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Arkitektur
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Svensk Standard will be working at Kulturhuset, Stockholm, this weekend. We have been invited to produce feedback on the guidelines for architectural quality, ‘Arkitektur Stockholm’, recently put forward by the City of Stockholm. Our workshop will focus on terms and concepts used within the text, and portrayed as “naturally” benign truths. Phrases like “contemporary architecture” and “well-functioning urban life” will be reassessed, redefined and handed back to the City as trojan horses, posing questions and proposing a different idea of how to define architecture and city planning in a more open and experimental manner.
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TV! starts tomorrow (10th of feb) at six pm, at the Museeum of Architecture in Stockholm. The workshop will then continue during Friday and Saturday. If you can’t join us there the production will be made available through the project website at…
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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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As a part of the residency program At Work With, initiated by Economy and Testbedstudio for the Nordic Pavilion at the Venice Biennale this year, we have been invited to make the Nordic Pavilion our office for a week. During this week we will produce small projects on the city of Venice in a production we’d like to call Venice! of the North!
More updates will follow soon. Read them here at our webpage or at the At Work With blog (where you can also read up on the activities of the practices preceding us as residents of the pavilion).
…Or visit us! if you are in Venice. We’ll be at the Nordic Pavillion in the Giardini area of the Biennale and we’ll be there from the 21th of september to the 26th of september.
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A photosynth showing the Open Studio and the Beijing Field Office at NO+CH09 three days into production.
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This summer a crew from Svensk Standard got invited to participate in the NOTCH09 festival in Beijing, China.
It is a two week long festival exhibiting music, fashion, design and architecture from the Nordic countries as well as from China (NOrdic + CHina = NOTCH). We are participating in the part of the festival called Open Studio. It’s a space on the top floor of one of the buildings used by the festival and conceived as mixing chamber for artists/designers/architect exhibiting at NOTCH.
In this space we have created a small office for ourselves. We call it the Beijing Field Office. It will, for two weeks (we started last weekend and production ends at the 7th of november), conduct research on the city of Beijing, focused on the part of Chang’an Avenue leading west from Tiananmen Square to the 2nd Ring Road.
To help us in these studies we have invited six Chinese nationals, living in Beijing, of different professions, age, sex and backgrounds. They are our clients, our main resource of knowledge. With them we have discussed and created an architectural program, specific to each client. Their opinions, interests and desires. Our clients are subjective, we ask them for THEIR opinions, thus making them unquestionable experts.
As a consequence the research won’t give answers to general questions, concerning lots of people. Instead it provides specific answers to specific questions and people. Making the research narrow but precise.
The six different architectural programs will then be processed into architectural forms and spaces, eventually put together into a single potential building, in the end finding itself a site in proximity to the study site along the west part of Chang’an Avenue.
The project is produced along a ten meters long wall divided into the days of the festival, an architectural almanac. It tells the past of our process and hints at the future.
At this moment we are nearing the end of our research phase and have started to transcribe the interviews made with each client into concepts and sketches for program.
So if you happen to be in Beijing this week, pleas stop by and visit us at The Village North, in Sanlitun.
Sorry about the late notice.
At NOTCH09 Svensk Standard is:
Anders Berensson
Caroline Ektander
Daniel Johansson
Helen Runting
Rutger Sjögrim
Markus Wagner
Project funded by IASPIS
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About a month ago, we were asked by the Cities the magazine people if we could design a small exhibition space for them. They were trying to get accepted into an event held by the European Year of Creativity and needed a proposal for an exhibition space that showed that they meant business.
They got accepted, but sadly there wasn’t any need (or money) for the proposed space.
Now, unbuilt architecture is always a very sad thing, so we thought that if we posted it here perhaps someone else might find some use for it. It’s very low budget, so if you don’t have a lot of money but need an exhibition space, this is what you do:
First, call a supplier of cargo pallets (usually there are some at the outskirts of every major European city). Cargo pallets are interesting because they exist in a constant flow. Either being trafficked around, to or from the recipients of various merchandise, or stacked in some warehouse. In order for the logistics industry to have quick access to pallets there is always a surplus of them and as they deteriorate they get downgraded through a system of different classes based on their quality, being constantly reused. So if you ask a supplier of pallets nicely, he or she might let you borrow some for free as long as you hand them back unspoiled.
