Uma2 mid term review briefs

UMA 2 Occupying the Hinterland - Holmsund PeninsulaUMA2

Occupying the Hinterland2013 - Holmsund Peninsula

SEMESTER 01MID-TERM

EXTERNALREVIEWS

Metaphysics: On the Platform of the City

UMA2: Bachelors Project 2nd year

Within the general objective of educating students in the theory, practice and communication of Architecture and Space, UMA 2 is structured on the basis of three interrelated and often overlapping issues: the city, as a common platform; the private - the public and their in-between relationship; the interface, as a mediator of communication. These issues create the filter, through which we study and question the prevailing architectural techniques, in order to sharpen the student's spatial understanding and sensibility and to enrich their spatial vocabulary.

With the aim to propose an integrated and holistic way of thinking and acting within the field of architecture the three core issues role: They are objects in focus as well as methodological tools. This is a strategic decision in order to make the students aware of the complex, versatile and multi-parametric character of design. The students carry out semester-long assignments (ranging from housing projects to urban planning projects) as well as short-term workshops supporting the central assignments.

In the third and fourth semesters at UMA (2nd year) we deal with relationships and elements of composition of space, at different scales, in the context of the city. The focus of second year lies on how to approach a project, from the site analysis, concept development, production of architectural drawings, models and communication of ideas.

We approach the different projects of second year as parts of a chain, where each part prepares for and leads to the next one and all of them have the city as their common ground and reference. We form a methodological pattern through which we intend to have a holistic and multi-parametric approach, integrate the different aspects that affect design and encourage the students to think simultaneously on a variety of levels that relate back to the role of architecture in the city.

The theme chosen for this year in UMA2 is coexistence. How can the design proposals we make be informed by coexistence? Can we use this theme to aid in our mapping and our critique of living in the city?

UMA 2 Occupying the Hinterland - Holmsund Peninsula

INTRODUCTION TO SEMESTER 01 MID-TERM EXTERNAL REVIEWS

Holmsund is located on the Lövön peninsula at the delta of the Ume river. The first permanent settlement in the area dates back to the end of the 18th century, where a community was established on Lövön. Farmers from Umeå used this area for summer livestock grazing until the 19th century. Holmsund is part of the Umeå Municipality in Västerbotten County an the ‘town’ has roughly 6,000 inhabitants. It is located 18 km south of the city of Umeå and serves as a port and a commuting destination for many its working population. Holmsund and neighbouring Obbola have grown around their timber and paper industries o since the late 19th century. This industry gives Holmsund strong national rail links while its port also acts as a ferry service connection to the Finnish port of Vaasa.

UMA2 believes that this is just the start in what could be a continued study on ‘towns’ of this scale in northern Sweden which are local to Umeå School of Architecture. In this semester we would like to map what it is like to live and work in Holmsund and investigate if a revised approach or response to housing can aid or generate transformation within studied residential areas. It is our intention not only to record the physical context of Holmsund but to also understand the life that it holds. We also propose to present our research and design proposals to the Local Kommun with city architect Olle Forsgen attending reviews and giving continuous feedback.

At the time of these reviews students have spent the first half of this semester (Moment 01) mapping Holmund and roughly a quarter of the semester on their group and individual design proposals (they are half way through the design exercise, Moment 02). Their mapping was carried out (in groups of roughly eight) at a range of scales. These groups were then asked to make a proposal of a settlement for

dwelling (with each member contributing a household or space for inhabitation each) in the different residential typologies/areas of Holmsund through negotiation and examine if a strategy for dwelling can generate or accelerate positive transformation through our main theme of coexistence.


http://en.wikipedia.org/wiki/Ume%C3%A5_Municipality

http://en.wikipedia.org/wiki/Ume%C3%A5_Municipality

http://en.wikipedia.org/wiki/V%C3%A4sterbotten_County

http://en.wikipedia.org/wiki/V%C3%A4sterbotten_County

http://en.wikipedia.org/wiki/Ume%C3%A5

http://en.wikipedia.org/wiki/Ume%C3%A5

http://en.wikipedia.org/wiki/Obbola

http://en.wikipedia.org/wiki/Obbola

http://en.wikipedia.org/wiki/Vaasa

http://en.wikipedia.org/wiki/Vaasa


V1.2 p.1

UMA 2Occupying the Hinterland2013 - Holmsund PeninsulaMapping - Moment 01

Studio Activities V1.2

Table of ContentsIntroduction 3

Program Moment 01 (From Week 01 to Week 06) 3

Group Study Areas 4

Holmsund Ariel Photo Showing Study Areas 5

Groups 6

Mapping Briefs 7

Scale 01 - Artifacts of Inhabitation - Individual 8

Scale 02 - From Inside to Outside - Individual 11

Scale 03 - Street Life - Group 15

Scale 03 - Backlands - Group 21

Scale 04 - Neighborhood Context Slice - Group 26

Scale 04 - Perceptions of Neighborhood - Group 28

Scale 05 - Experience of Distance and Speed - Group 31

Villas Workshop - Brief and References 35

Villas Workshop with Jan-Richard Kikkert 36

Studio Schedule 39

Group Schedules 40

Studio Guidelines 42

V1.2 p.2

Introduction

Holmsund offers Umeå School of Architecture a unique opportunity to understand a particular culture of inhabitation, one which must come to terms with a unique geographical location, localised cultures and customs while relating outwards to the globalised experience of living.

Moment 01 concentrates our investigation on the Neighborhoods and Houses of Holmsund. It is the intention of UMA 2 to not only record the physical context of Holmsund but to also understand the life that it holds.

There are five conceptual scales of investigation, 01 Artifacts of Coexistence, 02 Room and Garden, 03 Streets and Backlands, 04 Neighborhood and 05 Journey. These scales are not exclusive representations of Holmsund. They are suggested focal points to relate on the ground experience to a larger framework of coexistence. The drawing and study examples given have been selected as a guide to start the mapping and recording of Holmsund. They are not explicit representations of the required contents of the study, this content will be formed out of your own recording of Holmsund, dialogue with your colleagues and guidance from the studio staff.

Program Moment 01 (From Week 01 to Week 06)

11 2 33 4444 555 66

IntroIntro Map VillaVilla MapMapReview

TripHistoryHistory Present and FormatPresent and Format

Presentation on Investigation for the year

Presentation on Investigation for the year

Map Briefs-Group Tutorials




Brief-Coexistence and Intervention

Brief-Coexistence and Intervention

Presentation Focus - Brief and Workshop


77

Review InternalReview Internal


V1.2 p.3

Group Study Areas


V1.2 p.4

01

02

03

04

0506

07

Holmsund Ariel Photo Showing Study Areas

V1.2 p.5 Not To Scale

Groups

1 1. Albin Karlsson

2. Caroline Mellberg

3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

2 1. Alexander Hultman

2. Cecilia Hansson

3. Erik Nord

4. Johanna Andersson

5. Linnea Carlberg

6. Oscar Forsman

7. Tania Rönnbäck Haitto

1. Alexander Hultman

2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman


3 1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

4 1. Anna Kassberg

2. Christoffer Hansen

3. Hanna Skog

4. Johannes Ellebrant

5. Ludvig Widman

6. Mattias Kallin

7. Jessica Nilsson

8. Viktor Lindström

5 1. Anna Kristinsdottir

2. Clara Harlin

3. Henrik Wrennö

4. Jonathan Mårtensson

5. Magdalena Salmi

6. Max-Leonard Ryden

7. Viktoria Ottosson

8. Viktor Fagrell

6 1. Annika Nalin

2. Ida Wressel

3. Julia Hannu

5. Maja Dylin

6. Robin Larsson

7. Jessica Londmark

7 1. Anton Ljungdell

2. Jens Alexandersson

3. Kim Lidman

4. Sara Gibrand

5. Ebba Nyberg

6. Malin Holmbom

7. Sofia Wettainen


V1.2 p.6

Mapping Briefs


V1.2 p.7

Scale 01 - Artifacts of Inhabitation - Individual

Individual No. Mappers Artifacts of inhabitation

Garages 1

Example: Work in teams and make two surveys in less time.

