40 600 SCS: Villa Lofoten Quay, Art and Culture Production Centre.

Prerequisites

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

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

Course content

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

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

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

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

Learning outcomes

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

Working and learning activities

The development of the work during the semester will follow a pre-determined path which has been thought out in order to provide the pace and logistics which the studio needs to follow if it is to fulfil its aims.

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

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

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

Professor in charge

Professor Christian Hermansen

Assessment

Assessment Date Duration Grade scale Oral examination
Annen vurderingsform, definer i kommentarfelt Pass / Fail

Reading lists / teaching materials

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

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

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

Christophersen, Espen Borgir. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Lofoten:

 

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

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

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

 

 

 

 

Godkjent av Christian Hermansen, 2015-01-20