Otherwise they can be bought and sold back at a difference of ca 3 euros / pallet and that still makes them pretty cheap.
We’re going to use the pallets as the basic building block for the space. They can be stacked in lots of different ways and what you’ll eventually end up with depends, of course, on what kind of space you need. We wanted large wall areas for projections and printed images, but also some kind of “lounge” feature as well as the flexibility of a simple table and perhaps some folding chairs.
Once you stacked the pallets into a topography that pleases you, strap them together using cargo straps. This fixes the pallets into position and makes the stacks very stable. Do it right and the straps will be almost invisible from the outside.
When the pallets are strapped, the inside needs to be clad with some boards. What kind of material you choose depends once again on the purpose of the topography. Usually some kind of plywood or particle boards will do just fine. Cheaper boards will wear more rapidly so the type you want will depend on how long the topography will be used. The boards are then screwed to the pallets.
You can now paint the space in the color of your choice (or just leave it if you like the look of it). We went with white since it’s neutral and good for projections. We also left the outside naked, with the pallets exposed.
Remember; don’t paint the pallets. This will make them worth less when you sell them back.
Here are the cost estimates for our space:
(in euros)
Euro-pallets x 128 = 400
Plywood/Particleboards = 200
Cargo straps x 10 = 150
Paint (4 cans) + Brushes = 150
Ikea table = 42
Pillows x 30 = 90
+ transports + extra
TOTAL = ca 1500
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I was recently told by a friend that there existed a large telephone tower made of steel, (kind of like a square Eiffel tower) in Stockholm during the first half of the 20th century and after a short google run, this is what i found:
Apparently it was built in 1887, at a time when there were about 5500 telephones in Stockholm. Each of these telephones were connected to a wire that would leave the house or apartment suspended on small steel hooks and angles. It would make its way through the narrow streets of 19th century Stockholm eventually ending up in the tower. At the base of the tower, in the building it stood on, was a great hall where rows of telephone operators would connect the incoming signal to whatever outgoing cable the caller asked for. The signal would then leave the great tower, once again passing through the streets and leaping across the roofs, eventually reaching the house of the recipient.
The tower, acting like a full scale diagram, explains perfectly to anybody looking at it, the logic behind the telephone system. Imagine what the internet would look like, illustrated like this. Or how it would sound!
In a complaint sent in to one of the larger news papers at the time, a concerned resident of Stockholm complains about “obehaget af den olidliga musik, som telefontrådar kunna åstadkomma, och många hafva nog lidit af deras nervskakande disharmonier”. (I found this quote on a blog and haven’t been able to validate it, but it is so well put that I decided to post it) In short, it’s about the “nerve wrecking disharmonies” that the wind blowing through the web of cables produced.
By 1913, all the telephone wires in Stockholm had been put underground and the tower was left as a landmark and monument. In the 50’s, sadly, a fire in the building bellow forced it’s demolition and the towers sillhouette in the Stockholm cityscape was, in time, forgotten.
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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 new Centre for Architecture & Design in Stockholm
Small building = Less permanent exhibitions =
Less maintenance costs = More money to temporary exhibitions
In 2002, due to mold infestation, the Museum of Contemporary Art in Stockholm had to close down its recently completed building. This left the institution homeless and as a result one of the most successful and appreciated exhibition campaigns in Sweden was initiated; called “Moderna Museet c/o”. For more than a year the institution would “move in” with other institutions. Lending out its artworks or curating exhibitions in spaces belonging to others, all over Sweden.
An old postal terminal in the heart of Stockholm became the hub of these activities. Here, a smaller building and exhibition meant lower maintenance costs. Therefore they could use their resources to create an intense exhibition program called “Udda veckor”, with new exhibitions
starting every two weeks. Moderna museet was described by the people working there as “intense, lively and a lot of things going on” during this period.
This example will be used as a starting point for the new Centre for Architecture & Design.
The idea is to create a small permanent building accompanied by a large public exhibition/workshop space with low maintenance costs. Thus creating the best possible platform for a centre that often wants to change their content and keep up to date with contemporary issues in architecture and design.
In order to achieve this, the space for temporary exhibitions will be separated from the archives. The archives will remain at Skeppsholmen along with a new design archive (that could be housed in the old space for temporary exhibitions in the architecture museum).