Locate a house in your study area.

Make a measured survey of the garage.

Make a 1:20 Inventory Line Drawing demonstrating the contents of the garage. Present Floor Plan, Ceiling Plan, Internal Elevations, External Elevation and Section.

Interview the house occupants and discuss the contents of their garage and how it helps them to live in Holmsund.

Make a photographical study and select two photographs that best describe the garage.

Write no more than 300 words reflecting on the relationship of the garage to Holmsund.


V1.2 p.8


Blokes and Their Sheds: Mark ThomsonBlokes and Their Sheds: Mark ThomsonBlokes and Their Sheds: Mark Thomson

V1.2 p.9


Sarah Wigglesworth and Jeremy Till Dinning Table: Increasing Disorder In A Dining Table



http://www.ediblegeography.com/dining-disorder/how-to-lay-a-dinner-tabel/http://www.ediblegeography.com/dining-disorder/how-to-lay-a-dinner-tabel/http://www.ediblegeography.com/dining-disorder/how-to-lay-a-dinner-tabel/

V1.2 p.10

Scale 02 - From Inside to Outside - Individual

Individual From Inside to Outside

Example: Work in teamsand make two-three surveys in less time.

Locate a house in your study area.

What kind of room or space for certain activity people have facing the street ?

How they represent themselves to the strangers and neighbours?What are the relationships between their inner and outer rooms and activities?

Observe and analyse the relationships between rooms including certain activities people have facing the street.

Identify what is obstructing or reinforcing relations between inside and outside.

Approach the owner and ask if it is possible to survey their house and garden.

Make a photographical study of the condition and select two photographs that best describe the relationships you have focused on.


V1.2 p.11


Make a 1:50 Line Drawing demonstrating Floor Plan, Section and Elevations of the external and internal conditions of the room(s) facing the street. Include the loose contents of the space as well as the exterior furniture and landscape. The drawing should communicate the relationship between interior and exterior conditions.

Interview the house occupants and discuss their daily activities in relation to inner rooms (house) and outer rooms (garden), and mental borders of their territory. Draw plans of their houses together with them.

Write no more than 300 words reflecting on the relationship between inner and outer worlds.

Reference Project for inner and outer rooms : Frank Lloyd Wright : Falling water

V1.2 p.12


Studio Bow Wow: JA House GenologyStudio Bow Wow: JA House GenologyStudio Bow Wow: JA House Genology

Inside to outside conditionInside to outside conditionInside to outside condition

V1.2 p.13


Studio Bow Wow: JA House GenologyStudio Bow Wow: JA House GenologyStudio Bow Wow: JA House Genology

V1.2 p.14

Scale 03 - Street Life - Group


V1.2 p.15

Group Street Life

Locate a typical urban street in your study area. Approach the owners and ask if it is possible to carry out a survey of these backlands.

Make a 1:200 Plan line drawing of your selected street showing the following: Buildings, Driveways and front Gardens, Boundaries. Side walks and street furniture including vehicles and services such as lighting and telephone.

From this plan make a series of drawings extracting information that identifies the shared spaces. Study and classify different types of spaces, according to its level of collectivity, from the most public space to the most private ones, paying special attention to the transitional/shared/in-between spaces.

Make a 1:200 isometric line drawing of the street including a description of the following topics:

SUBSTRATE – Drainage, services, sewage, water supply.

MEDIUM - Trees, fauna, ground, geology, weather.

OBJECT – Dwelling, sheds, outhouses, furniture, fence/walls, cars.

EVENT – Sport, use, activity, informal activities/pastime.

Make a series of one point perspective drawings at intervals along the street that best illustrate the character of your study area.

Each member of group is to make a 1:50 isometric tectonic drawing showing material and construction of a unique condition on the street.

Make a photographical study and select two photographs that best describe the street life condition. Write a 200 word essay describing how your street contributes to coexistence of its residents.

V1.2 p.16

Group Street Life

Allan Jacobs - Great StreetsAllan Jacobs - Great StreetsAllan Jacobs - Great Streets

V1.2 p.17

Group Street Life

Ref: Gordon Matta-Clark, Reality Properties, Fake States, 1973.Ref: Gordon Matta-Clark, Reality Properties, Fake States, 1973.Ref: Gordon Matta-Clark, Reality Properties, Fake States, 1973.

Leon Krier: Figure Ground Analysis Showing Urban Grain and FabricLeon Krier: Figure Ground Analysis Showing Urban Grain and FabricLeon Krier: Figure Ground Analysis Showing Urban Grain and Fabric

V1.2 p.18

Group Street Life

Kris Scheerlinck: Territorial Depth Analysis of a StreetKris Scheerlinck: Territorial Depth Analysis of a StreetKris Scheerlinck: Territorial Depth Analysis of a Street

V1.2 p.19

Group Street Life

Student Work Sint Lucas School Student Work Sint Lucas School Student Work Sint Lucas School

Michal Janak, Landscape of the Uncertain (Diploma Project)Michal Janak, Landscape of the Uncertain (Diploma Project)Michal Janak, Landscape of the Uncertain (Diploma Project)

V1.2 p.20

Scale 03 - Backlands - Group


V1.2 p.21

Group Backlands

Locate the back gardens of a typical urban street in your study area. Approach the owners and ask if it is possible to carry out a survey of these backlands.

Make a 1:200 Plan line drawing of the backlands showing the following: boundary/threshold, landscape, geology, and paths/routes. Add any specific found conditions to the drawing.

From this plan make a series of drawings extracting information that identifies the shared spaces. Study and classify different types of spaces, according to its level of collectivity, from the most public space to the most private ones, paying special attention to the transitional/shared/in-between spaces.

Make a 1:200 isometric line drawing of backlands including a description of the following topics:

SUBSTRATE – Drainage, services, sewage, water supply.

MEDIUM - Trees, fauna, ground, geology, weather.

OBJECT – Dwelling, sheds, outhouses, furniture, fence/walls, cars.

EVENT – Sport, use, activity, informal activities/pastime.

Each member of group is to make a 1:50 isometric tectonic drawing showing material and construction of a threshold or boundary within the study area.

Make a photographical study and select two photographs that best describe the backlands condition. Write a 200 word essay on relationships between all back gardens and moments of co-existence.

V1.2 p.22

Group Backlands

Photograph from HolmsundPhotograph from HolmsundPhotograph from Holmsund

Atelier Bow Wow: JA House GenealogyAtelier Bow Wow: JA House GenealogyAtelier Bow Wow: JA House Genealogy

V1.2 p.23

Group Backlands

Lars Lerup One Million Acres and No ZoningLars Lerup One Million Acres and No ZoningLars Lerup One Million Acres and No Zoning

V1.2 p.24

Group Backlands

Tom Emerson ETH Study GalwayTom Emerson ETH Study GalwayTom Emerson ETH Study Galway

V1.2 p.25

Scale 04 - Neighborhood Context Slice - Group

Group Neighborhood Context Slice

With you group tutor identify a slice through the urban grain of your neighborhood.

Make a sectional 1:100 Model demonstrating a slice though your study area showing all contexts mapped in the backlands and street life mapping analysis.

Models to be made in brown card.

A2 Architects: Various Card Models PaintedA2 Architects: Various Card Models PaintedA2 Architects: Various Card Models Painted


V1.2 p.26

Group Neighborhood Context Slice

V1.2 p.27

Scale 04 - Perceptions of Neighborhood - Group

All Groups No. Mappers Perceptions of Neighborhood

Divide Your group in teams of 2 and make four surveys in less time. Then merge the results in collective map.

