fbpx Diploma project | Page 47 | The Oslo School of Architecture and Design

Languages

Diploma project

Jingyi Zhang


Rolf Gerstlauer
Per Olaf Fjeld
Time is an invisible bird,
My building is a cage,
It makes an encounter.
 
A Sculpture has its position in the universe.
It says something connected to the earth and the sky.
It needs light.
In this way, the building gets born and grows.
Immediately here comes a house for sculptures.
 
The object is there,
the movement makes the dialogue.
The building is there.
the way that people experience makes a story.
 
Wenkai Xu


Rolf Gerstlauer
Per Olaf Fjeld
I want to make a house for me and my animals.
 
Start with this initiative, I’m trying to figure out these questions: Who are the animals? What is the house?
And what is the relationship between us?
 
Through making animals and the shared environment between us, I think I’m trying to understand how myself would like to deal with the known and unknown others.
 
The house is a container.
We gather and leave,
it's the way to document these traces.
It's also the way to transform my mood,
my careness to these animals,
Kristoffer Oben Tørstad


Espen Surnevik
Today, urbanization leads to increased pressure on the availability of land in city centers across the globe. With Oslo being the fastest growing major city in Norway, it is paramount
 to find ways to accommodate this rising demand.

Joar Tjetland


Marius Nygaard
Stefan Moritz Groba
Lars Hamran
Arnkell Jonas Petersen
This project investigate the use of daylight as a primary light source in a multipurpose hall. While daylight is a biological part of our body, the typical multipurpose hall does not utilize daylight.
The aim has been to achieve a successful daylight design that brings spatial qualities to multiple levels of the project. Making the hall an attractive place to gather.
 
Eva Birgitte Storrusten


Lisbeth Funck
Matthew Anderson
Inger Lise Syversen
Per Olaf Fjeld
Anders Ese
In this diploma I have interpreted the potential architecture of the lost women’s spaces to an infill-site in Old Stone Town, Zanzibar; how can architecture support female empowerment?
 
Åsmund Amandus Steinsholm


Beate Marie Manthey Hølmebakk
The project is a museum for acoustical instruments. It offers an architectural walk through a series of varied exhibition spaces that exist within a unifying construction. 

Åsmund Skeie


Erik Fenstad Langdalen
Bente Kleven
My proposal for Galleri Oslo presents the case for its preservation as a new and authentic public interior for the city.
 
Taking as a premise the relocation of its bus terminal presents us with an opportunity to reconsider its function as a public building and its performance in relation to its context.
 
Analyzing its determining features and structural logic, new spatial relationships are explored and proposed for the sake of a public interior catering to the affairs of public life, while recognizing the specific circumstances of its local context.
 
Johann Sigurd Ruud


Erik Fenstad Langdalen
The unity barn is a building typology in Norway, which was introduced around 1850. This red production building is still a symbol of the countryside, but its characteristics lies first and foremost in a skeletal construction system that radically differs from the previous log-based houses. Today there are approximately 100.000 empty unity barns in Norway due to changes in the agricultural production.
 
This project aims at understanding and exploring the unity barn through an architectural proposal.
Maja Andresen Osberg


Bente Kleven
Einar Dahle
The deaf church is an important part of the deaf community in Norway. A place for deaf and hearing impaired with their families to meet each other.
 
Only three of the eight deaf churches are designed specifically as deaf churches, the newest one built in 1989. A lot has changed since then, and it’s important that deaf and hearing impaired have a place to gather that is designed for their need.
 
Thea Dahl Orderud


Lisbeth Funck
Matthew Anderson
Sami Rintala
The project approaches architecture through readings of physical, cultural and historical traces. Combined, they lay grounds for how to position and produce a contemporary architectural and urban vocabulary of Bodø. The positioning is not about imitating a past or that which disappeared during the bombing of World War 2, but rather including the context and being something of its own. An architecture grounded in its place, and at the same time having its own identity.
 

Pages