2015 Vår

Start semester

Nye urbane teorier

Emnenavn på Norwegian Bokmål:

Nye urbane teorier

Credits:

Course code:

60 402

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

English

Required prerequisite knowledge

Det kreves ingen forkunnskaper utover opptakskrav i studieprogrammet.

Course content

The course focuses on current theories in urbanism, with a special emphasis on how to see and understand the contemporary city in terms of urban design, urban living and new technologies. The overall emphasis of the course will be to read and discuss a selection of texts that present new theoretical perspectives on the current urban condition. Priority is given to cross-disciplinary approaches and to theoretical perspectives that seek to interrelate design issues and social issues.

Learning outcome

Kunnskaper
Ved gjennomført studium skal studenten; The students shall acquire a general overview over current issues and theoretical positions within urbanism.

Ferdigheter
Ved gjennomført studium skal studenten; The students shall acquire insight into and ability to critical reflection (both orally and in writing) about current issues and theories in urbanism.

Generell kompetanse
Ved gjennomført studium skal studenten; The students will acquire competence that prepares them to write up a discursive paper about current issues in urbanism in various theoretical perspectives.

Working and learning activities

The course consists of a series of lectures, curriculum readings and seminar discussions related to current theories in urbanism. The students will work in groups of two and prepare digital presentations in relation to seminar discussions. At the end of the semester the students are expected to hand in a written assignment, a paper of 6-8 pages, which discusses at least two current theories that have been treated in the course.

Presence required
Not required

Form of assessment	Grouping	Grading scale	Comment
Project assignment	Individual	Pass / fail	Studentene skal skrive et avsluttende paper som leveres inn mot slutten av fordypningskursuka. Studentene skal videre forberede en kort presentasjon av sitt paper for gjennomgang i plenum.

Workload activity	Comment
Curriculum	Studentene forventes å lese pensumlitteraturen til hver time. Studentene vil også (1-2 ganger) få i oppgave å forberede seminarinnlegg med utgangspunkt i pensumlitteraturen.
Written assignments	Studenten skal skrive en avsluttende oppgave (et paper på 6-8 sider) som drøfter to eller flere aktuelle teorier som er behandlet i kurset.

Start semester

2015 Vår

Architecture's printing culture

Emnenavn på Norwegian Bokmål:

Arkitekturens publikasjonskulturer

Credits:

Course code:

80 402

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

Norwegian / English

Required prerequisite knowledge

Passed foundationlevel courses

Course content

What is the relationship between the printed and the built? Are architectural publications mere reflections of the built, or do texts and publications take active part in shaping the built environment? This elective course deals with architecture's publication cultures, moving from the classical treatise to the contemporary blog. During the semester, we read both professional and popular text genres, from technical specifications to illustrated magazines, and from 19th century catalogues, journals and advertisements, to the social media of the 21st century. Through reading, writing and textual analyses, we study how architectural publications communicate with professional and general publics, and discuss the entangled relationships between the printed and the built.

Learning outcome

The students will acquire skills in reading, discussing, and analyzing texts of various genres, and will also write themselves. They will be introduced to the academic craft and learn to recognize different textual approaches.

Working and learning activities

The course is composed as a series of lectures, reading seminars and writing assignments. The students are assessed on the basis of participation as well as a final essay.

Curriculum

cColomina, Beatriz, Privacy and Publicity: Modern Architecture as Mass Media. Cambridge, MIT Press, 1994.

Crysler, Greig, Writing Spaces, Discourses of Architecture, Urbanism and the Built Environment, 1960-2000, Routledge, London, 2003.

Jencks, Charles, « The Bigness of Small Magazines », in Architectural Design, vol. 71, n°1, février 2001, p. 94-95.

Lipstadt, Hélène, “Architecture and its image : Notes towards the definition of Architectural Publication”, in Architectural Design, 1989, nr 59, 12-23.

Parnell, Steve, “AR’s and AD’s post-war editorial policies: the making of modern architecture in Britain”, Journal of Architecture. 17(5), 2012. 763-776.

Parnell, Steve, “Architecture Magazines: Playgrounds and Battlegrounds”. In Common Ground: A Critical Reader Eds. Kieran Long and Shumi Nose, Milan: Marsilio. 2012, pp. 305-308.

Pezzini, Isabelle et Jacques Gubler. "Architecture in Journals of the Avant-Garde." Art Libraries Journal 9:1 (printemps 1984): 3-42.

Rattenbury, Kester, This Is Not Architecture: Media Constructions, (London; New York: Routledge, 2002).

Schwarzer, Mitchell. "History and Theory In Architectural Periodicals." Journal of The Society of Architectural Historians 58:3 (septembre 1999): 342-348.

Steiner, Dietmar, “Architecture and Media: the Future of the Architectural Magazines. Symposium”, Domus, n° 790, pp. 51-58.

Mandatory coursework	Presence required	Comment
Annet - spesifiser i kommentarfeltet	Not required	Writing exercises
4

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	The students are assessed on the basis of participation as well as a final essay.
6	-	-
6	-	Pass / fail

Workload activity
Written assignments
Lectures

Start semester

2015 Vår

Architecture is Space, Space is Architecture

Emnenavn på Norwegian Bokmål:

Arkitektur er rom; rom er arkitektur

Credits:

Course code:

80 403

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

English

Required prerequisite knowledge

Foundation level.