- What are the daily roots, habits and routines of the residents living in your area?- How they perceive the limits of their territory, neighborhood ?- What are their relations to the town ?

Interview different people on the street in your study area, discuss their daily activities in relation to their movements through the town, points of attractions in the town, their habits and routines, and mental borders of their territory.

Ask each of them to draw their roots and map the objects together with you on the tracing paper laid on the map of the town. (Use different colors focusing on the week days and weekends).

Make a 1:500 map demonstrating the infrastructure of holmsund and it relationship to the study neighborhood . Present a site plan of the neighborhood or town if needed, including roads, buildings, topography, trees and other objects on the site, overlaying information from interviews (roots, objects, borders of their territory).

Write no more than 300 words reflecting on the relationship you found.


V1.2 p.28


UMA 2 - Mapping Umeå 2011UMA 2 - Mapping Umeå 2011UMA 2 - Mapping Umeå 2011

UMA 2 - Mapping Umeå 2011UMA 2 - Mapping Umeå 2011UMA 2 - Mapping Umeå 2011

V1.2 p.29


Tom Emerson ETH: Galway SurveyTom Emerson ETH: Galway SurveyTom Emerson ETH: Galway Survey

V1.2 p.30

Scale 05 - Experience of Distance and Speed - Group

Group Work Resources Experience of Distance and Speed

Site plan

Journey MapDrive

Team of two1.5 Day

Example:

Drive or cycle from Umeå to Holmsund Ferry Terminal including the end of the peninsula via Holmsund Town Centre. Take a packed lunch and find a place to enjoy your meal.

Task - Record the spatial experience of distance and speed.

Using the maps of Vasterbotten plan two points to drive between that intersect with Holmsund and your study site.

Record all points at which infrastructure cross your pathRecord all moments that define the character of the journeyRecord all specific conditions, housing, leisure, forest, river, industry etc.Record the space made by your picnic in drawing format.Talk to a minimum five locals. How do they occupy the Hinterland?

Make a 1 minute video of the journey.

On a map at an appropriate scale mark your route and place photographic and written evidence of the journey next to the points on the map.

All information should be presented on 1 A1 Drawing

Reference Alice and Peter Smithson As to DsOne Million Acres and No Zoning: Lars Lerup


V1.2 p.31


AS IN DS: An Eye on the Road: Alison SmithsonAS IN DS: An Eye on the Road: Alison SmithsonAS IN DS: An Eye on the Road: Alison Smithson


V1.2 p.32



One Million Acres & No Zoning Lars LerupOne Million Acres & No Zoning Lars LerupOne Million Acres & No Zoning Lars Lerup

V1.2 p.33


One Million Acres & No Zoning Lars Lerup

One Million Acres & No Zoning Lars Lerup

V1.2 p.34

Villas Workshop - Brief and References


V1.2 p.35

Villas Workshop with Jan-Richard Kikkert

Group of 2 Brief

First assignment: build with a colleague-student a 1:100 model of one of the houses listed below. Since they are canonical examples, material will be easily found on the internet. Contact me if you really cannot find floor plans etc. Not having a fantastic model is not an option.

Important is to include the site: size and topography Try to make the model as precise as you can but it has to be finished when you present it on Monday morning September 16.

[email protected]

All models are to be built in white card

List of Proposed Houses


V1.2 p.36

mailto:[email protected]

mailto:[email protected]

Group of 2 Brief

Adolf Loos Haus Tristan Tzara, Paris (1925)

villa for Milada and František Müller, Prague

(1928-30)

Mies Van der Rohe Tugendhat House, Brno (1930)

Farnsworth House, Plano (1951)

Frank Lloyd Wright Pope-Leighey house (1940)

John C. and Ruth Pew house (1940)

Bruce Goff Ruth Ford House, Aurora, Illinois

(1949)

Bavinger House, Oklahoma (1955)

Le Corbusier Villa Sarabhai, Ahmedabad (1955)

Villa Shodhan, Ahmedabad (1956)

Gerrit Rietveld House for Hubrecht van den Doel,

Ilpendam (1959)

List of Proposed Houses Continued

V1.2 p.37

House for Bart van Slobbe, Zandweg 122, Heerlen

(1964)

Pierre Koenig Case Study House #22 (1960)

Iwata House (1963)

John Lautner Harpel 2, Anchorage, Alaska (1966)

Stevens house, Malibu (1968)

Richard Neutra Haus Kemper, Wuppertal (1967)

Haus Pescher, Wuppertal (1969)

Louis Kahn Fisher house (1967)

Korman house (1971)

Richard Meier Mr. and Mrs. Fred Smith house

(1967)

Jim and Jean Douglas house (1973)

Juliaan Lampens Vandenhaute-Kiebooms house

(1967)

van Wassenhove house (1974)

Rem Koolhaas / OMA Villa dall’Ava, Saint-Cloud

(1991)

Villa Floirac, Bordeaux (1998)

Bart Prince Whiting house, Sun Valley, Idaho

(1992)

George Gradow/Barbi Benton Residence, Aspen,

Colorado (1993)

V1.2 p.38

Studio Schedule


V1.2 p.39

Group Schedules

Group # Date Time Student Name

1 10 September 9:00 - 9:50 1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

1

12 September

13 September

24 September

26 September

8 October

10 October

11 October

9:00 - 9:50

1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

12 September

13 September

24 September

26 September

8 October

10 October

11 October

1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

2 10 September 9:00 - 9:50 1. Alexander Hultman

2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman


2

12 September

13 September

24 September

26 September

8 October

10 October

11 October

10:00 - 10:50


2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman


12 September

13 September

24 September

26 September

8 October

10 October

11 October

10:00 - 10:50


2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman


3 10 September 9:00 - 9:50 1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

3

12 September

13 September

24 September

26 September

8 October

10 October

11 October

11:00 - 11:50

1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

12 September

13 September

24 September

26 September

8 October

10 October

11 October

11:00 - 11:50

1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

4 10 September 9:00 - 9:50 1. Anna Kassberg


3. Hanna Skog


5. Ludvig Widman

6. Mattias Kallin

7. Jessica Nilsson


4

12 September

13 September

24 September

26 September

8 October

10 October

11 October

13:00 - 13:50

1. Anna Kassberg


3. Hanna Skog


5. Ludvig Widman

6. Mattias Kallin

7. Jessica Nilsson



V1.2 p.40

Group # Date Time Student Name5 10 September 9:00 - 9:50 1. Anna Kristinsdottir

2. Clara Harlin

3. Henrik Wrennö


5. Magdalena Salmi



5

12 September

13 September

24 September

26 September

8 October

10 October

11 October

14:00 - 14:50

1. Anna Kristinsdottir

2. Clara Harlin

3. Henrik Wrennö


5. Magdalena Salmi



6 10 September 9:00 - 9:50 1. Annika Nalin

2. Ida Wressel

3. Julia Hannu

4. Viktor Fagrell

5. Maja Dylin

6. Robin Larsson

7. Jessica Londmark

6

12 September

13 September

24 September

26 September

8 October

10 October

11 October

15:00 - 15:50

1. Annika Nalin

2. Ida Wressel

3. Julia Hannu

4. Viktor Fagrell

5. Maja Dylin

6. Robin Larsson

7. Jessica Londmark

7 10 September 9:00 - 9:50 1. Anton Ljungdell


3. Kim Lidman

4. Sara Gibrand

5. Ebba Nyberg

6. Malin Holmbom

7. Sofia Wettainen

7

12 September

13 September

24 September

26 September

8 October

10 October

11 October

16:00 - 16:50

1. Anton Ljungdell


3. Kim Lidman

4. Sara Gibrand

5. Ebba Nyberg

6. Malin Holmbom

7. Sofia Wettainen

V1.2 p.41

Studio Guidelines


V1.2 p.42

Topic Studio Contract

Studio Attendance Studio attendance is a fundamental part of the UMA 2 design education. Students are expected to contribute to a dynamic studio condition which will require that students are prepared to transfer from class to group to individual activities. While desk reviews and group tutorials are set aside as a formal space for engagement with design tutors, dialogue, conversation, observation and knowledge of your peers work will be required in order to fulfill project assignments.

