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2018 Høst

80 314 Self-publishing Design and Architecture

Studiepoeng: 
6
Full course name in English: 
Self-publishing Design and Architecture
Emnekode: 
80 314
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Norsk/Engelsk
År: 
2018
Maksimum antall studenter: 
15
Om emnet

 

Course responsible:

João Doria

Self-publishing Architecture and Design aims to equip its participants with a basic but solid typographic design and graphic production toolkits. We will do so through actively discussing the transposition of design decisions taken in architecture and design processes of all scales towards the specific space of the book, with a particular interest on what makes a self-publishing venture into a thing in the world.

The course will unpack editorial, visual, distribution and circulation strategies present in select cases of serial self-publishing from the twentieth century within literature, the arts, architecture and design. Said cases will make an argument for editorial and typographic design as tools and spaces for diffusing discourse, creating situations for debate and exploring the functional, poetic, political and social aspects of what self-publishing is and does.

With a focus on resourcefulness and low-cost production through available printing and binding resources on campus and local copy-shops, participants will produce a modest body of work ranging from ephemeral material such as posters, flyers and zines (understood as quick prototyping spaces) and culminate in a fully fledged Reader publication — an edited and designed compilation of material relevant to each participant’s personal interests.

Læringsutbytte

Participants will learn how to slide back and forth between the production–display—circulation spaces with a hands-on approach, being prompted to show their work to a larger public by the course completion, eventually initiating an AHO’s student imprint that can constitute an own archive and section at AHO’s library.

Lectures will contextualize how typography and visual language have been historically intertwined even in the absence of text, expanding and exploring of the temporal and material aspects of the book and what can it do for architecture and design in the current historical moment as well as in each participant’s personal/current moment of practice.

Praktisk organisering og arbeidsmåter

The course backbone leans on the pursuit of a deeper understanding of typography as an aesthetic position and as a drawing and information/language-structuring tool through tutorials and discussions on editing, typesetting, prescriptive versus generative grid-making, printing and binding.

Excursions to binders and printers in the city of Oslo will be conducted. Skype calls with an international network of designers and editors involved in contemporary artistic, architectural and design discourses will complement the course in the capacity of guest lecturers or critics.

Students hold individual responsibility for sourcing content for each tutorial and the course leader will provide clear guidelines and the necessary feedback during group/individual meetings. A basic list of materials will be shared by the beginning of the course. Basic prototyping resources (printer, folding machine, cutter, stapler, binder) present at The Ventriloquist Press at Carl Berners will be made available for select tutorials.

Pensum

Selected readings will be taken out of the publications listed below and expanded through lectures.

Core readings

Gerstner, Karl, et al. Designing Programmes: Five Essays and an Introduction. Lars Müller, 2007.

Lupton, Ellen. Thinking with Type: a Critical Guide for Designers, Writers, Editors, & Students. Princeton Architectural Press, 2010.

Hochuli, Jost. Detail in Typography: Letters, Letterspacing, Words, Wordspacing, Lines, Linespacing, Columns. Éditions B42, 2015.

Pipes, Alan. Production for Graphic Designers. Prentice Hall, 2009.

Extended readings

Tavares André. The Anatomy of the Architectural Book. Canadian Centre for Architecture, 2016.

Colomina, Beatriz, et al. Clip, Stamp, Fold: the Radical Architecture of Little Magazines, 196X to 197X. Actar, 2011.

Decroos, Bart, et al. Oase 100. The Architecture of the Journal / De Architectuur Van Het Tijdschrift. nai010 Uitgevers, 2018.

Müller-Brockmann Josef, and D. Q. Stephenson. Grid Systems in Graphic Design: a Visual Communication Manual for Graphic Designers, Typographers, and Three Dimensional Designers = Raster Systeme für Die Visuelle Gestaltung: Ein Handbuch für Grafiker, Typografen, Und Ausstellungsgestalter. Niggli, 2017.

Smet, Catherine de., and Le Corbusier. Vers Une Architecture Du Livre: Le Corbusier: édition Et Mise En Pages, 1912-1965. Lars Müller Publishers, 2007.

Redstone, Elias. Archizines. Bedford Press / Architectural Association, London, 2011.

Birdsall, Derek. Notes on Book Design. Yale University Press, 2004.

Hochuli, Jost, and Robin Kinross. Designing Books: Practice and Theory. Hyphen Press, 1996.

Bringhurst, Robert. The Elements of Typographic Style. Hartley & Marks, 2016.

Tschichold, Jan. The Form of the Book: Selected Essays on Questions of Book Design & Typography. Hartley & Marks, 1991.

Goode, Simon, et al. Making Books: a Guide to Creating Hand-Crafted Books by the London Centre for Book Arts. Pavilion, 2017.

Keller, Christoph, and Michael Lailach. Kiosk: Modes of Multiplication: a Sourcebook on Independent Art Publishing, 1999-2009. JRP Ringier, 2009.

Philpot, Clive. Booktrek: Selected Essays on Artists Books (1972-2010). JRP Ringier, 2013.

Ponge, Francis, and Beth Archer Brombert. The Voice of Things. McGraw-Hill Book Co., 1974.

VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellBestått / ikke bestått
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:

70 502 Interaksjonsdesign 1: Rik interaksjon

Full course name in English: 
Interaction Design 1: Tangible Interactions
Studiepoeng: 
24
Emnekode: 
70 502
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
Maksimum antall studenter: 
24
Emneansvarlig
Nicholas Stevens
Forkunnskapskrav

Bestått emner på grunnivå (bachelor) på AHO eller tilsvarende, til sammen 180 studiepoeng.

Nyttige ferdigheter

Kurset bygger på visse ferdigheter innen interaksjonsprototyping, for eksempel Arduino, som AHO underviser i på bachelornivået. Kunnskap om dette og enkel elektronikk vil være nyttig, men er ikke et krav.

Om emnet

Interaksjonsdesign 1 forbedrer studentenes ferdigheter innen interaksjonsdesign, med fokus på sentrale ferdigheter og materialer som brukes ved design av fysiske og digitale løsninger. Kurset omfavner og utforsker de kreative mulighetene som oppstår gjennom nyere utvikling innen fysisk databehandling, sensorteknologier og mobile enheter, til å se på hverdagslige fysiske objekter (utstyrt med brytere, sensorer og mikrokontrollere) som utvidede grensesnitt for styring av digitale opplevelser.

Kurset er i hovedsak praktisk orientert og starter med en workshopserie som tar for seg ulike fysiske interaksjonsteknologier og -tilnærminger som leder inn i større prosjekter. Studentene får mulighet til å arbeide med Arduino-mikrokontrollere, smarttelefoner, Processing-kode og et stort utvalg sensorer for prototyping og designtesting. I tillegg til de praktiske sidene ved kurset vil det bli holdt en rekke forelesninger/foredrag og workshops med utøvere og spesialister på feltet.

