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2020 Høst

Start semester

60 527 The Forest

Studiepoeng: 
24
Full course name in English: 
The Forest
Emnekode: 
60 527
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
20
Emneansvarlig
Luis Callejas
Gro Bonesmo
Mattias Fredrik Josefsson
Læringsutbytte

 

Landscape architecture students will learn how subtractive techniques can be powerful design tools for acting on large scale projects.

Architecture students will learn about the difference between designing the landscape and being inspired by the landscape. Architecture students will learn landscape specific design techniques that empower them to design beyond the perceived limits of buildings. 

Students from both fields will discover how the way we model a site has direct implications for the way we design.

Praktisk organisering og arbeidsmåter

Discussions around models and drawings.

Pensum

After the mountain, the island, and the ocean, we will look into the forest.

As in previous studios, the course will focus on the intersection of architecture and landscape architecture by looking at their shared geographic tropes.

This course is in collaboration with the Yale school of architecture. Some activities, research and reviews are planed to be completed with a group of architecture students at Yale as part of the 2020 Louis Kahn chair.

As illustrated by Franz Heske's writings during the 1930s, practices as mundane as forest management can reflect, if not embody, prevailing religious beliefs and practices. The boreal forest is a cultural landscape that has triggered the imagination of Nordic designers across fields, however, there is still a general lack of attention among designers to the fact that most forests are intensively managed spaces, and as such, objects of design.

This is not a studio about wood, nor about buildings made of wood. It is about the invention of the forest as a cultural landscape, the need for an updated set of representations, and the spatial potential that emerges from more intense wood harvesting in the forests around Oslo. The studio will also question the prevailing urgency to use wood as a dominant material in Scandinavia, not in terms of sustainability, but rather to investigate the cultural significance of future forests if we are indeed moving towards a world built out of wood. As in previous studios the projects can be buildings or landscapes, however the methodology privileges ambiguous  projects that don’t fit clearly within disciplinary boundaries.

The forest as project

We will intentionally focus on two polarized scales, skipping everything in the middle. On one hand the persistent spatial metaphors originated in the studies of forests across different design cultures, while on the other hand, projects of afforestation at territorial scale with with clear nation building agendas, as for example, the afforestation of Israel, or the dark history behind some forestry projects in Germany in the late 1930's under the nationalist call for a religion of nature.

The specific metrics, techniques and efficient principles of forest management will be used as design principles to produce novel spaces around Oslo.

Design:

The projects will be located in the privately owned forests of Normarka, and will be about the edition of the forest to produce space. An architecture of subtraction and edition, to create spaces in what is one of the world's most sophisticatedly managed forests.

VurderingsformGrupperingKarakterskalaKommentar
Annen vurderingsform, definer i kommentarfeltIndividuellBestått / ikke bestått
Vurderinger:
Vurderingsform:Annen vurderingsform, definer i kommentarfelt
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:

Start semester

80 519 Field Stations: Lightweight Architecture

Studiepoeng: 
24
Full course name in English: 
Field Stations: Lightweight Architecture
Emnekode: 
80 519
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
18
Emneansvarlig
Andrea Pinochet
Lina Elisabeth Broström
Ane Sønderaal Tolfsen
Forkunnskapskrav

 

Admission to and passed three years of bachelor level studies at AHO.

Good understanding of written and spoken English

Intermediate to a good level of draughtsmanship

Interest in building large scale models

Om emnet

Ephemeral building is an attitude. It isn't just about knowing how long individual components will last. It's also about the fact that we don't know today what will be right tomorrow. It takes a certain attitude to be able to ac­cept this: a certain humility regarding the extent to which one's predictions are circumscribed.

 

— Werner Sobeck, The New Less Is More, 2009

Field Stations

This course reflects an interest in investigating structures that have the capacity to operate as frames for a myriad of programs or activities. An observatory of sorts, a field station is by definition a post, camp or place intermittently occupied to accommodate activity. Often located in an outlying area or an area where research or a venture is under way.

