BEATA HEMERPORTFOLIO 2007-2015

GemstonesChandelier of the SensesTorehab Pension MonbijouRoof SoukThe Imaginary Project Pinecone

Reverse EngineeringReciprocal Urbanism -The water at a station in Berlin

Hybrid Reflections-Mediating Grounds in Chittagong

1st year

Internship

2nd year

3rd year

4th year

Thesis project

Bachelor project

Lendager Architects

Initially, the project studies dualities and paired terms, problematizing how this type of ordering forms how we conceive and look at the world.Two concepts - that of the salon and the garden – are being recognized as liminal and in-between spaces, mediating between constructed dualities. They are used as programmatic frames for two sites in Chittagong, Bangladesh; forming ground for two interventions.

A small-scale production of ceramic water filter and a seed library.

The work is focused on the relation between the two sites, the field they are creating. Connections are made, down to the scale of a burnt clay element, which is related to the soil and the water. The project concerns the everyday life of the people involved, residing in practices of washing, cleaning, sowing, cultivating; giving dimension, understanding and marvel to these routines and customs.

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MEDIATING GROUNDS IN CHITTAGONG

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As an element that creates space, the garden is again in-between, in the field of landscape and architecture. It can fluctuate from enclosed small rooms, pavilions or walls of greenery, to open horizons and long-streched fields. The same bush that creates an enclosed arbour can, when heightening the gaze, be a part of a long alley reaching far away.

Favourable to exchange, mobile and cyclical, anchored in the everyday and based on ethics of care. The garden agency involves large-scale environmental processes while also being adapted to small-scale, quotidian uses and practices.

THE GARDEN

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As an element that creates space, the garden is again in-between, in the field of landscape and architecture. It can fluctuate from enclosed small rooms, pavilions or walls of greenery, to open horizons and long-streched fields. The same bush that creates an enclosed arbour can, when heightening the gaze, be a part of a long alley reaching far away.

Favourable to exchange, mobile and cyclical, anchored in the everyday and based on ethics of care. The garden agency involves large-scale environmental processes while also being adapted to small-scale, quotidian uses and practices.

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The project is based on a three weeks long study trip to Chittagong, Bangladesh made in November 2014.

Chittagong is the second largest city of Bangladesh, a major port city and is a hub of economy and business. It is located on hilly terrain, on the banks of the river Karnaphuli, and is in the west facing the Bay of Bengal.

It is a monsoon city, with a rain season lasting from May to August, which highly affects the daily life of its inhabitants. Methods to handle this abundance of rain are also visible in the cityscape.

It was through following the water I started to move towards the outskirts of the urban fabric, towards the seashore and the lowland.Starting at the hilly urban areas, by a big pond, I moved towards the west.To walk the way, mapping the road with my body and feet came to be an important tool for understanding the landscape I moved through. Through the walk I registered phenomena connected to water, such as dried-out rivers and polluted ponds. The walk thus became a map, a landscape relating to water, on a scale between urban and rural, highland and lowland.I saw the mapped landscape of water bodies as a point of departure for studying dualities and paired terms, how they form and influence our thinking and conception of the world around us.

In my work I have recognized two concepts as liminal and laying in a field between constructed dualities.It is that of the salon and of the garden.Here, I use them as initial “frame programs”, which serves as a method of approaching the context, where they put an extra layer of imagination into my experiences of the sites.The discourse of the salon and that of the garden, both mutates in the context of Chittagong. Their inherited associations are confronted with a reality that opens up the concepts, and serve as a method of working.

Place of the Salon

Place of the Garden

THE SALONWithin the frames of the salon a more function oriented program is applied. It is that of a production of ceramic elements. Through the production of these ceramic water filters, the uses and manipulations of water are further amplified. Both through the manufacturing of clay, which contains a certain procedure involving water, but also in the end product, which is a ceramic filter used for making potable water. The technique is a recognized and well-implemented low-tech method to filter water, through a porous ceramic pot.The overlapping between the domestic space and the production of the ceramic filters is the core of the salon. The artefacts and spaces of the production lie nested in the salon, where domestic chores and everyday-life are present. The production becomes a communal act, but within the realm of the so-called domestic sphere, and therefore also accessible and changeable for the people living there.