 

Læringsutbytte

KUNNSKAPER

Studentene vil:

  • Få en oversikt over forskning og prosjekter innenfor fysisk databehandling og historien til håndgripelig interaksjon.
  • Få en oversikt over tilnærminger, problemstillinger og utfordringer designere på området står overfor.
  • Oppnå en forståelse av historisk og moderne teknologi og praktiske bruksområder.
  • Utvikle kritiske rammeverk og tilnærminger til analyse og drøfting av feltarbeid.

 

  • FERDIGHETER
    Studentene vil:

  • Få økte ferdigheter innen elektronikk og Arduino. Alle studentene vil lære metoder og verktøy for å lage fungerende fysiske prototyper og få praktiske ferdigheter innen elektronikk.
  • Utforske og praktisere metoder for interaksjonsdesign, innebygd interaksjon, interaksjon i sanntid, og sosial databehandling og iterasjoner i en fysisk sammenheng.
  • Designe eksperimentelle interaktive objekter med fokus på engasjerende opplevelser for kommunikasjon, utdanning og lek.

     

    GENERELL KOMPETANSE
    Studentene vil:

  • Kunne utforske og forstå forbindelser mellom interaksjonsdesign og de andre designretningene.
  • Videreutvikle evnen til kontinuerlig å iterere og utforske konsepter for å kunne forbedre dem.
  • Videreutvikle vanlige designegenskaper som nysgjerrighet og et eksperimentelt, undersøkende perspektiv.
Praktisk organisering og arbeidsmåter

Utforsking og utvikling av eksperimentelle prototyper av konsepter er sentrale komponenter i kurset. Disse utvikles i løpet av kurset som flere mindre prosjekter som kulminerer i et større avsluttende prosjekt på slutten av semesteret. Det meste av arbeidet gjennomføres i par (ulike par for hvert prosjekt), mens noen prosjekter er individuelle og andre utføres i større grupper. Prosjektene har vanligvis flere presentasjoner underveis, slik at studentene kan se og kommentere hverandres arbeid.

En vanlig uke består av en presentasjon, ofte en forelesning eller en workshop, og deretter en eller to muligheter for veiledning. Enkelte prosjekter kan kreve en mer intensiv periode med flere timer i løpet av uken. Dette skisseres i begynnelsen av semesteret. Resten av tiden kan brukes slik studenten synes det er nødvendig for å utvikle prosjektet, men studentene oppfordres til å bruke mesteparten av tiden på arbeid i klassestudioet for å skape et inspirerende og oppmuntrende miljø.

Pensum

Shaping things - Bruce Sterling

Radical Technologies - Adam Greenfield

Where the action is - Paul Dourish

Making things talk - Tom Igoe

Digital by Design - Troika

Obligatorisk arbeidskravPåkrevde arbeidskravOppmøte påkrevdKommentar
Øvinger Påkrevd.Studentene må presentere og levere inn alle prosjekter for å ta del i avslutningsprosjektet og bli vurdert for kurset. Studentene informeres om hvorvidt de har utestående innleveringer når hvert enkelt prosjekt fullføres. Ved manglende levering, uansett årsak (medisinsk fravær osv.), gis studentene en mulighet til å levere senere i semesteret, men før det avsluttende prosjektet starter (med mindre administrasjonen har innvilget en utsettelse).

Studenter som opplever vanskeligheter eller konflikter i paret eller gruppen, må informere kursansvarlig, slik at vi kan finne en løsning.
Obligatoriske arbeidskrav:
Obligatorisk arbeidskrav:Øvinger
Påkrevde arbeidskrav:
Oppmøte påkrevd:Påkrevd
Kommentar:.Studentene må presentere og levere inn alle prosjekter for å ta del i avslutningsprosjektet og bli vurdert for kurset. Studentene informeres om hvorvidt de har utestående innleveringer når hvert enkelt prosjekt fullføres. Ved manglende levering, uansett årsak (medisinsk fravær osv.), gis studentene en mulighet til å levere senere i semesteret, men før det avsluttende prosjektet starter (med mindre administrasjonen har innvilget en utsettelse).

Studenter som opplever vanskeligheter eller konflikter i paret eller gruppen, må informere kursansvarlig, slik at vi kan finne en løsning.
VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveGruppeBestått / ikke beståttDet avsluttende prosjektet vurderes som bestått / ikke bestått av en ekstern sensor, og dette utgjør karakteren for kurset.
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Gruppe
Karakterskala:Bestått / ikke bestått
Kommentar:Det avsluttende prosjektet vurderes som bestått / ikke bestått av en ekstern sensor, og dette utgjør karakteren for kurset.

70 501 Industridesign 1: Teknoform 1

Studiepoeng: 
24
Full course name in English: 
Industrial Design 1: Technoform
Emnekode: 
70 501
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
Maksimum antall studenter: 
15
Emneansvarlig
Steinar Killi
Forkunnskapskrav

Bestått emner på grunnivå (bachelor) på AHO eller tilsvarende, til sammen 180 studiepoeng.

Om emnet

Technoform er et videregående kurs i industridesign som tar for seg interaksjonen mellom ny teknologi og avansert formgivning. Kurset bygger på industridesigntradisjoner fra både Norge og Skandinavia for øvrig, og estetiske tilnærminger utforskes i en kulturell kontekst innenfor teknologiske rammer. Dette oppnås gjennom to omfattende iterasjoner. Først en inkrementell prosess som bygger på og videreutvikler eksisterende løsninger, deretter et mer radikalt forslag innenfor samme tema som krever en enda mer kreativ og oppfinnsom prosess. Kurset resulterer i fysiske produkter.

Læringsutbytte

KUNNSKAPER

Etter gjennomført kurs skal studenten ha kunnskap om:

  • gjennomføring av en designprosess for fysiske produkter innenfor to paradigmer: som en iterativ utviklingsprosess og gjennom rekontekstualisering. Den første delen er vanligvis en trinnvis prosess, mens den andre er basert på en prosess rettet mot mer radikal innovasjon.

FERDIGHETER
Etter gjennomført kurs skal studenten kunne:

  • arbeide og forske gjennom nye produksjonstrender som kan danne grunnlag for avansert formgivning.
  • bruke metoder som kreativ fagfelleutvikling, backcasting og mulighetsdrevet design.
  • det gis utstrakt opplæring i skissering, modellbygging og CAD på kurset.

 

GENERELL KOMPETANSE
Etter gjennomført kurs skal studenten:

  • ha styrket sin underliggende kompetanse til å gjennomføre en designprosess
  • kunne gjennomføre designprosesser som ikke er brukersentrerte
  • kunne anvende form utviklingsmetoder innen en teknologisk ramme
Praktisk organisering og arbeidsmåter

Workshops, forelesninger, individuelt og i grupper. Tilbakemeldinger fra medstudenter er en sentral metode i kurset

Pensum

Pensum vil bli presentert ved oppstart av kurset og vil bestå av artikler som kan lastes ned fra nettet.