Ephemeral Building 

The studio will work with lightness as a framework to build and challenge more permanent and static building solutions. Another way of understanding the concept of lightweight in architecture is to think about ephemeral building —everything that minimizes construction material, doesn't weigh much and, therefore, has special properties.

With this concept in mind the studio wants to investigate the full potential of different materials that have a low environmental impact or that are responsive to the environment.

In the studio, lightweight architecture will be explored through the design of a field station that can conceptually disappear without leaving a trace. 

Assembly and Temporality

Understanding the field station as a small open structure that seeks to witness, sample and host recurring activities, we will seek to understand the complexity of a building’s life cycle, trying to anticipate not just how it will be built and used, but also how it will be maintained and disassembled. 

Starting with the building materials, we will try to answer the following questions: How is a given material processed or transformed to become reliable building elements? How do different elements come together to form a structure and how does that particular arrangement relate to its situation? 

Letting your observation studies guide you in the definition of a new programmatic intention for a contemporary observatory, we will take a deeper look into the assembly process to investigate how regional differences can be part of a more technological and active project, defining its capacity to respond to the environment.

Læringsutbytte

The project will be looking at how building with an ephemeral or lightweight mindset can guide us towards durable choices regarding the full building process from the extraction of raw material, production of elements, transportation, building technology and how a building can be dismantled. 

The design questions raised by the studio will therefore be addressed through an investigation of material technology and study of the building industry, letting form emerge from an understanding of the material properties, both physical and aesthetic, and the individual ambitions set out by the students. 

Through an in-depth study of a particular material and technological development, participants will gain an understanding of the complexity involved in the realization of a simple work of architecture. We will also address issues relating to resource extraction, division of labor, building ethics and the politics of the construction site.

Praktisk organisering og arbeidsmåter

Tapping into architecture’s capacity to synthesize, this studio will engage with ideas about building technology, structure and nature. The studio will work with analytical drawing, model making and experimental characterization techniques. Revisiting the scientific method, we will discuss material science and study the specific and unique qualities of potential building materials in order to understand material properties, structural capacity and position in the industry. 

We will discuss architectural aesthetics and the craft of building as a creative endeavor. What values guide us in the choices of material? With this in mind we will experiment with a varied range of materials (like wood, masonry, stone, earth, water, straw, bamboo, clay, cork, adobe, straw bale, mycelium, new polymers, waste, etc.)

We will work with big models and physical samples, and will embrace technical drawing, budget sheets, schedules and logistics plans, making discussion around labor and organizational systems an important component of the course.

If possible, we will organize visits to places of construction and manufacture.

 

NB! In the event of school closure or limited workshop access in the fall, independent working methods will be set up by the studio in order to address the similar questions regarding lightness in architecture and material technology.

Pensum

Syllabus will be distributed on the first day of class.

 

  • The New Less is More Interview with Werner Sobek. Something Fantastic. 2009
  • Architect as the Organizer, or The Way The World Works. Eeva-Liisa Pelkonen. Perspecta Vol.45. 2012.
  • Scale as Problem-Architecture as Trap, Adrian Lahoud. Climates Architecture and the Planetary Imaginary. 2016.
  • Introduction to Forensis, Eyal Weizman. Forensic Architecture. 2016.
  • Can you Believe the Weather We're Having, Phu Hoang. Climates Architecture and the Planetary Imaginary. 2016.
  •  Is Geo-logy the new umbrella for all the sciences? Hints for a neo-Humboldtian university. Bruno Latour. Lecture at Cornell University, 25th October 2016. The Year In Weather, Keller Easterling. Artforum. 2017.
VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellBestått / ikke beståttThe final grade in the course will be given based on:
— Design production and participation in studio meetings: 30%
— Mid-review and Interim review presentation: 30%
— Final review presentation and portfolio assessment: 40%
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:The final grade in the course will be given based on:
— Design production and participation in studio meetings: 30%
— Mid-review and Interim review presentation: 30%
— Final review presentation and portfolio assessment: 40%

Start semester

60 528 In Transit: Contingency City

Studiepoeng: 
24
Full course name in English: 
In Transit: Contingency City
Emnekode: 
60 528
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
16
Forkunnskapskrav

Passed foundation level courses (bachelor level).                                      Open for master level architecture and landscape architecture students. 

