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Portfolio Jonatan Ahlmark

Mar 04, 2016

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Portfolio Jonatan Ahlmark academic work, KTH architecture 2007-2010
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  • portfolio njonatan ahlmark

  • portfolio njonatan ahlmark

    crash course nthe claminstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

    convexum vitrum nstructural modelinginstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

    trio nwhat is a house?instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2008

    crash course 2 nmatrix modelinginstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

    nobelmuseum nbachelorinstructors: Stina Johansson & Csar Patn year 3 KTH architecture 2010

    love arbn architects nselected workinternship at Love Arbn Architects Stockholm 2011/2012

    painting nselected paintingspaintings from the solo exhibition Pedestrian at Gallery Nils berg 2010

    fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 200801

    02030405

    0607080910

  • crash course nthe clamThe material of the model is essential for the expression. How to read an object, it is solid, porous, light, heavy and so on? The material tells the characteristics of an object and the selection of materials to a model can contribute to the strength of its shape and feel. This course consisted of working out a series of model studies and served as an introduction to learning to treat form and to carry out different materials to achieve a result with the desired expression. The subject we were studying and started with were a clam. We had to start by examining the clams internal logic to then build an abstract model of it. We then started from the model and developed several models with different themes: the mass, gap, motion, structure and tactility.

    internal logic- to construct a model that examines the mussel internal logic. Inner Logic may be seen as a concept where the focus is on order and structure. The model should be constructed of any board materials. The pieces may be of a single or a combination of various board materials. The pieces were to be machined and joined together to form a volume.

    mass- constructing one or several massive volumes of either all or part of the original model. The volumes shall be designed in a single board material or a solid material (e.g. wood, wax, stearic, soap, Styrofoam, etc.). The material shall not be resilient.

    gap- the task was to use the model from the mass assignment, and with this construct a gap which forms part of a new solid volume. The model is constructed of plaster or the same materials as in the previous assignment.

    motion- provide a new model motion by cutting away some of the mass and construct a shell. Choose a plane / cross-section of the model from the gap assignment which divides the model in two parts. Construct a new model of one of the parts, as a shell, twice as large. The cut should be open and no air is entrapped in the model. Select materials based on the shape to be built.

    structure- cut to remove a part of the motion model and build a rod structure. Proceed from the motion model and choose another plane cut through it. Construct the cut surface edges from the two planes cut (and their interconnecting structure). Material: sticks or poles. Think of how the pieces are connected.

    tactility- construct a new version of any of the previous models in an optional material. Explore the concept by your choice of material. Adjust / transform the models shape, size or design by the material characteristics.

    casting of mass model

    model study- gap reinforced plaster

    the internal volume of the shell

    model study- mass foam, filler

    model study- internal logic cardboard/paper/cell panel

    soft parts

    shell shell from the gap model

    model study- motion cardboard, spray paint

    part of the shell edge

    model study- structurelaminated wood

    model study- tactility cured skin

    interpretation of the shell

    cras

    h co

    urse

    nth

    e cl

    amin

    stru

    ctor

    s: B

    rad

    y B

    urr

    oug

    hs

    & Y

    lva

    Lin

    dst

    edt

    ye

    ar 1

    KTH

    arc

    hite

    ctur

    e 20

    07

    01

  • crash course nthe clamThe material of the model is essential for the expression. How to read an object, it is solid, porous, light, heavy and so on? The material tells the characteristics of an object and the selection of materials to a model can contribute to the strength of its shape and feel. This course consisted of working out a series of model studies and served as an introduction to learning to treat form and to carry out different materials to achieve a result with the desired expression. The subject we were studying and started with were a clam. We had to start by examining the clams internal logic to then build an abstract model of it. We then started from the model and developed several models with different themes: the mass, gap, motion, structure and tactility.

    internal logic- to construct a model that examines the mussel internal logic. Inner Logic may be seen as a concept where the focus is on order and structure. The model should be constructed of any board materials. The pieces may be of a single or a combination of various board materials. The pieces were to be machined and joined together to form a volume.

    mass- constructing one or several massive volumes of either all or part of the original model. The volumes shall be designed in a single board material or a solid material (e.g. wood, wax, stearic, soap, Styrofoam, etc.). The material shall not be resilient.

    gap- the task was to use the model from the mass assignment, and with this construct a gap which forms part of a new solid volume. The model is constructed of plaster or the same materials as in the previous assignment.

    motion- provide a new model motion by cutting away some of the mass and construct a shell. Choose a plane / cross-section of the model from the gap assignment which divides the model in two parts. Construct a new model of one of the parts, as a shell, twice as large. The cut should be open and no air is entrapped in the model. Select materials based on the shape to be built.

    structure- cut to remove a part of the motion model and build a rod structure. Proceed from the motion model and choose another plane cut through it. Construct the cut surface edges from the two planes cut (and their interconnecting structure). Material: sticks or poles. Think of how the pieces are connected.

    tactility- construct a new version of any of the previous models in an optional material. Explore the concept by your choice of material. Adjust / transform the models shape, size or design by the material characteristics.

    casting of mass model

    model study- gap reinforced plaster

    the internal volume of the shell

    model study- mass foam, filler

    model study- internal logic cardboard/paper/cell panel

    soft parts

    shell shell from the gap model

    model study- motion cardboard, spray paint

    part of the shell edge

    model study- structurelaminated wood

    model study- tactility cured skin

    interpretation of the shell

    cras

    h co

    urse

    nth

    e cl

    amin

    stru

    ctor

    s: B

    rad

    y B

    urr

    oug

    hs

    & Y

    lva

    Lin

    dst

    edt

    ye

    ar 1

    KTH

    arc

    hite

    ctur

    e 20

    07

    01

  • convexum vitrum nstructural modelingThe first model is inspired and based on a glass ball. The structure aims to an emulation of the object existing trans parents, shape and relationship to the ground. The model is based on a shell structure consisting of a plurality of latched gaps. The stability of the structure is based on the attraction and the horizontally directed force towards the center of the sphere. The inner rings are attached to rods and ropes that constricts the gaps in the shell. The glass balls weight contributes to a vertical force that can weigh down the gaps at top and creates the sealed spherical shape.

    Select an object and makes a structure that houses it. The design shall be self-supporting (ie, not statically dependent on the subject), and either sunk in, stir or lift off the ground. Build a model at a scale of 1:200. The model should be of the entire structure and include the object and the ground. Optional materials, and any size. Through a shift of scale the finished object will perceived as two hundred times larger in the model. Observe how the finished object and the model size gives the structure a direction of gravity.

    developed structural modelThis model is a development from the first model. The meeting between the gaps has been developed in the aim of reaching a better stability and a more, not faceted spherical shape. This structure is also different from the first through its bracket structure. By a hinge structure it was also possible to open up the sphere from the ground. In order to maintain the tension from the previous model a stretchable, trans parent textile were chosen.

    Make a new model that develops the relationship between object, structures and land. Include a scale concept in the study by focusing on the size of parts and in the whole of the model. The model should be a section, sub-or a undivided model with a scale of 1:50 or 1:100 and include the structure and the ground. Strive for a solid construction, care about the details and how the parts are stuck together and joined.

    section sketch

    glass ball

    ropes holdingthe glass ball

    internalskeleton

    shell of glass and wood panels

    inner ring that narrows the shell

    struts connecting the shell with the inner ring

    force towards center

    plan sketch plan sketch section sketch

    metal pipe

    hinge

    plates

    metal pipe

    stretch textile material

    convexum vitrum

    nstructural m

    odelinginstructors: B

    rady B

    urrou

    gh

    s & Y

    lva Lind

    stedt

    year 1 KTH

    architecture 2007

    02

  • convexum vitrum nstructural modelingThe first model is inspired and based on a glass ball. The structure aims to an emulation of the object existing trans parents, shape and relationship to the ground. The model is based on a shell structure consisting of a plurality of latched gaps. The stability of the structure is based on the attraction and the horizontally directed force towards the center of the sphere. The inner rings are attached to rods and ropes that constricts the gaps in the shell. The glass balls weight contributes to a vertical force that can weigh down the gaps at top and creates the sealed spherical shape.

    Select an object and makes a structure that houses it. The design shall be self-supporting (ie, not statically dependent on the subject), and either sunk in, stir or lift off the ground. Build a model at a scale of 1:200. The model should be of the entire structure and include the object and the ground. Optional materials, and any size. Through a shift of scale the finished object will perceived as two hundred times larger in the model. Observe how the finished object and the model size gives the structure a direction of gravity.

    developed structural modelThis model is a development from the first model. The meeting between the gaps has been developed in the aim of reaching a better stability and a more, not faceted spherical shape. This structure is also different from the first through its bracket structure. By a hinge structure it was also possible to open up the sphere from the ground. In order to maintain the tension from the previous model a stretchable, trans parent textile were chosen.

