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markus
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How can we talk about the multiple roles expected of, and adopted by, architects? What kind of critique do we expose ourselves to when choosing to work outside of the conventional “office”? What are the biographical expectations that architects face in performing professional personae?
On Friday the 28th February 2014, Karin Matz and Helen Runting of Svensk Standard addressed a lecture to students of the 2nd Year of the Bachelor of Architecture, at the Royal Institute of Technology (KTH), discussing the role of the architect in light of their experiences working in the field. Following a review of their own practices, the two led an exercise in parody and profiling, exploring and exposing the expectations and judgements young architects face in negotiating diverse interpretations of architectural practice.
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Whilst postmodern architecture itself may have been consigned to the “dustbin of history,” this doesn’t mean that it can’t be taken out, dusted off, straightened out, and restored to its former glory!
Embracing the dishonesty of postmodernism, and abandoning the precision of the section and elevation, on the 31st of January 2014, Svensk Standard (in collaboration with Sara Vall, and at the invite of Dr Hélène Frichot and Dr Katja Grillner, Critical Studies in Architecture, KTH) led a workshop with the Masters of Architecture students at the Royal Institute of Technology in Stockholm, re-staging the Strada Novissima of the 1980 Venice Biennale in 1:1 scale. The street party that followed formed the culmination of the two-week Re(Orientations) course, which interrogated Sweden’s own postmodern legacy in the area of Södra stationsområdet in Stockholm.
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We were recently invited by Testbedstudio and Economy to participate in the At Work With residency programme within the Nordic Pavilion at the International Architecture Biennale in Venice. Fabulous, we thought! The At Work With project was conceived of as a kind of complement and counterpoint to the main – and rather controversial – Stay in Touch exhibition commissioned by the Swedish Museum of Architecture.
Typical of many of the exhibitions within the national pavilions at the Biennale, Stay in Touch exhibited Nordic architecture as both finished object and representation, displaying images of built projects and accompanying architectural drawings. In contrast to this approach, At Work With focused on the exhibition of Nordic architecture as process, by commissioning a series of young architecture-related practices to work within the space of the pavilion and to appropriate it as their “office” for a week. In this way, as we understood our brief, At Work With would become a way to activate the space and engage visitors to the pavilion in a more active dialogue. It would also work to harness the symbolic capital present in the broader event (the Venice Biennale) to support emerging Nordic architectural practices. For us, it presented a very exciting opportunity…
As a “social practice” made up of shifting mix of friends and strangers, Svensk Standard’s team for At Work With in the end constituted 13 people – ten architects, one political analyst, one urban planner and one engineer. Larger than ever before, and with thanks to funding from IASPIS (the Swedish Visual Arts Fund’s international programme), we negotiated time off from our professional practices and flew to Venice, to take over Sverre Fehn’s incredible pavilion for the space of a week.
Working in a large interdisciplinary group necessitated the formulation of a structure that would be able to contain and relate our work – a kind of vessel. As we explored potential lines of inquiry we realised that our curiosity in itself was a common characteristic. We all had myths in our heads about Venice – a dying city, sinking; a tourist city, drowning – and about the Biennale, which we all wished in some way to prove or disprove. We chose to describe our project as “archaeology”, working independently to “dredge” the city for artefacts, myths and phenomena and transport them to the pavilion in order to map the reality we found. Some of us very literally trawled the waters of Venice. Others used mechanical animation to bring forgotten objects to life. Others made a thousand paper boats with the visitors to the pavilion, echoing the original industrial output of the Arsenale. Some disproved myths and others created them, and all the while we tried to keep to the simple rule of one project per day per person, presented publically in a group presentation at the end of each day.
Project by: Helen Runting, Markus Wagner, Joél Jouannet, Rutger Sjögrim, Karin Matz, Sara Liberg, Anders Berensson, Daniel Johansson, Ola Keijer, Martin Łosoś, Fredrik Andersson, Caroline Ektander and Bree Trevena.
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On a sunny Wednesday evening, the people of Stockholm had the pleasure of witnessing The Field performing live on The Lawn, as it floated gently passed their balconies, windows, parks and bars.
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Proposal by Ludvig Netré and Markus Wagner. En 20 meter hög pyramidformad limträkonstruktion placeras på en 70×70 meter stort fundament. Programmets olika delar avgränsas genom att placeras i boxar eller genom en 1,2 meter höjdskillnad. Höjdskillnaden ger en topografi där simbassängerna är nedsänkta i förhållande till resten av markplan.
Tre större boxar definierar interiören. En putsad box för omklädning, personal och café. En andra box för vertikal kommunikation har en reflekterande yta av speglar. Den tredje är en högt svävande träbox som innehåller relaxavdelningen.