Om emnet

 

The In Transit Studio

The In Transit Studio aims at preparing students to conduct their architectural investigations through engaging in current, complex topics. Students will develop their design skills by studying and proposing spatial and site-specific solutions to situations caused by global challenges. Through practice-based research, the In Transit Studio aims at developing a deeper understanding of the fundamentals of architecture and to (re-)discover the role of the architect as a societal agent of change.

How the world will have changed after enduring the COVID-19 pandemic remains to be seen. But we do know that measures for stopping the spread of the virus have dramatically affected our everyday lives. The #stayhome instruction, imposed globally in different ways during the spring of 2020, has for some people increased the feeling of home as a safe place. For others the isolation has heightened the feeling of loneliness and for many, because of complicated family relations, home isolation has felt like being in confinement with no escape. The value of public spaces, our common arenas for social and physical interaction, has been reaffirmed – now illustrated by the collective experience of involuntary solitary or extreme social coexistence.

 

Contingency Planning

Contingency is a future event or circumstance which is possible but cannot be predicted with certainty. To ensure the safety of their citizens and to uphold critical functions and infrastructure in the event of an emergency, governments, local authorities, businesses, and other societal actors 

need to plan for the unknown by determining prioritized actions that can be rapidly implemented. A contingency plan is also sometimes called a Plan B. 

However, the spatial response to emergencies is quite often improvised. Structures are hastily put together, often with no added value for a community (with money spent instead of invested). In theory, temporary structures are put up when needed and then removed when not in use. The set-up and closure of such sites is far more complex. The high numbers of people seeking sanctuary in Europe in 2015 demonstrated that the collective emergency preparedness of European countries fell short. The political decision to prevent people from coming to Norway in the subsequent years, also meant that the improvised solutions that had been built during the alleged crisis, had to be scaled down shortly after.

What if instead the architecture, landscape architecture and urban design could be better integrated in contingency planning? The preferred option, Plan A, with purpose-built, multi-performing structures used for everyday activities, and designed and built to also withstand cycles of extreme use?

 

The Collective Center                                                                                                                                

A Collective center is defined - in emergency contexts - as pre-existing buildings used for temporary accommodation and provision of assistance and protection of displaced persons. Purpose-built collective centers are rare. Even in Norway, asylum and reception centers (one type of a collective center) are often located in buildings unsuitable for habitation and sometimes placed in so-called leftover spaces. Most collective centers are used only for a couple of days or weeks, in other contexts they may be used for a decade or more.

With new types of threats, with climate change, and displacement being a constant phenomenon – either because of internal movement or caused by (forced) migration – what does the 2020 version of the Collective Center look like? Where are they placed in our communities? How can these centers be turned into positive places with added value for a neighborhood? The studio will focus on the architecture and location of a Collective Center, as one of many possible outputs of contingency planning for emergencies. We will use the Oslo Metropolitan area as our case. 

 

Memories of the future

In the (recent) history of architecture, there are many examples of architects and designers who were planning for an unknown future, where advanced architecture and complex societal questions were interdependent – and called both radical and utopian. The studio will study the ideas and concepts from the future-oriented past – from Cedric Price and Buckminister Fuller to Archigram and Superstudio. What can we learn from studying these pioneers and their optimistic visions of a collectively oriented urban life?

Læringsutbytte

The student will learn how explore and develop architectural design for extreme and complex situations. The student will gain insight into real-time, global challenges– and the role of the architect in this context. The studio will provide knowledge about civil protection, global humanitarian affairs, the United Nations, and national & local authorities responsible for contingency planning, emergency response, displacement management, and integration initiatives.