Sections of the salon and the ceramic production

The salon as a room for exchange and development of ideas is meant to be an initiator for a change of the filter production, where the mono-use of the filters are questioned and modified accordingly. The salon is tightly connected to the idea of an event, where the rhythm and repetition of actions are contributing to the impressions of the space. The everyday routines repeat themselves, and set the daily tempo of the salon. Parallel, the firing of the kiln follows another tempo. The firing might take place once every second week, during a couple of days. It’s an event that highly affects the area, and is an opportunity for a festive occasion.

One of the design principles of the salon are the Niches.Derived from descriptions of different salon cultures, the niches are about viewing and intimacy, and about tete-a-tete- meetings and conversations.

Plan depicting the differnet niches.

If the walls become roofs?

Can the molds for the filters be modified into other forms than the cylindrical?

If we change the shape and the angle, the size?

Can they be used for other purposes? What if we plant crops in them?

If we cut them in half and use them as tiles?

Or as skylights in our roofs? If we stack them and make walls?

THE GARDENThe second site is located close to the seashore, in the rice paddies. The landscape is characterized by the horizon and the openness, and by the different forms of production that take place here.Passing by, on the road, the recycling of garments is what caught the eye, and what carries the strangest beauty. More than the recycling of rags, there are rice cultivation, shrimp farming and textile washing industry in close proximity.

CHITOSAN MAKING

SHRIMPS RICEJHOOT /RAGS TEXTILE WASHING INDUSTRY

ShrimpsMost of the shrimp culture activities are carried out in large dyked areas, called polders. They are locally known as Ghers, meaning earthen enclosures. The dyked brackish water region is suitable normally for one crop of transplanted Aman paddy during August-December, when the water and soil salinities are low. Agricultural crop production during January-July is difficult. The increase of the salt content of the top soil in the dry season caused by capillary rise of the saline ground water, limits the possibilities for cultivation of a second crop. Freshwater for irrigation is not available since both surface water and ground water are saline during the dry months.Instead of keeping the land fallow during the high salinity period, many farmers find it rather profitable to utilize the low-lying and adequately submersible lands for fish and shrimp farming. Thus, many tidal flood plains are used for agriculture during the wet months and aquaculture during the dry months (rotation).The water is regulated with the help of the sluice gate.When the water levels are low, a net is thrown down into the pond to harvest the shrimp. The harvest of shrimps goes along with the spring tide. Spring tide is a term used for the 15 days of the waxing and waning of the moon, and the harvest is mainly taking place the three first day of the spring tide.

Chitosan production This production chain is added to the existing ones; the garments, the rice and the shrimps, linking them together. Derived from leftovers from the shrimp production, from the remainders of shellfish, Chitosan is considered as regenerating raw material. It is the most abundant natural polymer after the cellulose, and has multiple usages. The principles of chitin/chitosan extraction are relatively simple. The proteins are removed, and then the shells are demineralized to remove calcium carbonate. The outcome, chitosan, is dried, cut up and packed. It can be used in the textile industry; to increase dye ability, remove dyes from textile wastewater, improve quality of the threads for better weaving efficiency, giving antistatic properties and better thermo physiological properties. In agriculture, chitosan is used primarily as a natural seed treatment and plant growth enhancer, and as an ecologically friendly biopesticide substance that boosts the innate ability of plants to defend themselves against fungal infections. Chitosan can also be used in water processing engineering as a part of a filtration process. Chitosan causes the fine sediment particles to bind together, and is subsequently removed with the sediment during sand filtration. It also removes phosphorus, heavy minerals, and oils from the water.

Dying textile industryNot far away from the tin shacks with its surrounding colourful rags and fabric there are another textile-related industry, a ‘washing-industry’, where clothes and garments are being washed as step in the production chain of manufacturing clothes. The washing plant, Reliance Washing Industry LTD, offers a range of different washes. Enzyme Wash, Bleach Wash, Sand Blast, Rain Wash, Monkey Wash, Distress Sand Wash, Snow Wash, Peach Wash, Destroy Wash, Silicon Washes, Tin Ting Wash Etc., Hand Sanding, P.P, Whiskering, Tacking, Grinding, Crinkle, 3d Crinkle, 3d Whisker Etc., Garments Dyeing., Wash, Ultra Soft Wash, Stone Wash, Pigment Wash.The final product is sold at Wal-Mart stores across the US, 13 000 km away from the outskirts of Chittagong.