Takkonstruktionen är en 1,2 meter hög balkrost i limträ, limträ är ett starkt, tåligt och förnyelsebart naturmaterial. De uppemot 7 meter stora mellanrummen fylls med ETFE-kuddar som är fyllda med en konstant luftmängd. De är extremt lätta, starka, återvinningsbara och kan göras olika transparenta beroende på vädersträck.
De vinklade ytorna i taket samt ETFE-kuddarna och boxarna skapar ett rum där ljudet snabbt bryts i sin bana och goda aukustiska förhållanden kan uppnås. Luften förvärms vintertid i kulvertar längs bassängväggarna. Den stiger uppåt, sugs in vid nock och pressas nedåt genom ett schakt till källaren där det avfuktas och värmeväxlas med ny luft. Vid värmetoppar kan badhusets övre delar öppnas och badhuset kylas genom självdrag.
Det framtida hotellet placeras på tomtens norra del, den föreslagna parkeringsplatsen ersätts då av en parkering i hotellets källarplan. Badhusets placering respekterar det befintliga gatumönstret och söker förstärka Nybrovägens urbanitet. Söder om badhuset förslås en park med kullar av schaktmassor som underlag för generösa gräsytor.
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A collaborative project by japanese and swedish architects initiated by Studio un/real. People involved: Daiki, Michael, Ichikawa, Toru, Caroline, Junichi, Kristin, Yuli, Margus, Simon+ more
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Some of the 123 proposals for art in public space (including monument no. 5) are exhibited at Galleri K1 in Kulturhuset, Stockholm. The exhibition will be there until november 23. The competition was held by Eva Bonniers donationsnämnd. Go there if you are in Stockholm in november.
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Competition entry for a performing arts center in Taipei. Margus in collaboration with Visiondivision, www.visiondivision.comThis is a powerful energy generating machine on the outside with a sensual, organic inside that transcends the visitors from the bustling city to a serene world of the performing arts. One of the positive aspects of raising the building is that it creates a generous public space around it. The square slopes gently towards the entrance, surrounded by pearls, the visitors descends fadingly into the building like entering an ocean. A great spiral of pearls is the main focal point of the entrance hall, you can either take the elevator through it or the ramp around it, by foot or with the VIP Train of pearls, taking you all the way into the Grand Theatre.The Grand theatre is embedded in pearls, creating a elegant and modern experience for the audience. The semi-transparent pearls are lit from behind and dim the light, creating a glowing sensation. Depending on the performance, the ambience can be set into different modes.A chandelier of pearls in the middle of the theatre drops seamlessly from the roof like a jewel, radiating an ambient light. The VIP Train is now converted into comfortable seats. Reaching the roof terrace, the pearls subsides into clouds. Walking around among the clouds one can experience panorama views of Taipei. The building performs on its own for the city, generating culture, urban life and pure sustainable energy for its vicinity. This is all strongly manifested from the visual effect of its rotating facade. The façade is covered with curved blades attached on segments that rotate with the wind, generating energy to the building and to the city. Site plan. Flow diagram .
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Examensarbete av Markus Wagner Kistahöjden är ett berg i norra Kista, som ligger i norra delen av Stockholms kommun. Idag är det planerat för en tunnel genom berget som kopplar samman en nyplanerad del av Kista med Akalla i nordväst. Istället för tunnel spränger man i det här förslaget en skåra i berget och bygger bostäder längs sidorna under berget. Bostäderna nås genom loftgångar i ett bergrum i bakkant av husen. Det enda som sticker upp från marken på berget är hissarna som man kan ta om man vill upp i skogen och leka, rasta hunden, plocka bär eller bara titta på motorvägen.
