Contents AT is Turning Ten and We Want to Celebrate. Karl-Gunnar Olsson ______2

How Did It All Start? The Background to the Architecture and Engineering Program. Ulf Janson ______6

“Totally Wonderfully Complex!” Students Reflect on AT. ______14

“It’s a Luxury to Work with a Group Like This.” The Teachers’ View of AT. ___ 26

The Pathway is Worth our While. ______34

Turin with AT1. ______36

UK with AT2. ______42

Switzerland with AT3. Morten Lund ______48

Walking the City. ______56

“No Other School Has the Same Strength”. AT’s Bachelor’s Thesis. ______58

From Master’s Thesis to Research. ______68

“The Culture of Creativity and Self-Confidence”. AT Internships Abroad. ___ 84

AT = Where Disparate Disciplines Come Together. Johan Dahlberg, Johanna Isaksson ______92

PS ______96

Boken AT tio år är producerad med stöd från Redaktör och texter om inte annat anges: Tack till sponsorerna: Stiftelsen Chalmers tekniska högskola samt Claes Caldenby COWI Chalmers Utbildningsområde Arkitektur och Engelsk översättning: John Krause Samrén & Månsson samhällsbyggnadsteknik. Särskilt tack till UOL Grafisk form: Marie Kalmnäs Sweco Mihail Serkitjis som under alla år gett AT Layout: Oscar Borgström White stöd och support. Tryck: Göteborgstryckeriet 2016 ISBN: 978-91-980990-6-5 Bild omslagets insidor: British Museum. Foto Ulf Janson.

at te n year s 3 karl-gunnar olsson, head of programme

AT is turning ten and we want to celebrate

A Jubilee Book will tell our story, a up for responsible management of the to formally become architects or engi- common share of moments and acti- earth’s limited resources with artistic neers or both. But what is it really they vities, thoughts and reflections, from drive and determination. become? 10 years of Architecture and Engine- Architecture and Engineering is an ering, in short AT. A creative mixture of Freedom to choose education and an educational jour- strong professional cultures, a desire Every year a new group of ambitious, ney. Where sensibility, creativity and and an enthusiasm for searching out clever, and creative young people confidence draws its nourishment from and taking on the challenges of the comes to AT. We say to all of you on the powerful stories of good examples, future in architecture and engineering the very first day, and then remind Where the daily sketching – with pencil, of the built environment. AT is ten years you whenever we can, that AT is not a material models, and mathematical young. recipe for success or a mass program programming allows the unexpected of uniform instruction, but rather a alternatives to appear, Where patterns Roles are evolving journey in search of knowledge and from nature and science guide for The dominant paradigm of university skills that is unique to every individual efficient design, and where the being education today is that students choose who embarks on it. It has a compulsory in iterative design processes, with the a degree program and are educated foundation that is designed to guaran- whole in sight, develops the routines to work in a specific profession. That tee that students graduate with a high that secure for qualified proposals. paradigm has deep historical roots, of level of fundamental architecture and course, with programs linked directly engineering skills. But our students also Challenge the way we design and to traditional professional exams for have a great deal of freedom to choose build architects and engineers. In addition, what they passion for, and we are strong professional cultures have strongly committed to supporting those As I write this there is less than a developed over time, and these tend choices. The biggest risk they face is week left before the Smartgeometry to reinforce expectations for the roles the temptation to follow one another 2016 workshop and conference takes their members should play, and the too closely and allow their own ambition place at Chalmers. A large group of assignments they should take on. to be subsumed by another’s. AT students are involved as organizers Those expectations are persistent, but Our teachers and program admi- and participants. The result is found at they aren’t permanent: the roles and nistrators have the privilege of being the end of this book. This is how the self-images of the professionals in the with you students through what may conference is being presented: field of built environment have always be some of the most formative years of “Geometry is one of many systems been in the process of evolving, and your lives. You make important choices that are amenable to modeling. Archi- they will continue to do so. usually consciously, but fortunately also tectural design as a process should The structure of the AT program sometimes in a moment of inspiration, exploit the new potential available in takes a look into the future, an attempt following an impulse. Those choices will computing. To the new generations to disrupt the customs and taboos of impact you and the lives you live in the of designers, engineers and archi- our era. The concept is both a degree future. We want you to allow yourselves tects, mathematics and algorithms are program and a space for education to be swept up by inspiration, to em- becoming as natural as pen and pencil. that strives toward architecture and brace the decisions you make, do your As modern design has progressed and engineering’s fundamental knowledge, best, stand up for your thoughts and the tools and techniques have matured, skills and attitudes but is adapted to ideas, and be at peace with and proud Smartgeometry has emerged as a the expectations and needs of this of what you are able to accomplish. forum where the new critical language generation, and strives too toward the Supporting you in that is perhaps our of digital architecture can be formed. leading edge of material and techno- faculty’s most important job. The magic of Smartgeometry lies in its logical development, while standing The AT program prepares students curious mix of community and compe-

introduction tition, which conspires to inspire and utmaningar inom arkitektur och sam- provoke and challenge current design hällsbyggnadsteknik. AT är tio år ungt. methodologies.” The magic of AT lies in its distinc- Roller i förändring tive alchemy of strong community and Den idag gängse bilden av en univer- complementary cultures that together sitetsutbildning är att man väljer ett conspire to inspire, provoke, and chal- utbildningsprogram och utbildas till ett lenge the way we design and build. All yrke. Den bilden har förvisso en stark of us — students, alumni, and faculty historisk förankring hos utbildningar alike — have with our contributions to kopplade till traditionella yrkesexamina this anniversary book written the first som arkitekt och civilingenjörsexamen. chapter in the story of Architecture and Här har också över tid starka yrkeskul- Engineering. I get the feeling all of us turer utvecklats med förväntningar på are extremely curious what the next roller man ska ta och uppgifter man ska chapter will bring. lösa. Men detta är inte en evig sanning. Roller och självbilder i samhällsbygg- AT fyller 10 år och andet har genomgått och genomgår det vill vi fira ständig förändring. En jubileumsbok får bli vår berättelse, Utformningen av AT-programmet är där vi tillsammans delar med oss av en spaning in i framtiden, ett försök att ögonblick och händelser, tankar och bryta vår tidsandas vanor och ovanor. reflexioner, från 10 år av Arkitektur och Konceptet är en utbildning och ett rum teknik. En kreativ mix av starka yrkes- för bildning som söker sig mot arkitek- »» Palazzetto dello Sport kulturer, en lust och ett engagemang turens och ingenjörskonstens grundläg- Pier Luigi Nervi – 1957 för att söka och ta sig an framtidens gande kunnande och förhållningssätt, Illustration: Jon Tibell

at te n year s 5

Jon Tibell - 2009-04-16 men som möter vår tids människor, på Chalmers och med en stor grupp deras förutsättningar och behov och AT-studenter som ansvarar för och fronten inom material- och teknologiut- håller ihop arrangemanget. I slutet av veckling, och som med konstnärlig lust boken hittar ni resultatet. Så här pre- och vilja står upp för ansvarstagande senteras workshopen: för jordens ändliga resurser. ”Arkitekters utformningsarbete och ingenjörsdesign sker idag allt oftare Frihet till egna val genom digitala iterativa processer där Till AT kommer varje år en ny kull optimerade lösningar söks genom ambitiösa, duktiga och kreativa unga att olika alternativ ställs mot varandra människor. Till er säger vi redan första och utvärderas med hjälp av digitalt dagen, och påminner sedan allt som producerade prototyper och simulerade oftast: AT är inte ett recept och en miljöer och verkningssätt. För den nya massutbildning, utan en för varje individ generationens designer, ingenjörer och unik bildnings- och färdighetsresa. Det arkitekter, är matematik och algoritmer finns ett obligatorium utformat för att lika naturligt som papper och penna. garantera hög nivå på grundläggande Parallellt med att digitala teknologier arkitekt- och ingenjörsfärdigheter för och beräkningsalgoritmer utvecklas har respektive examina. Men det finns en Smartgeometry skapats som ett forum stor frihet till egna val av fokus och en för att såväl utforska och pröva som att stark ambition att stötta dessa. Största kritiskt granska de digitala teknologi- faran är att snegla för mycket på varan- ernas processer och resultat. Magin i dra och bli en del av andras ambitioner. Smartgeometry ligger i dess säregna Vi lärare och programledning får blandning av gemenskap och konkur- vara med er som studenter under några rens, som konspirerar för att inspirera, av de kanske mest avgörande åren i ert provocera och utmana nuvarande liv. Ni gör viktiga val, oftast medvetet, designmetoder.” »» Bachelor Thesis – Finding Concepts men lyckligtvis ibland också efter ögon- Magin i AT ligger i dess säregna »» Saline Royal, Arc-et-Senans. Ledoux blickets ingivelse, en tillfällig lockelse. blandning av stark gemenskap i en mix 1774. Val som kommer att påverka er och de av starka kulturer, som konspirerar för liv ni kommer att leva. Att tillåta er att att inspirera, provocera och utmana lockas med, att vila i de beslut ni tar, att byggnadskonsten. Vi alla – studenter, göra ert bästa, att stå upp för era tan- alumner och lärare – har genom våra kar och idéer, och att vara tillfreds med bidrag till denna jubileumsbok skrivit och stolta över det ni själva presterar. det första kapitlet i berättelsen om Detta är kanske vår viktigaste uppgift Arkitektur och teknik. Jag tror att vi alla att stötta. är otroligt nyfikna på nästa kapitel. På AT blir man formellt arkitekt eller ingenjör eller både och. Men vad blir man egentligen? Vi har format en utbildning och en bildningsresa där exemplens kraft att berätta är näringen, där skissandet med penna, med fysiska modeller, i fysikaliska mönster och med matematik är konditionsträningen, och där det strukturerade utforskandet, det kreativa itererandet med helheten för ögonen, är specialgrenen.

