STUDIO THEMES – KTH School of Architecture, Advanced Level 2014-2015

KTH ROYAL INSTITUTE OF TECHNOLOGY

STUDIO 1: FULL SCALEAnders BerenssoneBBA HAllinJoHAn PAJu

STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFETor lindsTrAndKArin MATzAnders WilHelMsson

STUDIO 3: FOUR SCALESAlexis PonTviKPål röJgård HArryAn

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONSCHArlie gullsTröMori MeroM

STUDIO 5: ROUND-TRIP TRANSLATIONSulriKA KArlssoneinAr rodHeveroniCA sKePPe

STUDIO 6: SEARCHING FOR MA –INVESTIGATIONS OF SPACE AND TIMEleif BrodersenTeres selBerg

STUDIO 7: FRAGMENTATION AND COHERENCEelizABeTH HATzPeTer lynCH

STUDIO 8: SHIFTING GROUNDsArA grAHnruMi KuBoKAWAMAx zinneCKer

STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCEJonAs runBergeroliver TessMAnn

SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCEAnA BeTAnCourrAMiA MAzéMeiKe sCHAlK

STUDIO THEMESKTH school of Architecture Advanced level 2014 – 2015

www.arch.kth.se

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KTH School of ArchitectureÖstermalmsgatan 26100 44 Stockholm, Sweden

Printed by Edita Bobergs AB, Falun, Sweden, in August 2014

BJÖRN EHRLEMARKdirects the KTH School of Architecture’s programme of public events, exhibitions and publications. He is an architect and journalist, and co-founder of Neigh-bours of Architecture. He has designed and edited the Studio Themes catalogue.

HELEN RUNTINGhas copyedited this publication. She is an urban planner and designer, and a PhD Candidate within Critical Studies at the KTH School of Archi-tecture. Her research addresses practices of criticism and the relation between art, architecture, marketing, and urban planning.

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JESÚS AZPEITIAis the Director of Undergraduate and Master’s Studies at the KTH School of Architecture. He is an architect trained at ETSASS, San Sebastian.He works for Urban Design AB and has run his own practice, JAZ, since 2004.

ANDERS JOHANSSONis the Head of the KTH School of Architecture. He is the founding partner of the archi-tecture practice Testbedstudio, as well as President of Europan Sweden. He studied architecture at KTH and the Archi-tectural Association in London, and has a PhD from KTH.

FRIDA ROSENBERGis the Head of Advanced LevelStudies at the KTHSchool of Architecture.She is a practicingarchitect, educator,and researcher, withMaster’s degrees fromChalmers and Yale Schoolof Architecture. She is currently pursuing a PhD in History and Theory of Architecture at KTH.

DEAR STUDENT,whether you are joining us for the first time, or have already been with us for several years, we would like to wish you a warm welcome to a new academic year at the KTH School of Architecture. Entering the final two years of studies in archi-tecture, a wide array of possible study paths and design projects await you. It is our hope that the range of available studios and supplementary courses will act to both fulfil your curiosity for learning and deepen your architectural interests.

Overall, the KTH School of Architecture aims to offer its students an education that encompasses the many different tasks that you can expect to encounter as architects – both today and in future, uncharted settings. The purpose of our studio teaching model is to ensure learn-ing progression and an individual deepening of knowledge, skill, and judgment within architec-ture and related fields.

While undertaking studies in architecture at the Advanced Level, students are expected to complete six design courses, or “studio projects,” each of which provides an opportunity to apply and develop a range of analytical and design skills, as well as the tools needed to reflect on the learning process itself. At this level, one should demonstrate the ability (using adequate meth-ods) to critically and independently evaluate and design an architectural project to completion.

As we have learned from previous generations of students, you all have the capacity to reach above and beyond these prospects. It is with great anticipation that we hope to see you evolve and progress during your studies at KTH, and we look forward to sharing in and discussing the out-comes of your work.

Along the way, you will continuously be sup-ported by the pedagogical commitment of our studio teachers. Those teachers are briefly intro-duced in coming pages (alongside their respec-tive studios), and will be further introduced at the studio presentation event on September 1st.

We will see you there, and together launch a new year – dedicated to the continued production, assessment, and implementation of architectural knowledge, in all its forms.

Wishing you our very best,

Jesús Azpeitia, Anders Johansson, Frida Rosenberg

Studio spaces at KTH cleaned out before the start of the academic year. (Photo by Björn Ehrlemark)

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INTRODUCTION:

STUDYING AT ADVANCED LEVEL This Studio Themes catalogue is your guide to studies at the Advanced Level at the KTH School of Architecture. The Advanced Level consists of 2 years of study and includes a Degree Project, which is carried out in the final term. After its completion, students may be awarded the Degree of Master of Architecture or the Degree of Master of Science (120 credits) with a Major in Architec-ture, depending on whether they are enrolled in the 5-year Degree Programme in Architecture or the 2-year Master’s Programme in Architecture.

THE STUDIO SYSTEM Our teaching is structured around a studio system, meaning that groups of students join up with tight-knit teams of teachers to embark on their studies as a shared undertaking throughout the academic year. Students develop a theme or re-search interest through group work as well as through individual projects. Each studio is struc-tured around distinct pedagogical approaches, addressing their own specific topic of interest.

As you can see to the facing page, the KTH School of Architecture currently offers 9 differ-ent Advanced Level studios. In addition, students have the possibility to enter the Sustainable Urban Planning and Design programme (SUPD)

studio for one year, while still being able to gradu-ate from the architecture programmes.

Although representing a diverse set of possible directions, all of the studios conform to a shared framework. Each term in the studio is structured around two studio projects (12 credits apiece), complemented by one orientation course (3 cred-its) and one elective seminar course (3 credits). During their two years at the Advanced Level, stu-dents complete six studio projects, followed by the Degree Project (30 credits). The latter is carried out independantly but housed within a studio, with a studio teacher as supervisor.

In preparation for the work on the final project, a synopsis outlining the Degree Project is prepared in the preceding term – the “thesis booklet.”

ARCHITECTURAL EDUCATION AT KTHBeyond the programmes at Basic and Advanced levels, the KTH School of Architecture offers an ar-chitectural education that spans a range of addi-tional levels: it provides a foundation year – based in Tensta in north-western Stockholm – and in-dependent courses, as well as a PhD programme, which is part of the Swedish Research School in Architecture (a collaboration between the four ar-chitecture schools in Sweden).

Detailed information can be found at www.arch.kth.se.

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CONTENTS:

STUDIO 1: FULL SCALEANDERS BERENSSONEBBA HALLINJOHAN PAJU

STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFETOR LINDSTRANDKARIN MATZANDERS WILHELMSSON

STUDIO 3: FOUR SCALESALExIS PONTvIKPåL RÖJGåRD HARRyAN

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONSCHARLIE GULLSTRÖMORI MEROM

STUDIO 5: ROUND-TRIP TRANSLATIONSULRIKA KARLSSONEINAR RODHEvERONICA SKEPPE

STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIMELEIF BRODERSENTERES SELBERG

STUDIO 7: FRAGMENTATION AND COHERENCEELIZABETH HATZPETER LyNCH

STUDIO 8: SHIFTING GROUNDSARA GRAHNRUMI KUBOKAWAMAx ZINNECKER

STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCEJONAS RUNBERGEROLIvER TESSMANN

SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCEANA BETANCOURRAMIA MAZéMEIKE SCHALK

DEAR STUDENT

INTRODUCTION

CONTENTS

2014-2015 ACADEMIC YEAR:ADVANCED LEVEL COURSES & DATES

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Students and teachers at the Advanced Level gather for the studio introduction event in September 2013. (Photo by Charlie Gullström)

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Above: What is needed in order to realise a small architectural masterpiece?

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STUDIO 1: FULL SCALE

There is a tendency for conceptual focus to bite its own tail. Academic architecture often fails to establish real testing grounds. Because of this, Studio 1 is a study in making; an investigation of building processes.

In general, architects have little or no experi-ence of constructing in 1:1, and limited knowl-edge of the on-site factors that influence the economy and logistics of what we design. Mean-while, today’s rationalisation and large-scale management are making it harder to fuse radi- cal ideas with the systems of built reality. But ar-chitecture isn’t just a nice-looking layer. It is the art of building, a synthesis between material and idea. Studio 1 proposes that a return to the site will bring about the architectural masterpieces of tomorrow.

To build is a direct way of acting out architecture. It can make material perform in ways it never knew it could. To build is to be a thoroughly act-ive designer, with both a conscious overview and constant flexibility. Engaging in processes of pro-duction and immediacy might be just what the world needs architects to do next.

TEACHING METHODOLOGYBy taking an active part in building processes at various scales, students will gain personal expe-rience and a better knowledge of the production chain, encountering constructions in real-time, rather than through simulated cases. Structural durability, materiality, and detailing become un-avoidable topics early-on, rather than last-min-ute additions. Relations between resources, site, architecture, craft, and mass-production are ex-posed, feeding back into a critical approach and ultimately generating a more confident concep-tual focus. The idea is to be a player before be-coming a coach.