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke bestått Kurset har to hovedleveranser i form av studio prosjekter, begge disse må være bestått for å bestå kurset.
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar: Kurset har to hovedleveranser i form av studio prosjekter, begge disse må være bestått for å bestå kurset.

70 132 GK3 Designhistorie 2

Studiepoeng: 
6
Full course name in English: 
GK3 Design History 2
Emnekode: 
70 132
Studienivå: 
Syklus 1
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Norsk
År: 
2018
Forkunnskapskrav, emneliste: 
70 123 GK2 Kunst - og designhistorie 1
Forkunnskapskrav

Gjennomført kurs under forkunnskapskrav eller tilsvarende. 

Om emnet

Kurset gir bred kunnskap om design- og kunsthistorie i relasjon til vår samtid. Grunnleggende spørsmål som hva design er og har vært, blir grundig drøftet. Emnet introduseres med en innføring i temaer innen kunst- og formgivningshistorien fra oldtiden frem til og med romantikken. Deretter flyttes fokus over til en gjennomgang av sentrale designhistoriske epoker, perspektiver, strømninger og episoder, fra Arts and Crafts-bevegelsen og fremveksten av moderne design på slutten av 1800-tallet til popdesign og postmodernisme på 1980- og 1990-tallet, fortsatt med et sideblikk til kunstens verden. Emnet avsluttes med en samtidshistorisk gjennomgang av designhistorisk utvikling fra tusenårsskiftet og frem til dags dato med fokus på media- og informasjonsrevolusjonen. Emnet vil gå grundig inn på temaer som rettferdig handel og bærekraftig design. Kurset tar ikke mål av seg til å være uttømmende, men det vil sette fokus på et sammensatt sett av estetiske, filosofiske, politiske motivasjoner som har formet design og kunst fra industrialismen til dag.

Læringsutbytte

KUNNSKAPER

Etter endt kurs skal studentene skal ha:

  • Kunnskap om designhistoriens ulike epoker.
  • Oversikt over sentrale designere og viktige ikoniske objekter fra kunstens og designens historie.
  • Bred innsikt i sentrale diskurser og teoretiske perspektiver knyttet til samtidens design og kunst.

FERDIGHETER
Studentene skal lære å:

  • Analysere og redegjøre for stiler og epoker skiftelig og muntlig.
  • kunne sette samtidens designuttrykk inn i et historisk perspektiv
  • Se seg selv, sin faglige utøvelse og sitt faglige ståsted i perspektiv  
  • På en selvstendig måte reise interessante problemstillinger på bakgrunn av designteoretiske eller estetiske temaer.
  • Formulere dekkende visuelle responser på teoretiske eller historiske problemstillinger.
  • Redegjøre for og drøfte teoretiske tekster. 

GENERELL KOMPETANSE

  • Et hovedmål for emnet er å utvikle studentens forståelse for omgivelsene; skjerpe deres blikk hvilken betydning omgivelser og tings utforming har. Som fremtidige produsenter av bilder, rom, gjenstander, visuelle uttrykk og sosiale situasjoner, er det viktig at studenten utvikler et bevisst forhold til hva de setter ut i virkeligheten, ikke minst med tanke på at vi lever i en visuelt overstimulert og oppjaget konsumkultur, noe som gir grunn til å problematisere den stadig økende fremstilling av materielle og visuelle produkter. 
Praktisk organisering og arbeidsmåter

Kurset Designhistorie 1 er formidlet:  

  • Gjennom forelesninger (2 – 3 timer hver mandag morgen)
  • Studentene skal også studere på egenhånd.
  • Egenstudier og tekstlesing er en viktig del av kurset. Kurset inkluderer en pensumsliste.    
  • Ved slutten av semesteret skal studentene levere inn et hefte, der de har formulert visuelle ”svar” på teoretiske problemstillinger knyttet til de ulike forelesningene.
VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellBestått / ikke bestått• Levere hefte
• Levere et en skriftlig drøftelse (et essay) om en selvvalgt pensumstekst
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:• Levere hefte
• Levere et en skriftlig drøftelse (et essay) om en selvvalgt pensumstekst
AktivitetKommentar
OppmøteDet forventes 80 % oppmøte på forelesninger.
Forventet arbeidsinnsats:
Aktivitet:Oppmøte
Kommentar:Det forventes 80 % oppmøte på forelesninger.

70 130 GK3 Interaktive Produkter

Studiepoeng: 
24
Full course name in English: 
GK3 Interactive Products
Emnekode: 
70 130
Studienivå: 
Syklus 1
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Norsk
År: 
2018
Emneansvarlig
Einar Sneve Martinussen
Forkunnskapskrav, emneliste: 
70 110 GK1 Introduksjon til design
70 120 GK2 Brukersentrert design
Forkunnskapskrav

Gjennomført kurs eller tilsvarende under forkunnskapskrav.

Om emnet

‘Interaktive produkter’ introduserer studentene for feltet Interaksjonsdesign. Interaksjonsdesign handler om å formgi hvordan vi bruker og opplever teknologi. Interaksjonsdesignere utvikler blant annet digitale produkter og grensesnitt, som for eksempel mobil-apper, spill, nett-tjenester og sosiale medier. Fagfeltet henger tett sammen med den digitale utviklingen i samfunnet, og er en stadig viktigere del av designeres arbeidsfelt. ‘Interaktive produkter’ gir en innføring i digitale materialer og designmetoder for å skape opplevelser og uttrykk gjennom teknologi. Når man designer interaktive produkter bruker man både tradisjonelle design-materialer, som tre og plast, men også tekniske materialer og verktøy som elektronikk, bruker-data og programmering.

Emnet har særlig fokus på produkter som ligger i skjæringspunktet mellom det fysiske og det digitale, og bygger slik videre på praktiske og estetiske ferdigheter opparbeidet i tidligere emner. Foruten å gi en praktisk innføring i Interaksjonsdesign, tar emnet også for seg sammenhenger mellom kultur, formgivning, kommunikasjon og teknologi. Vi spør hvordan design kan forme vårt digitale hverdagsliv? Hvordan kan design brukes til å forstå og fortolke teknologi kreativt, og slik skape gode bruker-opplevelser og estetiske uttrykk?

Læringsutbytte

KUNNSKAPER

  • Gjennom emnet skal studentene ha opparbeidet en grunnleggende forståelse for feltet Interaksjonsdesign; dets begreper, historikk og diskusjoner.
  • Studentene skal kjenne til og kunne vurdere muligheter og utfordringer for interaktiv teknologi i en bredere designsammenheng, f.eks. innen produkt og tjeneste-utvikling.
  • Emnet skal gi studentene innsikt i sammenhenger mellom kultur og teknologi, og diskutere hvordan design forholder seg til disse.
  • Gjennom emnet vil studentene møte temaer knyttet til teknologi-bruk i et kulturelt og sosialt perspektiv, gjennom diskusjoner om bl.a. innovasjon og brukeropplevelse.

