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1/4, facades (tear)
2/4, windows (paste)
3/4, passage (cut + paste)
4/4, passage (cutout)
w / Katarina Holløkken Hammer.
Berliner Unwille 2024: Recht(s) und (Um)ordnung.
Eliminated in Round Two.
“There is no point of return” (2021) titles a collection of Norwegian philosophers Arne Næss's writings published in the Penguins Green Ideas series, referring to the impossibility of reversing changes made to the natural environment. The same can be said for the built and for history: By covering the Humboldt Forum's facade with a plaster copy of the Berliner Schloss, the museum is not whitewashed from its history, but rather the opposite. The Humboldt Forum is trapped in an endless cycle of dangerous ahistorical reproduction – manifested in its exhibitions, web presence and actual building substance.
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1/5, diagram: three forms of ownership
2/5, poster invitation
3/5, floating exhibition banner
4/5, exploded model
5/5, diagram: zoom-in
w/ Jenny H. Trømborg + Gustav Elgin
Am Strom 53: Poetics of Property.
Edvard-Munch-Haus, Warnemünde.
All buildings have a poetics. In them, worlds gently slip into, swell across, or violently mutate. They make the world and take part in it and, at the same time, synthesize, block, or make possible others.
When we refer to Am Strom 53 as the Edvard-Munch-House, we are recalling two important but short-lived worlds: the eighteen months when the Norwegian painter Edvard Munch lived and worked here from 1907 to 1908, and the last twenty-six years when it served as an art institution and artists’ residence. Poetics of Property extends the view to cover the entire 400-year history of the house, attempting to map the various forms of ownership Am Strom 53 has been subject to.
Who is the owner of a building? Do not architects or craftsmen have a similar claim to ownership as a homeowner? And have not the guests who stay for a while, the mites that live in its walls, the mold that eats its way through the wind barrier, or the electrical installations that run through its interior, also made the building their own?
1/7, The Second Plastic Age
2/7, Thesaurus
3/7, The Existing: Görlitzstraße 10
4/7, Ideationsheets: External + Internal Insulation
5/7, External Insulation
6/7, Internal Insulation
7/7, The Second Plastic Age in Detail
The Second Plastic Age: ETICS, Ethics and Aesthetics.
Oslo School of Architecture and Design.
Supervised by Erik Langdalen and Nicholas Coates.
Prompt: The Plastic Age in architecture didn't just end with the 1973 oil crisis but evolved into a hidden building standard in Germany. Since 1952, DIN 4108 has governed thermal insu-lation, shifting in 1977 to focus on energy-saving, linked to the rise of External Thermal Insulation Composite Systems (ETICS). ETICS, often using expanded polystyrene (EPS), became prevalent in German architecture, especially multi-dwelling units, shaping (sub)urban landscapes.
The Second Plastic Age is emphasizing recycled plastics in architecture, advocating for responsible ownership, necessary use, and visible use of plastic materials. The proposal includes detailed yet exploratory designs for thermal insulation and façade ornamentation, promoting durability and aesthetic understanding in energy-efficient redevelopment.
1/6, Oilpastels on Paper
2/6, Zoom-in: Oilpastels and Foam Model
3/6, Floorplan
4/6, Model
5/6, in Detail
6/6, in Detail
When Systems Meet / Forming New Connections.
Studio Positions, Oslo School of Architecture and Design.
Supervised by Lisbeth Funk and Matthew Anderson.
Industrial agriculture sculpts the land with its regimented rows, imposing a manufactured order. In contrast, plants in a natural system possess an intuitive understanding of how to grow, the crop on the field has to dismiss its own instincts. Following a natural system, trees consider the space required for their neighbours: other trees, vegetation but also human-made structures having been there before them.
When two systems, a natural and a human-made, meet, they get confronted with each other’s presence. Some sort of composition is forming, a new connection is made. Here lies the intrigue:
What unfolds at the meeting points?
1/6, Maintenance and Design Guide for a Curtain Wall
2/6, 1956: Competition Drawing
3/6, 1958: Curtain Wall No.1
4/6, 2010: Curtain Wall No.2
5/6, 2041: Curtain Wall No.3
6/6, Cover Book + Diagram Carbon Calculation
Maintaining SAS.
Studio Re-Store Values, Oslo School of Architecture and Design. Supervised by Erik Langdalen, Alena Rieger and Juan Ruiz Anton.
In 1956, the construction of the SAS building began and was completed in 1958 with a travel agency located on the ground floor, and five floors of offices above, covered by one of Scandinavia‘s first Curtain Walls. The building itself represents SAS’s branding to help advertise the company, by projecting a modern, international and forward-looking architectural style. SAS placed great importance on the promotional value of the façade and aimed to create an aesthetic that would remain ‘modern in the future’.
Values such as transparency, internationality, progress, timelessness and modernity were essential when one of skandinavias first curtain walls was designed.
How to preserve a facade's character while incorporating updated values?