The year’s work is divided into four projects, two of which are more practical, and two of which are more reflexive. The first semester investigates how to construct a building, the second how to build within a city. Each of the projects will be hosted by different collaborators, spanning pri-vate, corporate, and political actors – from the carpenter to the large-scale construction corpora-tion to the municipal decision-maker. Evaluating the potential of different systems will strengthen students’ abilities to find relevant and updated tools, and ultimately to create a more influential synthesis between architecture, industry, and the community.

At the end of the academic year, Studio 1 will compile its research and conclusions in a publication.

1:1 BASEHow much is a house? To find out, the studio will realise a climate-shielded space capable of housing the studio for a year. The project involves research, design, planning, and building. The de-sign process will be linked to comfort, timing, and economy in their most practical senses; the idea being to gain knowledge through experience. The main project is collaborative, and the task is to produce and transform the material in order to realise a small masterpiece.

Studio Project 1, Course A42A13/A52A13

1:2 MASSStepping up in scale, Project 2 is a study of indus-trialised building components and systematisa-tion. By getting to know the processes at work on a large construction site, from the role of manage-ment consultants to that of the manufacturing industry, we aim to review the commercial and logistical factors in building processes. What dom-inates the market and why does everything look the same? How does mass production respond to the variables of a context? At which scale or stage might the architect improve an industrialised process? The task is to invent a new component or material, and develop a project which uses it.

Studio Project 2, course A42B13/A52B13

2:1 FRAMEThe built environment is drawn through bound-aries, regulations, and conventions. To better un-derstand this context, Project 3 addresses the po-litical management and planning structures that set the standards for building processes. Which agreements and rules are relevant, and who gets to make that decision? Which boundaries are ac-tual and which are possible to change? Through concrete cases, the course aims to map rights and responsibilities within building processes, to pro-pose new models for immediate improvement, and new visions for a greater city. The course will be held in collaboration with municipal actors.

Studio Project 3, Course A42C14

2:2 ACTUsing previous investigations to build a pro-gramme, Project 4 asks students to create an in-tervention in public space, and to study spatial performance by making full-scale installations. The course is an opportunity to process a struc-ture for public use, and to improve common spaces. As in preceding projects, the issue is to re-late architectural design to production, and stu-dents are encouraged to work in teams to realise a full-scale, real-time architectural masterpiece.

Studio Project 4, Course A42D14

ANDERS BERENSSONis an architect and a Lecturer at the KTH School of Architecture. He is a co-founder of Visiondivision, a member of Svensk Standard, and founder of Anders Berensson Architecture.

EBBA HALLINis an architect and a Lecturer at the KTH School of Architecture. She is a co-founder of Himmelfahrts-kommando.

JOHAN PAJU(Co-teacher) is a landscape architect and a Lecturer at the KTH School of Architecture. He is co-founder of N.O.D. and Paju Architecture and Landscape, and Studio Manager of Landscape at Fojab Arkitekter.

COLLABORATIONSStudio 1 is collaborat- ing with KTH Förvalt-ning, Akademiska hus and Djurgårdsförvalt-ningen. The project sites and testing grounds will be locat-ed on the KTH campus and in surrounding park areas. The studio will exchange knowledge and ideas with small-scale con-tractors like Bromma Bygg as well as large building companies like NCC.

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Above: ‘Remember the Future,’ Degree Project by Nils Sandström and Jakob Wiklander (top, photo by Tove Freij); Student housing in Fittja, project by Felicia Wahlborn (bottom).

Left: ‘XYZ,’ a shapehifting scaffold pavillion in the KTH-A courtyard, Degree Project by Ragnar Eythorsson and Viktor Nilsson (top); ‘Haninge- skolan,’ the Studio 2 theme for 2012-2013 exhibit-ed at Haninge Konsthall (middle); Guest lecture by Per Wirtén at Fittja Cube in Fittja (bottom).

Below: Student housing in Fittja, project by Jenny Schinkler (top); ‘Mountain Mimesis,’ De-gree Project by Julia Eriksson (bottom).

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STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFE

Since the spring of 2013, the studio has been working in collaboration with Botkyrka municipality on a series of projects in the neighbour-hoods of northern Botkyrka. These residential areas were all primarily constructed as part of the Million Program and have, since their com-pletion in the mid-seventies, been heavily criti-cised. Planning and late modernist architecture marked a paradigmatic shift in the history of Swedish architecture and still today consti-tutes a reccurring topic in almost every discus-sion of architecture and planning. This year, the studio will mostly work in the neighbour-hoods of Alby and Fittja. Together with Botkyrka municipality, Botkyrka konsthall, local organisa-tions, and other institutions for art and archi-tecture education, we will work with projects which address public space and buildings in relation to the specific qualities of late modernist architecture. Whilst the projects are down-to-earth and straightforward, the overall theme engages with difficult questions regarding the future of public space, identity politics, and the role that architecture plays in creating a segregated city.

If the contemporary city can increasingly be seen as an integrated extension of an overarching marketisation of society and a shift from politics to economics, then neighbourhoods like Fittja, Alby, Norsborg, and Hallunda stand as physical reminders of a different society.

TEACHING METHODOLOGYThe studio focuses on the social dimension in architecture. We are less about what architecture looks like, and more oriented towards what architecture does and how it performs. A design process is not merely about finding a method to create an object, but is also about engaging in the complex and contradictory field of relation-ships that inform our making and understanding of the built environment. It is about introducing questions and uncertainties right before consen-sus is established; about what we architects do, and how we do it.

Rather than a collection of tools, methods, van-tage points, and positions, the aim of a design process is to question and reflect upon the funda- mental conditions of what constitutes a contem-porary architecture practice; to unravel the very ground on which we stand.

CIVIC CENTRE FOR NORTHERN BOTKYRKAThe neighbourhoods in northern Botkyrka have a strong tradition of establishing cultural, sport-ing, political, and religious associations. The mu-nicipality of Botkyrka is looking into the possibil-ity to house some of these associations.

The assignment in this course is to propose a lo-cation, develop a program, and make a proposal for what such a civic centre could be. Theoretical seminars on topics of gentrification, segregation, and public space will be running parallel to the Studio Project course.


TEMPORARY PUBLIC SPACEIn 2009, the school next to Alby Centrum was demolished. The one-hectare site is now empty and is waiting to be developed. According to the buildings and environment administration, this development will probably not happen for 15-20 years. In this course, we will make proposals for the temporary use of the site, something in- between a building and a park. What kind of public activities and spaces could we imagine?

Studio Project 2, Course A42B13/A52B13

PRE-SCHOOL / CULTURAL CENTREToday, schools are not only seen as places for students, but in a larger context as places for learning. They are for example often combined with a library, meeting rooms, and auditoriums. The existing pre-schools are in temporary build-ing barracks or in worn-down buildings from the sixties and seventies. In this assignment, we will make proposals for a new, or the re-building of an existing, pre-school and develop a program that combines the interests of different groups in society.


PUBLIC WORKThis course will introduce both new concepts and tools for working with topics of urban develop-ment – a more down-to-earth, active, and participatory approach to urban and spatial questions. Each student will produce a concept for a project that can be realised with the help of their fellow students as co-workers and with a limited econ-omy. We will learn how to go from concept to complete project, dealing with project management, communication, design, and hands-on work with construction and materials.


TOR LINDSTRANDis an architect and an Assistant Professor at the KTH School of Architecture and a co-owner of the office of Larsson, Lindstrand and Palme (LLP). He is currently working in ‘Power, Space and Ideology,’ a collabora-tive research project between KTH and Södertörn University. He is also co-founder of International Festival and Economy.

KARIN MATZis an architect work-ing at Vera Arkitekter and running her own office, Karin Matz Arkitekt. She is a member of the Swedish architecture collective Svensk Standard and has had her work published in numerous interna-tional magazines.

ANDERS WILHELMSONis an architect and a Professor at the KTH School of Architecture, and was Professor of Architecture at the Royal Institute of Art in Stockholm for 10 years. He runs his own practice, Wilhelmson arkitekter. In 2006, he founded Peepoople AB, a company engaged in delivering hygiene and sanitation to the world’s urban slums, refugee camps, and emergencies.

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Above: Scale 1, room – Fredriksborgs Fortress, project by Johan Andersson.

Right: Scale 2, house – Kopparlunden student housing, project by Lars Aebersold; Scale 3, block – city extension, project by Robin Lee.

Below: Scale 4, neigh-borhood – project by Rachel Durot, Afonso Ferreira, Naseer Nasiri, Sara Beth Riley, and Vidar Sörman.

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For the academic year 2014-2015, Studio 3 engag-es in exercises following a succession of spatial scales. Scales are measurements of order in differ-ent areas of knowledge and art. In music, scales refer to different times and cultures. In architec-ture, the meanings of scale are manifold: differ-ent degrees of detailing all referring to the scale of reality (1:1). Whilst the parts of a building may differ in scale, buildings in the city also maintain scale relationships with each other. Aspects of scale are at play in the definition of regions, and even in global scales of things and relationships. In all these scales, we find interventions, specific conditions, and know ledge. The scale is a meas-ure, which orders and facilitates both reading and understanding.