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As foam masses upon the surface of the fountain at Sergels Torg, clouds form and rise slowly into the air, loosely encircling the obelisk. Light shatters upon the 80,000 crystal prisms of Kristallvertikalaccent, which becomes enveloped in a field of rising clouds. In a space composed of hard edges and glass surfaces, of exposed concrete and heavy traffic, the foam clouds appear fragile – they move slowly, softly defying gravity. They drift across the city. moving beyond the enclosure of Sergels Torg. As they rise and disperse and get lost amongst the real clouds, new clouds form at the base of the obelisk. The process is continuous. It takes time. It is, after all, a performance. Monument No. 5 is performed over 4 days. It precedes the changing of the water of the fountain and the cleaning of Kristallvertikalaccent.The 80,000 prisms of the obelisk reflect the light of 365 different days every year, and every day the light of those prisms is frozen in time, captured and reproduced as representation in glossy press shots and the digital photographs of tourists. People experience the beauty of Kristallvertikalaccent in the creation or observation of its image – the moment of encounter is thus frozen and removed, placed in artificial sequences and sited outside of the physical space of Sergels Torg. The encounter with the artwork is in this way obscured – it is viewed through digital viewfinders and on computer screens, and the changes in light and colour and shadow, in the space that it takes and creates, are lost. At the same time, the monument is experienced physically in repetitive everyday encounters as an obstacle to movement. Countless drivers and commuters circumnavigate its periphery, countless shoppers walk beneath it, and countless many times, it is forgotten or ignored or absorbed as one functional component of a much larger urban space. The encounter is, again, neutralised – the experience of function absorbs the experience of beauty.Rather than propose the creation of a new monument in a new space – new beauty to be momentarily noted and then forgotten, or uprooted by its own representation – what we propose is a temporary performance, an artwork dedicated to the existing beauty of an existing artwork, in an existing space. In such a way, we wish to reframe an encounter, to redirect an experience – to refocus on what is at hand, and to celebrate the beauty of what already exists. Execution Liquid bath foam is poured into the pool of the fountain. Sixteen 50 liter canisters of helium are placed along the edge of the pool. They feed helium into sixteen cylindrical cages placed in the water, closer to the obelisk.The helium is released into the soapy water and the bubbles create foam which is contained by the cages. As the foam grows, the vertical force of the helium pulls away clouds of foam that rise along the obelisk, soaring away over the buildings of Stockholm.Different sizes of cages allow for different sizes of clouds that release at different intervals. Each canister of helium lasts for fifty minutes and every fifty minutes empty canisters are replaced manually with new ones. The performance will last for four days, each day for seven hours. Video showing a test of soap + water + helium.Project by: Sara Liberg, Helen Runting, Rutger Sjögrim, Markus Wagner
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Orchestral Manoeuvres In The Dark – Architecture And Morality
Guru – Respect The Architect
Diplomatic Shit – Evil Architecture
Xingu Hill & Squaremeter – Negative Architecture
Kate Bush – An Architects Dream
Einstürzende Neubauten – Architektur ist Geiselnahme
John Foxx & Harold – Momentary Architecture
Herman Düne – Little Architect
The Stnnng – I Am An Architect
Layton – The Architecture Of A Sunset
The Decemberist – Here I Dreamt I Was An Architect
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Posted: April 21st, 2008
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Margus and Rutger dressed up as spaceships during International Festival’s workshop @ Nai, Rotterdam
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Ett till spegelprojekt. Väntkurer placeras på perrongen och vid busshållplatserna vid Kista station. Speglar hängs upp på tågbron och gör att buss- och tågresenärerna äntligen kan börja interagera med varandra visuellt. Another mirror project. Located at Kista station. waiting booths are being placed on the train platform and one level down at the bus stops. Mirrors hanging from the bridge allow people on the different levels to interact with each other.
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Due to the refurbishment of the the modern dance theatre at Skeppsholmen, the The theatre has to move to another venue for one year. This project propose to move the dance theatre to the courtyard of the royal palace in Gamla stan, Stockholm. The courtyard is currently almost never used and is one of the biggest non built areas in the inner city of Stockholm. Instead of building a small theatre in the courtyard, the whole courtyard is covered by a roof consisting of four big beams and a scaffolding cassette roof. The roof is put on pillars to make it a self supporting structure and not touching the palace itself. The roof makes the courtyard a totally dark and silent space. The scale of the room contra the program of the modern dance theatre is somehow absurd and eliminates the need of walls between the different program functions. The program functions can be seen as furniture put out in this big room.
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Videos för en fest på Luntmakargatan, Stockholm Videos for a party at Luntmakargatan, Stockholm
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Posted: February 18th, 2008
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Snabb produktion av arkitektur på Östermalm med hjälp av sträckfilm. Fantastic plastic fast production of architecture in Östermalm, Stockholm
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Ett stort periskop binder samman två olika nivåer i Tensta. Tenstagången och Taxingeplan blir samma nivå, men – det är bara en illusion. Videon ovan visar den tänkta byggprocessen.A huge periscope connects two levels in Tensta, but – it’s all an illusion. The video above shows the construction site.Videocollage.
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Härmed är produktionskollektivet Svensk Standards blogg startad
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Posted: February 10th, 2008
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Ett till spegelprojekt. Väntkurer placeras på perrongen och vid busshållplatserna vid Kista station. Speglar hängs upp på tågbron och gör att buss- och tågresenärerna äntligen kan börja interagera med varandra visuellt.
Härmed är produktionskollektivet Svensk Standards blogg startad