Praktisk organisering og arbeidsmåter

The main output of this semester is to design a Collective Center (individually or in teams). The studio will develop a set of architectural projects that together will constitute a (part of a-) contingency plan for Oslo. Each student will determine functions and programs needed for his/her/their Collective Center(s), based on input provided throughout the course and found through self-study.

Determining the location(s) of the Collective Center(s) is an important part of the semester brief. The studio will study and compare different sites (neighborhoods, plots) through urban profiling exercises. The studio will use qualitative methods for studying and evaluating the everyday life of public spaces, buildings and other structures in a chosen neighborhood, to uncover the causes and dynamics of social behavior (or exclusion), (lack of) diversity, and (in-)equality in the use and access of these spaces, and how the Collective Center can reflect, amplify or improve these conditions. 

 

Excursions: The hidden places of the Oslo Metropolitan area.  

Form of assessment

Deliverables throughout - and at the end of the course - shall include imaginative and innovative, yet concrete project proposals with architectural designs that are carefully presented through models, drawings and visualizations. Students are expected to work at both a (strategic) city level and at a detailed architectonic scale.The student needs to answer all assignments and be present at all presentations to pass the course (depending on how the situation evolves, online solutions may also be considered). If a student is not able to be present his/her/their project or be present at scheduled reviews, a medical leave note must be presented. All answered assignments and presentations are subject to an overall assessment - with an emphasis on the presentation of the final design project, which will be evaluated by external juror(s) and responsible teachers.

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke bestått
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:

Start semester

80 517 Re-Store: Prefab

Studiepoeng: 
24
Full course name in English: 
Re-Store: Prefab
Emnekode: 
80 517
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
15
Emneansvarlig
Erik Fenstad Langdalen
Forkunnskapskrav

Compleeted foundation courses at AHO or equivalent at other institution. 

Om emnet

This studio is about prefabricated and mass-produced architecture: its history, cultural value, spread and popularity, technological properties and spatial potential. The assignment is to investigate existing prefabricated building structures, using the conceptual framework of experimental preservation to explore their reuse, transformation and preservation.

Prefabrication is written into the DNA of modern architecture. A great number of mass produced materials, building components, structural systems and entire buildings are constantly being shipped around the world. Traditional on-site craftsmanship has been replaced by assembly lines, the relationship between site and building is profoundly redefined, and the idea of a regionally anchored architecture is challenged by an architecture that is interchangeable and global.  

Yet prefabrication is not a new idea. Medieval builders seems to have used prefabrication extensively when construction Gothic buildings. During the 16th century there are several known instances of prefabricated architectural elements being shipped around in Renaissance Europe. The expanding colonial powers of the 17th and 18th centuries brought prefabricated “kit-houses” to their new settlements in America, Africa, Asia and Australia. “The industrial revolution” of the 19th century introduced complex building systems of cast iron and reinforced concrete on a large scale, and for the pioneers of the modern movement of the 20th century, prefabrication became an integral part of a new ideological and aesthetical project. The rebuilding of Europe after WWII called for a massive industrialisation of the building industry, and prefabricated architecture has since the 1960s ruled the world.

 

Preservation deals with questions of permanence, authenticity and authorship; traditionally a way of placing buildings chronologically in history, anchor them to one particular site, defining their outer parameters and naming their authors. Mass-produced architecture challenges this: it belongs everywhere and nowhere; it is temporal, it can be assembled, disassembled and reassembled over time, it is by nature limitless as it can be repeated and expanded, and it has multiple authors. The studio will investigate how something generic can become specific – and maybe even poetic? – when skilfully used and responding to distinctive requirements.

 

There is an urgent demand for new ideas on how to restore, reuse and transform the great number of prefabricated structures built in the 20th century. The studio encourages the students to develop new methods of preservation through an experimental practice involving survey procedures, writing, drawing, physical model building, computer modelling, representational techniques etc. The goal is then to develop comprehensive and advanced architectural solutions to the studio’s given task.