We will embark on a journey in scale, from the room to the dwelling, from the dwelling to the building, from the building to the block, and from the block to the urban neighbourhood.

TEACHING METHODOLOGYChanges in the physical environment con-stantly affect built and un-built places. Most architectural praxis today will have to deal with how to transform existing building structures to fit new needs.

We will investigate the contextual frames, making programs and designing for new and existing – modern and historic – spaces. During the year, we will approach architectural design from the detailed to the urban scale. Methods will be developed to gain knowledge about buildings, spaces, and sites through experiment- ation as a creative, spatial tool of design. We will identify values and threats and understand the built in relation to its physical and urban sur-roundings, in shifting geographical places, with different materials and building techniques.

The development of the skills and techniques of model-making and drawing will be an ongoing and important disciplinary task in each project and through out the year.

FROM OBJECTS TO RELATIONSHIPS, PART IDuring the first semester, we will frame spatial concepts in experiments with physical models, drawings, and photographs. The identification of value in various existing contexts will be followed by programmatic and spatial interaction on sites and in buildings that need to be revitalised to fulfill new needs.

This studio project will be closely connected to the following project.


FROM OBJECTS TO RELATIONSHIPS, PART IIIn collaboration with the municipality of Norr- köping, we will interact in an on-going process that links strategic points in the city centre with former industrial and historical zones along the shoreline of Motala Ström.

various buildings from different periods, like the power plant, prison, silo, warehouse, for-tifications, and other spaces in the area of the industrial harbour, will be examined for new, creative interventions by adding new values in a context of great change. Testing solutions by developing them in further detail will ensure variety and complexity in the design process.

Studio Project 2, Course A42B13/A52B13 COMPACT CITIESThe extreme growth of cities worldwide dem-ands a discussion and analysis regarding the form of the city. Our third studio project involves the investigation and development of sustainable and compact urban city block typologies, and patterns of larger urban environments.

A limited number of parameters such as trans-portation, public space, sunlight, urban green, etc., will be introduced and tested in a Swedish climate. The project is collaborative, undertaken by teams of students working together.


CITY EXTENSIONS, CAIROWith the dual purpose of developing compact urban typologies and at the same time engag-ing in international cooperation – particularly in developing countries – we will this year collab-orate with the University of Cairo. The central idea is to test and apply the outcomes of Studio Project 3 on a site with a different local topo- graphy, culture, climate, and other specific parameters.

The study and understanding of the local condi-tions will be compared with the local conditions in Sweden studied in the previous project.


ALExIS PONTvIKreceived his profes-sional education at HBZ, Bern, Staatliche Kunstakademie Düsseldorf, and the Architectural Associa-tion, in London. He has run an architecture and urban design prac-tice in his own name since 1981, and is Professor of Urban Design at the KTH School of Architecture.

PåL RÖJGåRD HARRyANis an architect trained at the Royal Danish Academy of Fine Arts in Copenhagen and is a Lecturer at the KTH School of Architecture. His professional prac-tice, Harryan Arkitektur & Design, is based in Stockholm.

COLLABORATIONSUniversity of Cairo (EG)

STUDIO 3: FOUR SCALES

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Bridge over

troubled water

The public buildings create cores along the structure The houses are developed around those cores The city grows over time and continues to expands verticaly

The city of Istanbul is situated on two sides of the Bosphorus which divides the Asian and the European continent.We want to connect the two sides as a unification between the continents, religions and cultures by slowly merging them together. A structure is set as a base for the city to grow over time, facilities such as hospitals, schools, etc. are planned and situated regularly into the structure, in order to permit a development of the housing around those cores. By offering people a spot to build houses or establish businesses, the community is self-developed. The fact that the inhabitants can freely arrange their own spot generates interactions between them. This offers the possibility to densify the city and respond to the growth of population.The system is connected to the rest of Istanbul by boat which can moor in the piers connected to the structure. A metro is integrated inside the structure to improve the connections between both sides as well as to enhance the circulations inside the system. A path reserved for pedestrians and bikes allows the inhabitants to reach houses, parks and facilities.

Europe

Asia

Top: Studio Project 3 2012, Urban Development for Kibbutz Neot Smadar, by Björn Ingridsson.

Above: In 2014, ‘A Competitive Edge’ was dedicated to skyscrapers. This proposal, ‘Bridge Over Troubled Water’ by Julien Donzé and Linnéa Zickerman, addresses the fragile con-nection between Asia and Europe.

Right: The pedagogic strategy of Studio 4 can be illustrated like a whirlpool. (Image by Ori Merom)

Far right: Extreme living conditions – Maat Mons vulcano on planet Venus. (Image Licensed under public domain via Wikimedia Commons)

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STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONS

Studio 4 seeks to push the boundaries of what architecture is, by exploring what architecture can be. Our chosen theme this year is architec-ture for extreme conditions. As a team, and with input from researchers in various fields, we will investigate the conditions for design in space and extreme environments.

To meet the challenges of global warming and our planet’s limited resources, researchers are currently developing new materials and tech-nologies that could be applied to architectural design. What are these materials? What are their qualities and how do they compare to traditional materials in architectural design, such as stone, wood, glass and steel? In short, the studio will explore new materials and innovative space technologies that are applicable to extreme liv-ing conditions. This could be a tropical-heat dis-aster area in the southern hemisphere; a tempo-rary building in the extreme north; or perhaps even a building on Mars.

The autumn starts with an exploration of materiality and results in a proposed architectural de-sign for an extreme environment (hot, cold, wet, or extra-terrestrial). As a next step, you will de-sign a KTH Space Pavilion, for an international astronaut conference, hosted by Christer Fugle-sang, KTH, and the European Space Agency. One of the studio projects will be built on campus in the summer of 2015.

TEACHING METHODOLOGYTaking an abstract bird’s eye view, the studio can be seen as a whirlpool in which your personal development is a vertical flow rising upwards. As teachers, we work as a team to maintain the forces of spin and uplift, and to keep the mo-mentum going. Embedded in this metaphor is a form of custom-tailored teaching that we have developed over many years and that centres on the specific skills and abilities of each student. At Master’s level, you already have an individual approach to design thinking. Our view is that al-though architectural training has equipped you with various design tools and methodologies, you still need to sharpen your personal artistic voice. It is our job in the studio to help you ma-ture, step-by-step, by scrutinising your design intentions, so that you can position yourself in a greater context – always facing the challenges of our future society. We want to ensure that your final Degree Project becomes a personal land-mark and a springboard for your future career as an architect. For this reason, we sometimes make slight adaptations of the course design, allowing our 5th-year students to work in preparation for their Degree Project.

Studio Projects 1 and 2 are linked to each other. We will run workshops and invite guest lecturers from relevant research areas to facilitate the understanding and application of these new issues.

1: MATERIALITY IN ARCHITECTUREWeek 1-2: Choose a building material you like. Explore it and push it to its limits, way beyond its conventional usage, by modelling and testing. At which point does it change character? How can you describe and represent its qualities and limitations? Produce a thorough account of the potential of the material, through physical, artistic expression. Tools: eyes, hands, mass, and sketching.

Week 3-4: Choose a completely new material, a substance you’ve never seen used in a built environment. The task is to investigate its poten-tial and to find a usage for it in the built environment. Use suitable tools for the exploration of the material.

Week 5-6: Based on the previous investigation and a given programme for a new headquar-ters and research and production unit, you will develop a first concept sketch and a model.


2: BUILDING FOR EXTREME CONDITIONSDesign the building, based on your explorations in Studio Project 1. Pin-ups every two weeks.


3: KTH SPACE PAVILLIONDesign a showcase pavilion for Space and extreme conditions, to be built on KTH campus. The activity is aligned with an international astro-naut conference in September 2015 hosted by KTH Space Centre, European Space Agency (ESA) and NASA.


4: A COMPETITIVE EDGEAs in previous years, the students of Studio 4 will participate in an international architectural com-petition. However, a few students will instead develop their designs from the previous project (from Studio Project 3, the KTH Space Pavillion) into work drawings for planned construction in August 2015.


At the Diploma Days in June 2014, Studio 4 was awarded the Jury’s Mention in recognition of our teaching methodologies and the way we coach our students to take risks also in the last term, encouraging them to formulate design problems outside the conventions of architecture.

CHARLIE GULLSTRÖMis an architect and a University Lecturer at the KTH School of Architecture, com-bining teaching with design-led research in architecture and interactive media. Her research group, ‘KTH Smart Spaces,’ is currently involved in an EU-funded project relating to presence design and the future of connected media.

ORI MEROMis an architect with his own practice, Merom Architects, and an ex-pert advisor on design management strategies. He is a University Lecturer at the KTH School of Architecture.

CONTRIBUTORSFarvash Razavi has a background in chemistry and interior design, and heads the design studio Very Very Gold together with Nandi Nobell. Both will contribute expertise in new ma-terial development.

COLLABORATIONSAstronaut Christer Fuglesang & Dr Gun-nar Tibert, KTH Space Center; Designer Cecilia Hertz, Umbil- ical Design; Ulf Hack-auf & Adrien Ravon, School of Architecture, TU Delft (NL); Profes-sor John Stallmeyer and students, School of Architecture, University of Illinois, Urbana Champaign, UIUC, (US); Kibbutz Neot Samadar (IL).