The space for temporary exhibitions, however, will be moved next to the School of Architecture in a different part of the city. This will create a program mix that could nurture both the Centre and the School and expose the school to a wider audience. There would also be a natural presence of students and staff related to the faculty benefiting the Center.
The experience:
The physical environment of the modern swedish city is controlled by restrictions that we didn’t have a hundred years ago. A vast number of regulations create a framework for the city, which in the end makes it look and function in a homogenous way. This project has the ambition to break some of the “rules” by ignoring some otherwise very dominating building regulations. Thus affecting the visitors and passers by with it’s unusual relation to it’s surroundings rather than with it’s visual qualities as an architectural object.
Could a greater awareness of the impact of design solutions on everyday life be achieved
by deliberately using inconvenient and “bad” solutions for the project?
A common way to get people to react to architecture, is to design a building that impresses with it’s visual qualities. What if the building could be as dramatic in it’s relation to the function of the surroundings? The ambition has been to make a programatic and emotional impact on the passers by, whether they want it or not. The project forces itself on the surroundings, making it hard not to react to, even if you’re not a visitor: A pavement that narrows down to nothing, forcing the passers by to walk around the the building, a narrow alley on the backside, an outside exhibition that appropriates the public and private space in front of the centre.
Introducing inconvenience and estrangement in the urban environment, in front of the building, could be a tool for creating awareness of the built environment around us. Especially in an urban landscape that otherwise is dominated by strict regulations on how the city should be developed, functionally and aesthetically.
Permanent & temporary structures:
The interior consists of a permanent structure which houses the most basic functions, such as storage, WC and services. In the central room other functions such as exhibition, workshop and offices can grow or contract. The space can be re-organized with a temporary structure, scaffolding, which can be mounted to allow extra space when required.
“The urban stage”, a public space administrated by the centre, is a tree dimensional steel framework. An extension of the permanent building where temporary structures, installations, artworks, objects, equipment could be attached.
Plan showing entrance level
Plan showing upper level
Project by Ola Keijer, fall 2008.
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The TV! team travels to Hannover and Europes largest fair grounds, to document the exhibition space produced for Telenor.
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The CeBit fair in Hannover, is Europe’s largest electronics fair and a strange and chaotic place. At a total of 496 000 square meters of indoor space (roughly the size of 70 full sized soccer fields) it is vast and the 4300 exhibitors form a baffling mass of structures, signs, sounds, displays, suits, ties, businessmen during the week, geeks during the weekend (most people at this place are men) and all kinds of different gizmos and gadgets.
It is a sea of flotsam and jetsam constructed of aluminum frames, printed banners and lcd-screens. A place where everything blends together and nothing really sticks out.
So when asked to design a new exhibition space for Telenor at this years CeBit, we decided to do a solid. A simple black volume, as large as possible, as tall as possible.
It would contrast it’s surroundings by being introvert and mysterious. Glowing blue cracks would slice the volume and visitors would be lured inside simply through the promise of discovery.
Once inside the main interior space of the solid, animations back-projected onto the surfaces inform, friendly exhibition-hosts greets and giant block of LED-lit ice provides spectacle. The volumes separating the interior space of the solid from the outside, contains the auxiliary functions like meeting, lounge and storage rooms.
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Perhaps the greatest architect ever, Sir Ken Adam is little known compared to the images of his work.
Being the creator of the “war-room” scenography from Dr. Stranglove and virtually all James Bond sets from Dr. No up untill the late 70’s (including the pinacle of bond-villain-lairs in “The spy who loved me”) , his work has been and continues to be an awsome resource of inspiration for architectural creation all over the world.
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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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International Festival at NAI, Rotterdam, Spring 2008.The Cardboard Giant and some really happy architects.
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Utmattade av 24-timmarsjobbande och (åtminstånde en utav dem) nedslagna av det brutala motståndet i att försöka vara enkel, så söker sig Svensk Standard ut på internet och finner italienska webbsidor med passion för framtiden, som den var förr i tiden… Och vi längtar tillbaka. Kolla in http://www.fabiofeminofantascience.org/RETROFUTURE/RETROFUTURE24.html
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Diagram över styrsystemet som reglerar den kommunala grundskolan i Sverige.
Chart showing the structure that regulates the swedish primary school system.
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