Studio Organisation The studio will not have a fixed layout and will be rearranged in accordance to design activities. Each group will colonise an area in the studio, in order to maximise tutorial time, make the most of collective information and models and to develop focused conversations in collective design activities.

Desk Tutorials Students are to be prepared for desk tutorials. Each student must have at their desk: A copy of the current assignment. Relevant design material, drawings or models to scale, copy of the class research book, previously discussed references, project diary, sketch paper, drawing tools and modeling tools and access to group site model and relevant topological data.

Students are advised to prepare an agenda for the tutorial. Notes from previous tutorials should be kept for reference.

Group Tutorials Due to the nature of the course program group tutorials will be a regular occurrence in UMA 2 and form an important part the curriculum.

Depending on the stage of the project groups are required to take all collective studies and information, hang up drawings move models and prepare spaces for design discussions.

All group members attend these tutorials. One member of the group will keep a record of the conversations.


V1.2 p.43


Group Work UMA 2 will have a general working organisation of 7 groups. Groups will change during the semesters depending on the project tasks.

Each group is to nominate a central contact to simplify studio organisation. This student is not the leader of the group.

All group members should work together to plan collective work. It is important to note that group work is designed not only to stop duplication of research and proposition work but to facilitate focused cross learning platforms for individual proposals. Developing a proficient design process is a mix of direct teaching, personal motivation and input from fellow students.

Individual Work It is the students responsibility to engage fully with the studio program. Self directed learning is a key part of third level education and will be supported by the structures put in place by studio staff and the school. Students should balance direct learning opportunities such as desk tutorials with self directed learning through the design and project work.

Staff are present not only to teach but to act as facilitators, encouraging and promoting discussion, reflection and engagement at individual, group and class level.

Project Diary Each Student is to keep a diary of their work in the form of a sketch book. The diary should include a record and reflection of all design assignments. Drawings, diagrams, text, photographs and clippings are to be collected and stored within the diary. Diaries are to be available at all times.

DesignReferences and Literature

It is the Students responsibility to search for collect and read Architectural Projects and research References. This is a fundamental part of project development and individual design development.

Each Student is to keep an A4 study folder with copies of reference projects and texts suggested by design tutors and visiting lecturers.

V1.2 p.44


Drawing Standards Drawing is a primary craft in architecture. UMA 2 requires that each design study be accompanied by drawings in an appropriate scale, that elements within the drawing comply with basic graphic standards: from the drawing the viewer can differentiate between symbolic representation and programatic content. North Point, Scale, Section indicator, Elevation indicator and Drawing Title are to be present on all drawings including sketch design sheets.

All drawings and design development material are to be available in the studio at all times in the form of an ordered book. Each drawing is to carry a date and the name of the author.

Drawings are not to be left at home.

Models Model making is a primary craft in architecture. UMA 2 requires that all models be labeled, if a scale is being used that the scale is clearly present, north point is sketched onto the model if appropriate.

All models and design development material are to be available in the studio at all times. Each model is to carry a date and the name of the author.

Photographic record of models is to be considered as mandatory.

Models are not to be left at home.

Recycling of material It is our ethical responsibility to practice designing within a minimal environmental footprint. Take care to plan what you make, particularly models. Think through the whole process and imagine what happens to the material at the end of its use as a design study. Minimise the amount of card used when making models, store offcuts, paper, paint pens etc in ways that will allow you to upcycle rather than purchase fresh each time. Before buying materials check the school bins in the workshop, harvest materials left discarded in the city. Be inventive and environmentally conscious.

Printing - Do you need to print everything? Can it be reduced in scale and turned into a double sided booklet? Can you share material with your classmates. Take care of your work print something once and to a high standard mount it and reuse it accordingly.

V1.2 p.45


Reviews Reviews cover the formal presentation of all activities and assignments carried out in a semester.

Importantly they may include external reviewers and experts and are a time to reflect collectively and individually on the research and propositions that have been carried out.

Semester reviews will start with an introduction on the collective project by the studio tutors followed by a briefing on the research carried out by the studio.

All research work is to be available as a reference, group models are to be located next to group reviews, class models and drawings are to have a permanent position during the review.

Students are asked to consider attendance as mandatory, due to the type of project UMA 2 is undertaking. These sessions are a chance for open group dialogue between guests, students and staff.

Each student has a responsibility to prepare their own work. Each student must put their name and project title in clear sight so that reviewers are able to identify project authors.

Presentation is to be rehearsed and should be concise and to the point. It is appropriate that the presentation should focus on presenting an answer to the research problem highlighted in the design briefs.

All members of the students associated group are to be available in reviews in order to contribute to the conversation about collective projects.

Each student is to nominate a classmate who will record the conversation in a diary.

Publication Team UMA 2 will work towards the publication of a book containing, research carried out, class, group and individual proposals, selected key projects, staff essays and lectures and guest lectures and critical reflection.

A team of 8 persons will be required to work with staff to compile, design, edit and publish the book.

Interviews for the UMA2 editorial team will take place in September.

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Exhibition Team UMA 2 will work towards an exhibition containing, drawings, models, photographs, research carried out, class, group and individual proposals, selected key projects, staff essays and lectures and guest lectures and critical reflection.

A team of 8 persons will be required to work with staff to compile, design, and organise the exhibition

Interviews for the UMA2 exhibition team will take place in September.

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V 1.3

UMA2Occupying the Hinterland

2013 - Holmsund Peninsula

SEMESTER 01MOMENT 02

DESIGN BRIEFS

TABLE OF CONTENTS

Introduction 3 Program Moment 02

Design Briefs 5 Negotiate Embed Gather and Join Relate Reflect Room Futurescapes Assemblage Present and Review

Student Groups 26

Studio Guidelines 29


2

INTRODUCTIONFollowing an extensive mapping analysis of the physical and the metaphysical of a seven different residential typologies/areas of Holmsund we should be asking what is ultimately there and what it is like to live there? We will now study if a strategy for dwelling can generate or accelerate positive transformation through our main theme of coexistence.

The design project is broken up into the following units:

WEEK 8 - NEGOTIATE The focus of this weeks work will be on the making and transformation of space through negotiation. Each group is asked to consider how to start a process of settlement for dwelling in. Each group member is also asked to propose a space for inhabitation for an individual or a household. Group and individual work are to be carried out in tangent with each other.

WEEK 9 - EMBED You are asked to develop an understanding of environment by testing negotiated group proposals and space for inhabitation against the specific geographic and climatic conditions of Holmsund and to consider how these contribute to and effect coexistence.

WEEK 10 - GATHER AND JOIN This week we will focus on investigating the material fabric and structure of a dwelling. The work will be carried out on an individual basis.

WEEK 11 - RELATE This week we will focus on inhabiting the borders of our dwelling and examining how theses spaces change through the year examining Transformation and Occupation.

WEEK 12 - REFLECT In this week, you are free to assemble, gather and develop your thoughts, to review work carried out at all scales and reflect on your designs and decisions. You should also carefully select material to be used for the External Review at the end of the week.

WEEK 13 - ROOM A workshop with Martin DeJong examining what makes a House a Home and and the Future History of our proposed settlements.


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WEEK 14 - FUTURESCAPES In this week we will examine the future history of proposed collective of dwellings within their communities. A reflective study of developments in space, morphology, living, working and technology.

WEEK 15 - ASSEMBLAGE In this week, you are free to assemble, gather and develop your thoughts, to assemble the architectural components created each week that make up your project through critical examination. Re-design, re-draw, re-model and refine your project at any scale. During this week you should develop ideas for the presentation of the project at the end of week 16.