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Top: Studio 5 Study trip to Acropolis, Olympia, and Epidaurus in Greece. (Photos by Ulrika Karlsson)

Above: Studio project for an equest- rian center, by Jakob Valentin and Anna Weglin (left), Axel Bodros Wol-gers and Aron Edling Fidjeland (right).

Right: ‘Mellanting,’ Degree Project by Cecilia Lundbäck.

Left & below: ‘Misunderstandings,’ Degree Project by Gerda Persson.

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STUDIO 5: ROUND-TRIP TRANSLATIONS

Architecture as field and practice calls for proce-dures of translation from medium to medium, from drawing to model, from drawing to building, from mediums of representation to fabrication.

A general concern in architecture has tradition-ally been that of preserving the meaning and likeness from idea to drawing to building with minimum loss. Rather than blindly comply with the rules of a parametric approach to design, the studio will investigate sensibilities which disturb identity, with an interest in embracing the gen-erative potential when going between mediums.

Translators always risk the inappropriate spill-over of source-language idiom and usage into target-language translation. On the other hand, spillovers have the potential to enrich the target- language in unexpected ways. The history of architecture is full of productive spillovers, such as the Falu-red paint of Swedish vernacular housing, originally mimicking central European brick architecture.

Lending a terminology from linguistics, the studio will investigate the translation as a meta- phrase (literal translations) as well as a para-phrase (a saying in other words). Using back- translations and round-trip translations, the studio will explore the generative force of chang-ing context – media, time, place, scale. Each team or student will develop methods of serial- translation with the potential to intermix archi-tectural history and precedents, representation and new means of fabrication.

TEACHING METHODOLOGYHow you work will affect what you produce. Studio 5 will continue its interest in the devel-opment of rigorous design research, and will establish new ways of thinking about the nego-tiation between digital and material processes for design and fabrication, professional practice, teamwork and the cultural impact of contempo-rary architecture. Through the iterations of draw-ings, models and 1:1 scale prototypes, students will develop design techniques and sensibilities, enabling the design of innovative architectural proposals. Contrary to a linear design approach where technological processes are applied in the interest of optimization, this studio adopts a bi-directional approach where technological processes are incorporated as drivers of design innovation. Through design, work will contribute to contemporary architectural discourse and its intersects with art, architecture, and aesthetic theory.

Studio 5 will further its ongoing collaboration with art institutions, this year with Tensta konsthall and Konstfack in particular.

ULRIKA KARLSSONis a partner at the research and design studio Servo Stockholm and is a Professor at the KTH School of Architecture, as well as a Professor at Konstfack.

EINAR RODHEis a partner at the Stockholm-based studio Norell/Rodhe and is an Adjunct Lecturer at the KTH School of Architecture.

vERONICA SKEPPE is an architect and teacher at the KTH School of Architecture and Konstfack and works with the opera-tion of the KTH Digital Fabrication Lab.

CONTRIBUTORS MOS architects, New York (US); Maria Lind, Director of Tensta Konsthall; Dieter Bogner, Kiesler Found- ation, Vienna (AT).

COLLABORATIONSKonstfack Univeristy College of Arts, Crafts and Design; the Royal Institute of Art; and Tensta Konsthall, where students from KTH’s Studio 5, Konst- fack and the Royal Institute of Art (among others) are invited to participate in the exhibition on Fredrick Kiesler, approaching the work and discourse developed by Kiesler through a series of seminars and project presentations.

ROUND-TRIP TRANSLATIONS_RESOLUTIONAnalysing the real world in high resolution un-veils its nonlinearities. Scratches, cracks from years of carrying too much load, weathering from storms, traces of past accidents, fights, and parties all build up a rich environment of alter-native narratives, far from the white cube, or the streamlined surfaces associated with parametric design. In Project 1, the students will develop a strategy for an architectural transformation that embraces the high resolution of the site.


ROUND-TRIP TRANSLATIONS_A THEATREThe aim of the second phase of the semester is to further refine the studies developed during Studio Project 1. Continuing with the same site, each team/student will now develop the design of a small size theatre, including a foyer, a stage, and an auditorium. Engaging in the design of a theater and notions of translations, the studio will take a closer look at the pioneering architect Frederick Kiesler, who transformed the design of the theater in the early 1920s. Through his project Space Stage, Kiesler brought the actors into close proximity with the audience, linking the stage and the spectators.


ROUND-TRIP TRANSLATIONS_MIXES The spring semester of the studio aims to address larger urban ecologies and material processes, specifically dealing with how the built environ-ment interfaces with or translates a water con-dition. Studying how water forms a site, as well as how it engages in material processes of fabri-cation, students will consider wet, moist, and hu-mid processes of fabrication and aspects of load and pressure caused by water mixing with the built environment. Studio Project 3, Course A42C14

ROUND-TRIP TRANSLATIONS_A PUBLIC WETLANDThe second phase of the Spring term focuses on the design development and implementation of design research from the previous project, through the design of a constructed wetland that supports ecosystems and attracts a visit-ing public through a combination of landscape elements and architectural structures. Address-ing more extensive urban ecologies through the accumulation of knowledge gained throughout the year, students will be supported in formulat-ing their own architectural position in relation to architectural culture and contemporary architectural discourse. Studio Project 4, Course A42D14

18

Above: Sand ex-periment, student project by Eva Johansson.

Left: Garden and House, Tokyo, by Office of Ryue Nishizawa. Right: Stari Grad plain water system, student project by Elin Vestlund.

Below: The ghost town of Famagusta, Cyprus.

19

We will study how different artistic tools and meth-ods (particularly randomness) can be transformed into architectural design processes, creating new kinds of spatial platforms for art production in Stockholm, through artistic design research and assays of film, theatre, art, music, and dance.

We will then investigate an area of conflict and de-velop architectural strategies to solve problems in a very important but abandoned urban context in Famagusta, Cyprus, making proposals for vivid urban life, sustainable typologies, and emblematic designs interventions.

The third studio project will focus on specificity and narrativity – students will create a story of a real or fictive person as a foundation for the development of a very specific design of a very specific home.

The last project investigates what we can learn from the Japanese context: diversity, differentiation, me-tabolism, interactivity, flexibility, and conceptions of space and time (at the urban scale as well as the small scale). Based on studies of similarities and differences in the Japanese and the Nordic cultures and architec-ture, we will design a Nordic Film Center within the urban fabric of Tokyo city.

TEACHING METHODOLOGYThis studio investigates different experiences of archi-tecture and conceptions of space, in relation to synthe-sising design processes. We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, colour, tactility, etc. We have developed a methodology whereby students and teachers collaborate within a research-by-design structure. The students define and formulate their own projects from a given topic and self-program their projects to reflect the problems and possibilities described in their analysis and defi-nition of the context. The aim is to provide tools and methods in order to give the students an independent, innovative, artistic, professional, ethical, and scientific identity. Every project is specific and independent, but it relates to the general theme.

We think it is important to work with different topics, problems, and scales at the same time. Every project starts with a research phase in groups, wherein stu-dents collect relevant theory and information, define different options, and try to understand the context.

Students discuss, evaluate, reflect, and make deci-sions; we want them to feel involved in a larger overall research-by-design movement, in which the different parts and projects are important, but the research out-come as a whole – and the multitude of different ap-proaches and projects – is the most important thing.

NEW ART SPACES IN STOCKHOLMIn this project, we will study different artistic tools and methods, focusing on randomness as a generator for the artistic design process. We will develop indi-vidual architectural projects, designing new kinds of interactive public and urban art spaces, seeking new approaches to how art is produced and exhibited, and possibly enabling art as a political tool in participatory discussions in the city. The brief includes indoor and outdoor spaces for young, experimental, contempo-rary art – linking the Railway Station and the City Hall.


A UNIFIED CONTEMPORARY METROPOLITAN AREA IN FAMAGUSTAThe students will study and analyse an occupied urban district with huge potential, in the very border area be-tween the Turkish Cypriots and the Greek Cypriots, in Famagusta. We will investigate architecture as a tool of conflict resolution – starting with a workshop in collab-oration with architecture students from Cyprus and an excursion to Famagusta on the east coast of Cyprus in the first week of November. The brief will ask for new strategies for urban development, social interaction, and new sustainable typologies.


HOUSE FOR AN EXTREMELY UNIQUE PERSON How could the conception of narrativity be transformed into very specific architectural expressions in a tectonic project? We will study and discuss narrativity, through different theories and architectural case studies. The students will choose a real or fictive client and develop an architectural project from the client’s needs and per-sonality, making a building (a home) into an expression of that person’s character, and thus creating a narrative for that person. Where is the borderline between the generic and the specific? This project will be performed in collaboration with Professor Helena Paver Njiric.