Course content

In contemporary architecture, space is a fundamental notion as well as a colossal alibi. There is no agreement on what this term designates; to exemplify, while for Peter Eisenman it constitutes the realm bounded by elements of architectural design, for Rem Koolhaas it is the most important mystification of the Modern Movement. Space is, therefore, manifold. It can be physical and objective but also cultural, virtual and intangible. It has not only many dimensions and parallel architectures but also diverse conceptualisations. During the twentieth century, space has informed the production and the interpretation of the built environment. Its popularity in architectural parlance exposes its essential yet diffuse and malleable quality.

Through the reading, contextualisation, analysis and evaluation of key texts, this course explores different versions of space in relation to architecture. This narrative creates a chronological axis that departs by identifying, in nineteenth century theories of architecture and philosophy, the nascent preoccupation with the effects of architecture rather than with its material and volumetric presence. Progressing in time, this relation is screened through aspects of architecture that defy function, stasis and deterministic design. The urban experience and its practices, the production of spatial circumstances, philosophical and ecological questions on global conditions and the pervasiveness of virtual realms of information suggest that space is a category closer to acting and doing rather than to prescribing or stating. In this manner, space turns into dynamic flow embedded in the architectural object yet not exclusively dependent on it – a way of looking and inhabiting.

Timetable
Week 1: Introduction and screening of I… You… He… She… (Chantal Akerman, 1974)
Week 2: Interiority and Exteriority, Space and Enclosure
Week 3: Object Meets Space
Week 4: Space, the City and Experience
Week 5: Practices of Space, Producing Space
Week 6: Public and Social Space
Week 7: Architectural Philosophy
Week 8: Ecology, the Space of the World
Week 9: Generic and Global Space
Week 10: Spaces of Information and Noopolitics

Learning outcome

Students successfully completing the course will be in a position to consider different ways of differentiating space from architecture and interpreting aspects of their interrelation. The aim is to critically apply these conceptual considerations to the understanding of architecture, inside and outside of its traditional boundaries. The course introduces relevant architectural and critical theories and thinkers.

Working and learning activities

Each session will be composed of a lecture, a student presentation and a discussion. The first component will historically contextualise the topic, the second will relate conceptual aspects extracted from a designated text (marked with ¤ in the specific bibliography) to specific cases of architecture, and the third will critically evaluate these elaborations.

Student Presentations
In addition to the weekly readings and seminar discussion preparation, individual and/or small groups of students will be asked to research and present a case study related to one of the sessions. Topics and groups will be allocated in the introductory seminar.

Essay
Each student must submit an essay on an appropriate topic related to the course, and usually in relation to one of the seminar topics. Essays should be 4,000-5,000 words in length, typed or word-processed, and appropriately illustrated, footnoted and referenced with a full bibliography (Chicago Style 16ed).
Reference:
Borden, Iain, and Katerina Rüedi. The Dissertation: an Architecture Student’s Handbook. London: Architectural Press, 2005.

Tutorials
Each student taking the course should schedule a meeting with Christian Parreno for a tutorial to discuss the theme and progress of the essay.

Curriculum

General bibliography

Berman, Marshall. “Introduction.” In All That Is Solid Melts Into Air: the Experience of Modernity. London: Verso, 1982.

Crang, Mike, and Nigel Thrift, eds. “Introduction.” In Thinking Space. London: Routledge, 2000.

Franck, Karen A., and Bianca Lepori. “From the Body.” In Architecture From the Inside Out: From the Body, the Senses, the Site, and the Community. Chichester: Wiley Academy, 2007.

Forty, Adrian. “Space.” In Words and Buildings. A Vocabulary of Modern Architecture. London: Thames & Hudson, 2000.

Pile, Steve. The Body and the City. Psychoanalysis, Space and Subjectivity. London: Routledge, 1996.

Schirmbeck, Egon, Till Boettger and Christian Hanke, Christian. Architecture and Space: Design Concepts in the 20th Century. Berlin: DOM publishers, 2012.

Specific bibliography

Benjamin, Andrew. “Introduction.” In Architectural Philosophy. London: The Athlone Press, 2000.

Castells, Manuel. “An Introduction to the Information Age.” In The Blackwell City Reader. Edited by Gary Bridge and Sophie Watson. Oxford: Blackwell, 1998.

Debord, Guy. “Theory of the Dérive”. Accessed 25 April 2014. http://www.bopsecrets.org/SI/2.derive.htm

Giedion, Sigfried. “The New Space Conception: Space-Time” and “The Research into Space: Cubism.” In Space, Time and Architecture. Cambridge: Harvard University Press, 1969.

Habermas, Jürgen. “Social Structures of the Public Sphere.” In The Structural Transformation of the Public Sphere: an Inquiry into a Category of Bourgeois Society. Cambridge: MIT Press, 1989.

Heidegger, Martin. "Part Two." Chapter 6, §67-71. In The Fundamental Concepts of Metaphysics. Bloomington: University Indiana Press, 1995.

Heidegger, Martin. “The Thing.” In Poetry, Language, Thought. New York: Harper Perennial, 2001.