WEEK 16 - PRESENT AND REVIEW

PROGRAM MOMENT 02 (Weeks 08 to 19)11 2 33 4444 555 66

IntroIntro Map VillaVilla MapMapReview

TripHistoryHistory MapMap

77 8 99 10101010 111111 1212Present and Format

Review Internal

Design Project Design Project

Review Internal

Design ProjectDesign ProjectDesign ProjectDesign Project Design ProjectDesign ProjectDesign Project

Present and Format

Review External

1313 14 1515 16161616 171717 1818

RoomRoom Design Project Design ProjectDesign Project

Present and Format

Present and Format

Review InternalReview Internal HolidayHolidayHolidayHolidayHoliday

1919 20Present and Format

Review External

Digital



3D cutter for collective group models


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Week 08 NEGOTIATESCALE 1:500, 1:200 & 1:50

The focus of this weeks work will be on the making and transformation of space through negotiation. Each group is asked to consider how to start a process of settlement for dwelling in. Each group member is also asked to propose a space for inhabitation for an individual or a household.

Key Questions

What are the desires, needs and wants of a household?Can a dwelling(s) or its associated Home Based Activity (i.e. Retail outlet, selling home produce, mechanic etc.) contribute to transformation within the existing community?What opportunities and conflicts arise out of living together and how can we use these moments to make spaces of coexistence?

Based on the attached User Group Matrix each group member is asked to propose a single household with an associated commercial use. Group and individual work are to be carried out in tangent with each other.

GROUP

Task

A. Reflect on the class research of Backlands and Street life.B. Make a group proposal that accommodates a settlement of dwellers within

the space of your identified shared site.C. Illustrate through group model and diagrams of how the site works and what

the key relationships are between the site, the new inhabitants and the surrounding context.

Produce

1. Develop a 1:200 model of the shared site.2. Develop a 1:200 model representing individual households and their

territories.3. Develop a 1:200 isometric drawing illustrating the key EVENTS of coexistence

and transformation on the site. Illustrate how your proposed group strategy support EVENTS of coexistence.

4. Develop 1:500 diagrams illustrating relationships, transformation, conflict, activity and coexistence.


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INDIVIDUAL

Task

Reflect on class research of Garage and Threshold.

How do the individual members of the house live together? How does the house perform outwardly to represent the joint desires, wants and needs of it inhabitants? Perhaps it's a window over the sea? Perhaps it's a certain construction idea? It might be a special room like a playroom for children, a library, workshop or a cinema? How does this dwelling or its associated commercial use contribute to transformation within the existing community?

Select one room from the brief that summarizes the unique qualities of inhabitants dwelling.

Produce

1. Develop a 1:200 mini model of your individual proposal and place it back into the group model. This model should account for all rooms and spaces that respond to your brief.

2. Develop 1:500 diagrams illustrating relationships, conflict & activity.3. Develop a 1:50 model of a space or condition that represents your inhabitants.

Reflect

Write 300 words reflecting on your weeks work.Gather your additional ideas, drawings and investigations as part of a reflective process.

Present this weeks work at Internal Review in UMA2 Studio on Friday 31st November at 9am. All students to attend Reviews.


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Matrix User Group Type

Ethnicity Social Background

Income Passtimes Home Based

Activity

Disturbing

Factor

2 Parents with 6 children

2 Retired People

Two 25 year old Professionals

1 Parent with 2 children

5 Students

1. Each Group/Site to have a minimum of 1 of each User Group Type. 2. Each Group/Site to have a maximum of 3 of any User Group Type. 3. Each dwelling is to have an associated Home Based Activity. 4. Where possible one or two User Groups based residents of Holmslund encountered during mapping. 5. Where your group cannot fulfill the above please talk to Anton or Donal.








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Week 09 EMBED SCALE 1:1000, 1:200, 1:50

The focus of this weeks work will be on developing your group and individual proposals within the specific geographic and climatic conditions of Holmsund. Each group is asked to develop an understanding their environment by testing their negotiated group proposals against the conditions of light, wind and climate and to consider how these contribute to and effect coexistence. Each group member is also asked to continue to develop a space for inhabitation taking into account the conditions of light, wind and climate. Group and individual work are to be carried out in tangent with each other.

Key questionsHow do the specific geographic and climatic conditions of a place effect coexistence?What opportunities, conflicts and contradictions arise out of situating a dwelling against light, wind and climate and how can we use these moments to inform the development of our proposed spaces of coexistence?How can these conditions and resources generate transformation?

GROUP

Task

A. Test your existing 1:200 group proposal using a sun path device, wind rose and projected climatic variations.

B. Develop your group proposal so that it accommodates for a settlement of dwellers within the space of your identified shared site taking into account light, wind and climate.

C. Illustrate through group model and 1:1000 diagrams how the site works and what the key relationships are between the site, the new inhabitants, the surrounding context.

Produce

1. Develop a 1:200 model of the shared site.2. Develop a 1:200 model representing individual households and their

territories3. Develop a 1:200 isometric drawing illustrating the key EVENTS of coexistence

on the site. Illustrate how your proposed group strategy support EVENTS of coexistence during, winter, spring, summer and autumn.

4. Develop a series of 1:1000 diagrams outlining strategies that account for light, wind and climate.

5. Develop a photographic record of a direct sunlight analysis at the equinox and solstice periods of the year.


8

INDIVIDUAL

Task

Key questionsHow do the specific geographic and climatic conditions of a place effect design of space?What opportunities arise out of situating a dwelling against light, wind and climate and how can we use these moments to inform the development of our proposed spaces of inhabitation?How can these natural resources contribute to the design of spaces of a household?

Produce

1. Develop a 1:200 mini model of your individual proposal incorporating climactic design and place it back into the group model. This model should account for all rooms and spaces that respond to your brief.

2. Develop a 1:50 model of a room (incorporating climactic design) that represents your inhabitants.

3. Develop a thermal performance strategy for the dwelling using 1:1000 diagrams in isometric drawing, plan and section.

ReflectWrite 300 words reflecting on your weeks work.Gather your additional ideas, drawings and investigations as part of a reflective process.

Present this weeks work at Internal Review in UMA2 Studio on Friday 31st November at 9am. All students to attend Reviews.


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Week 10 GATHER AND JOIN SCALE 1:50 & 1:100

This week we will focus on investigating the material fabric of a dwelling. The work will be carried out on an individual basis.Key questions

A. What is your house made of?B. How does the fabric of the dwelling relate to its inhabitants?C. How does the fabric of the dwelling relate to its physical context?D. What are the infrastructures of your dwelling and how do they support the

activities of coexistence?

INDIVIDUAL

Task

Identify a piece of infrastructure from your dwelling that connects two spaces of inhabitation. Identify a way of constructing the house and relate it to your chosen infrastructure.

Example: A staircase that moves from downstairs to upstairs, it has a function but it is also a place to talk, read and hide. How does it work as a piece of inhabitable furniture?

Example: A wall that separates two spaces, it divides a territory but, children also climb on it and use it as a way of getting a glimpse of the sea. One person grows their tomatoes there. The other side stores parts of cars against it and doesn't like children looking in.

Produce

1. Develop a 1:100 conceptual structural model of your dwelling. 2. Develop a 1:50 model of your chosen piece of infrastructure, the model

should include material intention.3. Develop 3 Photographs from your model. The photographs should record

the use of the infrastructure as a space of coexistence. Include people for scale and propose scenes of inhabitation and events.

4. Extract 1:100 sections and plans of your structural model.5. Extract 1:50 sections and plans of your piece of infrastructure.


10

Reflect

Write 300 words reflecting on your weeks work.Gather your additional ideas, drawings and investigations as part of a reflective process.

