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Moving in — A Discussion of Norms in Architecture
No full textIn this project we are moving into a discussion on the norms defining contemporary housing developments. The project collects new stories and information through interviews, drawings, literature and build material. With basis in these collected stories, the project argues for new norms with the aim of securing quality within housing.
The project contains two books: the book Moving in – A Discussion of Norms in Architecture and the booklet, The Norm. Moving in presents discussions of how to collect stories and information both against and towards norms, and the paradox in making new norms. The Norm, on the other hand, is trying to take a stand and propose new norms for quality within housing. The book, Moving in, and the booklet The Norm, are highly linked. They are referring to each other to expand the arguments presented in both books.
The project understands the act of moving in both in practical terms, and as a way of approaching a discourse. The project is based on discussions around larger residential complexes, planned for a variety of people within the same apartments. The practical understanding of moving in is a hands-on discussion: what do we move with, what is inside the moving boxes, and what do we bring with us so we can call it a home? This is not only about what fits into the boxes, but also about the bigger and more abstract feelings of belonging, culture, and the practical things like the nice grocery shop around the corner. In the approach of moving into a discourse, the project discusses the norms that are applied to housing developments today. The project presents a diverse perspective on housing, and how approaches to oral history, use and everyday life, can change the way we understand housing developments.submittedVersio
Finding form : exploring the potential of generative design tools
No full textThis design diploma has been an explorative research into the emerging tool ‘generative design’. By designing products through the use of generative design tools, we explored the procedure and what is implied in use. The focus not being the end result but the process getting there.
This project is aimed at understanding what the new tool generative design is and what it can do for industrial designers. We focused on form-finding in product development, and did this through designing stools. Having a specific product that is not to complicated, we could better judge our results and it allowed for faster iterations.
The potential of generative design tools is huge! It is definitely changing the way we are creative, we are no longer the sole creator of form, we are being augmented.submittedVersio
Interaktiv læring : et mulighetsstudie innen digitale læremidler
No full textIntroduksjon
Interaktiv Læring er et interaksjonsdesign prosjekt som utforsker mulighetene innenfor digitale læremidler
i grunnskolen. Vår brukergruppe er elever i 5-7 klasse. Vi har jobbet med innhold fra Samfunnsfag og Naturfag.
Vår samarbeidspartner i dette prosjektet er Gyldendal. Vår leveranse er en variasjon av forskjellig ideer, prototyper
og konsepter som viser muligheter og potensiale innen digitale læremidler. I tillegg vil funn og refleksjoner
fra prosessen være en del av vår leveranse.
Gyldendal som ressurs
Vår samarbeidspartner i dette prosjektet er Gyldendal. De er et stort norsk forlag som leverer fullstendige læreverk til skoler.
I tillegg til analoge lærebøker, leverer Gyldendal digitale læremidler gjennom portalen Skolestudio og nettsiden Salaby. De har bred designkompetanse på huset
og har lang erfaring med å utvikle digitale læremidler. I dette prosjektet er Gyldendal en ressurs og ikke en kunde. Det vil si at vår leveranse
ikke trenger å svare til Gyldendals eksisterende løsninger og visjoner, men forhåpentligvis gi dem noen interessante innspill og perspektiver.
Som studenter har vi en friere rolle til utforskning og trenger ikke forholde oss til faktorer som økonomi, tradisjoner, kunders forventninger og etablerte systemer
i like stor grad som Gyldendal.
Vår motivasjon
Vi ønsket å gjøre et prosjekt som viser verdien og potensialet interaksjonsdesign kan tilføre når stadig flere læremidler digitaliseres.
Pedagogikk og læring er noe vi ønsket å få mer kunnskap om, og forståelse for. Som designere må vi stadig sette oss inn i ny tematikk og tilegne oss ny kunnskap, så
å bli bevisst på hvilke faktorer som kan skape god forståelse og læring er svært relevant. Vi ønsket å gjøre et prosjekt der vi kunne jobbe med
utformingen av innholdet. Bruke design til å skape spennende opplevelser som vekke engasjement og motivasjonen hos elevene.submittedVersio
Towns In Transition Gällivare School of Arts and Crafts
No full textGällivare municipality is a part of Norrbotten county. in the province of Lappland. Here you find the
towns Gällivare, Malmberget, Malmberget Östra, Koskullskulle, Hakkas, Tjautjas/Čavččas.