 

It will be a twofold semester:

In the first phase the students will investigate a number of significant prefabricated structures and acquire knowledge of their history, their characteristics and potential for reuse, transformation and preservation. The students will gather historical documents, produce drawings and build models of the buildings.

 

In the second and most extensive phase, each student will develop an individual architectural project based on the research conducted in phase 1. The studio encourages the students to pursue diverse approaches, from speculative experiments to concrete investigations of building engineering physics, materials, structure etc.

 

There will be a lecture and film series running through the whole semester on the history of mass production and prefabrication, its cultural dissemination and popularity, on materials and structural systems and on contemporary preservation strategies.

 

Excursion: to be confirmed

Teachers: Erik Langdalen and Ingrid Dobloug Roede

Læringsutbytte

The students shall acquire extensive knowledge of the history, the technology and the spatial potential of mass-produced and prefabricated architecture. They will be introduced to the history and the contemporary discourse of preservation, and learn how to apply this knowledge in the development of a concrete architectural project. The students will learn methods and acquire skills how to survey, value-assess and intervene with existing architecture and prepare them for a professional practice within reuse, transformation and preservation.  

Praktisk organisering og arbeidsmåter

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.

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke bestått
ProsjektoppgaveIndividuellBestått / ikke bestått
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:

40 301 Body & Space Morphologies : Architecture & Film XVII - Any Boarded Stories V

Studiepoeng: 
6
Full course name in English: 
Body & Space Morphologies : Architecture & Film XVII - Any Boarded Stories V
Emnekode: 
40 301
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
12
Emneansvarlig
Rolf Gerstlauer
Forkunnskapskrav
  • This elective course is reserved for the students signing up to the 40 533 Body & Space Morphologies : LISTA – Field-Studio III.
  • If you are uncertain about what the above statement implies, please do contact the study administration or the teaching body of this course before you sign up to it.
Om emnet

INTRODUCTION:

Body & Space Morphologies: Content, Overall Aims and Methods

Body and Space Morphologies is a research-based teaching program placed in the field of Architecture & Culture studies. Dedicated to Phenomenology in Architecture, the program offers Trans-Disciplinary master studios and elective courses in explorative architectural and pre-architectural making, sensing and thinking.

From The Oxford Handbook of Contemporary Phenomenology (2012, Dan Zahavi, ed.):
“Phenomenology shares the conviction that the critical stance proper to philosophy requires a move away from a straightforward metaphysical or empirical investigation of objects to an investigation of the very framework of meaning and intelligibility that makes any such straightforward investigation possible in the first place. It precisely asks how something like objectivity is possible in the first place.”

Our attempt is to partake in the discourse on the Phenomenology of Architecture by working and studying Architectural Phenomenology outside of the Conventions of Architecture. In theory, this can mean a free-thinking, and to some degree also a “free-making” and/or “free-looking”, yet in the realm of our studios it means the making of a dedicated Artistic Research which is looking for the Creation of a Material Practice in which the student can gain a certain expertise in and through which the discourse on the Phenomenology of Architecture can be tried on – if it not already is embodied by the material itself.

We aim at preparing and enabling students to conduct their own investigation into Architectural Phenomenology understood as a Research Creation; a working mode creating an inspired Material Practice “attuned to process rather than the communication of outputs or products” (https://thepedagogicalimpulse.com/research-methodologies/). We consider this to be the Artistic Parallel to both Traditional Scholarly Research and Common Architectural Design Practice.

The Body & Space Morphologies Master Studios for autumn 2020:

  • LISTA - Field-Studio #III (24 ects) - the master studio connected to this elective course - see separate course description
  • CATHARSIS – Acting and The Collective #X (24 ects) - see separate course description

The Body & Space Morphologies Elective Course for autumn 2020 (reserved for LISTA - Field-Studio students):

  • ARCHITECTURE & FILM - any Boarded Stories #V (6 ects)

 

SPECIFICS FOR AUTUMN 2020:

ARCHITECTURE & FILM XVII – ANY BOARDED STORIES V:

Architecture & Film wants to investigate in and produce competence within the subject of The Production and Representation of Body and Space Morphologies and/or Architectural Phenomenology in Film.