Kierkegaard, Søren. “Equilibrium between the Aesthetic and the Ethical in the Development of Personality.” In Either/Or. London: Penguin Classics, 1992.

Koolhaas, Rem. “The Generic City.” In S, M, L, XL. New York: Monacelli Press, 1995.

Lefebvre, Henri. “Notes on the New Town.” In Introduction to Modernity: Twelve Preludes. London: Verso, 1995.

Margulies, Ivonne. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press, 1996.

¤ Further references will be provided for each week.

Mandatory coursework	Courseworks required	Presence required	Comment
Supervision talks	1	Not required	Essay, as specified in the course methodology.
4	1		As well as participation in class.
4	1

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	Participation in class: 15% Presentation: 15% Essay: 60% External critique of essay: 10%

Start semester

Freehand Sketching

Emnenavn på Norwegian Bokmål:

Frihåndsskissen

Credits:

Course code:

80 404

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

Norwegian / English

Required prerequisite knowledge

Passed foundation level courses

Course content

All about the sketch and the sketchbook, the sketch is here interpreted in two ways: As a material drawing executed by freehand, and as a tool for architectural enquiry and exploration. Etymologically originates to sketch from the Latin/ Greek “Schedi-azo, meaning to do a thing off-hand or on the spur of the moment, invent stories, improvise, or give free play to the imagination’” . The main objective of this course is therefor to enhance skills and knowledge concerning freehand drawing, and further, to develop the student´s understanding of thinking with and through the sketch as a tool and a personal medium for the generation and dissemination of architectural thought. As such is the sketch frequently described as a mode of thinking in action, and action as thinking.

Within architecture is the sketch commonly regarded as a means to an end that serves preliminary and preparatory purposes to further the development, of e.g. an architectural design. Put simply is a distinction often made between the mimetic sketch, which is about drawing and recording existing phenomena and events, and the conceptual sketch which most often is concerned with generating and testing ideas, in the various phases of an architectural design process. In reality are such distinctions blurred as the examinations and discussions of a selection of particular architectural practices, and texts concerning drawing by hand within architecture, intend to reveal and explore.

As the prevalence of the digital in visual production is overwhelming, remains the use of freehand drawing (most commonly the sketch), as the only non-digital graphic medium present in architecture today. This course refuses to take an antagonistic stance towards such digital means; rather it seeks to explore in what ways the freehand sketch may compliment these powerful tools, in order to shed light upon and render possible futures for the sketch. On this background will issues concerning the nature of non-digital drawing, such as materiality, the multisensory, gesture and facture, speed and resistance, vagueness, and ambivalence be addressed throughout the entire course.

Keywords: The freehand sketch, the sketchbook, the materials and techniques of tools and supports, representation, drawing within architectural design, visual communication.

Learning outcome

Kunnskaper
Ved gjennomført studium skal studenten;

- Improved skills and knowledge of freehand drawing

- Enhanced understandings of the freehand sketch as tool and personal medium for visual enquiry, exploration and dissemination of architecture.

- Extended knowledge about the multiple uses, roles and appearances of the freehand sketch in the past and in the present.

- Acquired experiences and insights concerning the exploring of potential ways and uses of the material freehand sketch within the realm of digital architectural drawing.

Working and learning activities

The course is structured in two main parts:
The first part of the course (one-third of the entire course period) sets out to invigorate the skills and knowledge concerning materials, techniques and modes of representation within hand drawing through plenary studio exercises and studies. Within the end of this period is each student required to determine a theme or a topic for the following part, which will be presented at a preliminary presentation ending the first part and leading forward to the second. In the second part is the sketchbook the most central and critical device for setting out and, foremost visually, recording explorative processes whereby theme, content, approaches, tools and modes of representation and expression are motivated and guided by the student’s choice of theme. Evaluation and feedback will be given through plenary and individual discussions and supervision.

Curriculum

Arnheim, R. (1993). "Sketching and the Psychology of Design." Design Issues 9(2): 15-19.

Cold, B. (2008). Skissen som samtale. Trondheim, Tapir akademisk forl.

Corner, J. (1992). Representation and Landscape. Recovering Landscape: Essays in Contemporary Landscape Architecture j. Corner. New York, Princton Architectural Press.

Crowe, N. L., Paul (1984). Visual Notes. London, Van Nostrand Reinhold Company.

Frascari, M. (2011). Eleven Exercises in the art of architectural drawing; slow food for the architect´s imagination. London & New York, Routledge.

Hewitt, M. (1984). "Representational Forms and Modes of Conception: An Approach to the History of Architectural Drawing." Journal of Architectural Education, Blackwell Publishing on behalf of the Association of Collegiate Schools of Architecture, Inc. 39(No 2 (Winter, 1985)): pp. 2-9.

Kahn, L. I. (1991). Louis I. Kahn: writings, lectures interviews. New York, Rizzoli International Publications.

Le Corbusier, i. b. M. G. (1981). Le Corbusier Selected Drawings. New York, Rizzoli International Publications.

Smith, K. S. (2008). Architects' Sketches: Dialogue and Design Amsterdam, Elsevier, Architectural Press.