Present this weeks work as part of the External Review in UMA2 Studio on Friday 21st & 22nd November. All students to attend Reviews.


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Week 11 RELATE revised 11-11-13 SCALE: 1:200, 1:50 This week we will focus on spaces of our household and examining how they are occupied and change through the year with regards to coexistence.

Key questions

A. What are spaces associated with your household?B. How do we dwell in a space that transforms throughout the year.C. What are the different materials used for the household?D. How can we use energy resources to promote coexistence?

INDIVIDUAL

Task

Identify the narrative of the spaces associated with your household. How does circulation, proportion, scale and light inform these spaces? Reflect on how these spaces are inhabited throughout the seasons. How can these be connected through activities of coexistence?

Identify the different materials used for the household. Can these materials inform the atmosphere within your household? What materials can be chosen to promote coexistence?

Example: What materials will be used for the structural system to create a space for a Home Based Activity such as cheese production? Is this a heavier, more durable concrete structural system with lighter infill material. Can transparent screens be placed between the structural elements to let the community see the cheese production and encourage coexistence?

Example: A timber window seat for people to relax and read a book while looking out over their goats?

What are the materials used for external weathering layer (walls & roof), structure, external & internal openings, floor & wall finishes, infrastructure (stairs etc.) or objects/furniture. This should include a focus on sustainability.


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Produce

1. Develop a 1:50 conceptual model of your household showing narratives of spaces and the material intension of these spaces. Include people for scale. Incorporate your reflections on previous infrastructural and structural studies.

2. Display 4 scenes of inhabitation and events through coexistence in internal spaces through one point perspectives at eye level.

3. Display 2 scenes of inhabitation and events through coexistence in external spaces of household through 1:200 isometric line drawings.

4. Develop 3 Photographs from your model. These photographs should demonstrate how you have informed your design through coexistence. Include people for scale and propose scenes of inhabitation and events.

4. From your synthesis develop 1:50 sections, plans of your household. Include openings and strategies for sheltering.

GROUP

Produce

1. Develop a 1:200 plan line drawing of your group settlement that collects your ideas of inhabitation through the year. Include openings and an attitude to sheltering. Include your individual household ground floor plans. Pay special attention to spaces between buildings, roads, paths and other components where activity may occur (green areas, squares, social & recreation areas etc.).

2. Develop a 1:200 isometric ‘Resources’ drawing of your site. This will be developed during a half day workshop by each group this week.

3. Develop a 1:200 site section ‘Resources’ drawing of your site. This will be developed during a half day workshop by each group this week.

Examine how all new information can promote coexistence. Are there areas for gathering/events in your open spaces. Are these for your new community or the wider area? How do you create these?

Can a sheltered area between two households create an shared indoor/outdoor space for coexistence between neighbours? Do neighbours dine there together during the summer and fix their cars together there during winter?


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Week 12 REFLECT revised 11-11-13SCALE: 1:1000, 1:500, 1:200, 1:100, 1:50

“Don’t think too much before you start working; and don’t work too much before you stop and start to reflect”.

Nabeel Hamdi

In this week you should assemble, gather and develop your thoughts and review work carried out at all scales and reflect on your designs and decisions. Carefully select material to be used for the External Review at the end of the week and plan how you propose to communicate your design proposals as a Group and an Individual.

Assemble the architectural components created each week that make up your project through critical examination. Reflect on how COEXISTENCE has informed your designs. Re-design, re-draw, re-model and refine your project at any scale. As a group and individual examine and reflect how re-designed elements effect your household and group work at all scales.

All design sketches & conceptual models should be gathered together and brought to the review as back up at the end of this week. These may be used to aid in your critique.

Ensure you talk in detail to your your Tutors this week. Review each others households within the group and ask other classmates to review your work.

External Review in UMA2 Studio on Friday 21st & 22nd November. All students to attend Reviews.


14

Minimum Requirements for External Reviews:

Group:

1:200 isometric drawing illustrating the key EVENTS of coexistence on the site. Illustrate how your proposed group strategy support EVENTS of coexistence during, winter, spring, summer and autumn. Use Backlands and Streetlife Mapping isometrics as a base example1:200 isometric ‘Resources’ drawing of site1:200 site section ‘Resources’ drawing of your site. This will be developed during a half day workshop by each group this week 1:200 site model including individual households1:200 line drawing plan of site including your individual household ground floor plans1:500 thermal performance strategy diagrams for site

Individual:

1:50 model showing structure, spacial narrative and materiality of household 1:50 infrastructure study model 1:50 plans and sections of household1:100 structural model1:500 thermal performance strategy diagrams fro household4 scenes of inhabitation and events through coexistence in internal spaces through one point perspectives at eye level2 scenes of inhabitation and events through coexistence in external spaces of household through 1:200 isometric line drawings.

Please present work at reviews in the following order:

1. Group Mapping 2. Group Project3. Individual Mapping 4. Individual Households

Please prepare for presentations as both Groups and Individuals.


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Example of one point perspective scene of inhabitation and events through coexistence in internal spaces. Studio Bow Wow


16

Example of isometric drawing illustrating the key EVENTS of coexistence on the site. Studio Bow Wow


V 1.3

WEEK 13 HOME WORKSHOP WITH MARTEN DE JONG

Since the rise of Modernism and the international style, students of architecture learn how to design houses for all mankind alike. They learn how to analyse program, ergonomics, typologies, regulations, densities and history of dwelling. The result is a rational approach to the house; ‘the machine for living. A successful approach, as most of the western world lives in houses designed this way.

However, there’s more to a house than the machine for living. A house differs from a home. Home is where the heart is, where someone feels secure to express their emotions and develop their personality. A true home is a display of someone’s life philosophy. Architects are instrumental in creating a house that can be someone’s home. And not every house creates a canvas for the home easily. So, what makes the ‘machine for living’ somebody’s home?

One could state that an architect designs the functional and technical conditions of a house, and its inhabitants turn it into a home by putting their stuff inside and build up a memory of the place while living there. How indeed can or should an architect interfere with someone’s personal expression of their philosophy of life?

How can architects incorporate the concept of home in their designs for dwellings? And how do neighbouring homes interfere with and/or stimulate communal values and behaviour? This is the central question to the workshop.

In this workshop you are to explore the tangible factors which make a house a home. The workshop consists of text reading, review and debate, lectures, preliminary analysis of your own home and a design presentation elaborating on how your dwelling design will offer a home to its users.

NB!Please note that you are expected to prepare the following for this workshop in advance, you’ll find further information in this program:

-Mandatory reading for Monday: a pattern language by Christopher Alexander (selection of patterns)

-Mandatory reading for Wednesday: Two concepts of liberty by Isaiah Berlin-Assignment for Monday: A three slide presentation on your own home-Assignment for Wednesday A 200 word statement based on Berlins text


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About the tutor:

Emma partner architect Marten de Jong (1973) graduated cum laude from the Delft University of Technology after studying in Delft and Chicago with the award winning re/use project ´silo´ He worked in Paris, Helsinki and Stockholm before he set up camp in Amsterdam.

In 2005 he founded together with Jurg Hertog the architectural practice ´emma´ His work is characterized by a dynamic, expressionistic style. Next to design he is active as an advisor to the real estate industry, invited columnist and guest speaker at several schools of architecture in the Netherlands and abroad. These activities recently led to the founding of Emma Explore, the independent spatial think tank of emma architects.

At Delft University of Technology in Holland, he currently participates in the ‘House of the Future’ program, an architecture program on dwelling.

Monday 9:00-10:00 opening lecture

This lecture will be a plunge into the deep end of the theme: home. How do people turn their houses into homes? When and how do they feel at home? What methods are used (worldwide) to create that base station from which people are the inspiring individuals that make up this world? The lecture will conclude with an introduction to the weeks program, to the tutor and his work, to the intensity asked from you students and how to relate this weeks program to your design project, and your careers as designers.