    Make a new model that develops the relationship between object, structures and land. Include a scale concept in the study by focusing on the size of parts and in the whole of the model. The model should be a section, sub-or a undivided model with a scale of 1:50 or 1:100 and include the structure and the ground. Strive for a solid construction, care about the details and how the parts are stuck together and joined.

    section sketch

    glass ball

    ropes holdingthe glass ball

    internalskeleton

    shell of glass and wood panels

    inner ring that narrows the shell

    struts connecting the shell with the inner ring

    force towards center

    plan sketch plan sketch section sketch

    metal pipe

    hinge

    plates

    metal pipe

    stretch textile material

    convexum vitrum

    nstructural m

    odelinginstructors: B

    rady B

    urrou

    gh

    s & Y

    lva Lind

    stedt

    year 1 KTH

    architecture 2007

    02

  • trio

    n

    what is a house?

    instructors: Brad

    y Bu

    rroug

    hs &

    Ylva Lin

    dsted

    t year 1 K

    TH architecture 2007

    trio nwhat is a house? Architecture is often to add something to a site. This was the first project where we worked with a specific location and with a definite plot area. The site we were assigned has a square-like character and is directly connected to the School of Architecture in stermalm, Stockholm. The task was to design a structure that could link together the activities of the school building with the city. The proposal originated from a flow analysis of the site and it showed clear patterns and directions of movement of pedestrians and other traffic. The analysis formed the input to the project and decided the built structures location and variability. The structure consists of three elements sculpted together enclose and shield a circular area. The idea was that with a relatively small engagement alter the character and function of the site.

    03

  • trio

    n

    what is a house?

    instructors: Brad

    y Bu

    rroug

    hs &

    Ylva Lin

    dsted

    t year 1 K

    TH architecture 2007

    trio nwhat is a house? Architecture is often to add something to a site. This was the first project where we worked with a specific location and with a definite plot area. The site we were assigned has a square-like character and is directly connected to the School of Architecture in stermalm, Stockholm. The task was to design a structure that could link together the activities of the school building with the city. The proposal originated from a flow analysis of the site and it showed clear patterns and directions of movement of pedestrians and other traffic. The analysis formed the input to the project and decided the built structures location and variability. The structure consists of three elements sculpted together enclose and shield a circular area. The idea was that with a relatively small engagement alter the character and function of the site.

    03

  • analysis sketch situation 1open structure that allows the most frequent flows on the site

    analysis sketch situation 2closed structure that forms a protectedarea and creates alternative streams

    directiveThe exterior maximum dimensions of the base structure is 12 x 12 x 12m and the location should be within the plot area.Your survey should at least be represented as follows:- Hand Drawn site plan at a scale of 1:400- Handrawed sections, elevations and planes base structure in the scale of 1:100- Model of the base structure in scale 1:100 on the site- Burst showing variability from the base structure- Short explanatory text

    assignmentThe background for this project is that the architecture school has moved into its new premises at KTH, designed by Japanese architect SANA. The schools old premises, Kv. Domherren, are sold to a newly formed foundation that works for the revitalization of architecture. This foundation, financed by a Swedish industrial magnate, is now planning a major renovation with new showrooms, scholarship facilities, publishing, exchange programs, international collaborations, interactive server institutions, offices, restaurant, bar, movie salon and more. The rebuild is scheduled to be completed in just over two years and as a complement to the renovation, on the propertys southern portion, the site which flow into Karlavgen, will have some form of built structure that represents the business. Therefore, they have approached us and asked us to produce a number of proposals on this. Eva Rudbeck, Chairperson, together with the schools Vice Dean set the following conditions for the project:

    We in the foundation are looking for a built structure from the site and our combined activities can serve as an emotional, changeable connection to the city. This structure can stand, lie, sit, go into the ground, hung, glued on, hover, move or otherwise respond to the scene. But we also want it to be changeable. We intend to quietly explode or just rebuilt depending on what you decide that it will be used for. We believe that this variability (time) will be a key factor to how the architecture will work, interpreted and develop in the future and want to show just that. This variability, you can certainly look physically in materials, colors, smells, light, sound, lighting, vegetation, but also in terms of seasons, circadian rhythms, social groupings, gender linkages, integration issues, age segregation and so on. But it is you that propose solutions that completely determine the relationship between time, use and architectural look. We in the Foundation look forward to sharing your thoughts.

    analysisThe project was initiated by a flow analysis of the site. By placing barriers and blocking off certain areas on the site pedestrians was forced to find new ways and new pattern emerged. Two different formations of the barriers were used to compare and interpret the outcomes. The results were observed and documented in a series of photographs. The analysis showed clear diagonal flows that crossed each others center. The analysis was critical to the projects changeable theme and structure placement on the site.

    trio nwhat is a house?instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • analysis sketch situation 1open structure that allows the most frequent flows on the site

    analysis sketch situation 2closed structure that forms a protectedarea and creates alternative streams

    directiveThe exterior maximum dimensions of the base structure is 12 x 12 x 12m and the location should be within the plot area.Your survey should at least be represented as follows:- Hand Drawn site plan at a scale of 1:400- Handrawed sections, elevations and planes base structure in the scale of 1:100- Model of the base structure in scale 1:100 on the site- Burst showing variability from the base structure- Short explanatory text

    assignmentThe background for this project is that the architecture school has moved into its new premises at KTH, designed by Japanese architect SANA. The schools old premises, Kv. Domherren, are sold to a newly formed foundation that works for the revitalization of architecture. This foundation, financed by a Swedish industrial magnate, is now planning a major renovation with new showrooms, scholarship facilities, publishing, exchange programs, international collaborations, interactive server institutions, offices, restaurant, bar, movie salon and more. The rebuild is scheduled to be completed in just over two years and as a complement to the renovation, on the propertys southern portion, the site which flow into Karlavgen, will have some form of built structure that represents the business. Therefore, they have approached us and asked us to produce a number of proposals on this. Eva Rudbeck, Chairperson, together with the schools Vice Dean set the following conditions for the project:

    We in the foundation are looking for a built structure from the site and our combined activities can serve as an emotional, changeable connection to the city. This structure can stand, lie, sit, go into the ground, hung, glued on, hover, move or otherwise respond to the scene. But we also want it to be changeable. We intend to quietly explode or just rebuilt depending on what you decide that it will be used for. We believe that this variability (time) will be a key factor to how the architecture will work, interpreted and develop in the future and want to show just that. This variability, you can certainly look physically in materials, colors, smells, light, sound, lighting, vegetation, but also in terms of seasons, circadian rhythms, social groupings, gender linkages, integration issues, age segregation and so on. But it is you that propose solutions that completely determine the relationship between time, use and architectural look. We in the Foundation look forward to sharing your thoughts.

    analysisThe project was initiated by a flow analysis of the site. By placing barriers and blocking off certain areas on the site pedestrians was forced to find new ways and new pattern emerged. Two different formations of the barriers were used to compare and interpret the outcomes. The results were observed and documented in a series of photographs. The analysis showed clear diagonal flows that crossed each others center. The analysis was critical to the projects changeable theme and structure placement on the site.

    trio nwhat is a house?instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • activity

    area

    element #3bar/ service area

    screen construction of wooden slats and steel brackets

    element #2scene / in situ concrete sole

    the screen is detachable and can be pushed apart

    element #1concrete wall(free graffiti)

    aa

    bb

    The structure will primarily be used for small outdoor events that reflect the activities of the school building. It shall also serve as a natural gathering place for the public. The structure shield of the surrounding streets, and together with the existing trees creates a kind of oasis in the city. The panels enclosure design interacts with the roof of tree crows that exists in summertime on the site.

    fasade element #3fasade element #2fasade element #1 section a-a section b-b

    trio nwhat is a house?instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • activity

    area

    element #3bar/ service area

    screen construction of wooden slats and steel brackets

    element #2scene / in situ concrete sole

    the screen is detachable and can be pushed apart

    element #1concrete wall(free graffiti)

    aa

    bb

    The structure will primarily be used for small outdoor events that reflect the activities of the school building. It shall also serve as a natural gathering place for the public. The structure shield of the surrounding streets, and together with the existing trees creates a kind of oasis in the city. The panels enclosure design interacts with the roof of tree crows that exists in summertime on the site.

    fasade element #3fasade element #2fasade element #1 section a-a section b-b

    trio nwhat is a house?instructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • ashtanga

    n

    ceremony &

    ritualinstructors: B

    rady B

    urrou

    gh

    s & Y

    lva Lind

    stedt

    year 1 KTH

    architecture 2007

    04

  • ashtanga

    n

    ceremony &

    ritualinstructors: B

    rady B

    urrou

    gh

    s & Y

    lva Lind

    stedt

    year 1 KTH

    architecture 2007

    04

  • ashtanga nceremony & ritualIn this project, I chose to start from the Ashtanga yoga, which can be seen as both a ceremony and ritual. The connection between Ashtanga and archi-tecture will be interesting in several aspects. Ashtanga is based on a flow of the dynamic motions and is the most demanding physical form of yoga. Yo-ga also includes meditation and requires a certain concentration. The aim was to design a structure describing the eight pillars of Ashtanga and de-scribe its events. The structure can be seen as a walk through those parts where the different spatial limits helps to put the visitors / practitioners in the right attitude and moods. The location of the project was Riddarfjrden and the meeting between the waters, - yoga and structure have dominated and shaped the project.