Mandatory coursework	Courseworks required	Presence required	Comment
Exercise	3	Not required	Discussions and supervision in groups and individually
Supervision talks	2		Preliminary and final presentation
5	Presence required
4	5

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail

Workload activity
Individual problem solving

Start semester

Computational Design og Fabrikasjon

Emnenavn på Norwegian Bokmål:

Computational Design og Fabrikasjon

Credits:

Course code:

40 304

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

Norwegian / English

Required prerequisite knowledge

Grunnleggende kunskaper i Rhino.
NB : Kurset er kun åpent for studenter av ACDL og SCL studiokurs.

Course content

Fordypningskurset er knyttet til og vil støtte 'Advanced Computational Design Studio' og 'Scarcity and Creativity Studio'. Organisert som to parallelle løp hvor studentene kan velge enten assosiative modellering eller digital fabrikasjon. Hvert løp består av tre konsentrerte ukesøkter med fokus på læring og eksperimentering.

Komponenten 'assosiative modellering' vil introdusere nybegynnere i assosiativ design, og de som allerede kjenner Grasshopper til en serie av programvarens generative verktøy. Nybegynnere vil bli gitt et valgt arkitektonisk objekt å modellere, mens mer avanserte Grasshopper-brukere vil undersøke muligheten for utvikling forskjellige typer kontinuerlige strukturer.

Komponenten 'digital fabrikasjon' vil introdusere ulike digitalt drevne fabrikasjonsmetoder . Studentene skal individuelt utforske en av disse metodene, og enten produsere et paper eller utforske relaterte metoder og verktøy .

Learning outcome

Kunnskaper
Ved gjennomført studium skal studenten; ha kunnskap innen assosiativ modellering / digital fabrikasjon

Ferdigheter
Ved gjennomført studium skal studenten; ha ferdigheter innen assosiativ modellering / digital fabrikasjon

Generell kompetanse
Ved gjennomført studium skal studenten; ha kunnskap og ferdigheter som benyttes i studiokurset

Working and learning activities

1. Forelesninger og seminarer om utvalgte emner om 'computational design' og / eller fabrikasjon
2. Tutorials på individuell og gruppebasis for utvikling av ferdigheter.
3. Instruksjoner mot masternivå selvstendig forskning og prosjektutvikling.
4. Workshops som introduserer spesifikke temaer og ferdigheter

Merk: Alle instruksjoner er basert på aktiv deltakelse fra studentene og 90% frammøte

Presence required
Not required

Workload activity	Comment
Group work	deltagelse
Written assignments	deltagelse. levert arbeide.
Individual problem solving	relevans, kvalitet og omfang
	kvalitet og omfang

Start semester

2015 Vår

SCS: Villa Lofoten kai, Kunst og kultursenter

Emnenavn på Norwegian Bokmål:

SCS: Villa Lofoten kai, Kunst og kultursenter

Credits:

Course code:

40 600

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

English

Required prerequisite knowledge

Students who register for this course MUST ALSO ENROLL THEMSELVES IN THE ELECTIVE COURSE 'Associative Modeling and Fabrication ", both because the content is closely linked to the studio course and because the schedule for these two courses are synchronized to allow for the 5 weeks the studio will spend away from Oslo. These two courses do not follow the regular schedule of elective courses, i.e. elective course every Tuesday, but rather the elective course is concentrated in weeks 2, 3, and 4 of the semester. The rest of the semester is spent full time on studio work.

Exceptions are made for students who are doing their diploma program or who previously have taken the elective course.

Course content

The focus of The Scarcity and Creativity Studio is to design an Art and Culture Production Centre, and build part of it.

The project site is located in Kleivan, Vestvagoy Municipality, Lofoten. North of the Polar Circle the Lofoten islands stretches about 250 km S-SW, from the fjord of Ofoten to the outer Roest islands. The line of islands builds a up to 1100 m high wall of mountains and cliffs on the north side of the Vestfjord.
The site of the project in Kleivan is on a quay containing three existing buildings: a fisherman’s cottage, a cod liver oil production building, and a cod salting building which were part of a now abandoned fishing village. These buildings date back to the early 1900s and are considered historically important because they are the remains of a form of life prevalent in this region which has ceased to exist. For these reasons the quay and three buildings have been listed in the "Cultural Heritage Plan for Lofoten" adopted by Nordland county in 2007. As a consequence their external appearance of these buildings can be renovated, but not changed. The interiors of these buildings can be modified to cater for new uses. The second part of this project involves the provision of a new terrace incorporating facilities for a sauna which will provide an outdoor facilities which will make the use of the quay more pleasant for those involved in the activities of the Art and Culture Production Centre. These new facilities have to be in sympathy with the historic buildings on the site.
The three existing buildings will be renovated as to provide facilities for art and cultural production activities and workshops with emphasis on international filmmaking. Centring on these themes diverse groups will occupy these facilities for varying periods of time. The Centre is meant to be a public resource and become a reference for similar initiatives throughout the region.
The task of the studio is to provide plans for the conversion of the quay and its buildings into an Art and Culture Production Centre through the renovation of the interior of the three existing buildings and to provide a new project for the upgrading of the quay consisting of a terrace containing sauna facilities which the studio will build.