NORDIC FILM CENTER IN TOKYOIn this project, we will study traditional and contem-porary Japanese culture and architecture, including important concepts such as Ma and Oku. The brief has its starting point in the understanding of the diverse urban fabric of the Tokyo Metropolitan Area as well as in the concept of filmmaking (directing, cutting, and producing) in relation to architecture and contempo-rary cultural movements. Studying the relationship between Nordic and Japanese approaches, we will discuss how one culture can be represented in anoth-er context. A study trip to Tokyo will be held in March or April 2015, where we have contacts with Bow-Wow, Fujimoto, Saana, Ishigami, Tetsuo Condo, and TIT.


LEIF BRODERSENstarted teaching at the KTH School of Architecture in 1996. He is an Associate Professor at the school since 2004 and served as Head of School 2004-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter (formerly A1 Arkitek-ter), established 1999.

TERES SELBERGis an architect, artist, and dancer based in Stockholm. Along with architectural design projects, she also works artistically with video, installa-tion, performance, and painting. She is co-founder of and an active member in ASF – Architects Without Frontiers.

CONTRIBUTORSSocrates Stratis (affiliated teacher) is an architect and urbanist, and is an Assistant Professor at the Department of Architecture, Univer- sity of Cyprus. Helena Paver Njiric (affiliated teacher) is a Professor in Archi- tecture at the Univer- sity of Zagreb and TU Graz, as well as founder of Njiric & Njiric Architects and HPN Architects in Zagreb.

STUDIO 6: SEARCHING FOR MA – INVESTIGATIONS OF SPACE AND TIME

20

Above: Axonometric of partial structure, Baths of Diocletian (left) and Baths of Agrippa (right). (Auguste Choisy, ‘L’art de bâtir chez les romains’, 1873).

Left: ‘Geometries of Kykeon’, student pro-ject by Lauren Quinn, Univeristy of Limerick, Ireland.

Below: Precedent study, Chatal Huyuk, by Marian Deneen, Univerity of Limerick, Ireland (left); ‘Odradek towers’, student project by Mary Kim, Cranbrook Academy of Art, USA (right).

21

Architecture taken in its entirety is an infrastruc-ture-like background and an enabling condition, a site that encompasses crucial elements and transcends the fragmented experiences of the everyday. Individual works of architecture are part of this background setting, and at the same time, they are interventions in it. They establish a foreground that negotiates with the background, interconnecting presence, memory, and dream.

To hold its place in background and foreground, a work of architecture must have coherence. It needs to be congruent with its setting and re-solved as an entity. This imperative – to make a coherent work – is difficult to achieve. Fragment- ation invades the design and building process. For example, industrialised buildings are a compos-ite of independent building systems. Fragment- ation is part of the contemporary condition.

In this studio, we challenge students to resolve a work of architecture to a high degree of refine-ment and development, without relying upon a priori beliefs, habits, languages, and styles. We use the ideas of “space” and “fragment” to test the coherence of the architectural work. In this studio, we propose that architectural space arises from the coherence of the building- artifact, and that “fragments” can be generative clues to an original architectural language.

TEACHING METHODOLOGYStudio 7 is a newly-started explorative constella-tion drawing from practice, teaching, and practice- based research in Sweden, Ireland, Ny, and China. We respond strongly to architecture of different times and kinds – including work from the distant past and contemporary times.

Our studio seeks to manifest the enduring qualities of architecture in new works. Selected existing, dreamed, and projected places and works will be the subject of our attentive, critical, and playful analysis.

Education and research are a critique of prac-tice, but must be informed by practice. Using architecture as discipline and method, we make our studio a place of education, exploration, and commitment. Reading and discussion play an important role. Hand sketching and sketch-mod-elling are emphasised, as are precise digital drawing and modeling.

Our goal is to help you develop a strong praxis – a process of “reflection and action upon the world in order to transform it” (Paolo Freire, Pedagogy of the Oppressed).

CHOISY / FRESCO / FLOOR / SUNLIGHTChoisy: Architectural fragments represented in Auguste Choisy’s axonometric plates are investi-gated in cast-plaster models. Spatial ambiguities of the models are explored through photography. Fieldwork: photo study of architectural details.

Fresco: Imaginary spaces projected by richly ren-dered interiors – from Lascaux to the Barcelona Pavilion – are drawn in orthographic projection.

Floor: The life and substance of floors, grounds, and piazzas are investigated through plan draw-ings, auxiliary views, and reliefs. (visit to Celsing Archive and trip to Portugal for in-depth studies of selected works.)

Sunlight: Selected buildings are analysed by drawing/modeling a fragment of their structur-al systems. Drawings are dialectically related to Choisy’s work. Models are used to test light conditions, as if in situ. Fall semester ends with a project that synthesises preceding work and tests the studio’s hypothesis: fragments radiate wholes, space is an index of coherence.

Studio Project 1 & 2, Course A42A13/A52A13 & A42B13/A52B13

TOWN HALL FOR KATRINEHOLM, PART IA town hall is mundane – a place of administration – and also marvelous: manifesting a society’s ide-als. Katrineholm, a provincial city in Sörmland, is changing demographically. Despite varied cultural backgrounds and ways of engaging spaces and institutions, all citizens need to recognise that that they are welcome, equal, and share a com-mon responsibility. A town hall can embody this.

Precedent study: great civic interiors (Robson Square, Palazzo della Loggia, Gothenburg Law Courts Extension) and spatial/programmatic char-acter is investigated in paper and plaster models.

Project Site Analysis drawing: extended floor analysis as an interpretation of wider site context.

Program analysis: Town Hall for Katrineholm, Sörmland. Spatial constructions as architectur-al strategy are explored in model. Preliminary scheme in plaster, pencil. Studio Project 3, Course A42C14

TOWN HALL FOR KATRINEHOLM, PART IIFresco / Facciata / Relief: From a fragment of the façade, spatial character – within and without – is explored in model.

From detail to character of room: By exploring character of detail, character of room and construc-tion are anticipated. Drawing and test models.

Design Development, refinement and precision: Immersion in fine drawing and fine model mak-ing. Exhibition. By the end of the year, you will have refined your architectural observation and projective tools and made a well-resolved, origi-nal work of architecture. Studio Project 4, Course A42D14

ELIZABETH HATZis an architect and art curator, trained at theAA in London, with her own practice in Stockholm. She is Year Master at the School of Architecture, Uni- veristy of Limerick, Ireland, and an Asso- ciate Professor at KTH. She has experience as lecturer, guest critic, and external examiner at, among others, AHO, Yale, EPFL, Sheffield, Ab-erdeen, and Queen’s Univeristy Belfast.

PETER LyNCHis co-director of Lynch+Song, a Beijing/ Brooklyn/Stockholm architecture studio, and has taught de-sign, drawing, and history/theory at Harvard, City College of New York, Rhode Island School of De-sign, Columbia, Parsons, and Dal-housie. He was Head of the architecture program at Cranbook Academy of Art from 1996 to 2005, Rome Prize Fellow 2004-2005, and has led ur-ban design workshops in Japan, Argentina, Korea, and Spain.

COLLABORATIONSPaulo Providencia, DARQ, Coimbra (PT);Shin Egashira, AA, London (UK); Biegel & Christou, CASS, London (UK);Peter Märkli, ETH Zurich (CH);Ger Carty, SAUL, Limerick (IE); ETSA, Madrid (ES).

STUDIO 7: FRAGMENTATION AND COHERENCE

22

Above: ‘Borders, Kiruna and São Paulo.’ (Photo by Camp Ripan & Allianz SE)Left: ‘Contemporary living, Årstafältet,’ by Kerstin Kivila & Linda Ringqvist.Below: Excerpt of ecosystem analysis, by Kerstin Kivila & Linda Ringqvist.Bottom: ‘Contemporary living, Årstafältet,’ by Matilda Schumann.

DEFINING NET-ZERO

resources x

resources x

resources x

resources x+y

resources y

resources x

resources x+y+z

resources y resources z

resources x

resources y

Small systemsEffective use of roof, basement, facadeAdaption of systems to location

Different fadades/areas are made productive for different systemsEffective use of roof, basement, facade, courtyardAdaption of systems to location

BLOCK OF HOUSES

Bigger but still local systemsUse of streets e.g. for water collection, energy productionCreate open, cooperative systems

CLUSTER

energy productionwaste managementfarming/foodwater treatmentsociology/activities

airbiology/sociology

WHAT IS NEEDED INDIVIDUALLY?

SCALES

SHARED-INDIVIDUAL

termites/ants/bees:colaboration among specicies and together with each other

mutualism and symbiosissynergy effects

LEARNING FROM BIOMIMICRY

GROUP BEHAVIOUR

how to create passive systemshow solar energy can be collectedreuse of materialusing waste to create something new

MATERIAL TECH. + RESOURCE EFFICIENCY

Kerstin Kivila & Linda RingqvistEcosystems workshop

Studio #8 autumn 2013

1.ON-SITE COMPENSATION FOR BUILDING (WHOLE “LIFE-CYCLE”) + HOUSEHOLD USE ON-SITERESOURCES X = RESOURCES Y

2. ON-SITE COMPENSATION FOR BUILDING (WHOLE “LIFE-CYCLE”) + HOUSEHOLD USE ON + OFF-SITERESOURCES X + RESOUCES Y = RESOURCES X+Y

3. ON-SITE COMPENSATION FOR BUILDING (WHOLE “LIFE-CYCLE”) + HOUSEHOLD USE ON + OFF-SITE + ALSO FOR PEOPLE UNABLE TO COMPENSATERESOURCES X + RESOURCES Y + RESOURCES Z = RESOURCES X+Y+Z

4. OFF-SITE COMPENSATION FOR BUILDING (WHOLE “LIFE-CYCLE”) + HOUSEHOLD USE ON + OFF-SITE RESOURCES X = RESOURCES Y

2. ENERGY+WATER+PARTLY FOOD+BIOLOGY+SOCIAL

4. WASTE+PARTLY FOOD

BUILDING

WHAT CAN BE SHARED?