    - Welcoming ceremony for the new family members- Newborn or adopted- Welcoming ceremony for new citizens- Naming ceremony- Funeral ceremony- Awards ceremonies- Graduation Ceremony for small and / or large

    assignmentThe project is to design a place for rituals or ceremonies at Riddarfjrden - the site of Sandell Sandbergs lively debated cold bath, the so-called Badringen. The ritual / ceremony that your project is about is your choice - make it as an already established ritual / ceremony, or one that you define. It can be spiritual or secular, designed for large or small parties. The common denominator for rituals or ceremonies is a specific sequence of events. The ritual / ceremony can formalize shifts in peoples lives, for example - marriage and / or partnership ceremony, but can also manifest established festivals or general turning points in our environment over the years, months or days.

    - Christmas, Ramadan, Hanukkah, New Year, Easter, Lucia- Midsummer, midwinter- Spring equinox, autumnal equinox- Thaw- Full moon, new moon- Spring, summer, autumn or winter - Arrivals

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

    yama restraint niyama dicsiplin asana postures pranayama breathing exercisespratyahara sense withdrawaldharna concentrationdhyana meditationsamadhi deep meditation

    structureThe basic structure strong idiom alludes to the internal logic of Ashtanga yoga. The yoga is a lot about meditation and finding an inner peace and harmony. The symbolism of the structures composition apart floated wedges creates will diminish the desire for inner rings at a hub that can recall the visitor of the yogas essence. To preserve the rooms characteristic wedge shape but still offer good communication between the rooms a separate corridor was anchored next to the building. The corridor is a proprietary liquid part that creates a transition between inside and outside with a light faade of wood and glass. The entire structure is a floating structure which is composed of polished concrete block and concrete glass.

    methodA simple graphical representation of the eight parts of Ashtanga yoga decided the struc-tures basic shape. The various parts were represented in a circle divided into eight equal wedges. The parts were pulled apart and arranged for a more dynamic composition to create a movement in relation to the water. The different parts are programmed for an imaginary walk for the visitor, and each wedge has a specific function. A walk through the structure should contain play between light, - space and cramped, dark. The movement of the structure was also strengthened by tilting the different roof parts.

    backgroundAshtanga yoga is a flow of dynamic movements, a physical form of yoga whose therapeutic effect is to strengthen and purify the body. By synchronizing the breath with the movement, the internal fire of life evokes and purifies and strengthens the body physically and mentally. The Ashtanga yogas great strength is correct breathing. It oxygenates the blood, increases the circulation in the body and to the brain which leads to clear thinking and greater creativity. Ashtanga yoga is divided into eight parts as follows: Yama-restraint, Niyama-dicsiplin, Asana-postures, Pranayama-breathing exercises, Pratyahara-sense withdrawal, Dharna-concentration, Dhyana-meditation and Samadhi-deep meditation.

    pranayama

    yam

    a

    niyama

    asana

    prat

    yaha

    ra

    dharna

    samadhi dhyana

    ground floorYoull reach the structure by walking on a footbridge on the water. The entrance leads the visitor futher to the dressing rooms and the yoga hall.

    level 2by a staircase from the entrance youll reach the second floor. At this level youll find re-laxion and meditation. You can also reach the outside wooden deck from this level.

  • ashtanga nceremony & ritualIn this project, I chose to start from the Ashtanga yoga, which can be seen as both a ceremony and ritual. The connection between Ashtanga and archi-tecture will be interesting in several aspects. Ashtanga is based on a flow of the dynamic motions and is the most demanding physical form of yoga. Yo-ga also includes meditation and requires a certain concentration. The aim was to design a structure describing the eight pillars of Ashtanga and de-scribe its events. The structure can be seen as a walk through those parts where the different spatial limits helps to put the visitors / practitioners in the right attitude and moods. The location of the project was Riddarfjrden and the meeting between the waters, - yoga and structure have dominated and shaped the project.

    - Welcoming ceremony for the new family members- Newborn or adopted- Welcoming ceremony for new citizens- Naming ceremony- Funeral ceremony- Awards ceremonies- Graduation Ceremony for small and / or large

    assignmentThe project is to design a place for rituals or ceremonies at Riddarfjrden - the site of Sandell Sandbergs lively debated cold bath, the so-called Badringen. The ritual / ceremony that your project is about is your choice - make it as an already established ritual / ceremony, or one that you define. It can be spiritual or secular, designed for large or small parties. The common denominator for rituals or ceremonies is a specific sequence of events. The ritual / ceremony can formalize shifts in peoples lives, for example - marriage and / or partnership ceremony, but can also manifest established festivals or general turning points in our environment over the years, months or days.

    - Christmas, Ramadan, Hanukkah, New Year, Easter, Lucia- Midsummer, midwinter- Spring equinox, autumnal equinox- Thaw- Full moon, new moon- Spring, summer, autumn or winter - Arrivals

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

    yama restraint niyama dicsiplin asana postures pranayama breathing exercisespratyahara sense withdrawaldharna concentrationdhyana meditationsamadhi deep meditation

    structureThe basic structure strong idiom alludes to the internal logic of Ashtanga yoga. The yoga is a lot about meditation and finding an inner peace and harmony. The symbolism of the structures composition apart floated wedges creates will diminish the desire for inner rings at a hub that can recall the visitor of the yogas essence. To preserve the rooms characteristic wedge shape but still offer good communication between the rooms a separate corridor was anchored next to the building. The corridor is a proprietary liquid part that creates a transition between inside and outside with a light faade of wood and glass. The entire structure is a floating structure which is composed of polished concrete block and concrete glass.

    methodA simple graphical representation of the eight parts of Ashtanga yoga decided the struc-tures basic shape. The various parts were represented in a circle divided into eight equal wedges. The parts were pulled apart and arranged for a more dynamic composition to create a movement in relation to the water. The different parts are programmed for an imaginary walk for the visitor, and each wedge has a specific function. A walk through the structure should contain play between light, - space and cramped, dark. The movement of the structure was also strengthened by tilting the different roof parts.

    backgroundAshtanga yoga is a flow of dynamic movements, a physical form of yoga whose therapeutic effect is to strengthen and purify the body. By synchronizing the breath with the movement, the internal fire of life evokes and purifies and strengthens the body physically and mentally. The Ashtanga yogas great strength is correct breathing. It oxygenates the blood, increases the circulation in the body and to the brain which leads to clear thinking and greater creativity. Ashtanga yoga is divided into eight parts as follows: Yama-restraint, Niyama-dicsiplin, Asana-postures, Pranayama-breathing exercises, Pratyahara-sense withdrawal, Dharna-concentration, Dhyana-meditation and Samadhi-deep meditation.

    pranayama

    yam

    a

    niyama

    asana

    prat

    yaha

    ra

    dharna

    samadhi dhyana

    ground floorYoull reach the structure by walking on a footbridge on the water. The entrance leads the visitor futher to the dressing rooms and the yoga hall.

    level 2by a staircase from the entrance youll reach the second floor. At this level youll find re-laxion and meditation. You can also reach the outside wooden deck from this level.

  • N W

    SE

    45o

    45o

    aa

    The structure floats on water and is anchored at the bottom with sinkers. A long floating footbridge links the structure to land. The position should help the visitor to feel that he / she walks away from city life and the stress to a quiet and relaxing oasis. The structure faces Lngholmen and turnes away from the citys buildings. The structure faces south for maximum light and the structures south side consists entirely of concrete glass. Concrete glass has been used for its property to let in daylight but without the direct insight. The structure shall also, by its shape and material form a smooth transition between the water and Lngholmen seen from the City Centre. Participants shall stay put in an inward calm. The environment and its architecture is stealing as little as possible of the participants awareness and experience. The atmosphere and the inner well-being should instead be the focus for the participants.

    yoga hall

    dressing room

    wc

    wc

    dressing room

    entrance

    plan

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • N W

    SE

    45o

    45o

    aa

    The structure floats on water and is anchored at the bottom with sinkers. A long floating footbridge links the structure to land. The position should help the visitor to feel that he / she walks away from city life and the stress to a quiet and relaxing oasis. The structure faces Lngholmen and turnes away from the citys buildings. The structure faces south for maximum light and the structures south side consists entirely of concrete glass. Concrete glass has been used for its property to let in daylight but without the direct insight. The structure shall also, by its shape and material form a smooth transition between the water and Lngholmen seen from the City Centre. Participants shall stay put in an inward calm. The environment and its architecture is stealing as little as possible of the participants awareness and experience. The atmosphere and the inner well-being should instead be the focus for the participants.

    yoga hall

    dressing room

    wc

    wc

    dressing room

    entrance

    plan

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • fasade southeast section a-a

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • fasade southeast section a-a

    ashtanga nceremony & ritualinstructors: Brady Burroughs & Ylva Lindstedt year 1 KTH architecture 2007

  • crash course II nmatrix modeling Working from a strict exclusion method can often speed up the process and the result can be both unexpected and exciting. In this task we produced a number of physical struc-ture models by working from a matrix. Through the matrix a reference, a geometric concept, materials and a way to merge were chosen. The results of the different outcomes were stud-ied and discussed. Finally a compiling of the single structural models were designed. The last model would then be able to serve as a pavilion and get a scale and relationship to its surrounding. I chose in this task to work with the floor of the St. Petri Church, Klip-pan, 1966 Sigurd Lewerentz. I focused on how the floor was programmed and took ad-vantage of the directions and divisions that existed. I chose to work with cross-laminat-ed wood and used glue for the merging.