This project is now approved by our client. However, as this is a real commission we cannot there are eventualities which are outwith our control which may result in the postponement or cancelation of the project. This is a very unlikely event, but not totally out of the question. If the project falls through we are also negotiating the following projects:
• Farmer’s Market, Oslo
• Kragerø Kolonihagen
• Kårstad Gård, artist’s community
• Tourist Roads Project
• Ideal Farm, Nes.

New commissions for design and build projects are appearing all the time. Students who enrol in this course must be prepared for a possible change in the subject of the project and, if necessary, to do some preparatory work in some of the forthcoming projects.

Learning outcome

Knowledge, skills and competences:
On completing the course, the student:
• know about, and develop skills and competences about building design of an Art and Culture Production Centre.
• know about, and develop skills and competences about detailing and specifications of a Art and Culture Production Centre
• know about, and develop skills and competences about building regulations regarding of a Art and Culture Production Centre
• know about, and develop skills and competences about building costs and budget management during construction
• know about, and develop skills and competences about relating the design of a building and building it.
• will have acquired the skill of using manual tools for building
• will have acquired the skill of using mechanical tools for building
• know about, and develop skills and competences about conditions of scarcity and climatic conditions

Working and learning activities

We will work as if we were one architectural studio fulfilling a commission, some of the work will be individual, mostly architectural design, and most of the work will be done in groups. Everyone is expected to contribute to this joint effort performing those tasks which are for the benefit of the whole studio. The studio will focus on joint production rather than individual expression.

Step one: Each student will develop individual proposals for the project.
Review one: review of the individual projects and choice of projects which continue.
Step two: Students will form teams of two or three. The composition of the teams will be based on similar/compatible/complementary characteristics of the individual projects delivered in Step One. Each of these teams will develop one joint design, which will bring together characteristics of the individual designs.
Review 2: Review of the team projects and choice of projects which continue.
Step three: The Studio will choose one project to build and develop a complete set of architectural drawings, a detailed list of all materials required for the construction, assembly instructions and costs
Review 3: Review of the mock-ups, lists of materials, cutting schedules, assemblies, and construction phasing with a view to discussing construction difficulties which may arise during the construction period in Manresa.
Step Four: Construction in Manresa
Step 5: Preparing the work for the AHO WORKS exhibition.
Final Review: Final examination/review to assess the work of the semester.

The development of the work during the semester will follow a pre-determined path which has been thought out in order to provide the pace and logistics which the studio needs to follow if it is to fulfil its aims.
We will work as if we were one architectural studio fulfilling a commission, some of the work will be individual, mostly architectural design, but most of the work will be done in groups. Everyone is expected to contribute to this joint effort performing those tasks which are for the benefit of the whole studio. The studio will focus on joint production rather than individual expression. In the end the chosen project which is built is the product of all of the members of the studio, regardless of the individual roles each may have played. This set-up very much reflects the way in which contemporary architecture is produced.
Step one: Each student will develop individual proposals for the project.
Review one: review of the individual projects and choice of projects which continue.
Step two: Students will form teams of two or three. The composition of the teams will be based on similar/compatible/complementary characteristics of the individual projects delivered in Step One. Each of these teams will develop one joint design initiated by others, which will bring together characteristics of the individual designs.
Review 2: Review of the team projects and choice of projects which continue.
Step three: The Studio will choose one project to build and develop a complete set of architectural drawings, a detailed list of all materials required for the construction, assembly instructions and costs
Review 3: Review of the mock-ups, lists of materials, cutting schedules, assemblies, and construction phasing with a view to discussing construction difficulties which may arise during the construction period in Manresa.
Step Four: Construction in Kleivan
Step 5: Preparing the work for the AHO WORKS exhibition.
Final Review: Final examination/review to assess the work of the semester will occur during the last week of the semester. The exact date will be determined further on, but please do not plan to leave Oslo prior to the end of the semester.
Teaching Methods:
The studio will be based mainly on one-to-one and group discussion of student work supplemented by discussions, demonstrations, and lectures.
Students who join this studio will have to also enrol in the ‘Associative Modelling and Fabrication’ course because its contents and scheduling are highly linked to the studio program development.
It is a requirement of the course that students spend the time needed to assemble the building in Kleivan. Although it is difficult at this stage to determine the length of the period of construction our estimation is around four to five weeks. During this time students will be given accommodation by our clients and will have to provide their own food. Students must also pay for all travel to and from the site and take out insurance that covers them while traveling and during the construction period.

Curriculum

Beorkrem, Christopher. Material Strategies in Digital Fabrication. New York, N.Y.: Routeledge, 2013.

Broome, Jon. The Green Self-Build Book: How to Design and Build Your Own Eco-Home. Totnes: Green Books, 2007.

Broto, Carles, Jay Noden, and William George. Eco-Friendly Architecture. Barcelona: Links, 2011.

Christophersen, Espen Borgir.

Herzog, Thomas, and Kathrin Draeger. Timber Construction Manual. Basel: Birkhäuser, 2004.

Homb, Anders, and Sivert Uvsløkk. Energy Efficient Windows with Cultural Value: Measurements and Calculations. SINTEF Building and Infrastructure, 2012.

Hugues, Theodor, Ludwig Steiger, and Johann Weber. Timber Construction: Details, Products, Case Studies. Basel: Birkhäuser, 2004.