Utmana byggnadskonsten När denna text skrivs är det mindre än en vecka kvar till workshopen Smartgeometry 2016 som i år äger rum

introduction at te n year s 7 ulf janson

How Did It All Start? The Background to the Architecture and Engineering Program

Chalmers has long been home to Form, Space, and Technology The program description propo- collaboration and exchange among the The goal for Form, Space, and Tech- sed activities for the undergraduate, faculties of its architecture and civil nology was to develop the expertise continuing education, and post-gra- engineering schools. That collaboration needed to handle complex and sophis- duate programs and for research. A was expressed in a variety of ways ticated construction in a sustainable variety of initiatives were identified for and with varying intensity over the society. One of the strategies for doing the schools at the undergraduate level: years. In the late 1990s, in an attempt that was to improve the interaction engineering courses with contributions to strengthen the exchange among the between architecture and engineering from architecture faculty, architecture different areas of expertise at Chalmers in both education and research. courses with contributions from eng- that deal with buildings, construction, In the program description for ineering faculty, and joint courses for and planning, the president of the uni- Form,Space, and Technology published students from both architecture and versity gave the deans of the schools in June 1999, a structure was formu- engineering schools. of civil engineering, industrial econo- lated for various kinds of collaborative But the 1999 program description mics, and architecture the challenge of activities, with detailed plans for a also included a proposal for a joint exploring new forms for collaboration. limited number of projects within that undergraduate degree program shared The deans then formulated what came structure that could begin immediately. by the architecture and civil engine- to be called the VIA platform a five year It also indicated a number of other ering schools. It sketched out possible investment by Chalmers in a number of initiatives that could undertake after individual courses of study for a few strategic development programs. One a certain amount of planning, as well different students from both architecture of these programs was given the name as a number of ideas that ought to be and civil engineering. The idea was for Form, Space, and Technology. explored more thoroughly. the students to have a shared curri- culum for the first three years before specializing during the last two years in either architecture or engineering. In this scheme it was assumed that the individualized courses of study could for the most part rely on existing courses in both schools. The Form, Space, and Technology program received funding from the VIA platform through 2003; continued work with the initiative thereafter would need to seek its own funding. In the spring of 2002, as the program was coming to an end, its management group did a follow-up evaluation of the activities that had already begun under the pro- gram. There were quite a few of them, but some did not have the durability the management group had hoped for. They decided then to devote almost all of the time left in the program to deve- loping one of the proposals in the 1999 program description: a new undergra-

bac kg r o u n d duate program that trained students in architects is needed. It is not common both architecture and engineering skills. to find architects who have the ability to give expert opinions in a discussion The New Program of structural principles and behaviors, What kind of educational program did or engineers who can expertly discuss the Form, Space, and Technology ma- design and expression, apart from those nagement group envision? What skills with the most extensive experience. would the program develop in its par- The Form, Space, and Technology ma- ticipants? What types of construction nagement group envisioned a program projects would the program’s graduates that would teach these skills from the be prepared to design? And why was a very first term. new degree program needed? From the fall of 2002 through the A point of departure was the colla- end of 2003, the management group boration between architects and en- continued to develop a curriculum for gineers during the design process. The the new program. In order to generate two professions have clearly differentia- interdisciplinary skills and still fulfill the ted roles but collaborate in a customary national learning objectives required and often effective way. But when for the professional architecture and the goal is to develop architectural engineering degrees, they developed and technological values that achieve a structure with a joint curriculum at substantially more than the established the undergraduate level followed by a ones do, or to develop a far-reaching restricted choice among the more then optimization of material use or long 40 graduate-level curricula offered by spans, for example, or very tall buil- Chalmers A possibility to reach both »» Hipódromo de la Zarzuela dings, then an even closer and deeper degrees by an additional 1,5 year of Madrid, Spanien. 1935–41 collaboration between engineers and studies was also built in. Eduardo Torroja . All photos Ulf Janson.

at te n year s 9 these pictures were shown informally to the administrators, faculty members, and students of both the architecture and the engineering schools. Their reactions were more enthusiastic than expected. There were also some ques- tions and some objections, but all in all the response was decidedly positive. Many even expressed a regret that the proposed program had not been availa- ble when they had applied to Chalmers. The National Association of Swedish Architects was engaged on two occasions in the development of the new program. On the second occasion the association expressed its support for the program and declared that students graduating with a Master of Architecture degree from the Archi- tecture and Engineering program would be granted the professional title of The traditional civil engineering recognized by both the Royal Institute SAR/MSA as members of the associa- degree program covers both buildings of British Architects and the Institu- tion after fulfilling the required two-year and infrastructure, and the architecture tions of Civil and Structural Engineers. apprenticeship. program covers both buildings and ur- Students had been graduating from the The proposed program was also ban planning. The new degree program program since 1999 and had been well presented to the Swedish Society of would focus on buildings. The Form, received by the employment market. Civil and Structural Engineers, and Space, and Technology management there was never a doubt that a Master group thus eliminated most of the civil Promoting and Adopting of Civil Engineering with a degree in engineering subjects that dealt with the New Program Architecture and Engineering would be infrastructure issues and most of the In their discussions about the new pro- admitted to the Society. architecture subjects that dealt with gram, the Form, Space, and Technology A reorganization of the departmen- planning. management group often made refe- tal structure at Chalmers, which was rence to images of realized buildings planned in 2004 and implemented in Similar Programs Around the World in which close collaboration between 2005, temporarily delayed the plan for In planning the new program, the ma- experienced architects and engineers the new degree program. But in early nagement group looked for examples had been critical to the quality of the 2005 the proposal could be presented of similar programs in other countries. outcome. Those images turned out to to Chalmers’s Executive Committe for There were many programs in “archi- be very effective in conversations with Education. The committee questioned tectural engineering.” That term is syno- others about the kinds of skills the pro- the plan on a number of points, but lent nymous with “building engineering,” and gram aimed to develop in its students. their support to its continued deve- refers to programs that lead to degrees Normally the contents of an educational lopment. The revisions were largely in engineering, not architecture. The program is defined by a curriculum and complete by the end of May that same management group also found archi- tables that show how each course is year, and the executive committe for tectural programs with a greater emp- related to the specific learning objecti- education voiced its support for the hasis on technology than is common in ves required for a professional degree. program. The proposal then began the the Nordic schools of architecture, but The idea of complementing such texts processes that would lead to a decision only one program in which architecture with pictures of buildings constructed by the president of the university. After and engineering are studied in parallel. with a deep interdisciplinary collabora- Chalmers’s university governing board That was the Structural Engineering tion gave a much clearer understanding declared its support that September for and Architecture dual honors degree of the program’s intentions. establishing the program, the president program at the University of Sheffield In the process of developing a more made it official on October 24, 2005. In in the UK. The degree it conferred was thorough proposal for the new program, the fall of 2006 the new program wel-

bac kg r o u n d »» Hamburg Museum 1989 von Gerkan Marg und Partner Schlaich, Bergermann und Prtner »» Maximilianmuseum Augsburg, Tyskland. 2000 Hochbauamt Augsburg Ludwig und Weiler Kripple und Schiele

at te n year s 11 comed its first class of students, and en struktur för samverkansaktiviteter av in the spring 2011 the first AT student, olika slag med detaljerade planer för ett Caroline Werner, took her exam. mindre antal projekt i strukturen, pro- jekt som kunde starta genast. Ett antal The Form, Space, and Technology ytterligare verksamheter som kunde Management Group starta efter viss planering pekades ut The management group who participa- och dessutom några idéer som borde ted in the Form, Space, and Technology undersökas djupare. program varied some during the life Programskriften föreslog aktiviteter of the program, but from 2002 on it i grundutbildning, fortbildning, forskar- consisted of Carl-Erik Hagentoft, Jan utbildning och forskning. Verksamheten Gustén, and Mihail Serkitjis from the i grundutbildningen var av olika art: School of Civil Engineering and Ulf ingenjörskurser med medverkan från Janson, Michael Edén, and Karl-Gunnar arkitektlärare, arkitektkurser med med- Olsson from the School of Architecture. verkan från ingenjörslärare och gemen- Later Ola Nylander was engaged to samma kurser med både arkitekt- och work on the new program, and after ingenjörsstudenter. him Magnus Persson, both from the Men i programskriften från 1999 architecture school. fanns också ett förslag om en för Arki- tektur och Väg- och vatten gemensam Hur började det? Bakgrunden grundutbildningslinje. En modell med till Arkitektur och teknik individuella studieplaner för ett litet an- På Chalmers har länge funnits sam- tal A- och V-studenter skisserades. De verkan och utbyten mellan lärare på första åren tänktes vara gemensamma, sektionerna för Arkitektur och Väg- och medan studenterna under de sista vattenbyggnad. Samverkan tog sig åren skulle profilera sig mot arkitektur under åren varierande uttryck och haft alternativt ingenjörskonst. I skissen olika intensitet. För att stärka utbyten antogs att de befintliga kurserna i A- mellan kunskapsområden på Chal- och V-utbildningarna kunde utnyttjas till mers som ur olika aspekter behandlar stor del. byggnader, byggande och planering, Programmet Gestaltning och teknik gav rektor under slutet av 1990-talet hade finansiering från VIA-plattformen dekanerna för Väg- och vattenbyggnad, till och med 2003; därefter skulle fort- Industriell ekonomi och Arkitektur i satta aktiviteter finna egen finansiering. uppdrag att undersöka nya former för Inför den sista delen av programmet samverkan. Dekanerna formulerade då gjorde programgruppen under våren vad som kom att kallas VIA-plattfor- 2002 en uppföljning av verksamheter men: en femårig chalmerssatsning på som dittills kommit till stånd med stöd ett antal strategiska utvecklingspro- av programmet. Det var en hel del, men gram. Ett av dessa program fick namnet ibland inte med den uthållighet som Gestaltning och teknik i det komplexa gruppen hade hoppats. Programgrup- byggandet. pen beslöt då att ägna den kvarvarande programtiden i stort sett helt till att Gestaltning och teknik utveckla ett av förslagen i programmet Målet för Gestaltning och teknik var att från 1999: ett nytt grundutbildningspro- utveckla kompetens som kan hantera gram som tränade färdigheter i både komplext och avancerat byggande i ett arkitektur och ingenjörskonst. hållbart samhälle. Ett av medlen för det var att utveckla samspel mellan arkitek- Den nya utbildningen tur och ingenjörskonst i utbildning och Vad var det för utbildning som pro- forskning. gramgruppen såg framför sig? Vilka I en programskrift för Gestaltning färdigheter skulle utbildningen leda och teknik från juni 1999 formulerades fram till? Vilka arter av byggnadsverk