The Autumn 2020 course entitled “ANY Boarded Stories” - the fifth take on this topic that works on performativity, performance and performance studies - is a complementary study to the artistic research the students conduct in the LISTA environment when they sign up to the studio course Body & Space Morphologies : LISTA – Field-Studio III.

The aim of the course is to provide students with the tools (video and film-making / editing) needed to deploy complementary ways of working and means of creative investigations that make, demonstrate or narrate a high degree of third-party readability – a dialogue between the above-mentioned artistic research works’ inherent qualities and how those qualities through film/video connect to issues, phenomena and/or subjects in the world.

 

Læringsutbytte

For the ARCHITECTURE & FILM Studio (as part of the LISTA - Field-Studio III):

Architecture & Film students discover, retrieve and nourish the discourse on phenomenology of architecture from an immediate and impulsive response, through intuitive and reflective filmmaking, by ways of approaching an environment, and spending time with its inhabitants.

After completing the course - and through experimental film-making -, the student should have:

Knowledge of

  • the basics in phenomenology of architecture and the various practices that exist within (and that can become part of) architectural phenomenology

  • the basics in affordance theory and the theories concerning objecthood and/or object relations as means to fuel and reflect upon a material practice and/or artistic research in the field of architecture

  • the basics in performance and performance studies that make body & space morphologies: ways of making, looking at, discussing and seeing/understanding qualia and perception in the working of architecture

  • the basics in disability studies and neurodiversity studies as the necessary activist movements working and re-defining the human condition from “all the world’s a stage” (Shakespeare) towards for all of the human spectrum with its diverse behavior

  • the basics of performativity, language and speech acts as the tools that can add value to the making and a work – but that not necessarily must seek to replace the issues at stake in a work or a thing

  • the foundational preparations for an advanced visual experimental architectural design research through the work on, and manufacturing of, moving imagery

Skills in

  • finding, developing and/or embracing initiatives for the making of an inspired, explorative and imaginative artistic research through the media of film and/or video

  • conducting this artistic research with the desire to make or pursue a feature film containing, or inviting for, reflections in phenomenology of architecture / architectural phenomenology

  • deploying film-making as a particular means of creative investigation that makes, demonstrate or narrates a dialogue between works, behaviour environment and spectator

  • maintaining a personal diary of the making that can be worked into documents of the making aiming at a third-party readability

  • through film-making approaching environments, situations and discussions phenomenological and applying and recognizing performativity in speech and action as productive means from which to provoke and receive social employed knowing

Competence in

  • approaching and acting on impulse with all sorts of material, objects, environments and/or events and gaining valuable experience and film/video footage from this

  • conceiving of and presenting/communicating unique architectural content/research through a visual material and the phenomena or conditions contained and experienced in it

  • understanding the mechanisms and rhetoric of systems of oppression, learned behavior, eugenics and stigma that are un-productive and unsustainable (in the field of architecture as well as in the systems we call architecture)

  • developing and/or pursuing life-long initiatives for a material practice in architectural phenomenology that is independent of, and/or adaptable to, any kind of professional commission

  • not knowing a thing, but having the passion, dedication, endurance and imagination to wanting to get to know it

 

Gerstlauer, Dind, Pilskog, Skjeldsøy, Xu - AHO, April 2020

Praktisk organisering og arbeidsmåter

Organization, Workload and Activities

Exercises in video-sketching and video-editing make up weekly studies in which students experiment with film/video-making to strengthen their awareness for film as a media with the capacity to influence, further understand and develop architectural and otherwise performative or kinetic body, environments and space. Aiming at becoming a filmic investigation as a self-study about the making of an artistic research in the LISTA environment, the final exercise during the elective course week will search to produce or create kinetic architectural space / or spatial narratives on video in the length of a feature film that can be published.