FERDIGHETER

  • Studentene gis innsikt i materialer og teknologier innen interaksjonsdesign, med fokus på utforskning og fortolkning gjennom praktiske prosjekter. Her er hovedfokus på å gi studentene introduksjon og øvelse i grunnleggende ferdigheter innen Interaksjonsdesign.
  • Studentene gis innsikt og øvelse i virkemidler og metoder for å forme interaksjoner gjennom estetiske uttrykk og opplevelser over tid. Gjennom prosjekter og øvelser gis studentene innføring i praktiske ferdigheter for å formgi med interaktive teknologier; dette inkluderer bl.a. elektronikk, programmering, og tolkning og visualisering av data.

GENERELL KOMPETANSE
Gjennom prosjekter og workshopper gis det øvelse i ferdigheter for kreativ eksperimentering og utprøvning gjennom forskjellige former for skisser og prototyper. Gjennom emnet vil studentene også gis øvelse i kommunikasjon gjennom forskjellige medier for å kommunisere interaktive produkter, som digital grafikk, film og foto.

Praktisk organisering og arbeidsmåter

‘Interaktive produkter’ har en praktisk tilnærming til interaksjonsdesign og undervises gjennom en serie prosjekter og workshops. Det legges vekt på å gi en oversikt over interaktive muligheter og praktisk eksperimentering. Studentene møter blant annet elektronikk, datavisualisering, film, foto, og Web-utvikling. Det er et stort fokus på kreativ eksperimentering, prototyping og utprøving, snarere enn på teknisk dybdekunnskap. Emnet har en stor andel arbeid i grupper, men også individuelle øvelser. De praktiske aspektene i kurset blir komplementert av en rekke forelesninger og samtaler fra utøvere og spesialister innenfor feltet.

Gjennom semestret skal det utarbeides, leveres og presenteres en serie med prosjekter og øvelser. Disse skal også dokumenteres på nett. Det stilles krav om dokumentasjon og presentasjon. Studentene må presentere og levere samtlige prosjekter for å bestå kurset. Karakter settes med utgangspunkt i utvikling, prosess og resultat.

 I kurset vil studentene lære seg å bruke enkel elektronikk. Nødvendige elektronikk-sett bestilles av den enkelte student. Dette organiseres på starten av semestret.

Pensum

Kursets nettsider vil inneholde relevant pensum som følger studentene gjennom semesteret.

VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellA-FAlle innleveringer, presentasjoner og oppgaver vil inngå i vurderingsgrunnlaget for kurset, i form av en vurderingsmappe. Alle prosjekter må være levert inn på nett innen kursslutt. I grupperarbeid er det et krav at alle studenter dokumenterer egeninnsats i arbeidet, dokumentasjon som inngår i vurderingsgrunnlaget.
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:A-F
Kommentar:Alle innleveringer, presentasjoner og oppgaver vil inngå i vurderingsgrunnlaget for kurset, i form av en vurderingsmappe. Alle prosjekter må være levert inn på nett innen kursslutt. I grupperarbeid er det et krav at alle studenter dokumenterer egeninnsats i arbeidet, dokumentasjon som inngår i vurderingsgrunnlaget.

Start semester

80 513 Form Studio: Modular Vernacular

Full course name in English: 
Form Studio: Modular Vernacular
Studiepoeng: 
24
Emnekode: 
80 513
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
År: 
2018
Maksimum antall studenter: 
15
Emneansvarlig
Amandine Kastler
Erlend Skjeseth
Forkunnskapskrav
  • Good understanding of written and spoken English
  • Intermediate to good level of digital modelling and draughtsmanship
  • Experience with and interest in building large scale material models is desirable
Om emnet

Form Studio: Modular Vernacular will produce new architectural forms for a historically sensitive setting. Design work will focus on the relationship between construction and context. The aim will be to propose new spatial models for the present-day inhabitation of a heritage site.

The studio will build on the long-term AA Visiting School project the Island Reader which has for the last four years developed alternative ways of investigating a place through collective analysis.  We will continue to work with measuring and observation as our first act but construction and materiality will be the focus in our design studio.  

The Coast

The studio will operate on the islands of Lyngør, off the south coast of Norway. Historically, the coastline of Norway has experienced a continuous influx of ideas from around the world as a result of its location within coastal trade networks. Architecturally, this has resulted in a diverse and fluid notion of style. This is in visible contrast to the settlements of the interior valleys, where local culture was preserved in more isolated communities. This dichotomy between the coast and the interior is fundamental to Norwegian cultural history and identity. The studio will travel between these different communities to study their variations in style and typology, abstracting our readings into new architectural forms.

Our aim is to instil a critical appreciation for the enduring benefits and limitations of vernacular construction beyond the pastiche. We will draw on the spatial and constructional characteristics of the vernacular, to determine the formal qualities that have evolved over time from the necessities of island life. By teasing these implicit characteristics, we will address a key question:

How ought architects design new forms within finite historic environments?

The Island

The studio will focus on Lyngør, where buildings have been frequently restyled to mimic continental trends. Throughout the history of the island, houses have been taken apart, reassembled, cannibalized and reformed into new iterations. Sailors brought home the world and remade their houses in its image. ´Southern Classical´ houses were hand-crafted objects, built from standardized and transportable modular elements. We will understand modular structural systems and standardization as fundamental to contemporary architecture. Notched logs, timber panels, and stone foundations were rational parameters that determined the plan. Buildings were designed alike in their construction logic, but with individual expression and variation apparent in their detail.

Lyngør is nestled across four islands, located near historic shipping lanes, where the North Sea meets the Baltic. The island community blossomed into a rich merchant village in the late eighteenth-century, with a burgeoning class of ship owners, sailors and boatbuilders. The main strait through the village was once the main highway around the coast of Norway, and much like the follies of Potemkin or the strip in Las Vegas, the houses turn their good side towards the water. Expensive paints and ornate windows winking flirtatiously at the boats passing by.

Failing to modernize with the arrival of the steam ships at the turn of the century, Lyngør remained preserved nineteenth-century village - at least on the surface. After a period of stagnation, the concept of modern leisure hit the island in the 1950’s. Often it was the decedents of the shipwrights that returned, with their cabin cruisers, sunbeds, and a thirst for the authentic. Buildings are markers of wealth, monuments to family history and symbols of cultural and financial capital. In Lyngør everyone owns the truth about what is authentic, and they are not afraid to tell you.

Many people will claim that it is logical for new buildings to mimic the prevalent classical style. Some call for UNESCO world heritage status, while others are concerned with the implications this could have for the local businesses. Like many other villages along the Norwegian coast, an upsurge in seasonal tourism has been accompanied by a decline in permanent residency. The closure of much of the basic infrastructure necessary to maintain a permanent community has seen tourism replace industry.