bac kg r o u n d skulle de utexaminerade studenterna redan från första terminen. vara förberedda för att utforma? Och Från hösten 2002 och under 2003 varför behövdes detta nya utbildnings- tog gruppen fram successivt allt mer program? utvecklade kursplaner för den nya En utgångspunkt gavs i arkitekters utbildningen. För att uppnå gränsöver- och ingenjörers samverkan i byggpro- skridande färdigheter och samtidigt cessen. De yrkesgrupperna har tydliga uppfylla de nationella lärmålen för och skilda roller som samspelade på ett arkitekt- alternativt civilingenjörsexa- hävdvunnet, ofta effektivt sätt. Men när men utvecklades en struktur med en uppgiften är att utveckla arkitektoniska sammanhållen utbildning på kandidat- och tekniska värden som når avsevärt nivån, men där studenterna inför mas- längre än de gängse eller gäller utveck- ternivån fick välja mellan en avslutning ling av långt driven materialoptimering som ledde till arkitektexamen eller till för t.ex. stora spännvidder och höga civilingenjörsexamen. Eller både och, höjder, ställs stora krav på nära och efter ett ytterligare antal kurser och ett djup samverkan mellan ingenjörer och examensarbete till. arkitekter. Arkitekter som har förmåga Den traditionella V-utbildningen om- att på ett kvalificerat sätt diskutera kon- fattar både byggnad och infrastruktur struktiva mekanismer och verkningssätt och A-utbildningen både byggnad och liksom ingenjörer som har förmåga att stad. Hela den bredden är omöjlig i en på ett kvalificerat sätt diskutera form gränsöverskridande utbildning. Den nya och uttryck är inte vanliga, annat än utbildningen lade fokus på byggnader. hos arkitekter och ingenjörer med stor Därför valde programgruppen bort yrkeserfarenhet. Det programgruppen huvuddelen av ämnen i V-utbildningen såg framför sig var träning av dessa som behandlade infrastrukturfrågor »» GSW Haubtverwaltung färdigheter redan i utbildningen, i ett och från A-utbildningen en stor del av Berlin, Tyskland. 1999 sammanhållet utbildningsprogram. stadsbyggnadsämnena. Sauerbruch Hutton Architekten Och att färdigheterna skulle tränas Ove Arup & Partners

at te n year s 13 hade varit ett alternativ när de själva hade sökt till Chalmers. Yrkesförbundet Sveriges arkitek- ter blev informerade vid två tillfällen under utvecklingsarbetet. Till det andra tillfället hade förbundet tagit ställning för utbildningen och konstaterat att de som examinerades med arkitektexamen från Arkitektur och teknik skulle kunna få yrkestiteln SAR/MSA när kravet på minst två års yrkeserfarenhet var uppfyllt. Även Svenska väg- och vattenbyg- gares riksförbund fick en presentation av den nya utbildningen. Det var aldrig någon tvekan om att en civilingenjör i Arkitektur och teknik skulle kunna bli medlem i förbundet. En omorganisation av Chalmers sektions- och institutionsstruktur, som planerades under 2004 och genomfördes 2005, bromsade tillfälligt planerna på det nya utbildningspro- grammet. Men i början av 2005 kunde förslaget presenteras för Chalmers ledningsgrupp för grundutbildningen. Liknande utbildningar internationellt byggnadsverk där nära samarbeten Ledningsgruppen hade ett antal syn- Under planeringsarbetet sökte pro- mellan erfarna arkitekter och ingenjö- punkter men ställde sig bakom fortsatt gramgruppen efter liknande utbild- rer varit en förutsättning för verkens utvecklingsarbete. Det var i huvudsak ningar i andra länder. Det fanns många kvaliteter. Sådana bilder visade sig vara klart i slutet av maj. Grundutbildningens utbildningar inom Architectural eng- utmärkta även vid samtal med andra ledningsgrupp uttalade då sitt stöd för ineering. Det begreppet är synonymt om vilka färdigheter utbildningen skulle programmet. Sedan fördes förslaget in i med Buildng engineering och avser utveckla. Normalt beskrivs innehållet i processerna för ett rektorsbeslut. Efter utbildningar för ingenjörexamen, inte ett utbildningsprogram med kursplaner att Chalmers högskolestyrelse i sep- arkitektexamen. Gruppen fann även och matriser som visar hur kurserna tember ställt sig positiva till att inrätta arkitektutbildningar med större inslag relaterar till lärmålen för den avsed- det nya programmet fattade rektor det av teknik än vad som är vanligt i de da examen. Att utöver sådana texter beslutet 24 oktober 2005. Höstterminen nordiska arkitekturskolorna men endast även visa bilder på byggnadsverk, som 2006 började den första årskursen på en utbildning där arkitektur och ingen- utvecklats i en djup professionsöver- det nya programmet och våren 2011 jörskonst studerades parallellt. Det var gripande samverkan, gav en helt annan tog den första AT-studenten, Caroline Structural Engineering and Architecture förståelse av vad utbildningen siktade Werner, sin examen. (dual honours degree) vid University of mot. Sheffield. Utbildningen var erkänd både Under utvecklingen av allt mer Programgruppen av Royal Institute of British Architects utarbetade förslag till den nya utbild- De som medverkat i Gestaltning och och av Institutions of Civil and Structu- ningen presenterades de underhand för teknik varierade något under program- ral Engineers. Studenter från denna ut- ledningarna för A- och V-sektionerna, tiden men från 2002 var det Carl-Erik bildning hade examinerats sedan 1999 lärarkollegierna på A och V, studenter Hagentoft, Jan Gustén och Mihail Ser- och mottagits väl av arbetsmarknaden. på A och V med flera. Reaktionerna kitjis från V-sektionen och Ulf Janson, var mer välvilliga än vad gruppen vågat Michael Edén och Karl-Gunnar Olsson Förankring och beslut hoppas på. Det fanns även frågor och från A-sektionen. Senare engagerades Som referenser vid samtal om den nya tveksamheter men totalt sett var gens- Ola Nylander för arbete med det nya utbildningen inom planeringsgruppen varet påtagligt positivt. Många önskade programmet och efter honom Magnus användes ofta bilder på redan utförda till och med att det nya programmet Persson, båda från A.

bac kg r o u n d »» Savill Building Windsor Great Park, Surrey, England. 2006 Glenn Howel Architects Buro Happold

at te n year s 15 “Totally wonderfully complex!” Students reflect on AT

around aimlessly at a career day convention in Gothenburg and met a guy in “a purple piqué with a Chalmers logo on it” and couldn’t avoid his “Hello! Have you ever heard of AT before?” Anna continues, “Ever since that very second I’ve done whatever I could to avoid Gothenburg, Chalmers, and AT. I’ve done cool volunteer trips, climbed Kilimanjaro, studied art history and image history and lived in student hou- sing and partied through countless late nights in Lund. But I was never able to shake the thought of AT, and since that second I’ve known I could never get away — that I’d eventually be forced to give up and come back to Gothenburg and apply to a program that’s like no other and that had me at hello. The last straw came when Anna went with a friend to sit in on Eva Amborg’s color theory class. In the midst of a messy studio Eva talked “about complementa- The small groups and helpfulness A questionnaire ry colors, green sofas against red walls across class boundaries at AT is We have sent out a number of ques- and why humans can distinguish so something many students remark tions to a little over ten percent of the many different nuances of green, and on. “I feel like you can openly ask a more than three hundred students that I soaked up all that information like a question and expect to get an answer have come through the AT program sponge and felt like I want to know all from someone regardless of whether since 2006. We asked them about their this — in a way I’d never felt before with you’re asking about triple integrals or initial impressions of the program, what any other subject.” working with Illustrator,” says Alexandra was most important, if they remember Toivonen in AT 2012. “Something I think anything in particular that happened, if The first term AT has taught me is time management,” they think there’s a distinctive AT cul- The first term was something new for her classmate Johan Dahlberg adds. ture, and — for those who have entered everyone, especially of course during “When you have tight deadlines and a the workforce — how their professional the early years of the AT program. packed schedule you have to plan your experience has influenced the way they Therese Bergqvist, from the very first time and learn to prioritize and be more view their education. Their answers give class (AT 2006), recalls what it was like: effective in your work. And the collabo- an overwhelmingly positive view of the “Tumultuous, intense, and a lot of fun! rations we were given the opportunity AT program. Here are a few of them. Because the program was completely to take part in, like the bridge building The students learned about AT new there was an uncertainty about the competition, gave us a taste of the real through the program website, an open whole thing. Neither we, the teachers, world of an architect/engineer — full house at Chalmers, or from a friend nor other students at Chalmers were of disparate opinions, viewpoints, and who had gone through it. Anna Sun- entirely sure about where our program beliefs. Totally wonderfully complex!” delin (AT 2014) remembers wandering would lead us, or what role we would

stu d e nts have in the future. The workload was difficult, and then the atmosphere on heavy — the projects could take an the fourth floor was super competitive. unlimited amount of time and ener- But it was also fun and some strong gy — and then you still had to pass friendships were formed.” Johan Dahl- math. High pressure! At the same time berg recalls, “The first encounter was »» Photo: Ulf Janson it was an extremely enjoyable time. the hardest and the most demanding. »» Photo: Malin Mirsch Everything was really fun, inspiring, and There’s a particular way of thinking in exciting — both the program and the the more exploratory and experimental student life. So many exciting people parts of the program. It was impor- with such similar interests, and we were tant to just crawl over that threshold all in the same class together.” Several and realize how important the artistic years later Sara Almstedt (AT 2011) courses are — especially for someone recalled her first term in the program who’s been more comfortable with as “intense. Challenging. Confusing. To natural science subjects going back to go from doing what you’re told to do in high school.” high school to having to argue for all the choices you make was extremely