PLANS AND SECTIONS



SECTION THROUGH SITE G+H+J 1:1000

water collecting pools

terraces

growing food

inner courtyards

M 1:500

solar panels

PRINCIPLE PLAN OF SITE G 1:500

PLANS AND SECTIONS



SECTION THROUGH SITE A+D+G 1:1000

M 1:1000

PLAN 1:1000

environmental stations in the municipality of Stockholm (miljöstationer)recycling centres in the municipality of Stockholm (återviningscentraler)incinerating plant in the municipality of Stockholm (återviningscentraler)Årstafältet

landfills in the region of Stockholm (Stockholmslän)Årstafältet

Glass separating plantMetal separating plant (outside of Sweden there are several in Europe)Paper separating plantPlastic separating plant (outside of Sweden there are 2 in Germany)Cardboard separating plant (outside of Sweden there are several in Europe and Asia)Årstafältet

FOOD + GARDEN WASTE

HOUSEHOLD WASTE

CLOTHES + FABRICS

WASTE CARED FOR ON-SITE (POSSIBLE TODAY)

WASTE CARED FOR OFF-SITE (AS IT IS TODAY)

SOIL+HEAT

compost

sell online/give

away to NGOs/

second hand

shops

reuse

electronic waste: separating/retrival plant (ca 30 in Sweden)

recycling centres (återviningscentraler)

landfill

BULKY WASTEPOISONOUS WASTE

ELECTRONIC WASTE

environmental stations (miljöstationer)

recyclingburning

HEAT+CO2

REMAINING WASTE

HEAT+ELECTRICITY-+CO2

burning

incinerating plant Högdalenverket

PAPER+ GLASS+ METAL+ PLASTIC+ CARDBOARD

Collection point

Assembly place

Separating plantRetrieval

plant

Sales to producers

recycling

ceramics

GREY+BLACK WATER

FOOD+COMPOST

AIR

WASTE

waste trans-ported from site

plasticglass paint

electronics

cardboard

paperclothes

metals

hybrids/mix

building material+furniture

packaging etc. recycle center in each block - collected and recycled/treated/stored off-site

chemicals

waste reused/recycled/de-graded on-site

RESOURCE MANAGEMENT - WASTE TODAY

RESOURCE MANAGEMENT - WASTE TOMORROW



RESOURCE MANAGEMENT - SOCIAL

RESOURCE MANAGEMENT - BIOLOGY



food production

gym-energy production

creating habitats, primarily in the park, but also in courtyards, on roofs and terraces,

variation pollination trees on streets

pond with vegetation and animal/fish - wet land

cleaning of water

day-care facilities

COOPERATION MEETING

SOCIOLOGY/CULTURE

BIOLOGY/ECOLOGY

common meeting places

activitiespark squares

sport

gym

courtyard

streets

shops

restaurants

RESOURCE MANAGEMENT - WATER

E

B

A

F

C

JHG

D

grey water collected and treated in pond

water used in kitchens



collecting rainwaterPVs

water to the pond

wc flushing

washingkitchen

washing machine

water pumped from the pond and cleaned in basement living machine

pool for collecting melted snow

using snow from the roofs

wc flushing

washingkitchen


washing machine

heat melts snow

melted snow collected and stoned in the pond and filtered

WINTER

SUMMER

E

B

A

F

C

JHG

D

RESOURCE MANAGEMENT - FARMING / FOOD

greenhouses on the roofs / courtyards

fruittrees in gardens / on streets

gardens in holes throught the buildings

selling food in local shops

green roofs/gourtyards/terraces

fruittrees on streets



food sold in local shops

compost

fertiliser soil for growing

heat

nutrients for people

RESOURCE MANAGEMENT - ENERGY (HEAT)

AB

C

FED

G H J

AB

C

FED

G H J

excess heat from industrial areas



ENERGY (HEAT)

solar thermal collectorproducing heat

excess heat from washing and people

excess heat from nearby of-fices/ stores/ industries

passive solar heat

excess heat from compost

geothermal system

excess heat from shops/ gym

heat up: water/ spaces/ outdoor streets in winter

heat exchanger reduces energy requirement

RESOURCE MANAGEMENT - ENERGY (ELECTRICITY)

ELECTRICITY

wind

gym

watermills (water collection to pool)

piezo electricity from busy public spaces

heat

algae

sewage

evaporation

vortex-induced vibrations

DEFINING NET-ZERO

resources x

resources x

resources x

resources x+y

resources y

resources x

resources x+y+z


resources x

resources y



BLOCK OF HOUSES


CLUSTER




SCALES

SHARED-INDIVIDUAL




GROUP BEHAVIOUR











BUILDING

WHAT CAN BE SHARED?

PLANS AND SECTIONS





terraces

growing food

inner courtyards

M 1:500

solar panels


PLANS AND SECTIONS




M 1:1000

PLAN 1:1000




FOOD + GARDEN WASTE

HOUSEHOLD WASTE

CLOTHES + FABRICS



SOIL+HEAT

compost

sell online/give

away to NGOs/

second hand

shops

reuse



landfill


ELECTRONIC WASTE


recyclingburning

HEAT+CO2

REMAINING WASTE


burning



Collection point

Assembly place


plant

Sales to producers

recycling

ceramics

GREY+BLACK WATER

FOOD+COMPOST

AIR

WASTE


plasticglass paint

electronics

cardboard

paperclothes

metals

hybrids/mix



chemicals










food production





cleaning of water

day-care facilities

COOPERATION MEETING

SOCIOLOGY/CULTURE

BIOLOGY/ECOLOGY



sport

gym

courtyard

streets

shops

restaurants


E

B

A

F

C

JHG

D






water to the pond

wc flushing

washingkitchen

washing machine




wc flushing

washingkitchen


washing machine

heat melts snow


WINTER

SUMMER

E

B

A

F

C

JHG

D











compost


heat



AB

C

FED

G H J

AB

C

FED

G H J




ENERGY (HEAT)




passive solar heat


geothermal system





ELECTRICITY

wind

gym



heat

algae

sewage

evaporation


DEFINING NET-ZERO

resources x

resources x

resources x

resources x+y

resources y

resources x

resources x+y+z


resources x

resources y



BLOCK OF HOUSES


CLUSTER




SCALES

SHARED-INDIVIDUAL




GROUP BEHAVIOUR











BUILDING

WHAT CAN BE SHARED?

PLANS AND SECTIONS





terraces

growing food

inner courtyards

M 1:500

solar panels


PLANS AND SECTIONS




M 1:1000

PLAN 1:1000




FOOD + GARDEN WASTE

HOUSEHOLD WASTE

CLOTHES + FABRICS



SOIL+HEAT

compost

sell online/give

away to NGOs/

second hand

shops

reuse



landfill


ELECTRONIC WASTE


recyclingburning

HEAT+CO2

REMAINING WASTE


burning



Collection point

Assembly place


plant

Sales to producers

recycling

ceramics

GREY+BLACK WATER

FOOD+COMPOST

AIR

WASTE


plasticglass paint

electronics

cardboard

paperclothes

metals

hybrids/mix



chemicals










food production





cleaning of water

day-care facilities

COOPERATION MEETING

SOCIOLOGY/CULTURE

BIOLOGY/ECOLOGY



sport

gym

courtyard

streets

shops

restaurants


E

B

A

F

C

JHG

D






water to the pond

wc flushing

washingkitchen

washing machine




wc flushing

washingkitchen


washing machine

heat melts snow


WINTER

SUMMER

E

B

A

F

C

JHG

D











compost


heat



AB

C

FED

G H J

AB

C

FED

G H J




ENERGY (HEAT)




passive solar heat


geothermal system





ELECTRICITY

wind

gym



heat

algae

sewage

evaporation


23

SARA GRAHNstudied architecture at Aarhus School of Architecture and KTH, where she graduated in 1995. She is Professor in Sustainable Design at the KTH School of Architecture and a partner at White arkitekter AB.

RUMI KUBOKAWAstudied architecture at the Architectural Association in London, where she graduated in 2001. She has been a Lecturer at KTH since 2012.

MAx ZINNECKERstudied architecture at ETH Zurich where he graduated in 2002. He practises as an architect at White arkitekter AB.

CONTRIBUTORSExternal specialists within the field of sustainability and architecture will be invited to the studio for workshops and seminars through-out the whole year, including Marja Lundgren and Anna-Maria Orru, amongst others.

COLLABORATIONSThe KTH ABE insti-tutions of Building Technology and Construction Man-agement will collaborate on the Kiruna project.