    Model 1This model describes the number of anticipated visitors divided by the total floor area.

    Model 2This model describes the planned area for seating, gathered in the middle of the total surface

    Model 3This model describes the proposed seating area, spread all over the total area

    Model 4The last model is an extension of model 3. The structure serves here as an pavilion

    05cr

    ash

    cour

    se II

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    atri

    x m

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    ing

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    An

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    Eri

    k S

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    2008

  • crash course II nmatrix modeling Working from a strict exclusion method can often speed up the process and the result can be both unexpected and exciting. In this task we produced a number of physical struc-ture models by working from a matrix. Through the matrix a reference, a geometric concept, materials and a way to merge were chosen. The results of the different outcomes were stud-ied and discussed. Finally a compiling of the single structural models were designed. The last model would then be able to serve as a pavilion and get a scale and relationship to its surrounding. I chose in this task to work with the floor of the St. Petri Church, Klip-pan, 1966 Sigurd Lewerentz. I focused on how the floor was programmed and took ad-vantage of the directions and divisions that existed. I chose to work with cross-laminat-ed wood and used glue for the merging.

    Model 1This model describes the number of anticipated visitors divided by the total floor area.

    Model 2This model describes the planned area for seating, gathered in the middle of the total surface

    Model 3This model describes the proposed seating area, spread all over the total area

    Model 4The last model is an extension of model 3. The structure serves here as an pavilion

    05

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    h co

    urse

    II

    nm

    atri

    x m

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    inst

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  • fittja idea store nsite-structure-programmelrare: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    06

    fittja idea store

    STHLMCITY

    the concept idea storeThe idea behind the Idea Store origins from London where they successfully built a number of buildings that combine library, cafs, civic offices, schools and other functions with a direct link to the sites needs. These buildings have been built in areas defined by a distinct social and cultural diversity and has left its mark with a high architectural quality that often is served as a catalyst for the areas future development.

    Left: Idea Store, Canary WharfChurchill Place, London E14 5RB

    fittja idea store nsite-structure-programme During the fall semester of 2008 98 students in the School of Architecture (KTH) designed 98 proposals on how Fittja Idea Store could look like. The course was an academic project during the second year at KTH, called location - structure - programme. The theme of this year was Fittja Idea Store. A building that combines library, cafs, civic offices, schools and other functions with a direct link to the sites needs, a building that provides and helps developing the area through its program and adaptation to the site conditions and local needs. This in an innovative way to combine and shape to the program and function. A building marked by architectural ethics in which the aim is to give rather than take. The location and program to the building was developed in collaboration with Botkyrka and Fittjas civic offices. Through various meetings a program and building profile were polished which is assumed to be useful and appropriate for the area. Libraries, civic offices, job coach and banquet halls where priority in a program that we believe can become the engine and catalyst for further development of the area and creator of wealth.

    about fittjaFittja is a municipal district in northern Botkyrka and the name of the metro station in the area. The area Fittja earlier belonged to the church, but during the reformation estates went to the state and farmers became Crown peasants. During the 1600s, Fittja flourished and it was during this time that the inn on the isthmus between Albysjn and Mlaren opened. The modern Fittja emerged during the 1970s. The buildings consist mainly of large blocks of rental apartment buildings grouped around the subway station. In the outer parts of the districts there are groups of adjoining single-family houses and the proportion of these housing are more than 15 percent. The rest of the buildings are apartment buildings. Approximately 7200 people lives in Fittja out of these there are barely 3000 under the age of 25. In consultation with Botkyrka city planning office and on the basis of the document Future Fittja the site for this project was chosen. The northern part of Fittjahjdens park, directly connected to the new Kpingsgatan was the most suitable location for the project, partly for its proximity to commercial areas, to nature and land availability.

    the structureThe structure is embedded in the ground with respect to the surrounding existing buildings on the location. The building is essentially divided into two levels. The entrance is at ground level with an exhibition and information about what is happening in the building to create an inviting atmosphere. Libraries, workshops, auditorium, civic offices and a cafs and more are at the bottom floor, under the ground. The structures verticality and open floor plan contributes and lead to a clarification of the various aspects of the program and its communication in between. The vertical relationships also remind from an interior - exterior view. The structures roof shall include a new urban park that will create new flows and patterns of movement at the site.

  • fittja idea store nsite-structure-programmelrare: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    06

    fittja idea store

    STHLMCITY

    the concept idea storeThe idea behind the Idea Store origins from London where they successfully built a number of buildings that combine library, cafs, civic offices, schools and other functions with a direct link to the sites needs. These buildings have been built in areas defined by a distinct social and cultural diversity and has left its mark with a high architectural quality that often is served as a catalyst for the areas future development.

    Left: Idea Store, Canary WharfChurchill Place, London E14 5RB

    fittja idea store nsite-structure-programme During the fall semester of 2008 98 students in the School of Architecture (KTH) designed 98 proposals on how Fittja Idea Store could look like. The course was an academic project during the second year at KTH, called location - structure - programme. The theme of this year was Fittja Idea Store. A building that combines library, cafs, civic offices, schools and other functions with a direct link to the sites needs, a building that provides and helps developing the area through its program and adaptation to the site conditions and local needs. This in an innovative way to combine and shape to the program and function. A building marked by architectural ethics in which the aim is to give rather than take. The location and program to the building was developed in collaboration with Botkyrka and Fittjas civic offices. Through various meetings a program and building profile were polished which is assumed to be useful and appropriate for the area. Libraries, civic offices, job coach and banquet halls where priority in a program that we believe can become the engine and catalyst for further development of the area and creator of wealth.

    about fittjaFittja is a municipal district in northern Botkyrka and the name of the metro station in the area. The area Fittja earlier belonged to the church, but during the reformation estates went to the state and farmers became Crown peasants. During the 1600s, Fittja flourished and it was during this time that the inn on the isthmus between Albysjn and Mlaren opened. The modern Fittja emerged during the 1970s. The buildings consist mainly of large blocks of rental apartment buildings grouped around the subway station. In the outer parts of the districts there are groups of adjoining single-family houses and the proportion of these housing are more than 15 percent. The rest of the buildings are apartment buildings. Approximately 7200 people lives in Fittja out of these there are barely 3000 under the age of 25. In consultation with Botkyrka city planning office and on the basis of the document Future Fittja the site for this project was chosen. The northern part of Fittjahjdens park, directly connected to the new Kpingsgatan was the most suitable location for the project, partly for its proximity to commercial areas, to nature and land availability.

    the structureThe structure is embedded in the ground with respect to the surrounding existing buildings on the location. The building is essentially divided into two levels. The entrance is at ground level with an exhibition and information about what is happening in the building to create an inviting atmosphere. Libraries, workshops, auditorium, civic offices and a cafs and more are at the bottom floor, under the ground. The structures verticality and open floor plan contributes and lead to a clarification of the various aspects of the program and its communication in between. The vertical relationships also remind from an interior - exterior view. The structures roof shall include a new urban park that will create new flows and patterns of movement at the site.

  • fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    structureThe structure is embedded in the ground, considering the existing buildings that surrounds the site. The building is essentially divided into two levels. The entrance is located on the ground floor with an exhibition and a display area that informs whats happening in the building. This space i supposed to create an inviting relation to the underground level. Libraries, workshops, auditorium, civic offices and a caf etc. is situated underground. The structures verticality and the open floor plan contributes to a clarification of the programmatic titles and its communication in between. The vertical relations aims to remind the visitor from an interior - exterior point of view. The structures roof includes a new urban sculpture park that creates new flows and movement patterns on the site.

    The eastern part of the structure is integrated with the planned mall. The east entrance, facing Fittja center have services including shopping etc. view of the structure in relation to the existing buildings on the site from east

    South of the structure theres a park area. The structure flows into the park and brings the day-light down to the underground level.

    view of the structure from the south in relation to the existing buildings on the site.

    In the western part of the structure theres a funnel, providing the lower level with daylight. The funnel also serves as an entrance with a cafe.

    view of the structure in relation to the existing buildings on the site from west.

  • fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    structureThe structure is embedded in the ground, considering the existing buildings that surrounds the site. The building is essentially divided into two levels. The entrance is located on the ground floor with an exhibition and a display area that informs whats happening in the building. This space i supposed to create an inviting relation to the underground level. Libraries, workshops, auditorium, civic offices and a caf etc. is situated underground. The structures verticality and the open floor plan contributes to a clarification of the programmatic titles and its communication in between. The vertical relations aims to remind the visitor from an interior - exterior point of view. The structures roof includes a new urban sculpture park that creates new flows and movement patterns on the site.

    The eastern part of the structure is integrated with the planned mall. The east entrance, facing Fittja center have services including shopping etc. view of the structure in relation to the existing buildings on the site from east

    South of the structure theres a park area. The structure flows into the park and brings the day-light down to the underground level.

    view of the structure from the south in relation to the existing buildings on the site.

    In the western part of the structure theres a funnel, providing the lower level with daylight. The funnel also serves as an entrance with a cafe.

    view of the structure in relation to the existing buildings on the site from west.

  • ramp down to the library

    workshops

    auditorium

    oce

    entrance/expoinfo area

    juvenile library

    depots/technologyareas

    studie sites

    adult library

    library square

    childrens library

    cafe/cuisine

    sculptures similarrichard serra

    entrance/expoinfo area

    planned mall directly adjacent to the structure

    5m0m 15m

    funnel supplying loweroor with daylight

    10m

    i

    i

    i

    admission of light above library square

    plan 0 plan -1

    fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

  • ramp down to the library

    workshops

    auditorium

    oce

    entrance/expoinfo area

    juvenile library

    depots/technologyareas

    studie sites

    adult library

    library square

    childrens library

    cafe/cuisine

    sculptures similarrichard serra

    entrance/expoinfo area

    planned mall directly adjacent to the structure

    5m0m 15m

    funnel supplying loweroor with daylight

    10m

    i

    i

    i

    admission of light above library square

    plan 0 plan -1

    fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

  • _+0

    37943

    +796

    -605

    -4975

    7838

    16213

    -6097

    -5975

    _+0

    -20

    -605

    Draining Isolation 130 mmMoisture barrierReinforced in situ concreteVapor barrier

    Rubber flooring Altro Nuvola StratusPlastic filmStep absorbing membran 50 mmReinforced concrete slab 500 mmMoisture barrierIsolation 200 mm

    Polished concrete plates 50 mmPlastic filmStep absorbing membran 50 mmReinforced concrete slab 300 mmSound isolation 150 mm Parquet 20 mm

    Acrylic plates methacrylate 20mmGridshell construction of glulam beams 250 x 250 mm

    -3641

    12209

    +4509

    3712

    796

    796

    4370

    1122

    768

    13851

    -+1200

    3815

    250 2503315

    18306108

    44571521

    130

    130

    groundlevel

    groundlevel

    _+0

    1133

    +1133

    27531414

    -2753

    -4167

    +4509

    fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    detail- gridshell joint

  • _+0

    37943

    +796

    -605

    -4975

    7838

    16213

    -6097

    -5975

    _+0

    -20

    -605

    Draining Isolation 130 mmMoisture barrierReinforced in situ concreteVapor barrier

    Rubber flooring Altro Nuvola StratusPlastic filmStep absorbing membran 50 mmReinforced concrete slab 500 mmMoisture barrierIsolation 200 mm

    Polished concrete plates 50 mmPlastic filmStep absorbing membran 50 mmReinforced concrete slab 300 mmSound isolation 150 mm Parquet 20 mm

    Acrylic plates methacrylate 20mmGridshell construction of glulam beams 250 x 250 mm

    -3641

    12209

    +4509

    3712

    796

    796

    4370

    1122

    768

    13851

    -+1200

    3815

    250 2503315

    18306108

    44571521

    130

    130

    groundlevel

    groundlevel

    _+0

    1133

    +1133

    27531414

    -2753

    -4167

    +4509

    fittja idea store nsite-structure-programmeinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2008

    detail- gridshell joint

  • sticks nmaterial-room-detailThe project was to present a proposal for a series of houses in the category of land near the accommoda-tion. The plot that was given is located in Nacka, Tollare, about 10 kilometers southeast of Stockholm city center. The plot is situated in an up market area and is beautifully situated overlooking Duvns Bay and has a direct proximity to nature areas. The proposal consists of six separate houses that are placed after the site topography and arranged on the spot based on a grid. The project has been based on an analysis of Jrn Utzons basic principle of terraced houses, which he worked out in 1953 (Sknska house types). A selection of interesting points from this analysis have been picked out, revised and further developed to accommodate the project. To create meaning by organizing, distributing, systematize and structure the objects and give them a definite place in a space where some of the inputs in this proposal. The project was partly about learning how to develop a particular method to work with in order to effectively be able to rush the process.

    Three different types have been developed with different qualities and different living areas. The houses shield themselves from each other, creating private spaces. The house formation forms a courtyard pro-tected from insight and weather conditions at the site. The structures are wood-based and stand on a concrete foundation to minimize the encroachment in the ground.

    07sticks

    nm

    aterial-room-detail

    instructors: An

    na P

    ang

    & E

    rik Sten

    berg

    year 2 KTH

    architecture 2009

  • sticks nmaterial-room-detailThe project was to present a proposal for a series of houses in the category of land near the accommoda-tion. The plot that was given is located in Nacka, Tollare, about 10 kilometers southeast of Stockholm city center. The plot is situated in an up market area and is beautifully situated overlooking Duvns Bay and has a direct proximity to nature areas. The proposal consists of six separate houses that are placed after the site topography and arranged on the spot based on a grid. The project has been based on an analysis of Jrn Utzons basic principle of terraced houses, which he worked out in 1953 (Sknska house types). A selection of interesting points from this analysis have been picked out, revised and further developed to accommodate the project. To create meaning by organizing, distributing, systematize and structure the objects and give them a definite place in a space where some of the inputs in this proposal. The project was partly about learning how to develop a particular method to work with in order to effectively be able to rush the process.

    Three different types have been developed with different qualities and different living areas. The houses shield themselves from each other, creating private spaces. The house formation forms a courtyard pro-tected from insight and weather conditions at the site. The structures are wood-based and stand on a concrete foundation to minimize the encroachment in the ground.

    07

    sticks

    n

    material-room

    -detailinstructors: A

    nn

    a Pan

    g &

    Erik S

    tenb

    erg year 2 K

    TH architecture 2009

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

    screeningAn important issue was how the separate entities would be shielded from each other without the shield being too strong and excluding the surrounding countryside. The exterior faades wooden structure and verticality is taken from the sites dense forest and inspired the design of the shield. The encircling structure is related to the housing program by the intensity and rhythm. Sticks faade screens of the devices from each other but at the same time allowing some trans parent who camouflages the buildings to their surroundings. The faade also helps blur the line between indoors and outdoors and creates exciting spaces.

    structureThe structure is based on an outer bearing faade, which allows great freedom for the interior but also creates the possibility to use glass walls from floor to ceiling. The structures load-bearing system is divided into a hierarchy where the main load-bearing pillars are made of steel and are located slightly farther in than the other round mouldings. The round mouldings help to charter the structure and reduce the diameter of the pillars. The structure is otherwise an entirely wooden construction. Wood as a raw material was chosen to reflect the site and the fact that the construction period is relatively short but also because the blocks can be delivered to locations with limited accessibility.

    backgroundThe basic principle, Sknska house types in 1953, Jrn Utzon.The basic principle consists of a 15 x 15 m (GFA 225 m2)squared plot that allows a varied housing around a courtyard. The site is shielded from the surrounded buildings by a wall that partly seves as facade.

    the analysis describes the divisions of the plot through an added grid based on the distributed area from the ground principle. The plan is reduced in size and arranged to scale in relation to the grid and creates three new patterns and outcomes.

    FAR 136 m2

    ca: 60% of GFA

    plot 89 m2

    ca: 40% of GFA

    FAR 123 m2

    ca: 55% of GFA

    plot 102 m2

    ca: 45% of GFA

    FAR 110 m2

    ca: 50% of GFA

    plot 115 m2

    ca: 50% of GFA

    type 1 type 2 type 3

    36

    00

    15

    00

    07

    80

    0

    semi private area

    screening

    private area

    private - publicthe units are shielded and programmed into private and semi private areas. - - - - - -

    type 3

    Intro, bakgrund

    Att skapa mening genom att ordna, frdela, systematisera och strukturera freml samt ge dem en bestmd plats i en rymd var ngra av ingngarna i det hr frslaget. Projektet handlade om att lra sig utveckla en bestmd metod att jobba efter fr att p ett effektivt stt kunna forcera en process.Projektet har baserats p en analys av Jrn Utzons grundprincip fr radhus som han arbetade fram 1953 (Sknska hustyper). Ett urval avintressanta punkter frn analysen har plockats ut, omarbetats och vidareutvecklats fr att anpassas till projektet.