The local municipality will implement a temporary construction ban while a regulatory framework for the new development is established. The studio will regularly engage with the various stakeholders involved in this process throughout the semester.

The Building

To Read – to gather knowledge through surveying, recording and interpreting.

The Studio will actively collaborate with Utmark Architects from Bergen, a multidisciplinary practice of architects, digital surveyors, and construction managers (www.gamle3hus.no) The practice works between preservation and new built form. Workshops on land surveying, digital surveying and post processing of digital information will be held in Lyngør.

The studio does not consider research to be a separate exercise from propositional thinking, rather, it asserts that the act of surveying is propositional by nature and therefore inherent to design thinking. Readings will focus on architectonic thresholds, such as the relationships between foundations and topography, the domestic interior and the weathered exterior, traditional craft and contemporary construction. As part of the municipal framework, these readings will create a catalogue of built form in Lyngør.

To Buildto construct by assembling and joining parts or materials.

The current statutory regulations on the island limit the built footprint of a residential building to less than 200 square meters, while also regulating colour, material, and roof shape. The studio will question these parameters and test their limitations. Students will use their precedent studies to inform their proposals for new construction methods and future modes of inhabitation on the islands.

Projects will be developed through large-scale material models and architectural drawings. Learning from what has already been built on the islands, traditional craft will inform contemporary construction methods. Prefabrication, contemporary timber technology and digital fabrication will inform the design of modular details. For the last three years Kastler Skjeseth Architects have been building on the island. Students will frequently be exposed to a network of builders, artisans and construction sites in various stages.

Læringsutbytte
  • Proposing new architectural form in a conservation area
  • Analysing existing building typologies on the coast of Norway
  • Utilizing precise surveying technology in both analogue and digital form
  • Engaging actively with real stake holders including community groups, local municipality, and heritage authorities
  • Learning how to navigate and write requirements and regulatory framework
  • Developing present-day forms of dwelling
  • Experiencing historic craft methods and Scandinavian vernacular tradition
  • Reading basic theory on typology and preservation
Praktisk organisering og arbeidsmåter

As a studio we give great focus to understanding context. Students will be expected to stay on the Island for parts of the semester, including but not limited to, one week at the beginning of the semester and two weeks during the studio excursion week.

During the first week of the semester a joint workshop will be held in Lyngør with the students from the AA Visiting School Lyngør (lyngor@aaschool.ac.uk).

Accommodation on the Island will be subsidized. Students will live in a manor house dating back to the 19th century. The house was refurbished and modernized by Kastler Skjeseth Architects in 2017 (www.kastlerskjeseth.no). The accommodation on the island is generously subsidized by the house owners. Students can expect some costs of travelling back and forth to Lyngør but we will endeavor to keep this cost to a minimum.

The course structure and trips to Lyngør will be set in accordance with the design stages applied in practice. Activities will be supported by lectures and visits with local historians and experts.

When in Oslo, students are expected to work in the studio. Teaching will consist of twice weekly desk tutorials, seminars, pin-ups and reviews with invited critiques. Students are expected to be active participants, to attend all trips, studio meetings, pin-ups and reviews, while keeping up with a rigorous level of production.

The studio will be evaluated by submitting assignments and participation, judged as “passed” or “not passed” (according to AHO regulations for master studies).

Studio Trip

The studio will travel along the Norwegian coastline from Oslo in the east to Stavanger in the east, and track back through the mountains of the interior. We will stop to visit projects that deal with the translation of vernacular form into modern architecture as well as other historic villages along the coast.

Pensum

The curriculum will be given out closer to the start date.

VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellBestått / ikke beståttPass / Fail and will be based on the following criteria in relation to the given assignments:

The final grade in the course will be given based on:
- Attendance and design production for twice-weekly studio meetings: 30%
- Mid review and Interim review presentation: 30%
- Final review presentation: 40%
The oral presentation is a part of the portfolio assessment.

Mid review, Interim review and Final review: Work presented for the mid review, the Interim review and the final review will be evaluated according to the following criteria:

- Conceptual Clarity: Students should demonstrate proactive engagement with the material and self-motivated intellectual pursuits that enhance their own design ambitions. Students are expected to clearly articulate their ambitions and the intellectual underpinnings of their work in pin-ups and desk crits.

- Technique: Students are expected to execute all assignments with care and precision.

Assignments will be evaluated not only on the basis of the ideas, but also to a large degree on the quality of the execution. Students are responsible for planning sufficient time for developing appropriate and thorough representation.

Portfolio: The care taken in the compilation and design of the portfolio the presentation of physical models will be considered in the final assessment. The portfolio is to be formatted and printed at A2 or larger. Each student will also be required to design a portfolio booklet at A3 to accompany the printed portfolio.
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:Pass / Fail and will be based on the following criteria in relation to the given assignments:

The final grade in the course will be given based on:
- Attendance and design production for twice-weekly studio meetings: 30%
- Mid review and Interim review presentation: 30%
- Final review presentation: 40%
The oral presentation is a part of the portfolio assessment.

Mid review, Interim review and Final review: Work presented for the mid review, the Interim review and the final review will be evaluated according to the following criteria:

- Conceptual Clarity: Students should demonstrate proactive engagement with the material and self-motivated intellectual pursuits that enhance their own design ambitions. Students are expected to clearly articulate their ambitions and the intellectual underpinnings of their work in pin-ups and desk crits.

- Technique: Students are expected to execute all assignments with care and precision.

Assignments will be evaluated not only on the basis of the ideas, but also to a large degree on the quality of the execution. Students are responsible for planning sufficient time for developing appropriate and thorough representation.

Portfolio: The care taken in the compilation and design of the portfolio the presentation of physical models will be considered in the final assessment. The portfolio is to be formatted and printed at A2 or larger. Each student will also be required to design a portfolio booklet at A3 to accompany the printed portfolio.
AktivitetKommentar
GruppearbeidStudents are expected to regularly work in the studio and to be active participants in the collaborative studio environment. Sharing knowledge, techniques, and ideas with your fellow students is incredibly important to your own creative development and to your success in this studio. Students are expected to keep the studio space orderly and to keep clear a large table and wall space for group meetings and pin-ups.

Students are expected to be independent and to take initiative to find the resources and supplies that they need to complete their work. Since this course involves site visits outside of the school, students are expected to be mature and respectful when dealing local communities.
Individuell oppgaveløsningDeadlines and required deliverables are indicated on the syllabus and on individual project assignments and are not negotiable. Students must complete assignments by the given deadline.

Students are responsible for managing their own print schedules backing up files. Loss of data is not an excuse for an incomplete project.