STUDIO 8:SHIFTING GROUND

Erasure is never merely a matter of making things disappear: there is always some detritus strewn about in the aftermath, some bruising to the surface from which word or image has been removed, some reminder of the violence done to make the world look new again. Whether rubbed away, crossed out or re-inscribed, the rejected entity has a habit of returning, ghostlike: if only in the marks that usurp its place and attest to its passing.

– Brian Dillon

This year, the studio will investigate the full corol-lary of moving the town of Kiruna, and in contrast the fast-changing pace of the São Paulo metrop-olis. Contemporary urban models have long pri-oritised centres over borders, effectively creating boundary lines that either contain or segregate neighbourhoods. Walls that divide, traffic that separates, and absolute form all contribute to generate a sterile condition. We will investigate the notion of borders, suggesting development at the edges, which we consider to be a place at its most fertile; a permeable state where two conditions meet and respond to as well as resist one another. With a focus on the spatial poetics of climate, we will continue to explore the way the body responds to climate, in order to redefine the building in the context of an urban ecosystem.

In a world of climate change and biodiversity loss, the built environment is still responsible for 40% of the planet’s overall energy consumption, CO2 emissions, and landfills. With an urgent need to renew architecture practice, the studio will en-gage in the current research and debate to insti-gate an innovative and sustainable architectural response to these challenges.

TEACHING METHODOLOGYThe studio profile, with three teachers with dif-ferent experience and expertise, offers students a wide field to test and reflect their ideas.

Students are encouraged to examine the rela-tionship between architectural design and envi-ronmental performance, with the opportunity to go deeper into specific questions within the context of the studio. We motivate students to formulate their personal design strategies and to position themselves within contemporary archi-tectural discourse, working with ideas-lead, pro-vocative, and critical projects.

Research and development are an important part of the studio culture and our students should develop their own network of experts during their studies. We will collaborate with the main experts within the field of sustainability, as it is essential to develop interdisciplinary, integrated design strategies in the search for innovative sustainable design. We will introduce digital tools for concep-tual, analytical, and technical design methods.

EXPLORING KIRUNA – DESIGN RESEARCHStudy trip to Kiruna: The town of Kiruna sits above an expansive iron ore reserve. With the intended expansion of mining activities, the town is to be relocated 3 km to the east. The slow process that left residents in limbo for years has been conclud-ed and planning is underway. Within this context, our research will revolve around issues of extreme climate, and the potential of borders, transition, re-construction, waiting, and erasure. We will introduce basic components of sustainable de-sign, its main concepts, and performative criteria through a series of design workshops and semi-nars, providing the critical basis needed for design research and practice.


KIRUNA – DESIGN DEVELOPMENTDeparting from an individual analysis related to the research questions set out in the first projects, the students will develop speculative projects around the borders of the town, setting its transi-tion against the certainty of the temporary, cast-ing a challenging 30-year plan for its subsequent transformation. Projects will enable transforma-tion and court the ephemeral, testing and chal-lenging the idea of erasure and creation.


SÃO PAULO – URBAN RESOURCESStudy trip to São Paulo (preliminary planning): São Paulo is amongst the ten largest metropolitan areas in the world. The struggle for housing is one of the main popular movements in the city today, with an estimated 130,000 families without hous-ing provision. With the proliferation of informal communities, the tendency of creating walled neighbourhoods has become the norm, severing the flow and access to the city and failing to cre-ate a coherent community. In this context, we will work at analysing the flow of urban resources and their life cycles, and study the shantytown as a rapidly developing, changing, and adapting mod-el of sustainable community.


SÃO PAULO – URBAN INCISIONWe will continue to develop the concept of tran-sition, through small-scale projects that address the potential of borders as porous membranes and places of exchange, rather than of exclusion.


The Degree Project preparation work (thesis booklet) will run parallel to and be integrated into the course. Fifth-year students may have the opportunity to individually define the focus of their investigation in response to the issues raised.

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Above: ‘The Cloud,’ full-scale installation by Laura Eckstein, Maxime Bolieau, Jessica King, Björn Johansson, and Tom Steeg.

Far left: ‘On-Fill,’ Degree Project by Elsa Wifstrand.

Left: ‘Technical Study’ by Marios Aphram.

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STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCE

Studio 9 will explore architectures and struc-tures of different temporal durations, addressing their inherent performative qualities as social and cultural enablers and catalysts for urban transformation. Using advanced digital design techniques, the studio will investigate how ini-tial concepts can be developed iteratively into built structure, supported through direct links to digital fabrication technologies, and informed by expertise in other fields. In this sense, design projects will be used as experimental platforms for new modes of design and future practice.

Throughout the year, students will develop and apply specific strategies at different sites, scales, and temporal longevities. Interior installations will explore our immediate surroundings. Archi-tectural installations at the intermediate scale will be developed for two sites currently in plan-ning in the Stockholm area. In the final stage, students will have the option of developing a larger architectural scheme or exploring in-depth issues, using a research-by-design approach. Em-phasis is placed on the following aspects:

– Design proposals that range from a tactile re-lation to human interaction to an organisational affect on urban life.

– Solutions for details, structure, and fabrica-tion appropriate to scale and temporal longevity.

– The new roles that design and prototyping techniques can play in architectural practice.

TEACHING METHODOLOGYStudio 9 explores the critical implementation of digital techniques within architectural design practice. This year, the studio takes on issues of temporality – how architecture can operate in time scales from the event to a season, a year, or a decade, and the repercussions temporality brings to materials, modes of construction, and programmatic use. Previous areas of application have included industrial architecture, landscape approaches, and pedestrian infrastructures.

Areas of investigation include digital design techniques for computational design, performance simulation, and digital fabrication, applied though conceptual design and full-scale fabrication. Students in the studio will get hands-on experience, exploring techniques through design development, prototyping, and critical examination.

Practical experience is accompanied by theoretical discourse, where architectural perfor-mance is related to issues of urban planning, critical studies, and modes of practice. Experi-enced and 5th-year students are encouraged to define their own agendas within the framework of the studio.

IMMEDIATE INTERVENTIONStudents will design and construct architectur-al interventions that incorporate function with the fusing of traditional and digital construction principles. Implemented in selected areas of the School of Architecture building, they will remain until the move to the new building in the sum-mer of 2015.

Design techniques and fabrication strategies will be explored through workshops, including a collaborative workshop on concrete formwork with students from the University of Kassel and tutors from the renewed engineering office Bollinger + Grohmann, Frankfurt.


SPECULATIVE DISCOURSEDesign strategies and digital simulation tools will be used as instruments of design research in the development of speculative proposals for the future development of the Albano area, between KTH and the University of Stockholm. The pro-posals will be developed in affiliation with the ongoing research project Design for an Energy Efficient Campus Life in Albano, supported by the Swedish Energy Agency, and will explore how awareness of energy use can be induced through architectural design.


URBAN INTERFERENCEThe urban district of Söderstaden will act as asite for investigation with the development of aseries of urban interventions at different scales,lifespans and uses. Proposals will explore new temporal infrastructures (bridges, walkways, bike routes), activities (culture, sport, commu-nal venues), and aesthetics (enabled by applied digital design technologies) in order to propose catalysing interventions that will transform life in, and the experience of, the area over time, long before the full implementation of the current plans in 2030.


SUSTAINED PROGRESSIONStudents can now choose from one of three routes of continued study: they may redevelop their Project 3 scheme into a more complex and permanent architectural proposal relating to the future plans of Söderstaden; they may go deeper into research on a selected design and fabrication strategy, conducting design experiments and documenting these in a paper for publication; or, they may (in teams) develop one proposal as a full-scale on-site installation in Söderstaden.


JONAS RUNBERGERis a Lecturer and anAdjunct Professor atthe KTH School ofArchitecture, and theDirector of Dsearch, a digital design environment within White arkitekter AB. His interests include strategic and collab-orative aspects of computational design.

OLIvER TESSMANNis an Assistant Profes-sor at the KTH School of Architecture. His teaching and research in the Architectural Technology Group revolves around com-putational design and digital manufacturing in architecture.

CONTRIBUTORKayrokh Moattar, architect, computa-tional design specialist and an assistant teacher in the studio since 2013. He is working at Belatchew Arkitekter and runs his own practice, HitchStan Arkitektur.

COLLABORATIONSBollinger + Grohmann Structural Engineers, Frankfurt (DE);Arthur Mamou-Mani, University of West-minster, London (UK);the University of Kassel School of Archi-tecture (DE); Concrete Performance Research Group, KTH; Design for Energy / Albano Research Group, KTH.

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Above: ‘Connecting Årstafältet’, key components and masterplan, by Yiran Xu. Right: Exchange System for Haparanda Tornio, studio project by Olga Borfileva, Amanda Fröler, Martin Phillips, and Simon Tirkel.

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SUSTAINABLE URBAN PLANNING AND DESIGN:CULTURES OF RESILIENCE

‘Resilience’ has become a key term in contemporary urbanism, as we face environmental, economic, and social crises. However, in urban design and architecture resilience is mostly approached in environmental and technical terms, rather than through social and cultural values and everyday life. In this studio, we will explore undervalued multicultural and social practices of food production and consumption, and the sharing of knowledge, skills, artefacts, and services in civic society as opportunities for socio-cultural, as well as ecological, resilience in urban design.