Kjellberg Christensen, Kasper, Elisabeth Kron, and Morten Carlsbæk. Sanitary Aspects of Composting Biodegradable Waste: Towards a Nordic Evaluation Model. Vol. 2000:512, København: Nordisk ministerråd, 2000.

Liddell, Howard. Eco-Minimalism: The Antidote to Eco-Bling. London: RIBA Publ., 2013.

Lindman, Åke E. son. Swedish Architecture in Wood: The 2004 Timber Prize. Stockholm: Arvinius förlag, 2004.

Swedish Architecture in Wood: The 2008 Timber Prize. Stockholm: Arvinius förlag, 2008.

Lowenstein, Oliver, and Juliet Bidgood. Inspiring Futures: European Timber Architecture for the 21st Century. Exeter: Centre for Contemporary Art and the Natural World, 2007.

McLeod, Virginia. Detail in Contemporary Timber Architecture. London: Laurence King, 2010.

Mussard, Maxime. A Solar Concentrator with Heat Storage and Self-Circulating Liquid. Vol. 2013:164, Trondheim: Norges teknisk-naturvitenskapelige universitet, 2013.

Proctor, Rebecca. 1000 New Eco Designs and Where to Find Them. London: Laurence King Publ., 2009.

Roaf, Susan, Manuel Fuentes, and Stephanie Thomas-Rees. Ecohouse: A Design Guide. London: Routledge, 2012.

Ross, Peter, Andrew Lawrence, and Giles Downes. Timber in Contemporary Architecture: A Designer's Guide. Buckinghamshire: TRADA technology, 2009.

Schittich, Christian, ed. Small Structures, Detail, 2010.

Shannon, Kelly. "Eco-Engineering for Water: From Soft to Hard and Back." S. 163-82. Dortrecht: Springer, 2013.

Smith, Peter F. Architecture in a Climate of Change: A Guide to Sustainable Design. Amsterdam: Elsevier, 2005.

Smith, Ryan E. . Prefab Architecture a Guide to Modular Design and Construction. John Wiley & Sons, 2010.

Staib, Dörrhöfer, and Rosenthal. Components and Systems. Detail. 2008 Edition

Stoner, Carol Hupping. Goodbye to the Flush Toilet: Water-Saving Alternatives to Cesspools, Septic Tanks, and Sewers. Emmaus, PA: Rodale Press, 1977.

Tofte, Kjersti Erlandsen. Bærekraftig Materialvalg I Landskapsarkitekturen: Fokus På Tre. [Ås]: [K.E. Tofte], 2010.

Tostrup, Elisabeth, and Kristin Askgaard. Norwegian Wood: The Thoughtful Architecture of Wenche Selmer. New York: Princeton Architectural Press, 2006.

Van der Ryn, Sim. The Toilet Papers: Designs to Recycle Human Waste and Water ; Dry Toilets, Greywater Systems, & Urban Sewage. Santa Barbara: Capra Press, 1978.

Weller, Bernhard, and Dejanira Bitterer. Glass in Building: Principles, Applications, Examples. Basel: Birkhäuser, 2009.

Wenz-Gahler, Ingrid. Flush!: Modern Toilet Design. Basel: Birkhäuser, 2005.

Lofoten:

Gro Røde, Guide to the history of Lofoten, Lofoten: Public Museums/Lofoten Regional Council, 1996.

Lofoten og Vesterålens historie / utgitt av kommunene i Lofoten og Vesterålen. Kommunene, 1978-1995.

Arild Nyquist, Om livet i Lofoten; fotografier, Kjell Ove Storvik. Oslo : Grøndahl Dreyer, 1995

Presence required
Not required

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	Se forventet arbeidsinnsats

Workload activity	Comment
Lectures	Det er krav om at alle prosjekteringsoppgaver leveres til avtalt tid. Oppmøte på gjennomganger er obligatorisk.
Planning assignment	Under workshops inngår også byggeperiode på 4-5 uker i Lofoten, Norge
Group work

Start semester

2015 Vår

Re-store: Concrete

Emnenavn på Norwegian Bokmål:

Re-store: Concrete

Credits:

Course code:

80 602

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

Norwegian / English

Person in charge

Léa-Catherine Szacka

Required prerequisite knowledge

Passed foundation level courses (bachelor)

Course content

This studio is all about concrete: it’s history, it’s cultural meaning, it’s structural and technological properties and potential as architectural space. The assignment is to investigate a number of concrete buildings in Oslo from the 1950s- 1970s through reuse, transformation and addition.

Between 70-80% of all buildings in Norway are built after WWII and about 80% of the buildings standing today will still be standing in 2050. There is an urgent demand for knowledge on how to handle the overwhelming number of existing structures. We need to know how to evaluate their technological properties, their cultural value and spatial potential, and develop strategies for their future existence. The raising Norwegian welfare state produced a huge amount of buildings: social housing projects, communal and governmental institutions, commercial buildings and infrastructure. The period allowed for experimentation and technological innovation, and the Norwegian concrete building industry was at the forefront. We find a number of interesting innovation-driven concrete structures in Oslo, and the studio want to cast light on them, learn from them and apply this knowledge to the contemporary architectural practice.