    Avskrmning

    En viktig frgestllning, frga var hur de separerade enheterna skulle skrmas av frn varandra utan att avskrmningen skulle bli fr solid och utestnga den omkringliggande naturen, miljn.

    Fasaden skapar, bidrar till att sudda ut grnsen mellan ute och inne och skapar rumsligheter.

    (och skymma platsen kvalitativa vyer)

    Den yttre fasadens pinnstruktur och vertikalitet har hmtats frn platsens snrskog och inspirerade till utformningen av avskrmnin-gen. Den omringande strukturen relaterar till husets program genom intensitet och rytm.Pinnfasaden skrmar av enheterna ifrn varandra men tillter samti-digt en viss transparents som kamoflerar husen till sin omgivning.

    Platsens tta snrskog och vertikalitet inspirerade till att brja jobba med ngon slags vertikal pinnstruktur som framhvde speglade platsens .

    - - - - - -semi private area

    screening

    private area- - - - - -

    type 2

    semi private area

    screening

    private area

    type 1

    plot area 64 m2

    ca: 30 % of GFA

    screening

    FAR 161 m2

    ca: 70% of GFA

    basic principle

    backgroundThe basic principle, Sknska house types in 1953, Jrn Utzon.The basic principle consists of a 15 x 15 m (GFA 225 m2)squared plot that allows a varied housing around a courtyard. The site is shielded from the surrounded buildings by a wall that partly seves as facade.

    the analysis describes the divisions of the plot through an added grid based on the distributed area from the ground principle. The plan is reduced in size and arranged to scale in relation to the grid and creates three new patterns and outcomes.

    FAR 136 m2

    ca: 60% of GFA

    plot 89 m2

    ca: 40% of GFA

    FAR 123 m2

    ca: 55% of GFA

    plot 102 m2

    ca: 45% of GFA

    FAR 110 m2

    ca: 50% of GFA

    plot 115 m2

    ca: 50% of GFA

    type 1 type 2 type 3

    36

    00

    15

    00

    07

    80

    0

    semi private area

    screening

    private area

    private - publicthe units are shielded and programmed into private and semi private areas. - - - - - -

    type 3

    Intro, bakgrund

    Att skapa mening genom att ordna, frdela, systematisera och strukturera freml samt ge dem en bestmd plats i en rymd var ngra av ingngarna i det hr frslaget. Projektet handlade om att lra sig utveckla en bestmd metod att jobba efter fr att p ett effektivt stt kunna forcera en process.Projektet har baserats p en analys av Jrn Utzons grundprincip fr radhus som han arbetade fram 1953 (Sknska hustyper). Ett urval avintressanta punkter frn analysen har plockats ut, omarbetats och vidareutvecklats fr att anpassas till projektet.

    Avskrmning

    En viktig frgestllning, frga var hur de separerade enheterna skulle skrmas av frn varandra utan att avskrmningen skulle bli fr solid och utestnga den omkringliggande naturen, miljn.

    Fasaden skapar, bidrar till att sudda ut grnsen mellan ute och inne och skapar rumsligheter.

    (och skymma platsen kvalitativa vyer)

    Den yttre fasadens pinnstruktur och vertikalitet har hmtats frn platsens snrskog och inspirerade till utformningen av avskrmnin-gen. Den omringande strukturen relaterar till husets program genom intensitet och rytm.Pinnfasaden skrmar av enheterna ifrn varandra men tillter samti-digt en viss transparents som kamoflerar husen till sin omgivning.

    Platsens tta snrskog och vertikalitet inspirerade till att brja jobba med ngon slags vertikal pinnstruktur som framhvde speglade platsens .

    - - - - - -semi private area

    screening

    private area- - - - - -

    type 2

    semi private area

    screening

    private area

    type 1

    plot area 64 m2

    ca: 30 % of GFA

    screening

    FAR 161 m2

    ca: 70% of GFA

    basic principle

    bakgrundGrundprincipen, Sknska hustyper 1953, Jrn Utzon.Grundprincipen bestr av en 15 x 15 m (BTA 225 m2) kvadratisktomt som tillter en varierad bebyggelse runt en innergrd. Tomten avskrmas frn den omkringliggande bebyggelsen med hjlp av en teglad mur som ocks delvis utgr husets fasad.

    I analysen tydliggrs tomtens indelning i plan genom ett adderat rutntbaserat p grundprincipens ytfrdelning.Planen frminskas och arrangeras skalenligt utifrn rutntet fr att skapa tre nya mnster och utfall.

    BYA 136 m2

    ca:60% av BTA

    Grd 89 m2

    ca:40% av BTA

    BYA 123 m2

    ca:55% av BTA

    Grd 102 m2

    ca:45% av BTA

    BYA 110 m2

    ca:50% av BTA

    Grd 115 m2

    ca:50% av BTA

    typ 1 typ 2 typ 3

    3600150007800

    Semi privat yta

    Avskrmning

    Privat yta

    privat - offentligtEnheterna skrmas av och programmeras in i privata och semi privata ytor. - - - - - -

    typ 3

    Semi privat yta

    Avskrmning

    Privat yta- - - - - -

    typ 2

    Semi privat yta

    Avskrmning

    Privat yta

    typ 1

    - - - - - -Grdsomrde 64 m2

    ca:30 % av BTA

    Avskrmning

    BYA 161 m2

    ca:70% av BTA

    grundprincipen

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

    screeningAn important issue was how the separate entities would be shielded from each other without the shield being too strong and excluding the surrounding countryside. The exterior faades wooden structure and verticality is taken from the sites dense forest and inspired the design of the shield. The encircling structure is related to the housing program by the intensity and rhythm. Sticks faade screens of the devices from each other but at the same time allowing some trans parent who camouflages the buildings to their surroundings. The faade also helps blur the line between indoors and outdoors and creates exciting spaces.

    structureThe structure is based on an outer bearing faade, which allows great freedom for the interior but also creates the possibility to use glass walls from floor to ceiling. The structures load-bearing system is divided into a hierarchy where the main load-bearing pillars are made of steel and are located slightly farther in than the other round mouldings. The round mouldings help to charter the structure and reduce the diameter of the pillars. The structure is otherwise an entirely wooden construction. Wood as a raw material was chosen to reflect the site and the fact that the construction period is relatively short but also because the blocks can be delivered to locations with limited accessibility.

    backgroundThe basic principle, Sknska house types in 1953, Jrn Utzon.The basic principle consists of a 15 x 15 m (GFA 225 m2)squared plot that allows a varied housing around a courtyard. The site is shielded from the surrounded buildings by a wall that partly seves as facade.

    the analysis describes the divisions of the plot through an added grid based on the distributed area from the ground principle. The plan is reduced in size and arranged to scale in relation to the grid and creates three new patterns and outcomes.

    FAR 136 m2

    ca: 60% of GFA

    plot 89 m2

    ca: 40% of GFA

    FAR 123 m2

    ca: 55% of GFA

    plot 102 m2

    ca: 45% of GFA

    FAR 110 m2

    ca: 50% of GFA

    plot 115 m2

    ca: 50% of GFA

    type 1 type 2 type 3

    36

    00

    15

    00

    07

    80

    0

    semi private area

    screening

    private area

    private - publicthe units are shielded and programmed into private and semi private areas. - - - - - -

    type 3

    Intro, bakgrund

    Att skapa mening genom att ordna, frdela, systematisera och strukturera freml samt ge dem en bestmd plats i en rymd var ngra av ingngarna i det hr frslaget. Projektet handlade om att lra sig utveckla en bestmd metod att jobba efter fr att p ett effektivt stt kunna forcera en process.Projektet har baserats p en analys av Jrn Utzons grundprincip fr radhus som han arbetade fram 1953 (Sknska hustyper). Ett urval avintressanta punkter frn analysen har plockats ut, omarbetats och vidareutvecklats fr att anpassas till projektet.

    Avskrmning

    En viktig frgestllning, frga var hur de separerade enheterna skulle skrmas av frn varandra utan att avskrmningen skulle bli fr solid och utestnga den omkringliggande naturen, miljn.

    Fasaden skapar, bidrar till att sudda ut grnsen mellan ute och inne och skapar rumsligheter.

    (och skymma platsen kvalitativa vyer)

    Den yttre fasadens pinnstruktur och vertikalitet har hmtats frn platsens snrskog och inspirerade till utformningen av avskrmnin-gen. Den omringande strukturen relaterar till husets program genom intensitet och rytm.Pinnfasaden skrmar av enheterna ifrn varandra men tillter samti-digt en viss transparents som kamoflerar husen till sin omgivning.

    Platsens tta snrskog och vertikalitet inspirerade till att brja jobba med ngon slags vertikal pinnstruktur som framhvde speglade platsens .