RiceRice is labor-intensive to cultivate and requires ample water. The water is regulated with the help of the sluice gate.The paddy fields are prepared by plowing (typically with simple plows drawn by water buffalo), fertilizing (usually with dung or sewage), and smoothing (by dragging a log over them). The seedlings are started in seedling beds and, after 30 to 50 days, are transplanted by hand to the fields, which have been flooded by rain or river water. During the growing season, irrigation is maintained by dike-controlled canals or by hand watering. The fields are allowed to drain before cutting

wet paddy

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JHOOT /RAGS

SHRIMP FARMS

cleaning (removing protein and minerals)

deacetylation

CHITOSAN

Use of chitosan in the textile industry, (improving dying coverage, , shrink-profing agent etc)

SHRIMP SHELLS SHRIMPS to sell and eat

CHITIN

sortingcolour, type, size

cleaning

drying cloths on racks

cutting

packing

storage

RICE FIELDS

water soaked seeds

drying rice on racks

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storage

nursery beds

irrigate fields

harvesting

Wastewater

Wastewater Irrogation of fields

Household water/drinking

Household water/drinking

Water from pond

Water from clenaing of rags

“Jhoot” - RMG - Ready-Made Garment

Cleaning water with chitosan

Cleaning water with chitosan

_RECYCLED INDUSTRIESLEFT OVEROVER FLOWSURPLUS PRODUCTION

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Garment (“Jhoot”) recyclingOn the site there is a febrile activity of sorting rags and pieces of fabric. It´s the rests of the country´s garment production that ends up here- on the edge of the city, in the middle of rice fields and palm trees.Items are sorted into alike categories such as material, colour or style of garment. The sorted rags of fabric are gathered into big bales. The bales are sold to paint stores, machine shops, auto shops, the cleaning industry. The recycled fabric can be re-born as for example carpeting or mixed rags.

A way to approach this landscape was by identifying and mapping the different forms of industries, and to link them together both through their leftover-products, and by imagining architectural artefacts or spaces that could be shared among them. Racks for drying clothes can be used for drying rice, ponds for shrimps can be used for rice cultivation, beds for drying and sorting clothes can become stages and landmarks. And so on.

A memorial is a structure erected to remind people of a person or past event.

This memorial, in the rice fields outside Chittagong, is reminding people of an event that is on-going, for the surrounding current now.

Just as the memory is a way of paying attention, of being aware, the memorial invites one to be aware of the landscape, of the shifts and changes, cycles and events.By being conscious and taking care of the landscape and the soil, engaging with it, the idea of the memorial turns into a garden.

A garden where knowledge is shared, where the ethics of care can grow.

The garden is a test bed for future crops, an enclave of soil and plants where conditions can be controlled and modified, giving opportunities for testing of new (and old) farming methods.The central part of the garden is the seed library, where farmers and families can come and change seeds. The seed bank and library offers an alternative model to agricultural biotechnology through participatory preservation of organic seeds.

Sections of the landscape memorial: the garden and the seed bank.

tThis is how the project is conceived in its context and how it could have had developed over time: By the big pond Behlvar Dighi an idea starts to develop: how to turn the water of the pond into drinking water. The huge body of water is used for washing, cleaning, bathing but the water is not clean enough to drink directly. It is tempting though, especially during the hot summer months, when there is a shortage of water and the supply from the city municipality is unpredictable. Moreover, the queuing by their public wells can take hours every day. There is a need to get clean drinking water by finding a technique that is low-tech and self-sufficient. Another condition that characterizes the context, similar to the abundance of water, is the ground, with layers of soil, thick and rich in clay. Through the local knowledge and the culture of brick making techniques, (manifested throughout Bangladesh) the suggestion to burn the clay and turn it into ceramic is not farfetched. By the big pond the local community starts to refine this material, the clay. They are producing a new element, that of a ceramic filter that cleans water. The basic equipment required for starting up this production is attained through a local NGO. Through international organizations, such as for example “Potters without borders” local NGOs are initiating this type of low-tech factories at many other locations. The water filter is a good thing, providing families in the neighbourhood with clean water, direct from a source at home and at a very low cost. But can the filter be modified, used for something else? The salon, with its niches for conversation and discussing, of gathering and sharing knowledge, works as an initiator here. A forum through which the single-use of the filter is questioned and can be developed. For example, the filters that are cracked during the production, can they be recycled? And the filters that have been clogged after four years of use, and that no longer are functioning, How to re-use them? A first, intuitive act is to plant flowers and vegetables into them. It is after all a clay pot. Then, by stapling them, small benches are being set up. The pots are casted into walls, for cooling and storage. With the