10:00-11:00 student presentations on your own home, pecha kucha style.

You are asked to produce a presentation on what makes your own house your home. You will have three slides each, which will be on display 20 seconds each. A one minute presentation on why you feel at home in your own house. Think of what you’ve read in Alexander’s patterns on spatial conditions, but explore a broader perspective: think of sensory experiences, personal items, being a host to friends, being comfortable alone, having memories of that place and so on.The purpose is to get a broad variety of home aspects on the table at the very beginning of the workshop. Balancing the Alexander texts, this presentation will display emotional attachments to spaces and places, thus enriching the debate on day one.

Assignment: Present how/why/when/where your house is your home in three slides. The content is free; photographs, music, drawings,

movies, etc. All slides should clearly state your name, and each slide will last 20 seconds.


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Practice your presentation! 60 seconds is too few to say uh…

every other sentence. Try not to say too much, keep a peaceful pace.

Group assignment: Join everyone’s three-slide-presentation in one slideshow that runs automatically at 20 seconds per slide, non stop. Everyone please be aware beforehand of when it’s your time to be one stage, you have just one minute, try not to loose time in the switch from one to another individual presentation!

11:00-12:00 Group debate about the concept of ‘Home’, guided by themes from Alexander and the student presentations

Mandatory reading: A pattern language by Christopher AlexanderAlexanders patterns point out the spatial demands for everybody in a household to feel comfortable in their home. The rational hierarchy of spaces ensure group activity, mutual- and self-respect, engagement of context and valuating spaces of solitude and self-inspection. The debate on this text will focus on architectural tools that exceed the rational/ergonomic demand of housing but apply to the psychological demands on living.

Read only these patterns: -76 house for a small family -77 house for a couple-78 house for one person-79 your own home-112 entrance transition-127 intimacy gradient-136 couples realm-137 childrens realm-139 farmhouse kitchen-141 a room of one’s own-160 building edge-179 alcoves-180 window place

-188 bed alcove-203 child caves-189 closets between rooms-201 waist high shelves-204 secret place-249 ornament-253 things from your life

Optional reading: related patterns


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Tuesday 9:00 – 12:00 Continue working on your dwelling project

Individual review of dwelling projects, and the incorporation of the home concept herein.

Wednesday9:00 – 10:00 review of Isaiah Berlins ‘two concepts of liberty’

Mandatory reading: ‘two concepts of liberty´ by Isaiah Berlin, inaugural lecture delivered for the University of Oxford on October 31st 1958, published by Clarendon press 1958. (Start reading this well in time, it is a sturdy text!)Berlins systematic approach to collective and individual systems of liberty enables us to discuss the issue of how much an architect can design and how much the individual will determine his or herself on issues of how people want to live their lives.

Optional reading: Four essays on liberty, by Isaiah Berlin, Oxford University press, 1969

10:00 – 12:00 debate on liberty

What was this text about? What are positive and negative freedom and how do these political terms relate to the work of an architect? Where does the responsibility of an architect stops, and the responsibility of a dweller starts?We will answer these questions in an open debate, enriched by pro and con statements from the students: A student presents his/her own motivated position on Berlins’ liberty, all other students group in a agree and disagree side of the auditorium. Thus the position will be explored on its subjectivity.

Assignment: Write a 200 word statement about your position on the two concepts of liberty of Berlin as an architect designing someone’s home. It should consist of a one line statement, and a brief motivation for this position.

Make sure your state clearly where the boundaries lie of your positive and negative freedoms as a designer and/or the boundaries of your client.Make sure this statement can be agreed or disagreed on, we will discuss in a for/against style debate.Start this well in time, the text that forms the basis of your statement is a sturdy text!

13:00 – 17:00 Continue working on your dwelling project


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Individual review of dwelling projects, and the incorporation of the home concept herein.At the end of the day you are to debate your home concept within your dwelling group. How can these homes stimulate communal values and support the proposed interaction of the dwellers?

Thursday9:00 – 10:00 lecture: future scenario’s

For as long as we know, architects have proposed built environments to illustrate a desirable future for society. And indeed, from design a spatial environment in which people live, work and play, an ideal about peoples interaction in society always merges. In times of need architects have reversed this process and started with a bright future scenario, to then fill it with their creations.

Optional reading: (follows)

10:00 – 11:00 debate on the future of your dwelling communities.

It is obvious that your community of dwellings will have a future too. After the lecture we will debate what this future could be, and how you as architects can illustrate it. This will inform your current design process and will help to argument the right design decisions. You will be asked to prepare a group presentation of the future of your dwellings ensemble for Friday.

11:00 – 17:00 Continue working on your dwelling projectClustered review of projects, focussing on preparing Friday’s presentation.

Friday

9:00 – 15:00 student presentations on the home in their dwelling project

Assignment: Present your work. You are asked to present exclusively the features of your dwelling project that make it a home.

Rewrite your statement from Wednesday to fit your group future scenario. Include what you’ve learned this week, and how your design project has developed. Use this as a starting point of your cluster presentation.


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You will have apr. 15 minutes per group. Make sure your presentation has one theme well explored, and individual

designs showing prototype applications of this theme. There will be response time from the tutors per cluster.Depending your design outcome, we might decide on Thursday to make bigger clusters, giving you more time to present the theme.

The format of presentation is free: model, drawing, sketch, mock-up, performance etc. Crucial is to convey an experience/feeling instead of a display of the engineers tools for communicating design. Make yourselves at home!


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Week 14 FUTURESCAPES Spaces of atmosphere are shaped through a bodily interaction with architecture. Vitruvius noted that since the human body is the measure of architecture, it is also that which determines atmospheric qualities. It is the human body that emanates the structural qualities of architecture. German philosopher Gernot Böhme in his essay "Atmosphere as the Subject Matter of Architecture" addresses the nature of space as the physicality of an actual space and the atmospheric qualities that are embedded within a space. Böhme states that “we must be physically present” to experience space in its complete entirety. By inhabiting space individuals can sense the character that surrounds them. Inhabitants sense its atmosphere. Spaces begin as voids, tangible and undefined structures, its atmospheres are articulated through cognitive subjects (memory, perception, judgement, emotion) and physical presence. Peter Zumthor expresses in his book Atmospheres that – “The idea of things that have nothing to do with me as an architect taking their place in a building, their rightful place… It’s a great help to me to imagine the future of rooms in a house I am building, to imagine them actually in use”. Objects in a space give a sense of identity and expressiveness to place. Objects can acquire both tangible and intangible qualities, for example; an idea, memory, colour, furniture, smell, light and texture. These are all atmospheric features present within architecture.

INDIVIDUAL

Task

This week we would like to investigate how the future residents live within the house, the atmosphere that surrounds them, the gardens they care for and the communal spaces they enjoy. These studies move beyond building to show the house, the type and use and position of furniture, the plants and trees - the architecture of inhabited space. Produce a three dimensional nature of lived experience in space and time. These studies may reveal new avenues of investigation and expose areas of design that need development.


24

http://en.wikipedia.org/wiki/Vitruvius

http://en.wikipedia.org/wiki/Vitruvius

http://en.wikipedia.org/wiki/Gernot_B%C3%B6hme

http://en.wikipedia.org/wiki/Gernot_B%C3%B6hme

http://en.wikipedia.org/wiki/Peter_Zumthor

http://en.wikipedia.org/wiki/Peter_Zumthor

Produce

Perspective studies at eye level of internal and external spaces of your dwelling (including context where relevant) showing occupation, light and material.

GROUP

Task

Describe how the residents live within their community, the atmosphere that surrounds them, the gardens they care for and the communal spaces they enjoy. These studies move beyond buildings to show the space, the type and use and position of street furniture, the plants and trees - the architecture of inhabited space. Produce a three dimensional nature of lived experience in space and time.