at te n year s 17 The teachers Persson, and Peter Christensson, all of demanded by KG and Morten, and the Apart from the friendships, the most whom have worked a lot with AT and lack of stops for food. Camilla Samuels- important aspects have been the ent- inspired their students to do their very son recounts how several students and husiastic teachers and the permissive best and to aim high.” teachers took the night train to Munich and experimental atmosphere. “These “The program has made me realize on the way to Switzerland instead of fantastic teachers were challenging us how much I actually know and how flying: “So we got there an hour before to dare to experiment, dare to make many opportunities there are for the the others and Morten thought it was a mistakes, and not set your own boun- future in this industry,” says Sofia perfect opportunity to show us the ar- daries for what’s possible,” says Sara Malmsten (AT 2014). “It feels like the chitecture of Munich. So a bunch of us Almstedt. Lillemor Boschek (AT 2006) program invests in every student and went off with our backpacks on, trailing remembers, “The teachers’ enthusi- allows all of them to develop their own after Morten. As we know, Morten has asm. The field trips. The bridges.” “KG’s style and make something good out of a lot of fantastic qualities, but sticking presence at AT was really important,” it. The program motivates me more and to a time schedule is not one of them, says Camilla Samuelsson (AT 2008). more for every day that passes.” “Ex- so after we’d been walking for a while “He’s always been able to explain the perimenting and exploratory processes Morten looks at the time and says, ‘An hour has passed, and we were sup- posed to be back by now, but we still have a few buildings to see. Is it okay if we run a little?’ Okay, I’m thinking, I can handle a little jogging — you have to remember, we’d already been on a field trip with KG and Morten before, so we know what the tempo’s usually like. However, it turns out Morten has yet another unexpected talent: he can run like a competitive sprinter without looking the slightest bit strained, so it wasn’t really so much a matter of jog- ging as running as fast as you possibly could. Morten held the lead, totally unfazed in his tweed sport coat, with the rest of us trailing behind, lugging our backpacks and gasping for air, all through the city while trying to snap a few pictures on the way and listening to Morten talk about architecture.” big picture and why you do things in a are not just allowed but encouraged,” But there are other teachers who certain way and why certain courses says John Dahlberg. “That attitude can provide a sense of calm in the are important and what they’re meant transformed AT — or rather the subject eye of the storm. Jonas Lundgren (AT to give you. It was important that there of architecture and technology—into 2008) remembers “Peter Christensson, was always someone who was looking something more than ‘just’ an educa- who everyone called Peter the Artist, out for us and who never gave up on tional program. It turned into a huge taught us to think outside the box and making sure that the program was well interest. For better or worse, I might that ‘art disturbs the situation.’ In several thought out and was always developing add, you’re having so much fun that it courses Peter served as the class’s to become better.” “The most important can be hard to tear yourself away from support and helped us find the calm part was Karl-Gunnar,” adds Lowa the fourth floor…. That right there is and the joy when the project stress was Sundh (AT 2008), “who has designed a probably the most important thing I at its worst.” program that is so well thought through learned at AT: to have fun at the same and structured that it has really become time you’re working.” An AT culture a program that you’ve learned a lot The events that are particularly And yes, there definitely was a distinct in and can be proud of having gone memorable for AT students are often AT culture — everyone is unanimous on through. Nothing but praise for him and related to their field trips. They remem- that. “The AT culture is about being cu- his colleagues Morten Lund, Magnus ber fondly the uncompromising tempo rious, free-spoken, and ambitious,” says

stu d e nts »» Photo: Hanna Jakobssons »» Photo: Lowa Sundh »» Photo: Oscar Borgström

at te n year s 19 Lowa Sundh. “There absolutely is an AT something feels impossible, there’s culture,” says Sofia Malmsten. “It’s hard always someone who can help you to describe concretely, but for me it’s make progress.” permeated with collaboration, laughter, Anna Sundelin captures the pro- and a shared spirit of progress.” “I think gram’s dual nature in a recollection so,” says Ellen Simonsson (AT 2010), of a characteristic moment: “We sit “I’d say it has to do with the diversity, exhausted on the tram and lean on one closeness, and the feeling that anything another, on the way home from school is possible — that you can go ‘as far at 8:30 PM for the third time that week. as you want to go’.” Therese Bergqvist ‘I don’t get it. How are we supposed to adds, “Yes, it’s an academic culture cha- have time to get everything done? How racterized by a high level of ambition, can they give us zero scheduled time to positive thinking, curiosity, and a little complete so much, completely without bit of elitism.” “There definitely is an AT instructions?’ ‘I hate this program.’ ‘Me culture,” says Sara Almstedt. “For me too.’ We sit in silence through another it’s in the sense of community on the couple of stops, bumping along with the fourth floor, where students are chal- tram’s uneven movements. Messy hair, lenging and supporting one another — empty stares, full of our own hunger. it’s like they say, ‘The light is always on ‘I would never want to study any other on the fourth floor’ — and in the energy program.’ ‘Me neither.’” and passion that Peter, KG, and Morten invest in their students.” According to Going out into the working world Jonas Lundgren, “The teaching team’s And finally we come to the point of enthusiasm and presence, the interac- the whole thing, to go out into the tion and the camaraderie between the working world. The benefit of having different years, that students from the both the architect’s and the engineer’s upper classes help the newer students, knowledge recurs in many responses that the impressions made on us by from former students. “For the last our field trips in the undergraduate couple of years I’ve been working for years are so powerful that the culture NCC Boende, where I’ve been working of traveling continues into the graduate on context analyses for residential years and probably on into our working architecture, among other things,” says lives as well.” “In AT I felt like you were Sofia Malmsten. “When I talk about AT always looking for knowledge,” says at work I’m met by positive reactions Patrik Thorsson and Marcus Stark (AT from both architects and engineers who 2008), “whether through classmates or point out how important it is to have an from the older students in the program. understanding of both parts.” “You only The other side of that as I experienced get positive reactions to the program,” »» Model: Sebastian Andersson, Sara it was that people could stress each says Malin Mirsch (AT 2006), “and a Olsson, Ona Forss, Oscar Borgström other out. When you see what the lot of people think all architects should group as a whole knows, you really study as much engineering as we do. want to learn everything.” “I thought the For employers and clients, having a mood was usually supportive, but some- degree in AT creates trust.” Marcus times the pressure and the stress got Stark asserts that with an architectural to be too much and I at least degree from AT, “you dare to stand up sometimes felt like I wasn’t good eno- to an experienced structural engineer, ugh,” admits Olle Hellblom (AT 2009). and you can use your own calculations “I’d say the AT culture is what takes the to come up with new solutions. That edge off all the demands and expecta- understanding also means you can tions,” says Hjalmar Bolinder (AT 2010), question your own strategies early on, “all the stress and the press. If you which helps a lot as you work through have a bad day there’s always a friend iterations of your ideas.” Hanna Mangs or a Peter the Artist there. Whenever (AT 2006) interned at SANAA in Tokyo

stu d e nts »» Model: Lowa Sundh »» Photo: Oscar Borgström

at te n year s 21 and now works for Semrén & Månsson to how you can use 3D modeling, but att ta del av, som exempelvis brobyg- in Gothenburg, which she says “has it was at least as inspiring to see how gartävlingen, gav försmak på hur det given me the opportunity to work with the instructors were former AT students verkliga livet som arkitekt/ingenjör är a lot of projects at different scales, who are now working at prominent – fullt av disparata åsikter, synpunkter from schools and offices to housing architecture firms in London.” Lisa och uppfattningar. Alldeles underbart and urban planning. I have worked Kinnerud (AT 2006) works at Zaha komplext!” fyller årskurskamraten Johan with projects in which the AT thinking Hadid Architects: “In my work I’ve been Dahlberg i. was clearly in action, like in the design allowed to experiment with design con- of a layered façade and solar studies cepts outside the usual framework, with En enkät using Grasshopper, but also in pro- parametric design, for example, and Vi har skickat ut ett antal frågor till jects in which those kinds of expertise complex geometries, and construction drygt en tiondel av AT:s genom åren se- have not been so prominent. That has and manufacturing techniques. If not dan 2006 sammanlagt över 300 studen- given me a good breadth and a deeper for my background with AT I wouldn’t ter. Vi har frågat hur mötet med utbild- understanding for the challenges and be able to argue for my concepts or ningen var, vad som varit det viktigaste, opportunities of the profession.” Camilla tackle these areas in the way I can om de minns några särskilda händelser, Samuelsson finds that “at architecture today.” Jens Olsson (AT 2007) works at om det finns en AT-kultur och för dem firms it’s considered interesting to have Foster and Partners: “My apprentice- som gått ut i arbete vad det gett för studied AT, while engineering firms are ship at Buro Happold was extremely reflektioner kring utbildningen. Svaren generally a little more skeptical.” educational because I got to work on ger en överväldigande positiv bild av But many of our former students interesting projects and with very know- utbildningen. Här är några av dem. are now working as engineers. Emma ledgeable and experienced colleagues. Att AT fanns fick studenterna Gjers (AT 2007) graduated with a dual It gave me a good base of knowledge veta genom hemsidan, Öppet hus på degree and went to work for Nor- for further work and study in the issues Chalmers eller någon kompis som gick consult “for the opportunity to work that impact architecture with a focus on utbildningen. Anna Sundelin i AT 2014 as both an acoustics expert and an structural design and calculation tech- minns hur hon gick planlöst runt på architect. Today I spend about half my niques. Where I work now I work with någon framtidsmässa i Göteborg och time with acoustics and the rest in the similar issues but with a clearer focus mötte en kille i ”lila piké med Chalmers architecture department, and at the mo- on project design and planning.” logga” och inte kom undan hans ”He- ment I’m participating in a project that “I think AT has prepared me well eello! Haaar du hört talas om AT?”. Och incorporates both aspects at the same for the challenges,” says Sara Almstedt hon fortsätter ”Jag har sedan denna time.” Johan Karlsson works at COWI: (still just halfway through the program), sekund gjort vad jag kunnat för att und- “In spite of my conventional engineering “but it has also made it so I always ex- vika Göteborg, Chalmers och AT. Jag responsibilities, the whole particular pect them. I discovered this during the har gjort coola volontärresor, bestigit approach [from AT] is with me all the year I took off to work — a monotonous Kilimanjaro, pluggat konst- och bildve- time. Or you can look at it the other way day at work just isn’t going to be an tenskap och bott i studentkorridor och around and say that in spite of having alternative for me anymore.” festat otaliga sena nätter i Lund. Men studied less engineering than others jag har ändå inte kunnat släppa tanken I never feel at a disadvantage.” Anna ”Alldeles underbart komplext!” på AT och har sedan den sekunden Larsson (AT 2009) works as an engi- Studenterna om AT vetat att jag kunde fly, men till slut neer for Bengt Dahlgren, but with the De små grupperna och hjälpsamhe- skulle vara tvungen att ge upp och åter- working method of an architect: “I get ten över årskursgränserna på AT är vända till Göteborg och ansöka till en a great deal of benefit from being used något många studenter lyfter fram. utbildning som inte liknar någon annan to dealing with open problems, and ”Jag upplever att man öppet kan ställa och som had me at heeello”. Den sista working in situations in which you don’t en fråga i en datasal och förvänta sig knuffen in fick Anna när hon följde med yet have clearly measurable objectives ett svar från någon i salen oavsett om sin kompis på Eva Amborgs färglära- or a clear problem statement. That is frågan gäller trippelintegraler eller hjälp lektion. I en stökig ateljé berättade Eva particularly useful when I’m working in i Illustrator” säger Alexandra Toivonen i ”om komplementfärger, grå soffor mot the early stages of a project, when few AT 2012. ”Något som jag tror att AT lärt röda väggar och varför människan kan of the decisions about a building have mig är tidstrolleri. Att med täta deadli- se så många nyanser av grönt, och jag been made yet.” nes och pressade scheman göra upp sög in all information som en svamp Jakob Hallquist (AT 2012) describes tidsplaner och lära sig prioritera och och kände att det här vill jag kunna på the attraction in looking to the future: effektivisera sitt eget arbeta. Också de ett sätt jag aldrig tidigare upplevt med “A workshop in Maya opened my eyes samarbeten som vi gavs möjligheten något annat ämne”.