equipment and machines already available, comes, the idea of modifying the actual mould, the press of the filters. Instead of the cylindrical form, the filters now get a three-sided shape, for better resilience and construction ability. The production starts, along with imagining new uses for this ceramic element.To replace walls in existing houses becomes popular. When put next to each other the ceramic pots defines the form of the walls and thereby rooms; semi-circular or curved, which gives nice places for sitting and also looking out (if one takes out the bottom of the pot). The same goes with the roof, where the bricks create arches. Here they also serve as an element for natural ventilation, where the hot air between the tin roof and the clay pots creates a natural drag of air. Parallel, approximately four kilometres away, towards the seashore, farmers and families that are involved in cultivation of rice and crops start to discuss how to cope with rising salinity level in the soil. How can their crops withstand these changes? How can local seeds and crops slowly adapt to the new conditions? The farmers begin to gather by the rice fields and the low walls that separate them. Walls are then being raised and rooms are being built. A small education centre where to learn and test cultivation methods. As time goes by, there emerges a need for storing and archiving local seeds and plants.By then the production of ceramic elements in the salon is flourishing. The people involved in the production have once already been in contact with the rice farmers, when they needed rice husk for producing the porous water filter. The farmers that now are planning the seed storage come to think of those filters, how these actually could be quite suitable for their plans. They have already seen some quite inspiring examples, regarding building walls and roofs, over there by the pond. Maybe the modified filter, the ceramic brick, could be used as an element for building up their storage of seeds as well? By stapling the pots, curved walls are formed, with its cavities serving

as containers for the different types of seeds. Once the pots find their way in to the garden, in form of the seed storage, the use of them expands. Reinforcement of pond walls, containers for nursing of small seedlings and shrimp fry, planting of crops. When dug down in the earth they serve as irrigation vessels, as well as shaping the landscape, and making it possible to grow things vertically. Other uses for the pots are as tiles that mark the path in the landscape-garden and that stabilize the ground surface, especially during the monsoon. The soil, the clay and in extension the ceramic element is what on a very elemental level joins the garden and the salon. They are also joined on a conceptual level by both being sites for production and sharing of knowledge, each with their own architectural articulation. They are rooted in the scale of the community, where participation is a keystone, and the architecture and it artefacts can be adjusted and modified according to the needs and creativity of its users.

This project is not offering a solution or answer to how to deal with problematic questions, regarding for example the right to clean water, women´s empowerment, community building or environmental changes and challenges. But these topics have been influencing the whole process, and are incorporated within the project. Probably there aren’t any straight solutions or answers, and the project work is realizing and embracing that. The issues are taken seriously, as a point of departure, but emphasize on the importance of imagine and suggest worlds and realities that carry a bit of vision and marvel. To be able to see beyond the most basic necessities of the context. In cities like Chittagong, where there are no excess of time, money or leisure for most people, and where working days can be long and physically exhausting, it might be precisely the extraordinary and imaginative that the people need. A suggestive architecture, that take stand from the every-day life, will give the power of realizing through imagining.

THE PROPOSALS AND THEIR RELATION

Model photos of the Salon.

Wall element

Bath bridge

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Mapping and zoning the central part of Berlin, Mitte, lead to focusing on the area in and adjoining the station Jannowitzbrügge. It serves as a junction for different typologies of transportation. The S-bahn, U-bahn, the river and the road. The theme “Reciprocal Urbanism” refers to the method of working as in a loop, where the project and the city stand in a never-ending correspondence, giving-and-taking, depending on each other. The material is re-worked, looped over again and can never be said to be finished. The program of a bathhouse (a sauna/a place for cleaning) is used as a tool to understand and portrait the mechanism of the station, by juxtapose these two programs and looking at the thresholds in between, new types of situations and spatial frames emerge.