Deadlines can only be extended in cases of illness or special circumstances, and requests for extensions must be submitted to the tutor before the deadline in writing, accompanied by a medical certificate when necessary.
OppmøteStudents are expected to be present and working during all studio meetings, which occur twice a week. Students are also expected to be present during all seminars and reviews. Absences for social engagements, holidays, etc. will not be accepted. Absences from studio meetings and reviews will affect the final grade and multiple unexcused absences will result in course failure.
Forventet arbeidsinnsats:
Aktivitet:Gruppearbeid
Kommentar:Students are expected to regularly work in the studio and to be active participants in the collaborative studio environment. Sharing knowledge, techniques, and ideas with your fellow students is incredibly important to your own creative development and to your success in this studio. Students are expected to keep the studio space orderly and to keep clear a large table and wall space for group meetings and pin-ups.

Students are expected to be independent and to take initiative to find the resources and supplies that they need to complete their work. Since this course involves site visits outside of the school, students are expected to be mature and respectful when dealing local communities.
Aktivitet:Individuell oppgaveløsning
Kommentar:Deadlines and required deliverables are indicated on the syllabus and on individual project assignments and are not negotiable. Students must complete assignments by the given deadline.

Students are responsible for managing their own print schedules backing up files. Loss of data is not an excuse for an incomplete project.

Deadlines can only be extended in cases of illness or special circumstances, and requests for extensions must be submitted to the tutor before the deadline in writing, accompanied by a medical certificate when necessary.
Aktivitet:Oppmøte
Kommentar:Students are expected to be present and working during all studio meetings, which occur twice a week. Students are also expected to be present during all seminars and reviews. Absences for social engagements, holidays, etc. will not be accepted. Absences from studio meetings and reviews will affect the final grade and multiple unexcused absences will result in course failure.

Start semester

60 522 Campus Akerselva

Studiepoeng: 
24
Full course name in English: 
Campus Akerselva
Emnekode: 
60 522
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
År: 
2018
Maksimum antall studenter: 
24
Forkunnskapskrav

Open for students in Architecture and Landscape Architecture. Mandatory first semester course  for Master in Landscape Architecture. Basic knowledge in architecture, urbanism and landscape. 

Om emnet

The aim of the studio is to address the topic of how to create a campus for AHO, in connection  with the existing landscape and the city, by designing small scale interventions, to facilitate new  use of the campus. Today, the Oslo School of Architecture and Design is situated in an area with a complex  natururban tissue, integrating a wide range of programs and activities, structures and  infrastructures, with many stakeholders and interests. There is a need to reimagine how the  school relates, interacts, and contributes to define, its environment. The studio seeks to contextualise the site in its surroundings, taking on both a contemporary and  historical view. We explore how human presence and natural forces have changed the landscape  throughout time, and take into account the complexity of the interplay between historical  forces,structures and elements. Using our understanding for an ever changing landscape as a  premise, we design solutions for public spaces, that in addition to having a historical perspective,  integrate the aspect of future sustainability. We will experiment with hypothesises for what  characterizes concepts that are valuable over time, that integrate site-specifics, seasonal cycles,  and achieves significant impact through small scale design intervention.    

In 1933, Akerselva was the first area to be regulated as a water park in Oslo, by landscape  architect and city gardener Marius Røhne. Today, the park area is widely used by the inhabitants  of Oslo, all throughout the year. The area referred to as ​Campus Akerselva​, is comprised of the  areas between; and tangent to; the three university level educational institutions located just north  of the Vulkan Complex. The institutions mentioned are the Oslo School of Architecture and Design  (since 2002), Oslo Art Academy (2010), and Westerdals School of Communication (2011). Despite 
the three schools being located closely together, and with overlapping and related disciplines,  there is little to no sense of a campus tying the institutions together. AHO has recently initiated a new five year program for Landscape Architecture, the upcoming  curriculum for which will be in need of more outdoor spaces and testing grounds for studio work,  projects, and big scale landscape models. An assessment of opportunities has been conducted  to map potential avenues of development, aimed at addressing these needs, as well as general  development of the school, the shared campus, and the school surroundings.  

Læringsutbytte

Knowledge:

The course presents the students with a theoretical understanding-, and a framework for  assessing and understanding the landscape, building on key concepts for designing and  evaluating interventions in public spaces. Over the course of the semester we will engage in theoretical discussion, focusing on the  application of different theoretical perspectives to specific cases, and aspects of the Akerselva  Campus. As a student, you will acquire knowledge about the frameworks for mapping and understanding  the complex dynamics of the landscape and its processes, complete with accurate terminology,  building on relevant theories. In addition you will become familiar with mapping and design  processes, knowing different stages, process elements, and other key concepts.

Skills:

The coursework relies on basic tools and software within landscape design in order to represent  spatial and material conditions. Examples of these are Autocad, Arc GIS, Adobe package, 3D  modelling programs (Civil, Rhino), and others.     We will apply various tools for mapping, analyzing, and assessing sites, and capture insights  about needs, challenges, and opportunities for design. Through the creative group process of  integrating insights from mapping into feasible designs, you will learn key principles and tools for  designing and running creative processes: Both individually and in groups.    

General competence:

The course aims to develop the students ability to combine and integrate insight about the  landscape in a creative process, leading to a specific design, that can convincingly contribute to  achieve specific development aims for the area. Graduating from the course, students will have developed awareness of how various aspects and  factors affects a specific site, and will be able to describe these factors from a theoretically  informed perspective. Using mapping tools, they are able to derive insights about the specificity  of the site, and review those insights in both a theoretical and an applied perspective. Finally, using a conscious creative process, they are able to integrate theoretical and applied perspectives  to device designs that take site specific aspects into account, and make meaningful interventions.  

Praktisk organisering og arbeidsmåter

The studio is organised around three phases: 

01  Mapping phase. Group work. Contextualising the site. GIS-based mapping and series of walks on  site. Lectures by experts, stakeholders and users.    

02  Concept phase. Individual work. Study trip to Paris: park, gardens and public spaces. Addressing  spatial and material conditions through models and maps. Reference lectures. Theoretical  discussions.   

03  Design phase. Individual/Group work. Formulation of project. Small scale design intervention.  Reference and Methodology lectures.  

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke bestått
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:
AktivitetKommentar
OppmøteAttendance and participation in lectures, weekly seminars and workshops is expected.

It is recommended that all work be done in the studio on a daily basis
Individuell veiledningAttendance at announced meetings is expected.
Forventet arbeidsinnsats:
Aktivitet:Oppmøte
Kommentar:Attendance and participation in lectures, weekly seminars and workshops is expected.

It is recommended that all work be done in the studio on a daily basis
Aktivitet:Individuell veiledning
Kommentar:Attendance at announced meetings is expected.

Start semester

60 521 Objects as grounds

Studiepoeng: 
24
Full course name in English: 
Objects as grounds
Emnekode: 
60 521
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
År: 
2018
Maksimum antall studenter: 
24
Emneansvarlig
Luis Callejas
Janike Kampevold Larsen
Om emnet

 

The course is the last part of a trilogy of studios dealing with geographic tropes to link architecture and landscape architecture. After focusing in the objectification and representation of the tropical high Andean mountains (2015) and the design of orogenic objects in the Norwegian island (2016) we will venture once more into the high altitude tropical Andes. If the first two studios focused on the potentials of understanding geographic entities as primal architectural figures, this course will focus on the pre-conceived scale-less figures that better establish relations with a heavily modified ground. In other words, we will challenge site specificity in landscape architecture by projecting form in two divergent scales: A building large enough to behave as a garden, or, a landscape small enough to interact clearly with buildings. The course ideally has a balanced mix of architects and landscape architects.