stu d e nts »» Chalmers Structural Design Challenge Photo: Axel Adolfsson Photo: Hanna Jakobssons

at te n year s 23 Första terminen en utmaning. Johan Dahlberg berättar: förde vår talan och som inte gav sig Den första terminen var någonting nytt ”Första mötet var också det svåraste utan verkligen såg till att utbildningen för alla, särskilt förstås de första åren och mest krävande. Det är ett särskilt var väl utarbetad och hela tiden ut- av AT. Therese Bergqvist i allra första sätt att tänka på i de mer utforskande vecklades till det bättre” menar Camilla årskullen AT 2006 minns hur det var: och experimentella delarna i utbildning- Samuelsson, AT 2008. ”Det viktigaste i ”Omtumlande, intensivt och väldigt en. Viktigt var att kravla sig över trös- utbildningen har varit Karl-Gunnar som roligt! Eftersom utbildningen var helt ny keln och inse hur viktiga de konstnärli- har utformat ett program som har varit fanns det en osäkerhet över det hela. ga kurserna är – särskilt för någon som så genomtänkt och strukturerat att det Varken vi, lärare eller andra elever på sedan gymnasietiden är mer bekväm i verkligen har blivit ett program man Chalmers var helt säkra över vad vår naturämnen”. har lärt sig väldigt mycket under och utbildning skulle leda till, eller vilken kan vara stolt för att ha gått. En stor roll vi skulle få i framtiden. Det var hög Lärarna eloge till honom och även hans kollegor arbetsbelastning, projekten fick ta hur Förutom kamratskapet har de enga- Morten Lund, Magnus Persson och mycket tid och kraft som helst, och gerade lärarna och den tillåtande och Peter Christensson som alla har arbetat mycket med AT och inspirerat sina studenter till att göra sitt allra bästa och sikta högt” fyller Lowa Sundh, AT 2008, i. ”Utbildningen har fått mig att inse hur mycket jag faktiskt kan och hur många möjligheter det finns i framtiden inom branschen. Det känns som att programmet satsar på varje student och tillåter alla att utveckla sin egen stil och göra något bra av det. Utbildningen motiverar mig mer och mer för varje dag som går” enligt Sofia Malmsten, AT 2014. ”Experimenterande och utforsk- ande processer inte bara tillåts utan uppmuntras. Den attityden transforme- rade AT, eller själva ämnet arkitektur och teknik, till något mer än “bara” en utbildning – det blev ett stort intresse. På gott och ont kan man ju tillägga, har man så pass roligt finns ju risken att det är svårt att slita sig från plan fyra … Just det var nog det viktigaste jag lärde samtidigt behövde man klara matten. experimenterande atmosfären varit mig på AT – att ha roligt samtidigt som Hög press! Samtidigt var det en extremt det viktigaste. ”Uppmaningen från de man jobbar” tycker Johan Dahlberg. härlig tid. Allt var väldigt kul, inspireran- fantastiska lärarna att våga testa, våga Särskilda händelser som studen- de och spännande. Både utbildningen göra fel, och inte sätta gränser för vad terna fastnat för är ofta kopplade till och studentlivet. Så många spännande som är möjligt” säger Sara Almstedt. ”Lä- studieresorna. Kärleksfullt minns de personer med så liknande intressen, rarnas entusiasm. Studieresorna. Bro- KG:s och Mortens hänsynslösa tempo och vi gick alla i samma klass”. Några arna” minns Lillemor Boschek AT 2006. och avsaknad av matpauser. Camilla år senare upplevde Sara Almstedt, AT ”KG:s närvaro på AT har varit väldigt Samuelsson berättar om hur några 2011, första terminen som ”Intensiv. viktig. Han har alltid har kunnat förklara studenter och lärare tog nattåget till Utmanande. Förvirrande. Att gå från att helheten och varför man gör saker på München, på väg till Schweiz, i stället göra det du blir tillsagd på gymnasiet ett visst sätt eller varför vissa kurser är för att flyga: ”Vi kom därför fram en till att själv motivera sina val var extremt viktiga och vad de ska leda till. Man har timme innan de andra och Morten svårt, därtill var miljön på P4 (plan 4) känt sig trygg med att han har en tydlig tyckte att det var ett ypperligt tillfälle väldigt tävlingsinriktad. Men det var vision om vad som ska uppnås och en att visa oss Münchens arkitektur. Så också roligt och starka vänskapsband tydlig plan för hur det ska gå till. Det var vi var ett gäng som gav oss i väg med knöts”. För många var arkitekturämnena viktigt att det hela tiden var någon som ryggsäckar på ryggen ledda av Morten.

stu d e nts Som vi vet har Morten många fantastis- tensson, allas vår Ateljé-Peter, som ka kvaliteter, men att hålla tiden är inte lärde oss att tänka utanför boxen och en av dem, så när vi gått ett tag kollar att ’konsten osäkrar situationen’. Peter Morten på klockan och säger ’Det har fungerade i flera kurser som klassens gått en timme, vi skulle varit tillbaka nu, stöd och hjälpte oss att hitta lugnet och men vi har fortfarande några byggnader glädjen när projekt-stressen var som att se. Är det okej om vi springer lite?’ störst”. OK, tänker jag, att jogga lite klarar vi väl av, man får ju tänka på att vi vid det En AT-kultur? här laget redan varit på en studieresa Och visst finns det en AT-kultur, det är med KG och Morten och vet hur tempot alla helt eniga om. ”AT-kulturen är att brukar vara. Det visar sig dock att vara nyfiken, frispråkig och ambitiös” Morten har ännu en oväntad talang och enligt Lowa Sundh. ”Det finns absolut kan springa som en tävlingslöpare utan en AT-kultur. Det är svårt att konkret att se det minsta ansträngd ut, så jogga beskriva men för mig genomsyras den var det inte tal om utan snarare springa av samarbete, skratt och gemensam allt vad vi orkar. Morten först i tweedka- framåtanda” menar Sofia Malmsten. vaj, helt oberörd, och vi efter flåsandes ”Jag tror det, och jag tror det hör ihop med ryggsäckar på ryggen genom med mångfald, närhet och känslan av staden samtidigt som vi knäpper några att allt är möjligt, man kan gå ’hur långt foton i farten och Morten berättar om som helst’” tycker Ellen Simonsson, AT arkitekturen”. 2010. ”Ja, det är en studiekultur präglad Men mitt i hetsen finns också av en hög ambitionsnivå, positivt tänk- andra lärare som kan ge lugnet. Jonas ande, nyfikenhet och en smula elitism” Lundgren, AT 2008, minns ”Peter Chris- tillägger Therese Bergqvist. ”Det finns »» Photo: Oscar Borgström

at te n year s 25 definitivt en AT-kultur. För mig ligger alla krav och förväntningar, all stress jörens kunskaper återkommer i många den i gemenskapen på P4 där stu- och press. Har man en dålig dag finns svar. ”Sedan ett år tillbaka praktiserar denter utmanar och stöttar varandra, alltid en kompis eller en konstnärs- jag på NCC Boende där jag bland i talesättet ’Det lyser alltid på P4’ och Peter där. Verkar någonting omöjligt annat arbetar med omvärldsanalyser i den energi och passion som Peter, finns det alltid någon som kan hjälpa av bostadsarkitektur. När jag på jobbet KG och Morten lägger på studenterna” en att komma vidare” hävdar Hjalmar berättar om AT möts jag av positiva säger Sara Almstedt. ”Lärarlagets en- Bolinder, AT 2010. reaktioner både från arkitekter och gagemang och närvaro, samspelet och Dubbelheten fångar Anna Sundelin från ingenjörer som påpekar hur viktigt fadderskapet mellan årskurserna, att i en ögonblicksbild: ”Vi sitter utmattade det är med förståelsen för båda delar” studenter från tidigare år handleder ny- på spårvagnen och lutar oss mot var- berättar Sofia Malmsten. ”Man får bara are studenter, att intrycken från studie- andra, på väg hem från skolan klockan positiv respons på utbildningen och resorna på kandidatnivå är så starka att halv nio på kvällen för tredje gången många tycker att alla arkitekter borde resekulturen fortsätter på Master-nivå samma vecka. – Jag förstår inte. Huuur läsa lika mycket teknik som vi gör. Inför och troligen ut i yrkesverksamma livet är det meningen att hinna allt detta? arbetsgivare och beställare är förtro- endeingivande att ha läst AT!” säger Malin Mirsch, AT 2006. Marcus Stark menar att man som arkitektutbildad på AT ”vågar säga emot en etablerad konstruktör, och med stöd av egna be- räkningar komma fram till nya lösningar. Förståelsen gör också att man kan ifrågasätta egna lösningar tidigt, vilket är till stor hjälp när man itererar fram sina idéer”. Hanna Mangs, AT 2006, har praktiserat hos SANAA i Tokyo men jobbar nu på Semrén & Månsson ”vilket gett mig möjlighet att jobba med många projekt i olika skalor, från skolor och kontor till bostäder och stadsplanering. Jag har jobbat med projekt där AT-tän- ket varit tydligt närvarande, till exem- pel vid design av en lamellfasad och solstudier i Grasshopper, men också med projekt där dessa kunskaper inte varit lika framträdande. Det har gett mig en stor bredd och en djupare förståelse för yrkets utmaningar och möjligheter”. Camilla Samuelsson upplever ”att det också” enligt Jonas Lundgren. ”Inom AT Huuur kan de ge oss noll schemalagd ses som intressant att ha gått AT på ar- upplevde jag att man alltid sökte upp tid att färdigställa SÅ MYCKET, helt kitektkontoren, medan ingenjörsfirmor kunskap, via kurskamrater eller från utan instruktioner. – Jag hatar den här generellt är lite mer skeptiska”. någon äldre AT-student. En baksida utbildningen. – Jag med. Men många jobbar som ingenjö- jag upplevde vara att man kan bli Vi sitter i tystnad ett par hållplatser rer. Emma Gjers, AT 2007, tog dubbel uppstressad av varandra. När man ser och skumpar obekvämt med spårvag- examen och har sökt sig till Norconsult vad gruppen som helhet kan, vill man nens ojämna rörelser. Rufsiga hår, tom- ”för möjligheten att jobba som både gärna lära sig allt” säger Patrik Thosson ma blickar, mätta på vår egen hunger. – akustiker och arkitekt. Idag arbetar jag och Marcus Stark, AT 2008. ”Oftast Jag skulle aldrig vilja läsa någon annan halva tiden som akustiker och reste- tyckte jag att stämningen var stöttande utbildning. – Inte jag heller”. rande tid på arkitekturavdelningen och men ibland slog pressen och stressen för tillfället deltar jag i ett projekt som över och i alla fall jag kunde då och då Ut i yrkeslivet inkorporerar båda aspekter simultant”. känna mig otillräcklig” erkänner Olle Till sist så det som det hela går ut på, Johan Karlsson jobbar på COWI: ”Trots Hellblom, AT 2009. ”Skulle säga att att gå vidare ut i yrkeslivet. Poängen mina konventionella ingenjörsuppgifter AT-kulturen är det som tar udden av med att ha både arkitektens och ingen- är hela det speciella förhållningssättet