    - - - - - -semi private area

    screening

    private area- - - - - -

    type 2

    semi private area

    screening

    private area

    type 1

    plot area 64 m2

    ca: 30 % of GFA

    screening

    FAR 161 m2

    ca: 70% of GFA

    basic principle

    backgroundThe basic principle, Sknska house types in 1953, Jrn Utzon.The basic principle consists of a 15 x 15 m (GFA 225 m2)squared plot that allows a varied housing around a courtyard. The site is shielded from the surrounded buildings by a wall that partly seves as facade.

    the analysis describes the divisions of the plot through an added grid based on the distributed area from the ground principle. The plan is reduced in size and arranged to scale in relation to the grid and creates three new patterns and outcomes.

    FAR 136 m2

    ca: 60% of GFA

    plot 89 m2

    ca: 40% of GFA

    FAR 123 m2

    ca: 55% of GFA

    plot 102 m2

    ca: 45% of GFA

    FAR 110 m2

    ca: 50% of GFA

    plot 115 m2

    ca: 50% of GFA

    type 1 type 2 type 3

    36

    00

    15

    00

    07

    80

    0

    semi private area

    screening

    private area

    private - publicthe units are shielded and programmed into private and semi private areas. - - - - - -

    type 3

    Intro, bakgrund

    Att skapa mening genom att ordna, frdela, systematisera och strukturera freml samt ge dem en bestmd plats i en rymd var ngra av ingngarna i det hr frslaget. Projektet handlade om att lra sig utveckla en bestmd metod att jobba efter fr att p ett effektivt stt kunna forcera en process.Projektet har baserats p en analys av Jrn Utzons grundprincip fr radhus som han arbetade fram 1953 (Sknska hustyper). Ett urval avintressanta punkter frn analysen har plockats ut, omarbetats och vidareutvecklats fr att anpassas till projektet.

    Avskrmning

    En viktig frgestllning, frga var hur de separerade enheterna skulle skrmas av frn varandra utan att avskrmningen skulle bli fr solid och utestnga den omkringliggande naturen, miljn.

    Fasaden skapar, bidrar till att sudda ut grnsen mellan ute och inne och skapar rumsligheter.

    (och skymma platsen kvalitativa vyer)

    Den yttre fasadens pinnstruktur och vertikalitet har hmtats frn platsens snrskog och inspirerade till utformningen av avskrmnin-gen. Den omringande strukturen relaterar till husets program genom intensitet och rytm.Pinnfasaden skrmar av enheterna ifrn varandra men tillter samti-digt en viss transparents som kamoflerar husen till sin omgivning.

    Platsens tta snrskog och vertikalitet inspirerade till att brja jobba med ngon slags vertikal pinnstruktur som framhvde speglade platsens .

    - - - - - -semi private area

    screening

    private area- - - - - -

    type 2

    semi private area

    screening

    private area

    type 1

    plot area 64 m2

    ca: 30 % of GFA

    screening

    FAR 161 m2

    ca: 70% of GFA

    basic principle

    bakgrundGrundprincipen, Sknska hustyper 1953, Jrn Utzon.Grundprincipen bestr av en 15 x 15 m (BTA 225 m2) kvadratisktomt som tillter en varierad bebyggelse runt en innergrd. Tomten avskrmas frn den omkringliggande bebyggelsen med hjlp av en teglad mur som ocks delvis utgr husets fasad.

    I analysen tydliggrs tomtens indelning i plan genom ett adderat rutntbaserat p grundprincipens ytfrdelning.Planen frminskas och arrangeras skalenligt utifrn rutntet fr att skapa tre nya mnster och utfall.

    BYA 136 m2

    ca:60% av BTA

    Grd 89 m2

    ca:40% av BTA

    BYA 123 m2

    ca:55% av BTA

    Grd 102 m2

    ca:45% av BTA

    BYA 110 m2

    ca:50% av BTA

    Grd 115 m2

    ca:50% av BTA

    typ 1 typ 2 typ 3

    3600150007800

    Semi privat yta

    Avskrmning

    Privat yta

    privat - offentligtEnheterna skrmas av och programmeras in i privata och semi privata ytor. - - - - - -

    typ 3

    Semi privat yta

    Avskrmning

    Privat yta- - - - - -

    typ 2

    Semi privat yta

    Avskrmning

    Privat yta

    typ 1

    - - - - - -Grdsomrde 64 m2

    ca:30 % av BTA

    Avskrmning

    BYA 161 m2

    ca:70% av BTA

    grundprincipen

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

    Rundstav, 80 Plywood, 18Luftspalt, lkt, 22VindsprrPlywood, 12Stomme, isolering, 145Stomme, isolering, 45ngsprrPlywood, 12Gips, 13

    Vgg

    Upplag, tryckimpregnerat 45x145Blindbotten av rspont 22x120Stomme, isolering 220Plywood, 12Spontat, massivt grangolv 30x160

    Golv

    Takpapp med skifferkrossUnderlagspappRspont, 22x120Luftspalt, min 45x95Board, 4Stomme, isolering, 220Lkt, 22x95Gips, 13Tak

  • sticks nmaterial-room-detailinstructors: Anna Pang & Erik Stenberg year 2 KTH architecture 2009

    Rundstav, 80 Plywood, 18Luftspalt, lkt, 22VindsprrPlywood, 12Stomme, isolering, 145Stomme, isolering, 45ngsprrPlywood, 12Gips, 13

    Vgg

    Upplag, tryckimpregnerat 45x145Blindbotten av rspont 22x120Stomme, isolering 220Plywood, 12Spontat, massivt grangolv 30x160

    Golv

    Takpapp med skifferkrossUnderlagspappRspont, 22x120Luftspalt, min 45x95Board, 4Stomme, isolering, 220Lkt, 22x95Gips, 13Tak

  • 03. Restaurang med takterassRestaurang- hg standard med fri utsikt ver Nybroviken.

    01. UtstllningarHr ligger samtliga utstllningar samt tv mindre hrsalar.

    EntrplanStor ppen entrhall med caf, bokshop och introutstllning.

    00.

    02. Administration och bibliotekBiblioteket kan nyttjas bde av beskarna och forskarna och bildar en naturlig mtespunkt

    Auditorium och verkstderP nedre plan ligger auditoriu-met med en stor loungeyta

    -1.Byggnadens strukturella system r ett geometrisk mnster som sprungit ur en indelning av den triangulra formen ptomten. Den brande konstruktionen bestr primrt av tre schakt som lper igenom hela byggnaden och som br en balkrost av IPE-balkar. Konstruktionen mjliggr lnga spannvidder och ger en innre ppen planlsning som lmpar sig vl fr utstllningarna. Iden r en generell, bestndig byggnad med ett spnnande frnderligt innre.

    Nobelmuseum p BlasieholmenPlats: Jag har valt att placera nya Nobelmuseum p Blasieholmen. Platsen r centralt belgen, inte bara stadsmssigt, utan ocks med tanke p de omkringliggande kulturella instutionerna som National-museum, Moderna museet och stasiatiska museet. Nobelmuseets tvrvetenskapliga profil som bde museum och administrativ instu-tition skulle fungera bra och berika platsen samt skapa en brygga mellan Blasiholmens administrativa byggnader och Skeppsholmens museer. Iden r att genom sin placering kunna integrera Nobelmu-seums tekniska profil och berika omrdets annars mer traditionella museum.

    Struktur: Byggnaden frlnger och avslutar den befintliga kvar-tersstrukturen p udden. Byggnaden r i relation till den vriga bebyggelsen p platsen en lg byggnad. Strukturen frhller sig till kajen och vattenrummets horisontalitet vilket bevarar siktlinjerna frn Strandvgen och uddens siluett. Den lga byggnaden bidrar ocks till att museiparken i sydvst, dr ocks huvudentrn ligger, frblir relativt ljus.

    Inre Logik: Byggnaden r utformad och uppdelad efter program-met i olika plan. Ambitionen var att gra en tydlig och ltt lsbar byggnad fr beskarna. Tanken r att man redan nr man nrmar sig byggnaden utifrn kan se de olika skikten av programmet. Denvertikala kommunikationen mellan planen sker i de tre centralt belgna schakten som innehller trappor och hissar. Den cen-trala placeringen av den vertikala kommunikationen bidrar till att beskaren ltt kan f en verblick och orientera sig i byggnaden. Byggnaden fr ett ppet uttryck och entrplanet skall vara en p-pen/offentlig yta, som en del av staden dr man kan vistas fritt utan att behva betala.

    situationsplan skala 1:2000

    konstruktionsprincip

    entr och foaj situation

    Jonatan Ahlmark KTH Arkitektur k 3 Kandidatexamen Maj 2009 Nobelmuseum Blasieholmen Lrare: Anna Karin Edblom, Csar Patn Lapausa, K ansvarig: Alexis Pontvik

    q -7000

    q +/-0

    q +5850

    q +6680

    q +13856

    q +14680

    q +18569

    q +19800

    q +24650

    bibliotek

    reception

    arkiv

    bokvrd

    repro

    kontor nobelmuseum

    forskaravdelning

    web-gruppen

    personal

    sammantrde

    tillflliga utstllningar

    permanent utstllning

    pantheonAlfred Nobelslaboratoriumfilmvisning

    filmvisning

    arbetsyta

    introutstllning

    entr/foaj

    bokshop

    lager

    caf

    inlastning

    reception

    konferenscenter

    turistcenter

    Jonatan Ahlmark KTH Arkitektur k 3 Kandidatexamen Maj 2009 Nobelmuseum Blasieholmen

    utstllningsplan administration och bibliotek sektion skala 1:800

    02.01.