The semester is twofold:
In the first phase the students will investigate a number of significant concrete structures in Oslo from the 1950s-1970s and acquire knowledge on their history, their context, characteristics and potential for reuse, transformation and addition. In smaller groups, the students will gather historical documents, produce drawings and cast models of the buildings.

In the second and most extensive phase, each students will develop an individual architectural project taking one of the buildings from phase one as their point of departure. The studio encourages the students to pursue diverse approaches, from speculative experiments to concrete investigations of insulation, technical infrastructure, structure etc. The list of submitted material will take into account the size and the complexity of the buildings and the concept of the student.

There will be a lecture series running through the whole semester. Lectures will be varied: from the history of concrete as construction material, to it’s structural and technological properties, casting and treatment-techniques, the history of concrete architecture from the 1950s-1970s, social context, urban development, mediation and reception etc.

The studio will collaborate with The Norwegian Technical Museum and The National Museum, department of Architecture among others. A number of Norwegian and international guest lecturers, critics and sensors will take part in the studio.

The aim is to produce an exhibition and a catalogue displaying the work from the studio.

Excursion: London (may change)

Learning outcome

The students shall acquire extensive knowledge on concrete as a building material, viewed in a historical, technological and spatial perspective. The studio will introduce the students to the concrete building tradition in Norway from the 1959s-1970s, and give them extensive experience in practicing the craftsmanship of architecture with a focus on reuse and transformation of concrete structures.

Working and learning activities

Teaching will mainly be through weekly desk-crits and monthly pin-ups in addition to the lecture-series running throughout the whole semester. Studio-meetings will be held on a regular basis for discussions and comments.

Curriculum

Adrian Forty: Concrete and clture, a material history

Presence required
Not required

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	Exhibition and publication

Workload activity
Individual problem solving
Group work

Start semester

Interaksjonsdesign 2 (IX): Screens

Emnenavn på Norwegian Bokmål:

Interaksjonsdesign 2 (IX): Screens

Credits:

Course code:

70 601

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

English

Required prerequisite knowledge

Passed foundation level courses at AHO or relevant and equivalent education (bachelor)

Course content

The second part of the interaction design programme focuses on the complex connected world we now live in, where visual interfaces are increasingly prevalent (from mobile phones to large public information systems, iPads to multiuser multitouch) and presenting designers with fascinating, complex and highly relevant challenges. The course explores how these interfaces can be effectively integrated into networks and spaces; the information they contain and the messages they impart; and how we, as users, engage and interact with them.

New digital technologies, and the internet in particular, have changed the ways of production and consumption of information. The internet itself has undergone a sea-change in recent years, from primarily static and closed systems to infrastructures where openness, information sharing, collaboration and creativity are key ingredients. Users have become both producers and consumers of content and information. Massive information datasets and structures need to be presented in dynamic, user-friendly and accessible ways, allowing for easy navigation, providing an overview as well as detailed analysis.

These sophisticated design challenges will be explored in a range of workshops and projects.

The course will provide students with appropriate practical skills, design methods and design thinking tools, enabling them to tackle advanced screen-based design issues, and leading to the creation of engaging, informative and effective interfaces.

Learning outcome

Students will
• gain an insight and understanding of the fundamental challenges in the design of screen-based interaction design, and apply this to the design of engaging user-experiences
• improve their screen-based graphical technical and production skills
• explore media convergence from a web-based perspective, by using independent, reflective and critical approaches to the course subject
• be able to use tools and methods for prototyping and programming interaction concepts and problems
• develop their skills at communicating their concepts and ideas in an engaging and convincing manner
• understand the roles and opportunities for the designer in a technologically driven environment.

Working and learning activities

‘Screens’ is the second semester course in the field of interaction, and is an introductory course to a broad set of materials for design for screen based interaction. The semester is a compilation of several smaller modules and workshops to introduce the students to the new and more screen specific methods, processes and tools that will form the core of the term. This will be followed by one final project, where students will develop more in-depth conceptual frameworks.

The modules and workshops will reinforce students’ understandings of the key underpinnings of screen based interaction design, with an increasing emphasis on online and networked environments. These will be broad in nature, covering practical design issues related to the themes of the course.

Students will work alone or in pairs during the course.

The main project deliverables will include:
• several minor deliverables
• 1 main project
• final presentation

Presence required
Not required

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	The main project deliverables will include: • several minor deliverables • 1 main project • final presentation

Start semester

Industridesign 2 (ID): Protohype

Emnenavn på Norwegian Bokmål:

Industridesign 2 (ID): Protohype

Credits:

Course code:

70 600

Level of study:

Master

Teaching semester:

2015 Spring

Language of instruction:

Norwegian / English

Required prerequisite knowledge

Completed foundation level courses or equivalent education (bachelor). Knowledge of 3D modelling techniques.