stu d e nts med mig hela tiden. Man kan vända exempel parametrisk design, komplexa på det och säga att jag trots färre geometrier, konstruktion och tillverk- ingenjörskurser aldrig känner mig i ningstekniker. Utan min bakgrund från underläge”. Anna Larsson, AT 2009, AT hade jag inte kunnat argumentera jobbar som ingenjör på Bengt Dahlgren, för mina koncept eller angripa dessa men med arkitektens arbetssätt: ”Jag områden på samma sätt som jag kan har väldigt stor nytta av att vara van idag”. Jens Olsson, AT 2007, finns på med att hantera öppna problem, och Foster and Partners: ”Praktikplatsen att jobba i situationer när det ännu inte på Buro Happold var väldigt lärorik då finns ett tydligt mätbart mål eller en tyd- jag fick jobba med intressanta projekt lig frågeställning. Det kommer speciellt och med väldigt kunniga och erfarna till nytta när jag jobbar i tidiga skeden, kollegor. Där fick jag en god kunskaps- när ganska få beslut är tagna kring en bas för vidare arbete och studier inom byggnad”. frågor som berör arkitektur med fokus Jakob Hallquist, AT 2012, berättar på struktur- och beräkningsteknik. På om lockelsen i att se framåt: ”En min nuvarande arbetsplats jobbar jag workshop i Maya öppnade ögonen för med liknande frågor men med tydligare hur man kan använda 3D-modellering, fokus på projekt och gestaltning”. men minst lika inspirerande var det att ”Jag tycker att AT har förberett mig handledarna var före detta AT-studen- väl för utmaningar, men också gjort att ter, numera verksamma på framstående jag alltid förväntar mig dem. Det år jag arkitektkontor i London”. Lisa Kinnerud, var ute och arbetade upptäckte jag det- AT 2006, jobbar hos Zaha Hadid ta, en monoton arbetsvardag är alltså architects: ”I mitt arbete har jag tillåtits inget alternativ längre för mig” säger »» Model: Space and Man att experimentera med formkoncept ut- Sara Almstedt, ännu mitt i utbildningen. »» Model: Material and Detail anför de vanliga ramarna, vad gäller till »» Photo: Anton Nordfeldt

at te n year s 27 “It’s a Luxury to Work with a Group Like This” The Teachers’ View of AT

Being a teacher in the AT program with describing their building in words is not just about giving others your and images all at the same time. If I knowledge but also about getting back could start over as a student, it’s quite — both from the students and from the possible I would have chosen AT.” other faculty, especially in interactions “AT is a successful combination of between different subject areas. Jana two perspectives — the architecturally Madjarova, Professor in Mathematics, artistic and the mathematically analyti- teaches Space and Geometry in AT1, cal,” says Mikael Ekegren, who teaches the first year of the program. She Town and Country Planning in AT3 and describes her experience like this: Space and Man in AT1. “Keeping these “You might think that architecture and two balls in the air at once, not infrequ- mathematics occupy opposite extremes ently with concurrent classes from each among the fields studied at Chalmers, field and sometimes in a single class and that they’re happy to be as far from that brings the two perspectives to- each other as possible. Nevertheless, gether, is good preparation for the com- it turns out we have quite a bit in com- plexity and tempo of the challenges to mon. It’s actually pretty great to hear come in professional life.” Stefano d’Elia architects and artists cite Picard’s great teaches drafting and sketching techni- theorem and be able to participate in a ques with manual and digital tools. He discussion of its artistic value.” calls AT “an old architecture program situated in the present.” “I didn’t know Learning from the students there was any architecture without We asked a number of teachers from technology,” says Wiktor Kowalski, who different corners of Chalmers about leads the Space and Man course in AT1, their experiences of having taught in paraphrasing the Polish architect Jerzy the AT program, and they responded Szczepanik-Dzikowski. enthusiastically. “AT students have always been curious and inquisitive, and Small classes, great flexibility demanded answers to their questions,” Two things the faculty members says Kajsa Crona, an architect who is emphasize as essential to the success »» Model: Anton Nordfeldt, Oskar Thor the course manager for Building and AT has enjoyed thus far are the small »» Study tour in Switzerland. Climate in AT2. “Thanks to the students’ class sizes — about thirty-five in each Photo: Peter Christensson enthusiasm and collaboration between year — and the program administrators’ the Housing course and Building Phy- enthusiasm and flexibility. They often sics I have often felt that I learned more say things like, “The classes are small than the students did. The students are and you can develop a good relations- a great source of inspiration, and they hip with the students,” and “The class also help me to be clear about what size probably also contributes to the qualities are important in different situ- camaraderie in the class.” “The class ations.” Paula Wahlgren, who teaches size of thirty-five is just right,” writes Building Physics in AT2, says, “The Mats Ander, who teaches Solid Mecha- students get a nice holistic view when nics and Structural Mechanics, “and they work with the design of a building, allows teachers to easily and quickly with building physics dimensioning, and build a personal relationship with each

teac h e r s at te n year s 29 student. They feel comfortable seeking rie among the students pretty unique, in which we allow various phenomena out faculty members to ask questions and the contact between teachers to come to the fore — phenomena that even when they’re not currently in a and students very close. It’s something we observe and interpret from both ar- class with that teacher, like getting help special as a teacher to get to know all tistic and technical scientific viewpoints with material strengths or structural the students and be able to follow their without valuing one any higher than the mechanics in a project they’re working development.” other.” on in design studio.” Christensson also emphasizes “The program’s leadership, I mean Joy of discovery the importance of the field trips: “Our Karl-Gunnar, has always been a big Art teacher Peter Christensson remem- trips often become extremely powerful supporter of our way of working, bers how he and Karl-Gunnar and experiences, and open many people’s which naturally inspires us,” says Paula Monica Billger sat together on a mini- eyes just because we’re there in person Wahlgren. “With the annual planning bus on the way home from a planning instead of just looking at a picture.” meetings for the faculty at AT,” says meeting at the Nösund Inn, fantasizing Mats Ander adds, “I think the field trips Mikael Ekegren, “and a head of the about what the artistic teaching could are enormously important to the AT program who demonstrates a remar- look like in the AT program: “Eve- culture — not least because they shed kable flexibility in cobbling together rything we thought about doing then light on the history of building construc- tion and architecture in its context, and in an unbeatably concrete way.” How then do the AT teachers characterize their students? “They are always the best, the nicest, the most ambitious, and most inquisitive!” says Peter Christensson. “Am I exagge- rating? You might think that, but no! Actually I’m not. From my years with the program I have tons of positive memories from all the students that have come through here, and there is a special AT spirit that creates a sense of community around architecture, engi- neering, the arts, and science.” “The question, ‘When can we get started?’ which I’ve heard from AT students was as unexpected for me as it was welcome,” writes Mendel Kleiner, Professor Emeritus in Applied Acoustics, about his experience with AT undergraduates. “Enthusiasm and pluckiness in the face of difficulties — to me that’s the AT program!” “It’s a luxury to work with a group like this — the course schedule, the relationship has happened, and much, much more. interested students who can take on can’t be described as anything but Our work has been characterized by several different aspects simultaneous- good.” Wiktor Kowalski notes, “When curiosity, open-mindedness, strong wills, ly, and who often can see beyond the the program first started I had a pretty and great expertise. There are some course objectives to what it means for poor understanding of the content in disadvantages with working as an artist their role as professionals,” says Paula the engineering subjects. But my view in a context dominated by engineers’ Wahlgren. According to Mats Ander, of this changed over time, primarily preconceptions, but after all the joy of “The training in the ability to choose because of the enthusiasm and humility discovery over the years I can safely and then quickly change perspectives on the part of the program administra- say that we’ve achieved a lot more that makes for very good problem-solvers in tors.” Kowalski emphasizes that “the we ever thought was possible then, on a process that they are constantly prac- program has so few students. That that bus. We’ve been able to find a wor- ticing: from sketch to concept, design, contributes to making the camarade- king method and a teaching approach detailed analysis, dimensioning, and

teac h e r s then critique and reflection.” “They are in AT2, Claes Caldenby recalls how the motivated to study and have a tremen- students launched fearlessly into the dous ability to challenge themselves challenge of writing the papers that in their work with structures/models,” determined their grade for the course. writes Peter Lindblom, who runs the In choosing a topic, they were distinct- workshop. Stefano d’Elia calls them ly more open to writing about Gothic “very serious,” and adds, “They do what cathedrals or Baroque architecture they’re supposed to do, and usually do than their counterparts in the Archi- it well, but not much more. I think that’s tecture program, who were much more because of the pace of the work they’re biased in favor of more contemporary given. That’s probably also why they topics when given similar assignments. want very clear instruction about what Some papers turned into little research is expected of them in a class, and projects, like one on the space frame what’s right and wrong — which isn’t roof over a hall building at Volvo, the always easy for an architecture teacher first computer-calculated construction to explain.” in Sweden. Mikael Ekegren notes, “In the first A culture of curiosity architecture course in the program, From his experience teaching the class Space and Man, I encounter students »» Bachelor Thesis – Finding Concepts History of Architecture and Engineering the vast majority of whom have no Photo: Ulf Janson