All reviews/discussions take place in the office of Stiv Kuling AS in Farsund/Lista - students not present in Lista on Tuesdays are reviewd and discussed on ZOOM. The elective course week is organized as a seminar / workshop (online and/or in situ in Lista) in which we discuss and craft a final film.

The final films in feature length are meant to make and support the argument for a future LISTA Research-Creation Project.

Pensum

The curriculum/syllabus of the course is taught online through the Moodle-platform and starts with a brief historical, theoretical and philosophical discussion on space in general, and on the perception of kinetic representation of architectural space in particular – be it on film, literature, in the arts or in religion etc...

The Body and Space Morphologies studios collaborate with capacities in other fields of the Humanities (and the Science) providing us with the Trans-Disciplinary syllabus (lectures, readings and field-studies / excursions) necessary to individually and collectively ponder and reflect on Phenomenology in Architecture; the Human Condition and the Creative Act it is to make and conceive of Relational Objects or Architectural Phenomenology.

Teachers

Rolf Gerstlauer, professor, architect and multimedia artist/researcher at The Oslo School of Architecture and Design, AHO. Head of the Body and Space Morphologies research and teaching program. Maintains an artistic practice together with Dind and collaborates with her in implementing aspects of Disability and Neurodiversity Studies into the teachings of the Body and Space Morphologies studios. Teaches the Catharsis studio autumn 2020 (see separate course description).

Julie Valentine Dind, performer/artist/phd-student, Theatre Arts and Performance Studies, Brown University, Providence/USA. Dind’s scholarly work provides all the Body and Space Morphologies studios with an updated syllabus on Performance and Performance Studies, Disability Studies and the Neurodiversity Movement. The Body and Space Morphologies studios serve as laboratory in which this work is sought to be implemented into architectural education – and architecture per se.

Jan Gunar Skjeldsøy & Anders Eik Pilskog, architects, Stiv Kuling AS, Farsund/Norway. Skjeldsøy and Pilskog, both former AHO students, are long-term collaborators to the Body and Space Morphologies studios and since 2019 also our teaching assistants. Together they sign responsible to run and teach the LISTA Field-Studio and the Architecture & Film elective course for autumn 2020. The weekly Tuesday sessions on the works in the Architecture & Film elective course take place in their office in Farsund (and are streamed online on ZOOM).

Wenkai Xu, did her Catharsis studio diploma thesis "A House for me and my animals" in January 2019. She is the Catharsis studio teaching assistant for autumn 2020 and works as alumnus with the continuation of her project, inspires the studio and together with Gerstlauer co-supervises the diploma works.

Recommended Literature and Mandatory Readings

The recommended reading list is shared with the Body & Space Morphologies master studios CATHARSIS - Acting and The Collective X and LISTA - Field-Studio III. The distinct readings (curriculum) for the Architecture & Film elective course are handed out weekly on the Moodle-platform.

VurderingsformGrupperingKarakterskalaKommentar
ProsjektoppgaveIndividuellBestått / ikke beståttIndividual artistic research work: On each of the ten Tuesday course days, the self-study (video footage captured throughout the week) is discussed in plenum. The material handed in for that weekly discussion consists of between 1-20 video-sketches and a short text.

The final seminar and workshop week runs from Monday to Friday. Each student works on her/his own final-film and a written critical reflection on what the film makes and presents.
Vurderinger:
Vurderingsform:Prosjektoppgave
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:Individual artistic research work: On each of the ten Tuesday course days, the self-study (video footage captured throughout the week) is discussed in plenum. The material handed in for that weekly discussion consists of between 1-20 video-sketches and a short text.

The final seminar and workshop week runs from Monday to Friday. Each student works on her/his own final-film and a written critical reflection on what the film makes and presents.