Juxtaposition of a station and the action of cleaning and washing.

Initial speculative cross-sections of the site and the program.

Initial speculative cross-sections of the site and the program.

The bath and the station, collages of sections and isometric views.

U-bahn meets spa

Escalator and water sports

Tower of sauna booths

Train wagon bath

Bathtub meeting room

Car washDrivers wash

Wash on rail-performance

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”reverse engineering”. This meant that each student´s work from last semester was taken as a starting point for the other students work, during one workshop-like week, altogether during seven weeks. The result can be seen a coherent but also differentiated body of work. Every week a new project, new lenses and views, new interpretations of one owns project/field of interest.

The themes in focus returned and was re-worked in every week-project. These themes were dealing with architectural thresholds, transit zones and in-between-spaces.

The original project of the bath house at Jannowitzbrugge in Berlin were at the end of the semester reconfigured and given a more specific architectural proposition.

Architectural fragments and parts from the station of Jannowitzbrugge. They all relate to the thresholds of the bath and the station (when going in to the sauna, when jumping on the train). The models are a study of the movement, gravity and balance that are connected to the entry and exit of a threshold.

Axonometric view of the bath, from the underground U-bahn to the elevated S-bahn.

Next page: Diagram depicting the uses of the bath and the changes throughout the year, the week and the day. The humidity, the level of water and the temperature follows the seasons and the timetables and rush hours of the station. These conditions then define the functions and uses of the spaces in the bath.

S-bahn Road -1 -2Ground level U-bahn

Model photo. The thresholds between the bath and the station.

Model photo. One of the rooms that occasionally is filled with water, for swimming and exercise. When the water is poured out, the space serves as a small performance scene, overlooking the tracks of the U-bahn.

With slightly tilted, thick walls and high ceiling you get the feeling of being in a rough and free place, where work

and experiment can take place. The high windows stretching from floor to ceiling, with deep niches, provides the

indispensable sunlight.

Outside new gardens within the park grow up. Fruit trees and berries grow seemingly wild, you´ll find strawberries

and potato fields in the high grass. Here and there walls and slabs emerge from the wild grass, resembling the structure

of the buildings and providing outdoor rooms for act, show or rest.

Imagine yourself a rope of pearls, diamonds being thrown out in the park. Some of

them solitary, others clustered together, forming rooms inside and outside.

These building structures, made of concrete and glass, consist of 4-5 smaller studios

where artists-in-residence live and work for a couple of months. The studios are

secluded, occupied by contemplative artist who search concentration and quietness. In

contrast to the studios, a larger group of buildings forms a node of activity where the

artists meet, socialize, perform, bathe, work in the workshop and integrate with the

visitors.

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. The process of design can be described as one of transformation. A thoroughly resolved design is considered in terms of its nature, function and condition. What the object is, what it does and what its context is.

We started the workshop with a primer image to be analyzed in terms of these three parameters.Our image represented a chandelier.

A chandelier - an object that connects with all of our senses. We can see it, feel it, hear it and smell it. We use our senses, hence a chandelier of the senses.

Modeling the senses with Rhinoceros.

Workshop with George King and Myoungjae Kim as tutors.

The Chandelier of the Senses is a chakra, a chamber where you enter and plug in yourself to enhance your senses and communicate with the other seekers. The chandelier is vibrating, a smelling organ corresponding with its environment.

Top view

Site plan. The chandelier is situated on the campus of Lund University.

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On the very northwest edge of Skåne, a region in the southern part of Sweden, lays the small village of Torekov. A picturesque summer resort under a couple of intensive months, the rest of the year a village with elderly inhabitants and a need for regeneration.

To attract people with another kind of knowledge and personal experience to this posh and quite wealthy population, my project proposes an establishment of a cooperative rehabilitation clinic for women. Women who have a background of crime, drugs and alienation and who now need support and training to start a new life.

Examples of cultural activities that take place in the clinic.

Pavilions are placed out in the gardens of the summerhouses in the old part of Torekov. Houses which are empty during a major part of the year. The pavilions serve as residence for the women associated to the rehab-center.