at te n year s 31 artistic background, unlike the Archi- and question his own results that he call our attention to the same things the tecture program students. Watching the didn’t see among his fellow engine- students did: the passionate experi- AT students’ development from blank ering students. He was proud of those menting across disciplinary boundaries, pages full of expectation struggling differences, and he saw what advanta- the good camaraderie in spite of a high with the introductory drawing exercise ges they gave him in the competition level of ambition, and the enthusiastic to growing architects who only a few with other students. He thought that teachers. weeks later deliver finely wrought for an AT student, one answer was not design projects, and by the end of the enough — as long as there might be a ”En lyxig grupp att arbeta term are indistinguishable from the better answer out there.” med” Lärarna om AT Architecture students in the sauna Finally a few short answers to the Att vara lärare på AT är inte bara att design project they do together — it’s question, “Is there an AT culture?” Oh ge av sin kunskap utan också att få one of the high points of my career as yes, there certainly is: “A culture of tillbaka, både från studenterna och a teacher.” curiosity,” was one response. “The AT från andra lärare, just genom mötena And Kajsa Crona remembers a culture is a questioning approach to över ämnesgränser. Jana Madjarova, conversation with one AT student who an assignment that characterizes both biträdande professor i matematik, som chose to go on and pursue a master’s architectural and engineering expertise.” undervisar i Rum och geometri i AT1, degree in the Civil Engineering pro- “They serve as ambassadors for both beskriver sina erfarenheter så här: ”Man gram. He had “heard from the engine- the architecture and the engineering kan tycka att arkitektur och matematik ering students that he knew what they cultures.” “AT students work closely är två extrempunkter bland Chalmers- knew, but also much more. They wished together in intensive classes with an ämnena som befinner sig så långt ifrån they had the same knowledge. He also ambitious and helpful spirit.” “It has a varandra som gärna är möjligt. Icke recounted how he felt like his educa- lot to do with the people: Karl-Gunnar desto mindre har det visat sig att vi tion had given him a desire to explore Olsson and Morten Lund.” The faculty har mycket gemensamt. Det är faktiskt något speciellt att höra arkitekter och konstnärer citera Picards stora sats och att kunna delta i en diskussion om dess konstnärliga värde”.

Lära av studenterna Vi har frågat ett antal lärare från olika delar av Chalmers om deras erfarenhet- er av att undervisa på AT-programmet och fått entusiastiska svar. ”AT-studen- terna har alltid varit nyfikna, vetgiriga, och krävt svar på frågor. Genom stu- denternas engagemang och bostads- kursens samarbete med byggnadsfysik har jag ofta känt att jag lärt mig mer än studenterna. Studenterna är en stor källa till inspiration, och de hjälper mig även att bli tydlig i vilka kvalitéer som är viktiga i olika sammanhang” säger arkitekten Kajsa Crona som är kursansvarig för Byggnad och klimat i AT2. ”Studenterna får en fin helhetssyn när de samtidigt arbetar med design av en byggnad, med byggnadsfysikalisk dimensionering och med beskrivning av sin byggnad i text och bild” säger Paula Wahlgren som har byggnadsfysik i samma kurs. ”Hade jag börjat om som student är det mycket möjligt att det blivit AT” fortsätter hon.

teac h e r s ”AT är en lyckad kombination av och det går att få fin kontakt med ett arkitektoniskt konstnärligt och ett studenterna”, ”Klasstorleken hjälper nog matematiskt analytiskt perspektiv. Att också sammanhållningen i klassen” är hålla dessa bollar i luften samtidigt, inte återkommande formuleringar. ”Student- sällan i parallellt löpande kurser, ibland gruppen om ca 35 studenter är lagom i en och samma kurs där perspekti- stor, så att man som lärare lätt och ven möts, är en god förberedelse för snabbt får en personlig relation med komplexiteten och tempot i kommande studenterna. Studenterna kommer gär- yrkesuppgifter” menar arkitekten Mikael na och frågar även utanför kurstiden/ Ekegren som har Samhällsplanering för läsperioden exempelvis om hållfast- AT3 och Rum och människa i AT1. AT är hetslära eller strukturmekanik tillämpat ”en gammal arkitektutbildning förlagd i något projekt de arbetar med” skriver i nutid” säger Stefano d’Elia, lärare i Mats Ander, lärare i Hållfasthetslära Rit- och skissteknik med manuella och och Strukturmekanik. digitala verktyg. ”Jag visste inte att det ”Programledningen, d v s Karl-Gunnar, finns arkitektur utan teknik” citerar har alltid varit en stor supporter till Wiktor Kowalski, ansvarig för Rum och vårt sätt att arbeta, vilket naturligtvis människa i början av AT, lite i samma inspirerat oss” säger Paula Wahlgren. anda sin polske arkitektkollega Jerzy ”Med de årliga planeringsmötena för Szczepanik-Dzikowski. oss lärare på AT och en programansva- rig som visar en enastående flexibilitet Små klasser och stor flexibilitet i snickrandet av stomscheman kan Två saker som lyfts fram av lärarna som relationen inte beskrivas som annat avgörande för att AT fungerat så väl är än bra” menar Mikael Ekegren. ”Vid de små årskurserna, kring 35 studenter, starten av programmet hade jag en och programledningens engagemang ganska dålig uppfattning om innehållet »» Photo: Oscar Borgström och flexibilitet. ”Årskurserna är små i ingenjörsämnena. För mig verkade det »» Photo: Malin Mirsch

at te n year s 33 som att det är två parallella utbildningar man kanske tro – men Nej! Det gör första datorberäknade konstruktionen utan koppling till varandra. Med tiden jag faktiskt inte. Under mina år så har i Sverige. förändrades min syn på detta, huvud- jag mängder av positiva minnen av alla ”I den första arkitekturkursen på sakligen på grund av engagemanget de studenter som passerat och det utbildningen, Rum och människa, och lyhördheten från programledning- finns en särskild AT-anda som skapar möter jag studenter där den absoluta ens sida” säger Wiktor Kowalski. Han gemenskap kring Arkitektur, Ingenjörs- merparten saknar konstnärlig bakgrund, fortsätter med att understryka ”att pro- konst, all annan Konst, och Vetenskap”. en skillnad mot A-studenterna” berättar grammet har så få studenter. Det bidrar ”Frågan När skall vi börja räkna? Mikael Ekegren. ”Att bevittna AT-stu- till att samhörigheten bland studenterna som jag fått av AT-elever var för mig denternas utveckling från förväntansful- är ganska unik och att kontakten lika oväntad som välkommen. Entusi- la oskrivna blad som kämpar med den mellan lärare och studenterna är väldigt asm och friskt mod inför svårigheter, inledande teckningsövningen, till väx- tajt. Det är något speciellt att man som det är för mig AT-programmet!” skriver ande arkitekter som bara några veckor lärare känner till alla studenter och kan Mendel Kleiner, professor emeritus i senare levererar finstämda projekt och följa deras utveckling”. Teknisk akustik, med erfarenhet från mot slutet av terminen inte kan skiljas AT:s kandidatarbete. ”En lyxig grupp att från A-studenterna i det gemensamma Upptäckarglädje arbeta med; intresserade studenter som bastuprojektet, är ett guldkorn i min Peter Christensson, konstlärare, minns kan ta sig an flera aspekter samtidigt, lärargärning.” hur han, Karl-Gunnar och Monica och som ofta ser längre än kursmålen, Och Kajsa Crona minns ett samtal Billger satt och fantiserade om hur den ända fram till sin yrkesroll” säger Paula med en student som valt att läsa sin konstnärliga undervisningen skulle se Wahlgren. ”Träningen i att kunna välja master på Väg och Vatten. Han hade ut på AT i en minibuss på väg från ett och snabbt växla perspektiv skapar ”fått höra från väg och vattenstudenter- planeringsmöte på Nösunds värdshus: väldigt bra problemlösare i en process na att han kunde både samma som de ”Allt som vi då tänkte har hänt, och som ständigt övas: från skiss, koncept, kunde, men dessutom så mycket mer. mångfalt mer. Arbetet har präglats av gestaltning, detaljerad analys och De önskade att de hade samma kun- nyfikenhet, öppna sinnen, starka viljor dimensionering till kritik och reflektion” skaper. Han berättade också att han och stor kompetens. Det har sina sidor menar Mats Ander. ”Studiemotiverade själv upplevde att genom sin utbildning att verka konstnärligt i en kontext präg- med stor förmåga att utmana sig själva hade han fått en vilja att utforska och lad av ingenjörsförebilder men efter i sitt arbete med konstruktioner/model- ifrågasätta sitt resultat som han inte alla år av upptäckarglädje så vågar jag ler” enligt Peter Lindblom, verkstads- upplevde att väg och vattenstudenterna påstå att vi nått betydligt längre än vi ansvarig. ”Mycket seriösa. De gör det hade. Han var stolt över sina insikter trodde var möjligt då, i bussen. Vi har de ska göra och gärna bra men inte och såg vilka fördelar det gav honom lyckats hitta ett arbetssätt och en pe- mer än så. Jag tror det hänger ihop i konkurrensen med övriga studenter. dagogik där vi låter olika fenomen vara med deras höga studietakt. Det är nog Han menade att som AT-student var huvudsaken. Fenomen som vi betraktar också därför de vill ha mycket tydliga ett svar är inte tillräckligt, om det kan och tolkar från såväl konstnärlig som besked om vad som ska göras i en kurs finnas ett bättre svar”. tekniskt vetenskaplig synvinkel utan att och vad som är rätt och fel, inte alltid så Till sist korta svar på frågan ”Finns värdera det ena högre än det andra”. lätt för en arkitekturlärare att förklara” det en AT-kultur?”. Jodå, det finns det: Peter Christensson lyfter även fram säger Stefano d’Elia. ”En nyfiken kultur”, ”AT-kulturen är studieresornas betydelse: ”Resorna blir ett ifrågasättande förhållningssätt till ofta väldigt starka upplevelser och öpp- En nyfiken kultur uppgiften som präglar både arkitektur nar mångas ögon just för att vi är på Från kursen i Arkitektur och teknik- och ingenjörskunnandet”, ”De fungerar plats och inte enbart tittar på bild”. Mats historia i AT2 minns Claes Caldenby som ambassadörer för både ingenjörs- Ander fyller på: ”Studieresorna tror jag hur studenterna oförskräckt gav sig i och arkitekturkulturen”, ”AT-studenterna är enormt betydelsefulla för AT-kultu- kast med att skriva de uppsatser som arbetar nära varandra i intensiva kurser, ren. Inte minst belyser studieresorna utgjorde kursens examination. I valet i en ambitiös och hjälpsam anda”, ”Det byggnadsteknikens och arkitekturens av ämne var de påfallande mycket mer är mycket kopplat till personer: historia i sin kontext på ett oslagbart öppna i att skriva om gotiska katedraler Karl-Gunnar Olsson och Morten Lund”. konkret sätt”. eller barockarkitektur än arkitekturstu- Lärarna pekar på samma saker som Hur karaktäriserar då lärarna denterna, som i motsvarande upp- studenterna: Det lustfyllda experimen- AT-studenterna? Peter Christensson satskurser med förkärlek valde ämnen terandet tvärs över ämnesgränser, det minns studenterna: ”De är alltid de mycket nära i tiden. Somliga uppsatser goda kamratskapet trots hög ambi- bästa, trevligaste, mest ambitiösa och blev små forskningsprojekt som den tionsnivå, de engagerade lärarna. vetgirigaste! Överdriver jag? Det kunde om Volvohallens rymdfackverk, den