Our sites will be Järva Field (Järvafältet) and år-sta Field (Årstafältet), which are remnants of the historical green wedges strategy for environmen-tal conservation in Stockholm. Formerly connect-ed, they support vibrant biodiversity and diverse communities. They have been designated for urban renewal and expansion and are increas-ingly part of struggles over urban development.

Resilient urban development will increasingly have to be negotiated between various citizen groups, stakeholders, authorities, and disci-plines. Architects, designers, and urban planners will hereby play a crucial role. The studio ex-plores conflicting interests as an opportunity to critically rethink professional planning and de-sign tools. At stake is the question: How can we explore, project, and design for resilience in ways that contribute to just environments?

TEACHING METHODOLOGYSustainable Urban Planning and Design (SUPD)is an interdisciplinary Master’s program, which takes advantage of world-leading interdepart- mental competence at the School of Architec-ture, the Department of Urban and Regional Studies, and the Department for Sustainable Development at KTH.

Studio pedagogy emphasises task-based learn-ing, whereby each member of the studio, with her/his competency and background, contrib-utes situated knowledge to the studio theme.

The studio works with interdisciplinary, prac-tice-led design research for developing critical as well as projective proposals. Projects involve col-laborative and individual work supported by lec-tures, seminars, workshops, reviews, and group and individual tutorials with tutors and external consultants. Each term combines research-led investigations and strategic design proposals. In particular, we emphasise research in the field, by design and through participation. Parallel to Pro-ject 3, we offer a module in Theories and Research Methodologies addressing social sciences and design research through lectures and seminars.

URBAN NETWORKSThe studio will approach the area of Stockholm as an archipelago of islands, which are divided by infrastructure, morphology, green structures, and socioeconomic conditions, distinctly pres-ent in the physical and social lines towards the periphery of the city. The site of investigation will be the suburban neighbourhood of Husby, in the context of Järvafältet. Through field studies and research, we will study existing conditions and develop propositions for a network plan of inter- connected spaces, programmes, and physical and non-physical interventions.


URBAN COMMUNITIESProject 2 builds upon Project 1. We will develop propositions for urban community spaces – spac-es of social interaction for and from communities – and places that allow different conditions and functions to be interwoven into the design of urban space and architectural interventions. We address self-sufficient places for recreation, production, learning, and exchange, in order to strengthen local identities. We frame a collective work environment, where individuals can develop personal agendas and share knowledge, allow-ing for civic activities and modes of working.


ÅRSTA FIELD: WHAT IS?årstafältet has been designated as the site for a new housing area. In Project 3 & 4, we will focus on socioecological questions and develop resil-ient design strategies for the area. We will learn about various claims by citizen initiatives and stakeholders in relation to current top-down plan-ning and design processes. We will study årsta- fältet in relation to Tempelhofer Field, Berlin, which is also surrounded by poorer neighbour-hoods now under pressure from development.


ÅRSTA FIELD: WHAT IF?årstafältet is symptomatic of global processes of urbanisation and related conflicts, worldwide. In these struggles, artifacts such as maps, stories, images, and scenarios play important roles in articulating different understandings and possible futures. Based on our previous mappings and re-search findings, we will develop affordable and resilient housing proposals, rethinking conven-tional planning and design instruments and relations between designers, planners, authorities, and citizens through future scenario techniques, alter- native masterplan concepts, and different modes of visual representation. Studio Project 4, Course A42D14

ANA BETANCOURis a Guest Professor at KTH and Chalmers, and co-runs the Urban + Architecture Agency.

RAMIA MAZéis an Adjunct Professor at Konstfack and KTH. She works with par-ticipatory and critical design for sustainable development and social innovation.

MEIKE SCHALKis responsible for the interdisciplinary SUPD Master’s programme. She an Assistant Profes-sor at KTH, working with co-design, feminist theories and practices, and trans- disciplinary research.

CONTRIBUTORSFlavia Cozma, architect and urban designer, Alessandro Ripellino Arkitekter; Jaime Montes, architect and urban designer, Arken Arkitekter; Johanna Jarméus, urban plan-ner and landscape architect, Lovely Land- scape; Maria Ärlemo, PhD candidate in Critical Studies, KTH; Anna Maria Orru, PhD candidate at Chalmers.

COLLABORATIONSDepartment of Urban Design + Architecture, TU Berlin (DE); Stock-holm Resilience Centre; Nätverk Årstafältet; the Stockholm City Planning Office; the Department of Urban and Regional Studies, KTH; the Department of Sustainable Develop-ment, KTH.

Interior of the model workshop, housed in the school’s former full-scale construction lab. (Photo by Tove Freij)

Students and studio teachers in discussion during a project review in December 2013. (Photo by Björn Ehrlemark)

Students working on Degree Projects during the final weeks of the 2014 Spring term. (Photo by Tove Freij)

Anders Johansson, Head of the KTH School of Architecture, giving a speech at the Diploma Days examination ceremony in June 2014 (Photo by Tove Freij)

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2014-2015 ACADEMIC YEAR:ADVANCED LEVEL COURSES & DATES

AUTUMN TERM 2014

SPRING TERM 2015

2014-2015 Studio Themes presentationsOrientation Course 1 (A42O1A/A52O1A)Start of Studio Project 1 (A42A13/A52A13)Start of Seminar Course 1 (A42SEH/A52SEH)End of Studio Project 1Start of Studio Project 2 (A42B13/A52B13)Final session of Seminar Course 1End of Studio Project 2Diploma Days

Orientation Course 2 (A42O2A/A52O2A)Start of Studio Project 3 (A42C14)Start of Seminar Course 2 (A42SEv/A52SEv)End of Studio Project 3Start of Studio Project 4 (A42D14)Final session of Seminar Course 2End of Studio Project 4Diploma Days

As the schedule may be subject to changes and course-specific adjustments, please ask your respective teacher for details and updates.

Monday September 1September 2-12Week of September 15-19Wednesday September 24 (runs Wednesdays in parallell with studio projects)Week of October 27-31Week of November 3-7Wednesday December 3 (assignents are due in early 2015)Week of December 15-19January 12-16 (for graduating Autumn term Degree Project students)

January 20-30Week of February 2-6Wednesday February 11 (runs Wednesdays in parallell with studio projects)Week of March 30-Apr 2 Week of April 7-10Wednesday May 6 (assignments are due at the end of the Spring term)Week of May 25-29June 1-5 (for graduating Spring term Degree Project students)

THE COVERThe graphic pattern on the cover of this catalogue is based on the ceiling layout of the stu-dio spaces in the KTH School of Architecture. The building was designed by Gunnar Henriksson and inaugurated in 1970. Its studio ceilings feature acoustic elements made from cement-bonded wood-wool that are embedded in the concrete floor slabs, and a grid of ex-posed technical installations: light fixtures, wiring, ventilation, and an additional system of steel gutters and hooks that allow students to undertake ad-hoc additions and alterations to their workspace.

THE SCHOOLThe Royal Institute of Tech- nology School of Architecture was founded in Stockholm in 1877 and today offers architectural education at all levels, from a prepatory course in Architecture and Urban Planning in Tensta in north-western Stockholm, to doctoral studies within the Swedish Research School in Architec-ture. There are currently around 600 students enrolled in the professional programmes at Basic and Advanced level. The school has a staff of around 80 teachers, professors and researchers, and 25 administra-tive and technical employees. It has a well-equipped workshop, a digital fabrication lab and an architecture library with an extensive collection of books and journals.

After the summer of 2015 the school is moving to a new building, designed by Tham & Videgård arkitekter, currently under construction on the main KTH Campus.

STUDIO 1: FULL SCALEAnders BerenssoneBBA HAllinJoHAn PAJu

STUDIO 2: PUBLIC SPACE, PUBLIC INSTITUTION, PUBLIC LIFETor lindsTrAndKArin MATzAnders WilHelMsson

STUDIO 3: FOUR SCALESAlexis PonTviKPål röJgård HArryAn

STUDIO 4: ARCHITECTURE FOR EXTREME CONDITIONSCHArlie gullsTröMori MeroM

STUDIO 5: ROUND-TRIP TRANSLATIONSulriKA KArlssoneinAr rodHeveroniCA sKePPe

STUDIO 6: SEARCHING FOR MA –INVESTIGATIONS OF SPACE AND TIMEleif BrodersenTeres selBerg

STUDIO 7: FRAGMENTATION AND COHERENCEelizABeTH HATzPeTer lynCH

STUDIO 8: SHIFTING GROUNDsArA grAHnruMi KuBoKAWAMAx zinneCKer

STUDIO 9: FORGING THE EPHEMERAL – STRUCTURES OF TEMPORAL PERMANENCEJonAs runBergeroliver TessMAnn

SUSTAINABLE URBAN PLANNING AND DESIGN: CULTURES OF RESILIENCEAnA BeTAnCourrAMiA MAzéMeiKe sCHAlK

Documents

STUDIO THEMES – KTH School of Architecture, Advanced Level 2014-2015