Since 2003 two thirds of Malmberget/Malmberget Östra is demolished or moved to the largest town
Gällivare because of the mining company LKAB. The so called ”captains pit” is a result from the mining
that has physically divided the company town in two with the central parts collapsing. Company
towns used to be synonym security and housing for its employees. Today the mine has resulted in a
situation where the population has given up their homes for a future survival of the municipality when
the economy still depends on the industry. This phenomena of towns moving or vanish happen is a
common in northern Sweden and it includes places like Kiruna, Sakajärvi and Likavaara
.
The decommission of Malmberget is financed by the mining company LKAB is seen as an opportunity
for the municipality to develop Gällivare town and centralize the municipalities population, but it
shows that many that doesn't choose to move their whole house are settling somewhere else after
being compensated. The municipality has been facing a rural dilemma with a decreasing permanent
population the has been replaced by fly-in-fly out staff that pushes all prices up. Even if Gällivare town
now expands, by moving and replacement of buildings, the overall problem in the municipality hasn't
disappeared. Focus on other alternatives in occupation and activity has been lacking. This has started
to limit a social diversity and homogeneity among the population. In a long term development alternatives
that adds new and preserves social infrastructures are just as important to create a sustainable
plan for the area to make it attractive. Malmberget has earlier worked as a cultural institution with its
art and music unions and the now dissolved artist Touddargroup that had a great importance to the
art and culture life in Gällivare.
Gällivare municipality is filled with all the contradictions between the resource industry, environment
and ownership of land that defines ”the iron ore fields” in northern Sweden. The place has been captured
and reflected upon from all perspectives in a polarized area and given the scene its character .
But this also need a space for display and encouragement for continuation.
The site is besides an infrastructure junction that will become more central with the new planned
areas. Here is where the iron ore line pass and the public transport of inland train or buss to Gällivare.
You see the mountain and symbol of Gällivare Dundret and you can pass over a walking bridge that
work as a gateway to the waters of Vassara and trails to the up to the tundras. The architecture are
moving in the midland between the industry and nature leaning on the infrastructure moving towards
the view of the mountain. The building is stretching out from a brick wall that continues along the
railway. The project is a part of a border but but works as a mediator between the two sides. The
public functions moves in-between the spaces where the school activities takes place. The structure is
a gradient from closed to open that is expressed in light, functions and in its structures. The arched
windows moved through the building shaping the buildings expression and frames the view and the
activities. Gällivare school of Arts and craft is opening up towards an another direction from the mining.
The industry is still present but not dominating and the project provides another alternative for a
town in transition.submittedVersio
Det historiske området Vaterland : kulturminnene i Brugata som premissleverandør for videreutvikling av området
Get PDFLiving in The North
Get PDFOur Diploma seeks to design a realistic housing project that adapts to the local climate in the North, and utilizes the climatic conditions to offer comfortable outdoor connections, practical living spaces and enhance the contact with nature throughout the seasons.
Our site is in Tromsø, a city characterized by a short summer season, occasional hefty winds, long winter season with huge amounts of snow, and the polar phenomena midnight sun, northern lights, and polar night.
In the summer the dominant wind direction is north-west. The building volume is shaped like an arched wall to create a sheltered outdoor area in the south, and are never more than 4 storeys tall to avoid blocking the sun or the view towards the fjord and mountains.
To minimize the effort of moving snow the entrance to the building are shared by a group of units and is placed on the south side, as the wind blows predominantly from South-West during wintertime and the snow will accumulate most on the North side of the building.
The shared entrance allows for managing wet scooter suits, snowy boots and gear before entering the apartments, and also working as a social arena. In the North end of the entrance there’s an “indoor garden”. In the summer when the sun has left the garden in the South you can move to this room in the North and enjoy the midnight sun, and in the winter it’s a nice place to sit and watch the Northern lights.
The apartments are entered from the side walls, allowing the facades to be mostly glass and connected to the programs that benefit the most from much daylight and connection to the outside. All apartments also has the possibility of direct contact with the outdoors through a door to the garden, a balcony or a roof terrace.submittedVersio
Uppåkra arkeologiska center
Get PDFUppåkra is the name of a rich archaeological site located in Skåne, southern Sweden. The site, sitting on top of a hill in an otherwise plain landscape, was once the center of a what is believed to be the biggest iron age settlement in Scandinavia. Due to lack of funding, little knowledge and interest from outside the region, only a minor part of the site has been excavated so far. Today, Uppåkra gives a modest impression, consisting of a rural village and a church surrounded by fields of crops. For anybody passing by there is nothing that tells them that this once was a grand society, very different from the small village of today.
The task for the diploma project is to design a visitor center to Uppåkra with the purpose of mediating the history of the site and provide facilites for archaeologists to conduct research. The project adresses the paradox of building upon an archeological site: the visitors center is needed to mediate the site, but building on top of the archaeological findings could potentially destroy them.