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The rest of the floor area can be separated by temporary walls.

The construction consists of arches in wood.

The arches create a climate shield, which can be developed gradually according to needs.

The necessary functions such as toilets, elevator and storage are accommodated in a few permanent rooms.

The climate shield is divided into section elements. The elements consist of slabs made of:

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Welcome to Pension Monbijou!

We provide rooms for those who have trouble finding an accommodation. Here it is possible to live a long time. Without having to lease or purchase an apartment.Cultural institutions, galleries and theatres in the area can rent space for working artists and guests, for a long or short time. We offer no unnecessary services that cost money. We prefer to cooperate with local businesses/shops, take advantage of the ebullient neighbourhood so it can specialize and flourish.The services that you expect and appreciate at a boarding house we have done more public. A laundromat with café and a mini-hamam, things that more than just the boarding house-guests can enjoy. At reasonable prices. You can live here in two ways. Either in the ”studios”, which are a bit bigger and self-sufficient. They are suitable for a long term stay. Or you can rent a closet, a nice one. Then you get a bed, a sink and a door to close and lock. Bathroom, toilet and dining area you share with the neighbouring guests. The pension offers half and full board. Guests are attracted to the bottom floor, where it is very relaxed. One can sip coffee and beer and enjoy simple meals. Hang out in tha glass house, our common livingroom that we share with the rest of the city.

Enjoy!

Site plan

Section

Elevation

Close-up of the façade.

A network of wire where plants gradually begin to climb.

Sliding tiles of metal partially covers the windows

Section of the hotel with its glass house.

Sections of one ”studio”

View of the studioIn the glass house/café

Collage of materials

The square Värnhemstorget in Malmö is a center for a major part of the outgoing and incoming traffic of the city. It is a real hub of communication, with a lot of commuters that wait for and change buses.

The area is at the moment in a state of change, from being Malmö´s somewhat backyard it is now shifting to become a neighborhood with exploitation, new shopping malls and gentrifica-tion.

To create a more intimate character, this project suggests a roof structure that defines rooms in the otherwise quite vast and windy square. The roof functions not only as a definer of space, but also gives opportunities to connect lamps, heaters and technical equipment to it, and of course it serves as a shield for the harsh and unfriendly weather in Malmö.

The main structure consists of steel beams forming triangular shapes. Different types of materials and patterns fill up the construction, forming exquisite shadows and rooms.

Diagrams

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Samples of roof structures

Section facing east

Section facing south

The Fantasy Project is all about developing the creative process. It began with the creating of a fictional character. From the idea of an inside vs. an outside, things hidden within something else, the figure of a transvestite emerged.

The second phase of the design process was to imagine a place and context for this character. My transvestite lives in the Nevada desert. In this milieu I created a house. A refuge, a simple shelter that provides the necessities. The house is constructed of layers of vaguely tilted walls, that gives protection from sun heat and insight.

The last part of the project was to create a piece of furniture inspired by the person and its home. The furniture from this project participaded at the Stockholm Furniture Fair, spring 2009.

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PIERCING THROUGH

Inspired by the harsh desert, the simple shelter and the complexity of my imaginary figure. The final result of the design process, this piece of furniture was made in full-scale and participated in Stockholm furniture fair 2009.

Axonometric Kimberly chillin´

Models in the process.

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.My home - my trailer.

A functional but yet poetic way of interpreting the idea of the home as a small and moveable piece. The foldable and moveable sphere contains all the necessities for a compact living. It can be placed wherever there is a need for privacy and comfort. In need for camouflage, the choice of placement can preferably be in a tree since it somewhat resembles a pine cone.

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During my time at Lendager Architects in Copenhagen, I came to work with a lot of different projects, in varying scales and stages. The office has a strong green profile, where sustainability and re-use is valued and apparent in every project.

I was designing and constructing a pavilion for an exhibition, along with some basic interior designs in the actual office where we worked.

I was working with the interior of the kindergarten “Marthagaarden”, where new colour schemes were applied and the existing furniture where reconfigured and painted. I was also re-working the plans of the interior.

I was part of a team at the office, and we were in a competition for the future of social sustainable housing in Denmark. I participated in the design of the proposition and were mainly responsible for the illustration of the presentation material.