Produce

Perspective studies at eye level of internal and external spaces of your dwelling showing occupation, light and material.


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Studio Groups


26

Donal Colfer will be the Main Tutor for Group 1, 4 & 7. Anton Shramkov wil be Main Tutor for groups 2, 3, 5 & 6.

Group # Student Name

1 1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

1 1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson

1. Albin Karlsson


3. Emelie Lindmark

4. Joar Mattson

5. Klara Kohls

6. Maria Hansdotter

7. Stina Ahlqvist

8. Klara Jonsson


2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman



2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman



2. Cecilia Hansson

3. Erik Nord


5. Linnea Carlberg

6. Oscar Forsman



2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården


2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

1. Andreas Vestlund

2. Cecilia Kolm

3. Filip Axelsson

4. Marie Andersson

5. Oskar Simann

6. Tobias Jansson

7. Moa Kengården

4 1. Anna Kassberg


3. Hanna Skog


5. Ludvig Widman

6. Mattias Kallin

7. Jessica Nilsson


4 1. Anna Kassberg


3. Hanna Skog


5. Ludvig Widman

6. Mattias Kallin

7. Jessica Nilsson



V 1.3

Group # Student Name


2. Clara Harlin

3. Henrik Wrennö


5. Magdalena Salmi




2. Clara Harlin

3. Henrik Wrennö


5. Magdalena Salmi



6 1. Annika Nalin

2. Ida Wressel

3. Julia Hannu

4. Viktor Fagrell

5. Maja Dylin

6. Robin Larsson

7. Jessica Londmark

6 1. Annika Nalin

2. Ida Wressel

3. Julia Hannu

4. Viktor Fagrell

5. Maja Dylin

6. Robin Larsson

7. Jessica Londmark



3. Kim Lidman

4. Sara Gibrand

5. Ebba Nyberg

6. Malin Holmbom

7. Sofia Wettainen



3. Kim Lidman

4. Sara Gibrand

5. Ebba Nyberg

6. Malin Holmbom

7. Sofia Wettainen


28

Studio Guidelines


V 1.3


Studio Attendance Studio attendance is a fundamental part of the UMA 2 design education. Students are expected to contribute to a dynamic studio condition which will require that students are prepared to transfer from class to group to individual activities. While desk reviews and group tutorials are set aside as a formal space for engagement with design tutors, dialogue, conversation, observation and knowledge of your peers work will be required in order to fulfill project assignments.

Studio Organisation The studio will not have a fixed layout and will be rearranged in accordance to design activities. Each group will colonise an area in the studio, in order to maximise tutorial time, make the most of collective information and models and to develop focused conversations in collective design activities.

Desk Tutorials Students are to be prepared for desk tutorials. Each student must have at their desk: A copy of the current assignment. Relevant design material, drawings or models to scale, copy of the class research book, previously discussed references, project diary, sketch paper, drawing tools and modeling tools and access to group site model and relevant topological data.

Students are advised to prepare an agenda for the tutorial. Notes from previous tutorials should be kept for reference.

Group Tutorials Due to the nature of the course program group tutorials will be a regular occurrence in UMA 2 and form an important part the curriculum.

Depending on the stage of the project groups are required to take all collective studies and information, hang up drawings move models and prepare spaces for design discussions.

All group members attend these tutorials. One member of the group will keep a record of the conversations.


30


Group Work UMA 2 will have a general working organisation of 7 groups. Groups will change during the semesters depending on the project tasks.

Each group is to nominate a central contact to simplify studio organisation. This student is not the leader of the group.

All group members should work together to plan collective work. It is important to note that group work is designed not only to stop duplication of research and proposition work but to facilitate focused cross learning platforms for individual proposals. Developing a proficient design process is a mix of direct teaching, personal motivation and input from fellow students.

Individual Work It is the students responsibility to engage fully with the studio program. Self directed learning is a key part of third level education and will be supported by the structures put in place by studio staff and the school. Students should balance direct learning opportunities such as desk tutorials with self directed learning through the design and project work.

Staff are present not only to teach but to act as facilitators, encouraging and promoting discussion, reflection and engagement at individual, group and class level.

Project Diary Each Student is to keep a diary of their work in the form of a sketch book. The diary should include a record and reflection of all design assignments. Drawings, diagrams, text, photographs and clippings are to be collected and stored within the diary. Diaries are to be available at all times.

DesignReferences and Literature

It is the Students responsibility to search for collect and read Architectural Projects and research References. This is a fundamental part of project development and individual design development.

Each Student is to keep an A4 study folder with copies of reference projects and texts suggested by design tutors and visiting lecturers.

Drawing Standards Drawing is a primary craft in architecture. UMA 2 requires that each design study be accompanied by drawings in an appropriate scale, that elements within the drawing comply with basic graphic standards: from the drawing the viewer can differentiate between symbolic representation and programatic content. North Point, Scale, Section indicator, Elevation indicator and Drawing Title are to be present on all drawings including sketch design sheets.

All drawings and design development material are to be available in the studio at all times in the form of an ordered book. Each drawing is to carry a date and the name of the author.

Drawings are not to be left at home.


V 1.3


Models Model making is a primary craft in architecture. UMA 2 requires that all models be labeled, if a scale is being used that the scale is clearly present, north point is sketched onto the model if appropriate.

All models and design development material are to be available in the studio at all times. Each model is to carry a date and the name of the author.

Photographic record of models is to be considered as mandatory.

Models are not to be left at home.

Recycling of material It is our ethical responsibility to practice designing within a minimal environmental footprint. Take care to plan what you make, particularly models. Think through the whole process and imagine what happens to the material at the end of its use as a design study. Minimise the amount of card used when making models, store offcuts, paper, paint pens etc in ways that will allow you to upcycle rather than purchase fresh each time. Before buying materials check the school bins in the workshop, harvest materials left discarded in the city. Be inventive and environmentally conscious.

Printing - Do you need to print everything? Can it be reduced in scale and turned into a double sided booklet? Can you share material with your classmates. Take care of your work print something once and to a high standard mount it and reuse it accordingly.


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Reviews Reviews cover the formal presentation of all activities and assignments carried out in a semester.

Importantly they may include external reviewers and experts and are a time to reflect collectively and individually on the research and propositions that have been carried out.

Semester reviews will start with an introduction on the collective project by the studio tutors followed by a briefing on the research carried out by the studio.

All research work is to be available as a reference, group models are to be located next to group reviews, class models and drawings are to have a permanent position during the review.

Students are asked to consider attendance as mandatory, due to the type of project UMA 2 is undertaking. These sessions are a chance for open group dialogue between guests, students and staff.

Each student has a responsibility to prepare their own work. Each student must put their name and project title in clear sight so that reviewers are able to identify project authors.

Presentation is to be rehearsed and should be concise and to the point. It is appropriate that the presentation should focus on presenting an answer to the research problem highlighted in the design briefs.

All members of the students associated group are to be available in reviews in order to contribute to the conversation about collective projects.

Each student is to nominate a classmate who will record the conversation in a diary.

Publication Team UMA 2 will work towards the publication of a book containing, research carried out, class, group and individual proposals, selected key projects, staff essays and lectures and guest lectures and critical reflection.

A team of 8 persons will be required to work with staff to compile, design, edit and publish the book.

Interviews for the UMA2 editorial team will take place in September.

Exhibition Team UMA 2 will work towards an exhibition containing, drawings, models, photographs, research carried out, class, group and individual proposals, selected key projects, staff essays and lectures and guest lectures and critical reflection.

A team of 8 persons will be required to work with staff to compile, design, and organise the exhibition

Interviews for the UMA2 exhibition team will take place in September.


V 1.3



34

Uma2 mid term review briefs

Documents

city of ume

different projects

students aware

communication of architecture

students spatial understanding

role of architecture

ume municipality

ume river