The proposed visitor center begins on a landscape level, where pathways acts as thresholds, mediating the existance of the site. On a building level, the visitor center is divided in two parts: an exisiting barn is transformed to accomodate the permanent parts of the program, while an unclimatized pavillion interacts with the continuing excavations of the site. Using a flexible constructive system, the pavillion may expand as the collections of objects grow, retract if a place occupied by the building needs to be excavated, and respond to any new findings that may change the perception of the site. The intention is to fullfil the purpose of a typical visitor center: a building belonging to a place that has a greater importance than the building itself.submittedVersio
Architecture of Childhood
Get PDFDear reader, this is my diploma work.
Places of childhood that are dear to me. Places that I still keep in my memory and that still today architecturally have a sound impact on me and that I consult in my imagination over and over again when I am engaging with architecture. I wanted to revisit the places and find ways to recreate them. These places are full of memories
and objects that connect to me, and also to people that are dear to me. In my diploma I attempt to find ways to collect objects that are charged documents, meaning they are meaningful to me, they are connected to places and to people. And by bringing them to Oslo I wanted to see if I can make them into architecture that responds
with the very memory of those architectures, of those hidden places of childhood. In this book I show both the nine architectures of childhood that I
have revisited and how I recreated them. In the appendix I show the materials and objects that those important objects are connected to.
"Direct your eye-sight inward, and you’ll find a thousand regions in your mind yet undiscover’d. Travell them, and be expert in home Cosmographie
William Habington (1605-1664)"
I have always been intrigued by small objects. Since I was a little child I’ve been collecting these strange little things that suddenly
just ended up in my pocket and were brought home to my room, to my hiding places or into my little cabin in the trees in the forest. I remember
that I really loved to move them around and to place them beside other things. I made a home for my most precious objects
in a blue assortment frame, that hung over my bed. I watched over them every night. It was my objects and me against the world.
These memories around those important objects were dear to me as a child. That’s why I thought it was interesting to discover
what they could do with me as an adult and how I could engage with them. To go on different paths to find out more about how
my body acts with the circumstances in life. How that helps me to create a collection by collecting and by the finding of an essence
of a memory and space. I went back to my nine most important places from childhood. Where I could be able to remember these
memories more fully and also collect objects. Sometimes I brought with me new different objects that could help me in the process.
And then I brought the collected things back to my table in Oslo where I built them together in different groups to create with them.
I tried to put me as a child and me as an adult together in these groups. It’s basically about claiming something or claiming a place
with objects. During this process different scales started to accord on my table. It started to be a playful table. The things I collected,
the things I found, the things I made and things that are important to me as an adult and were important to me as a child were now
playing together. The ongoing process with the different objects gave me a more architectural awareness of what was happening
with the groups and what the objects’ relations were. By finding back to the haptic perception in my objects, by them performing
something new on the table, I think it started to be possible for the viewers to sense and explore how charged the objects are. How
the groups together can form this childhood architecture that is important to me. I believe that the different processes in this story
are important for the perception of the rooms that have been created by the objects. By moving something that is so charged for
me from one of my important childhood places, may be strange and naive, but by doing so I can show others the story. How I
carefully developed this with the objects so that they can create something with something to improve the feeling of my haptic
story and my childhood architecture.
I am looking for the trust formative fact in the objects, the narrative that they are based on. To define a content so that the story can continue. Many of the exercises that I have done are pointing in that way. The groups are like a village in a bigger village, or a house in a bigger house. I felt they needed a name that was reflecting my previous objects. So, the names could have a bigger meaning and could draw an even thicker line to me and my past. By doing that, giving them new names, I see them now as larger pieces in my mind, created with my mnemonic tool. At one point I tried to bring the groups away from the table to new locations at Grunerløkka. The groups play differently when you put them into a new context. It is not something I felt was the core of the project, but you can see the work in the appendix. This diploma is a way of seeing architecture from a different angle. To have active and charged objects that are important to me. To work with something that has a meaning for me, a history in
themselves and within me. I believe this is an ongoing story that will continue for me after this diploma and probably for the rest of my life. This type of process is so strongly intact with me and my body, and how this leads me to something architectural is important for me and my path into this profession. The work has also been about being a bit naive and being able to work in a playful way. Like children do. So that the rebuilt memories were able to rebuild architecture. This felt like something that could be a dwelling and is a kind of architecture that reflects my childhood. A safe place and maybe a place for my future child? A place with joy, love and hugs.
An Architecture of Childhood.submittedVersio