 

Context and expedition:

Colombia ́s enduring war has reached a pivotal moment as the Oslo (and later Havana) peace dialogues mark a turning point for the mediation of land redistribution. Five million hectares of rural land will be redistributed in the next 20 years.

In this course we will work in two easily accessible sites in Colombia, exploring the notion of the Latifundio and Minifundio as foundational canons for land tenure structure. This dualistic tenure system typical of Latin America is characterized by relatively few large commercial estates known as latifundios, which are over 500 hectares, and numerous small properties known as minifundios, which are under 5 hectares.

Students will work in a latifundio located close to Bogota (500 hectar) and a minufundio (1 hectar) close to Medellin, both privately owned. The unique character of these two sites is that in both locations there is a possibility to engage with arts and craft as driving forces to open both sites to the public, as well as using arts as the motivator to think the post-conflict country´s future.

This structure of land tenure will provide us not only with a social context for our work, it will also allow us to test the capacity of certain forms to have effect at divergent scales under the same ownership structure.

To engage with questions of form and language, we will borrow from the Brazillian landscape designer Burle Marx' modernist abstract gardens and his negotiation of tropical nature. These gardens had the potential to objectify the ground without the need of walls, breaking with the longstanding paradigm of the walled garden as well as taking distance from land art.

Attention to form, language and the formalized ground, will, however, be coupled with an attention to ground materialities such as soil, sand, live matter on the one hand, and to the extended network of political, social and economic forces at play in Colombia’s rural territories on the other hand.  The aim is, in architectural and landscape architectural experiments to possibly effect land use policies and environmental regulations through beautiful interventions, and ultimately to activate the ground as a design medium with its own set of logics.

 

The course will work with a range of representation media; drawing, model making, photography and writing. Archival research will be reflected in short written texts, as will  ground conditions and agency.  

 

In the case of Bogota, we will work with a private land owner and his astonishing collection of abstract sculpture scattered across the estate.

In the case of the minifundio in Medellin, the land is used by an artist and ceramist producing in a region with a beautiful tradition of ceramic production.

If the large site is about art exhibitions in the open air, and its potentials to direct the master plan for a large farm, the second, much smaller plot, will offer the opportunity of designing a very precise intervention linking the life of the artist to the context of an art town. Both models of ownership are common while the current use is unique. We will investigate the potentials of arts and crafts beyond simple tourism.

 

The course will launch in Colombia on August 10th with a weeklong workshop on archival works. Our group will dig deep into the archives of the Colombian geographic institute as well as study some of the original works produced by naturists, cartographers, and artists to describe the high altitude Andes. 

 

Over this first week in Colombia, we will work together with architecture students from Universidad de Los Andes and other guest students that will take part in the open workshop. During the workshop, there will be a day of lectures by Colombian and Norwegian designers, as well as the launch of an exhibition by artists, architects and landscape architects working in the long-term research project between Colombian institutions and AHO. It is highly encouraged to join the trip to Colombia, but it is not mandatory due to ticket costs. It is recommended that the students arrive in Bogota on August 9.

The official field trip will end on August 18; the students are encouraged and allowed to stay one week more touring Colombia. The first day of classes in Oslo after the trip will be August 27.

In October we will do a second field trip to Madrid to do more archival work.

 

Preliminary schedule. 

August 9: Students arrive in Bogota, Colombia

August 10: Students and faculty meet for the launch of course and workshop together with Universidad de Los Andes.

August 10 – August 17: Official field trip in Colombia

August 27: The first day of classes after the field trip. 

October: Second field trip to Madrid. Archival work on the botanical expeditions to Nueva Granada.

Læringsutbytte

Students will learn how to think and project architecture through landscape media (live matter and topography).

Students will learn how to think and project landscape through the manipulation of the ground.

Students will understand the relationship between form, environment and time.

Students will learn how design builds up as research, and how their interventions take part of a larger research project.

Pensum

A reader will be made availible before the start of the course

VurderingsformGrupperingKarakterskalaKommentar
Annen vurderingsform, definer i kommentarfeltIndividuellBestått / ikke beståttMid term and final review, weighted 50% each
Vurderinger:
Vurderingsform:Annen vurderingsform, definer i kommentarfelt
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:Mid term and final review, weighted 50% each

Start semester

60 519 ARCHITECTURE = CITY

Studiepoeng: 
24
Full course name in English: 
ARCHITECTURE = CITY
Emnekode: 
60 519
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
År: 
2018
Maksimum antall studenter: 
15
Emneansvarlig
Halvor Weider Ellefsen
Om emnet

Housing, we have a problem! Confronted with the harsh reality of the Norwegian housing sector, architects often resolve to the marginal and exclusive to maintain latitude and nurse detail. But what if scale and volume not only represents negative constraints, but constitutes a leeway of architectural opportunity? By translating European large-scale housing concepts, development models and social housing strategies from abroad into Norway, this course will explore housing as an architectural and urban development tool at an infrastructural hub in the center of Oslo.

The first rule about housing: You don´t talk about housing. This course questions the Norwegian housing sector and the architect’s role within it, seeking to explore unveiled potentials hidden in the large scale housing project, and within the constraints of building regulations. It queries current paradigms of scale and volume in housing architecture, and challenge worn mantras of architectural form in the urban core. It believes that a fresh take on housing as typology is necessary, not only in terms of architectural quality, but also because large scale developments by single developers have a substantial impact on urban form and urban life. Ultimately, Social sustainability is a question of housing. 

You had me at “housing”! The course sets out to explore the large housing project as typology, its historical role and impact in European cities, and its current role within urban development in Norway. Learning from more than hundred years of socially conscious large scale housing projects, our point of departure is the housing policies and typologies of Vienna, and its translation into one of Oslo´s future development areas, namely the Majorstuen station site. The forthcoming Fornebubanen demands a thorough restructuring of the Majorstuen station area, where a new underground station will accommodate both the existing metro and a new train station. In its most radical development scenarios, this development could discharge an area of roughly 25 hectares. Such reclaimed real estate would  be an essential asset in financing the new station area for the Ruter company. The studio will thus also address the location and organization of the station area, along with support programs.