Course content

ProtoHype will develop students' ability to participate in more advanced design and innovation processes; and doing so as an independent designer with a creative, aesthetic and designerly approach. The course builds on theories that see innovation processes as a dynamic interaction between different actors with different skills, mind-sets and backgrounds. The course ProtoHype focuses specifically on the active use of various forms of physical and digital prototypes that support and facilitate the innovation process. Using advanced 3D modelling, video-sketching and other various forms of prototyping is therefore central to the course. Ability to reflect and discuss these topics is exercised in a theoretical part with lectures and seminaries. In the practical part, students will develop new ideas for products up to completed product concepts in cooperation with external actors. Currently ProtoHype have two thematic areas; (i) Medtech and (ii) Sustainability and/or Development. The Medtech theme is conducted in cooperation with companies in the network Oslo Medtech and (ii) the Sustainability theme in collaboration with a research project, C-SAN-Futures, the Institute of Design (IDE) conduct with the design department at the Cape Peninsula University of Technology (CPUT) in Cape Town, South Africa.

Learning outcome

DESIGNERLY APPROACH: Provide the student with a more advanced knowledge of how a designerly approach can be understood, and then be used in interaction with other traditions

AESTHETICS: Give a more reflective and critical understanding of the concept of aesthetics.

SUSTAINABILITY: Provide new knowledge on how our design and way of living affects the living conditions on a global scale.

ETHICS: Give a more reflective general ethical competence .

CULTURAL AND SOCIAL UNDERSTANDING: Provide a greater understanding and general knowledge of (global) cultural diversity.

PROCESSES, TOOLS AND METHODS: To develop the student's ability to utilize prototypes as a process driver and provide new knowledge of e.g. video-sketching. Give students the opportunity to practice to independently conduct a professional design project.

COMMUNICATION: Provide general knowledge and skills to communicate effectively in a professional manner.

MATERIAL AND TECHNOLOGY UNDERSTANDING: Provide general competence to understand, develop and critically evaluate new materials and technologies in a designerly manner.

RESEARCH: Give knowledge about research in High-Tech and Climate Change and provide a general competence to deal with these areas in a creative and designerly manner.

INTERNATIONALISATION: Give a better knowledge about different global perspectives and the opportunity to reflect on international solidarity and cooperation.

Working and learning activities

DESIGNERLY APPROACH: Through project work with external firms, lectures and a reflective internal dialogue.

AESTHETICS: The student is given the opportunity to develop their own aesthetic skills by providing them with feedback from communities that often have very different aesthetic preferences (in this case, medical technology and African culture).

SUSTAINABILITY: Through lecture and choice of theme of sustainability and development work on the African continent; which give many opportunities for discussion and reflection.

ETHICS: Project related discussions. Topics such as sustainability, development on the African continent and medical technology, give many opportunities where one just have to involve ethical considerations.

CULTURAL AND SOCIAL UNDERSTANDING: Through lecture and project-related discussions supported by the course's selected African theme.

PROCESSES, TOOLS AND METHODS: Through lecture and project-related discussions. Video sketching is given a more fundamental introduction in the first part of the course where short lectures typically are mixed with short practical exercises. Independent work is thereafter trained in cooperation with external partners combined with internal tutoring.

COMMUNICATION: Lectures, presentations including a “pitch” the students are expected to provide tentative external partners.

MATERIAL AND TECHNOLOGY UNDERSTANDING: Through independent project-work and in collaboration with external partners.

RESEARCH: Through lectures and project work. The themes are also associated with the research project C-SAN-Futures and the involved MedTech companies that usually are research-heavy, High- and MedTech companies.

INTERNATIONALISATION: Through collaboration with the design department at Cape Peninsula University of Technology (CPUT) in Cape Town, South Africa.

Presence required
Not required

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail	See Work and learning activities

Workload activity	Comment
Lectures	Forelesninger vil være ganske hyppige i den første tredjedelen av semesteret (ca. to halve dager i uken) og avhengig av hvordan prosjektene utvikler mer etter behov i løpet av resten av semestret.
Group work	Vi foretrekker teamarbeid (og ikke gruppearbeid) og som vil være en del av arbeidet gjennom hele semesteret
Individual supervision	Det vil typisk være en veiledning økt for hvert team en gang i uken og ytterligere mer individuelle økter hvis det er nødvendig.

Form of assessment:	Other assessment method, define in comment field
Grouping:	-
Grading scale:	Pass / fail
Comment:	The students are assessed on the basis of participation as well as a final essay.

Form of assessment:	6
Grouping:	-
Grading scale:	-
Comment:

Form of assessment:	6
Grouping:	-
Grading scale:	Pass / fail
Comment:

Mandatory coursework:	Supervision talks
Courseworks required:	1
Presence required:	Not required
Comment:	Essay, as specified in the course methodology.

Mandatory coursework:	4
Courseworks required:	1
Presence required:
Comment:	As well as participation in class.

Languages

2015 Vår

Start semester

Nye urbane teorier

Start semester

Architecture's printing culture

Start semester

Architecture is Space, Space is Architecture

Start semester

Freehand Sketching

Start semester

Computational Design og Fabrikasjon

Start semester

SCS: Villa Lofoten kai, Kunst og kultursenter

Start semester

Re-store: Concrete

Start semester

Interaksjonsdesign 2 (IX): Screens

Start semester

Industridesign 2 (ID): Protohype

Pages

Workload activity:	Curriculum
Comment:	Studentene forventes å lese pensumlitteraturen til hver time. Studentene vil også (1-2 ganger) få i oppgave å forberede seminarinnlegg med utgangspunkt i pensumlitteraturen.