    00.

    entrplan entr situation

    Lrare: Anna Karin Edblom, Csar Patn Lapausa, K ansvarig: Alexis Pontvik

    Nobelmuseum p Blasieholmen

    08nobelmuseum nbachelorinstructors: Anna-Karin Edblom & Csar Patn Lapausa year 3 KTH architecture 2010

    nobelmuseum nbachelorLocation: I have chosen to place the new Nobel Museum on Blasieholmen. The place is centrally located, not just the city rate, but also in view of the surrounding cultural institutions like the National Museum, Museum of Modern Art and East Asian Museum. Nobel Museum interdisciplinary profile, as both museum and administrative institution would work well and enrich the site and creating a bridge between Blasieholmens administrative buildings and Skeppsholmens museums. The idea is through the location to integrate the Nobel Museums technical profile and enhancing the areas otherwise more traditional museums.

    Structure: The building extends and completes the existing block structure on the cape. The building is in relation to the other buildings on the site a low building. The structure is related to the quay and water space horizon preserving the lines of sight from Strandvgen and the cape silhouette. The low building also contributes to that the museum park in the southwest, where also the main entrance is located remain relatively light.

    Internal Logic: The building is constructed and broken down by the program in different levels. The ambition was to make a clear and legible building for visitors. The idea is that, right when approaching the building from the outside you can see all the different layers of the program. The vertical communication between the levels is done in the three central shafts containing stairs and elevators. The central placement of the vertical communication helps the visitor to easily get an overview and orientation of the building. The building gives an open expression, and the entry level should be an open / public space, as part of the city where one can live freely without having to pay.

    design principleThe buildings structural system is a geometric pattern that evolved from a division of the triangular shape of the plot. The supporting structure consists primarily of three shafts that run through the whole house and carrying a bar grate of IPE beams. The design allows for long span lengths and provides an internal open space that is well suited for exhibitions.

    The idea is a general, constant building with an exciting changeable interior.

    The old Customs House has been preserved and used as a tourist center and conference center. The museums northern faade is covered with slats to form a feature wall behind the old house and highlight its character and an exciting meeting between new and old.

    restaurant with roof terracerestaurant with a high standard and provides an open view over Nybroviken

    administration and librarythe library can be used both by visitors and researchers and provides a natural meeting point

    exhibitionsall the exhibitions is located at this level and two smaller auditoriums

    ground floora large open entrance hall with a cafe, book shop and intro exhibition

    auditorium and workshopson the lower floor the auditoriumis located and a large luonge area

  • 03. Restaurang med takterassRestaurang- hg standard med fri utsikt ver Nybroviken.

    01. UtstllningarHr ligger samtliga utstllningar samt tv mindre hrsalar.

    EntrplanStor ppen entrhall med caf, bokshop och introutstllning.

    00.

    02. Administration och bibliotekBiblioteket kan nyttjas bde av beskarna och forskarna och bildar en naturlig mtespunkt

    Auditorium och verkstderP nedre plan ligger auditoriu-met med en stor loungeyta

    -1.Byggnadens strukturella system r ett geometrisk mnster som sprungit ur en indelning av den triangulra formen ptomten. Den brande konstruktionen bestr primrt av tre schakt som lper igenom hela byggnaden och som br en balkrost av IPE-balkar. Konstruktionen mjliggr lnga spannvidder och ger en innre ppen planlsning som lmpar sig vl fr utstllningarna. Iden r en generell, bestndig byggnad med ett spnnande frnderligt innre.

    Nobelmuseum p BlasieholmenPlats: Jag har valt att placera nya Nobelmuseum p Blasieholmen. Platsen r centralt belgen, inte bara stadsmssigt, utan ocks med tanke p de omkringliggande kulturella instutionerna som National-museum, Moderna museet och stasiatiska museet. Nobelmuseets tvrvetenskapliga profil som bde museum och administrativ instu-tition skulle fungera bra och berika platsen samt skapa en brygga mellan Blasiholmens administrativa byggnader och Skeppsholmens museer. Iden r att genom sin placering kunna integrera Nobelmu-seums tekniska profil och berika omrdets annars mer traditionella museum.

    Struktur: Byggnaden frlnger och avslutar den befintliga kvar-tersstrukturen p udden. Byggnaden r i relation till den vriga bebyggelsen p platsen en lg byggnad. Strukturen frhller sig till kajen och vattenrummets horisontalitet vilket bevarar siktlinjerna frn Strandvgen och uddens siluett. Den lga byggnaden bidrar ocks till att museiparken i sydvst, dr ocks huvudentrn ligger, frblir relativt ljus.

    Inre Logik: Byggnaden r utformad och uppdelad efter program-met i olika plan. Ambitionen var att gra en tydlig och ltt lsbar byggnad fr beskarna. Tanken r att man redan nr man nrmar sig byggnaden utifrn kan se de olika skikten av programmet. Denvertikala kommunikationen mellan planen sker i de tre centralt belgna schakten som innehller trappor och hissar. Den cen-trala placeringen av den vertikala kommunikationen bidrar till att beskaren ltt kan f en verblick och orientera sig i byggnaden. Byggnaden fr ett ppet uttryck och entrplanet skall vara en p-pen/offentlig yta, som en del av staden dr man kan vistas fritt utan att behva betala.

    situationsplan skala 1:2000

    konstruktionsprincip

    entr och foaj situation

    Jonatan Ahlmark KTH Arkitektur k 3 Kandidatexamen Maj 2009 Nobelmuseum Blasieholmen Lrare: Anna Karin Edblom, Csar Patn Lapausa, K ansvarig: Alexis Pontvik

    q -7000

    q +/-0

    q +5850

    q +6680

    q +13856

    q +14680

    q +18569

    q +19800

    q +24650

    bibliotek

    reception

    arkiv

    bokvrd

    repro

    kontor nobelmuseum

    forskaravdelning

    web-gruppen

    personal

    sammantrde

    tillflliga utstllningar

    permanent utstllning

    pantheonAlfred Nobelslaboratoriumfilmvisning

    filmvisning

    arbetsyta

    introutstllning

    entr/foaj

    bokshop

    lager

    caf

    inlastning

    reception

    konferenscenter

    turistcenter

    Jonatan Ahlmark KTH Arkitektur k 3 Kandidatexamen Maj 2009 Nobelmuseum Blasieholmen

    utstllningsplan administration och bibliotek sektion skala 1:800

    02.01.

    00.

    entrplan entr situation

    Lrare: Anna Karin Edblom, Csar Patn Lapausa, K ansvarig: Alexis Pontvik

    Nobelmuseum p Blasieholmen

    08nobelmuseum nbachelorinstructors: Anna-Karin Edblom & Csar Patn Lapausa year 3 KTH architecture 2010

    nobelmuseum nbachelorLocation: I have chosen to place the new Nobel Museum on Blasieholmen. The place is centrally located, not just the city rate, but also in view of the surrounding cultural institutions like the National Museum, Museum of Modern Art and East Asian Museum. Nobel Museum interdisciplinary profile, as both museum and administrative institution would work well and enrich the site and creating a bridge between Blasieholmens administrative buildings and Skeppsholmens museums. The idea is through the location to integrate the Nobel Museums technical profile and enhancing the areas otherwise more traditional museums.

    Structure: The building extends and completes the existing block structure on the cape. The building is in relation to the other buildings on the site a low building. The structure is related to the quay and water space horizon preserving the lines of sight from Strandvgen and the cape silhouette. The low building also contributes to that the museum park in the southwest, where also the main entrance is located remain relatively light.

    Internal Logic: The building is constructed and broken down by the program in different levels. The ambition was to make a clear and legible building for visitors. The idea is that, right when approaching the building from the outside you can see all the different layers of the program. The vertical communication between the levels is done in the three central shafts containing stairs and elevators. The central placement of the vertical communication helps the visitor to easily get an overview and orientation of the building. The building gives an open expression, and the entry level should be an open / public space, as part of the city where one can live freely without having to pay.

    design principleThe buildings structural system is a geometric pattern that evolved from a division of the triangular shape of the plot. The supporting structure consists primarily of three shafts that run through the whole house and carrying a bar grate of IPE beams. The design allows for long span lengths and provides an internal open space that is well suited for exhibitions.

    The idea is a general, constant building with an exciting changeable interior.

    The old Customs House has been preserved and used as a tourist center and conference center. The museums northern faade is covered with slats to form a feature wall behind the old house and highlig