60 407 The Found and the Constructed: Images as Model and Models as Image

Full course name in English: 
The Found and the Constructed: Image as Model and Model as Image
Studiepoeng: 
6
Emnekode: 
60 407
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
12
Emneansvarlig
Mattias Fredrik Josefsson
Forkunnskapskrav

Admission to AHO and successful completion of three years bachelor level studies (180 ECTS). The course is for both master students in architecture and landscape architecture.

Om emnet

In the Japanese perspective, the in-between, or Ma, is the interval between two objects or spaces. For this course, this means there is an opening, a gap in all images (or series of images) to appropriate a new type of reading (spectrum). We will use this term and its understanding in order to discuss the dialogue that occurs between multiple objects (or images), and use this as a catalyst for a critical investigation of the complex relationships between space and its representations in photography and (of) models. 

To further elaborate this we would look at the japanese word Ku meaning the great void or the emptiness that can not be understood by the intellect, but rather has been triggered by the intuition or the subconscious. By using found images that do not initially belong together as a point of departure, the course follows the trajectory of André Breton who described Surrealism as “the chance meeting on a dissecting-table of a sewing-machine and an umbrella”.  

The typical causality between photography and architecture often starts with a three-dimensional space that is to be transformed into a two-dimensional image. But what if the tables are turned? In this course the students will construct and photograph models, based on found photographs.

Læringsutbytte

This course aims, to open up a dialog for the students in found images, to strengthen their critique and analyse of images as a whole. These readings, should be reinterpreted in the making of a object (model), that are photographed in the studio as part of the curriculum. Following learning outcomes could be expected;

  1. strengthen the students understanding and reading of photography.

  2. trigger a usage (and reading) of found images (a number of them) as reference for making a new intrepretation of its content

  3. photographing objects in a controlled studio environment

Praktisk organisering og arbeidsmåter

The course will consist of lectures, technical tutorials, readings and workshops in the photostudio. Students are expected to present and discuss their photographs among peers and to contribute to the course’s collective environment. Final submission will be a body of work consisting of found images and a number of images of objects (models).

Pensum

 

The students will get a reading list on the first day of the course.

 

VurderingsformGrupperingKarakterskalaKommentar
VurderingsmappeIndividuellBestått / ikke bestått The assessment will be based on participation and presentation in the course, the individual photographs and the presentation in the final review.
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar: The assessment will be based on participation and presentation in the course, the individual photographs and the presentation in the final review.
AktivitetKommentar
OppmøteThe weekly workshops and the elective week requires full participation.
Forventet arbeidsinnsats:
Aktivitet:Oppmøte
Kommentar:The weekly workshops and the elective week requires full participation.

70 501 Industridesign 1: Teknoform 1

Full course name in English: 
Industrial Design 1: Technoform
Studiepoeng: 
24
Emnekode: 
70 501
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
20
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
VurderingsmappeIndividuellBestått / ikke beståttKurset består av 2 moduler og har en hovedleveranse i form av et studio prosjekt i hver av disse. Begge modulene må være bestått for å bestå kurset.

Hvis en student ikke består den første modulen, kan denne suppleres før den siste modulen skal leveres inn.
Vurderinger:
Vurderingsform:Vurderingsmappe
Gruppering:Individuell
Karakterskala:Bestått / ikke bestått
Kommentar:Kurset består av 2 moduler og har en hovedleveranse i form av et studio prosjekt i hver av disse. Begge modulene må være bestått for å bestå kurset.

Hvis en student ikke består den første modulen, kan denne suppleres før den siste modulen skal leveres inn.
AktivitetKommentar
Oppmøte
Forventet arbeidsinnsats:
Aktivitet:Oppmøte
Kommentar:

70 502 Interaksjonsdesign 1: Tangible Interactions

Full course name in English: 
Interaction Design 1: Tangible Interactions
Studiepoeng: 
24
Emnekode: 
70 502
Studienivå: 
Syklus 2
Undervisningssemester: 
2020 Høst
Eksamenssemester: 
2020 Høst
Undervisningsspråk: 
Engelsk
År: 
2020
Maksimum antall studenter: 
20
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.

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