I´m not bad. I am just drawn that way. Housing as an architectural problem are among the most basic, yet complex questions of the discipline. As an industrialized commodity, it currently represents the branch of architectural production that is most thoroughly professionalized. Dictated by pre-accepted solutions and executed by a consortium of developers, contractors and brokers, the Norwegian commercial mass housing market is dominated by a few specialized housing producers building big volumes with small margins.  The Norwegian de-regulation of public housing from the mid 1980s and forward also meant that standardized takes of spatial quality, organization principles and functional criteria developed by architects were replaced by an increasingly detailed planning and building act, meant to secure all technical aspect of housing production. Simultaneously, critics argue that regulations are too rigid and complex without being able to secure spatial quality or innovation, producing at best areas of standardized mediocrity.

First we take Vienna… The course holds that different European, and particularly the Austrian take on housing production and urban development as a model that can contribute to inform and discuss the Norwegian housing paradigm, and re-institute the architectural object as point of reference in large scale development projects. Meeting Austrian developers and architects for a workshop in Vienna will lay the ground for formulating a Viennese take on the Majorstuen context, including how these projects are developed in practice. To bridge the gap between the different contexts, we will, in addition to a larger selection of reference projects, accentuate two projects developed by Norwegian architects in Vienna, by respectively Helen & Hard and Malarchitecture. 

Læringsutbytte

The studio will introduce students for large scale architectural design within complex urban environments, emphasizing structure, organization and rationalization as key for understanding and conducting advanced architectural designs in the city. It will envisage the complex interworking between politics, economics and architectural conduct, without over-emphasizing the constraints of building law. Instead, it focuses on the latent architectural freedom of design the large scale offers, and the interrelations between housing as architectural typology, and how the European city currently is shaped and developed.

Praktisk organisering og arbeidsmåter

The methodology of the studio is based on four main topics:

  • The Oslo context, its current development strategies -and patterns, the Norwegian building industry, and historical and current takes on large scale housing in Oslo.
  • The Vienna context, its historical emphasis on social housing and large scale architecture, and the role housing plays in urban design and development.
  • Analysis of the Majorstuen station site and possible infrastructural and morphological futures for the area. 
  • Analysis of large scale architectural reference projects and organization principles.

The first phase of the studio will relate to the site and the Oslo context, including discussions with central housing developers and representatives from Oslo´s building authorities. We will discuss the quality of current housing projects, the social profile of the commercial housing market, and to what extent the need for alternative strategies is valid.

The second phase involves visiting and studying large scale housing projects in Vienna, and meeting local developers and involved architects in some of Vienna´s larger development areas, and formulating an individual approach based on the reference projects studied.

The third phase will focus on the translation of a set of rules and building principles   into the Majorstuen context, formulating an “attitude” towards the station area and articulating a project narrative through model studies in 1:200.

The fourth phase will focus on the development of a limited selection of drawings and 1 individual model that represents the student project, along with a project description addressing a relevant problem or topic related to the work produced.

Pensum

The responsible studio teachers are practicing architects with broad academic backgrounds that includes PhD’s in the fields of urban development and large scale architecture.

Halvor Weider Ellefsen has master from the School of Architecture at the Royal Danish Academy of Fine Arts and a PhD from AHO. He is currently associate professor at AHO.

Mirza Mujezinovic graduated with a master in architecture from NTNU, Trondheim and Columbia University, New York, and a PhD from AHO. He runs the Office Malarchitecture.  

The studio will encompass a broad curriculum of literature and reference projects relevant for the course, to be announced. 

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke bestått1 individual model that represents the student project, along with a project description addressing a relevant problem or topic related to the work produced.
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:1 individual model that represents the student project, along with a project description addressing a relevant problem or topic related to the work produced.

Start semester

40 525 Studio Posisjoner

Studiepoeng: 
24
Full course name in English: 
Studio Positions
Emnekode: 
40 525
Studienivå: 
Syklus 2
Undervisningssemester: 
2018 Høst
Eksamenssemester: 
2018 Høst
Undervisningsspråk: 
Engelsk
År: 
2018
Maksimum antall studenter: 
15
Emneansvarlig
Lisbeth Funck
Forkunnskapskrav

Passed level bachelor in architecture

Om emnet

Definition

Studio Positions has a research-based teaching, with focus on in-depth individual research into a given topic. The student is encouraged to develop an individual formal language, and through different medias investigate fundamental architectural issues/questions.  

The studio enables in depth studies of the four fundamental architectural categories that make up architecture; substructure, structure, space and material and how these categories together relate to an architectural program. The studio draws on established knowledge but also challenge our understanding of historical and contemporary buildings. We are preoccupied with not only how architecture is made but also the presence of architecture and the affect (aesthetic experience) it produces.

Title of course: Studio Positions #6 _Parallax

The semester task will be to develop a spatial structure, which can accommodate a public activity, based on the concept of parallax in architecture.

Parallax, from Greek parallaxis, “change”, is defined as the displacement of the apparent position of a body, due to a change of position of the observer. In the middle of the eighteenth century, an interest in parallax occurs becoming one of the prime sources for the establishment of modern architectural space.

The studio will discuss the concept of parallax in architecture, that is to say, the awareness of how the relation between humans and humans and humans and built structure changes through movement where different positions creates multiple spatial, structural and social relations. The concept of parallax will work as an inspiration and generating force in the development of an architectural structure.

Parallel to the development of the project the students are asked to produce reflecting texts and a final project text.

Pedagogy

With a practice-based research and a sensual approach to technical challenges, we aim at a deeper understanding of the fundamentals of architecture and thus position oneself in the continuous architectural discourse.

Læringsutbytte

Knowledge:

  • Practice based research
  • Awareness and ability to gain knowledge from own sensual experience of existing buildings and use this subjective experience in the making of architecture.
  • Ability to generate spatial structure towards an architecture based on aesthetical and or spatial concepts.
  • Knowledge and reflection on architecture fundamental elements; substructure, structure, material and space, and how they are assembled. Abstract geometry versus individual and intuitive design decisions.

Skills:

  • Ability to deal with issues of construction and thematic intent
  • Increased knowledge and skills in: Investigation methods, architecture programming, architectural properties
  • Use of references: to draw new connections, to interpret anew, to further develop by clarification.

Competence:

  • Ability to reflect on own work verbally and in writing
  • To develop an architectural position
Praktisk organisering og arbeidsmåter

The course will offer a series of lecturers from various disciplines that present different positions in relation to the semester task

  • Individual talks
  • Group discussions
  • Part presentations
  • 3 reviews
  • Final review
  • Excursion: Japan
VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke beståttArchitectural design. Individual investigation. 20 weeks semester task
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:Architectural design. Individual investigation. 20 weeks semester task
AktivitetKommentar
Oppmøte• Lectures
• Pin-ups presentations
Announced studio meetings
• 3 reviews with invited external critics
• Final review, external sensor
EkskursjonStudy trip to Japan
Forventet arbeidsinnsats:
Aktivitet:Oppmøte
Kommentar:• Lectures
• Pin-ups presentations
Announced studio meetings
• 3 reviews with invited external critics
• Final review, external sensor
Aktivitet:Ekskursjon
Kommentar:Study trip to Japan

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