the historical analysis of national rockfall events I did in my prediploma.submittedVersio
FARM - Future and Rehab Movement
Get PDFHousing and workshops for former drug addicts, with a focus on space and materiality, a topic of togetherness, independence and loneliness.submittedVersio
Thresholds – Exploring the Shared and the Collective
No full textOut of investigating a site and a community, a building was born. It is an extension to the public spaces of the town, an inhabited threshold between the land and the sea, framing the one and the other.
A threshold can be both a physical and a mental space, constructed with both physical and metal elements. Threshold is about the boundary and extending it, living the boundary. It is, however, not only about the boundary, but about something larger; it is about the spaces and qualities that are collected, concurrently, in apposition. Threshold brings together opposites and contradictions, expanding them both. It is looking for the boundaries that are perhaps non-existent.
In this way, a threshold is an exciting and special gesture with compelling aptitude. It is a blank space that has the potential into becoming something larger. In threshold, there is a potential to otherness, something else, becoming. It is the in-between; the inside-outside; the both-and. It is about being simultaneously here and there, somewhere.
The building, a space for the community, borrows its basics from its cultural situation and surroundings. Under a generous roof, there are two spaces, sharing a slab. The space underneath is an open space. It is leaking horizontally and in constant dialogue with its surroundings.
Through different ways of movement and pause, one is invited to upstairs, a space with two directions. The lifted space is perhaps more defined, yet it too allows iterations to happen. Therefore, the structure, by accommodating spaces for events, starts to act as a threshold between individual citizens and the collective.submittedVersio
Exposing the Emotional Dynamics of Making Tensions Tangible in Systemic Design
Get PDFIncreasingly in systemic design there is an emphasis on the value of visualizing, materializing and enacting tensions. However, there has to date not been much focus on what happens when these tensions are exposed within systemic design processes. The emotional aspects of responding to tensions play a particularly central role in guiding people’s resulting actions but are seldom discussed in the systemic design discourse. Fear is positioned as a key emotion driving tensions and a conceptual framework (the four Fs) is proposed to unpack the consequences to fear. Ignoring emotions such as fear in change processes may perpetuate a false narrative about emotional dynamics and increases the risk of harmful, unintended consequences. This paper shares stories and reflections from Förnyelselabbet’s work that uses designerly approaches to facilitate meaningful change within complex societal challenges in Sweden, particularly in relation to newly arrived minors. These stories situated in the context of the exploratory lab and co-design work reveal the emotional dynamics unfold when tensions are exposed and help raise an emotional literacy in systemic design practice.publishedVersio