teac h e r s »» Photo: Anton Nordfeldt »» Model: Oscar Borgström

at te n year s 35 Study tours. The pathway is worth our while

Architecture is best in reality. The are integrated into different courses, också utvecklats vartefter. De ingår i study tour is a classic pedagogic tool and each has a somewhat different olika kurser och har lite olika upplägg in the education of architects ever format and focus. But they share a och inriktning. Men gemensamt har since the Grand Tours of the sevente- common point of departure in that de utgångspunkten att ingenting kan enth century. For the AT program, the nothing can compete with the expe- tävla med att uppleva arkitekturen i study tours bring us to the role models, rience of architecture in reality — to verkligheten, i alla dess dimensioner, att buildings, spaces, and people from our feel, measure, and occupy it in all of its känna, mäta och begå den. two professions. We collect a reper- dimensions. toire of good examples to be inspired by, we are training the skill of analytical Vägen är mödan värd sketching, and we have fun. Arkitektur är bäst i verkligheten. Studie- In the first three years of the pro- resan är ett klassiskt pedagogiskt verk- gram we take three study tours — to tyg i arkitektutbildningen, ända sedan Turin, to UK and to Switzerland. The 1600-talets Grand Tour. På AT har studi- choice of these three destinations has eresandets mål varit att möta förebilder, its background in the “traveling semi- både människor och byggnadsverk, att nar” that Claes Caldenby, Ulf Janson, etablera en repertoar av goda exempel, and Karl-Gunnar Olsson went on in att träna analytiskt skissande. Och inte 2005–06 as part of the development minst att ha roligt. of the curriculum for the AT program. De tre första åren i utbildningen We traveled to Italy to see the work of görs tre resor, till Turin, till England the engineer Pier Luigi Nervi and the och till Schweiz. Att de blev just de architect Renzo Piano, and discovered tre resmålen har sin bakgrund i ett the unexpected Turin, with its Baroque ”resande seminarium” som Claes architecture and large structures from Caldenby, Ulf Janson och Karl-Gunnar the twentieth century. We traveled to Olsson genomförde 2005 – 2006 som London to look at architecture and förberedelse för AT-utbildningen. Vi meet with Bill Addis at Buro Happold åkte för att se verk av ingenjören Pier Engineering. And we saw new archi- Luigi Nervi och arkitekten Renzo Piano tecture in Zurich and visited the engine- i Italien och upptäckte det okända Turin ering firm of Schlaich Bergermann in med dess barockarkitektur och stora Stuttgart. Our purpose was to identify konstruktioner från 1900-talet. Vi åkte destinations for future study tours, till London för att se arkitektur och träf- but also to establish contacts for our fa Bill Addis på Buro Happold. Och vi new academic program. Along the way såg ny arkitektur i Zürich och besökte we discovered the tremendous value ingenjörskontoret Schlaich Bergermann in working together, with our three i Stuttgart. Syftet var att hitta resmål different professional backgrounds as men också knyta kontakter för den nya architectural historian, architect, and utbildningen. På vägen fann vi det stora engineer, to try to understand a building värdet i att tillsammans, med tre olika inside and out. yrkesbakgrunder som arkitekturhistori- Those three original destinations ker, arkitekt och ingenjör, försöka förstå have endured, but the itinerary has also de byggnader vi stod inför och i. developed over time. The study tours De tre resmålen har stått sig men »» Photo: Oscar Borgström

stu dy to u r s at te n year s 37 Study tours. Turin with AT1

is an exercise in convex and concave forms. The convex form encloses the curving double stair that surrounds an ovular space that was used for the Su- balpine Parliament, which would have become the national seat of governme- nt if Turin, where the unification of all Italy was declared in 1861, had remained the capital city. The staircase is not just curved, it also has an oval-shaped lan- ding. Above this landing the steps are concave and below it they are convex, creating a dynamic wave moment. Our wandering route through down- town Turin passes the grand Baroque Palace of San Carlo and through narrow streets interspersed with small public spaces that welcome with the promise of spring. When we come to Carlo Molino’s 1964 Chamber of We gather on the first day outside San Baroque staircases Commerce, Jana Madjarova describes Lorenzo, in the heart of Turin’s Roman Our next stop is the Palazzo Madama for us how the theory of elliptic partial grid city. This study tour is included in on the other side of the plaza. In the differential equations explains why win- the first-year architectural design pro- early eighteenth century, Guarini’s dows made from sheet material ought ject Space and Geometry and the course successor Filippo Juvarra designed to have rounded corners. We come to Artistic Explorations. The church of San an addition to the medieval castle for the Po River for a bit of drawing on Lorenzo, designed in the 1660s by the the queen, or Madama. Only one wing, a stone bridge. It was built by local monk, mathematician, and architect with a grand Baroque staircase, was craftsman after the fortifications were Guarino Guarini, is our first assignment. ever completed. The fully glazed space demolished, using precisely cut dry-laid On a narrow site, neighboring the Royal inside includes a symmetrical double stonework and designed by Napoleon’s House of Savoy and deferential to its stair of the most monumental kind. Our French engineers from the Corps de façade pattern, the space is pressed assignment is to survey the steps and Ponts et Chaussées. The last stop upward. Various geometric shapes are to test walking up, slowly or very slowly, for the day is the Mole Antonelliana, stacked one on top of another, from the gliding up the stair arm-in-arm just designed by the idiosyncratic architect octagonal ground floor to the circular as visitors to palace events once did. Alessandro Antonelli in the latter half of entrance hall to the unusual rib forms At the same time, Peter Christensson the nineteenth century. At 167 meters of its crowning cupola, and these can reminds us of the 1960s film The Italian it is considered to be the world’s tallest easily be read as a series of faces. The Job, which the students have watched, masonry building, and today defines sketch pads come out for a half-hour of including a scene in which a Morris Mini the maximum height allowed for new analytical drawing to try to understand drives down these steps in a car chase buildings in Turin. the complex space we’re in. Sketching that also passes a number of the other provides training for the hand and the buildings on our Turin itinerary. The industrial city Turin eye that is important to students even The next staircase on our tour is at On the second day of our tour we ex- in the age of digitization. Guarini’s Palazzo Carignano. Its façade plore Turin as an industrial city. Pier Luigi

stu dy to u r s »» Sketching on the Lingotto rooftop driving track. »» The cupola of San Lorenzo. Photo: Oscar Borgström

at te n year s 39 Nervi’s Exposition Palace was built as steel was needed for armaments in an exhibition hall in the 1940s using the war effort. We spend some time a construction system of Nervi’s own drawing in the garden. Occasionally we invention, with 4-cm-thin prefabricated are invited by wide-eyed little children fibercement elements that give the to come in and visit. We continue on to space a magical light. We continue on the extraordinary semi-circular Talponia to his Palace of Labor, which was built apartment building designed by the on a short schedule in preparation for Turin architects Gabetti and Isola in the the great exhibition of 1961 to celebrate 1960s. Like its Swedish counterpart of Italy’s first hundred years. It was held in Facit, which also had social ambitions, the midst of a period of economic and Olivetti could not keep pace with the cultural success for which the industrial digitization of office machines. The visit city of Turin played a leading role. There is a reminder that we live in a post-in- Nervi showed how as both designer dustrial society. and builder he could create awe-inspi- ring spaces for a reasonable cost and Turin med AT1 within a short timeframe. Turin is now Vi träffas första dagen utanför San searching for a use for these two large Lorenzo mitt i centrala Turins romerska halls even as they continue to decay. rutnätsstad. Resan ingår i kurserna Nervi expert Cristiana Chiorino lets us Rum och geometri och Konstlaboratio- into the locked spaces and gives us a ner i AT1 och kyrkan San Lorenzo från guided tour of the structures. 1660-talet av munken, matematikern One abandoned building that has och arkitekten Guarino Guarini är en found a new use is Fiat’s Lingotto första utmaning. På en trång tomt, Factory from the 1920s, with its famous granne med det savoyiska palatset rooftop driving track. We take a ramp och inordnad i dess fasadmönster har to the top of what is a cathedral-like rummet fått gå på höjden. Olika geome- concrete structure with filigree floor triska former staplas på varandra, från plates, and find a commanding view golvnivåns åttkanting till tamburens cir- of Turin. The huge factory compound kel med dess krönande kupol i ovanliga was abandoned in the 1980s. Eventu- ribbformer som lätt låter sig läsas som ally it was repurposed as a shopping ansikten. Skissblocken tas fram för en mall, hotel, and conference center. halvtimmes analytiskt tecknande för att Renzo Piano designed a spectacular försöka förstås det komplexa rummet. helicopter landing pad for the roof that Skissandets övande av öga och hand är includes a VIP conference space and viktigt också för digitaliserade studenter. an art gallery. Barocktrappor After industrialism Nästa stopp blir Palazzo Madama på On our third day we leave town on a andra sidan torget. Guarinis efter- train headed for the Alps, which are trädare Filippo Juvarra ritade i början always present on the horizon in Turin. av 1700-talet en tillbyggnad till den We travel to Ivrea, Olivetti’s industrial medeltida borgen för drottningen community, which served from the (Madama). Bara en flygel med den 1930s to the 1970s as a model society stora barocktrappan blev klar. Det characterized by the concept of comu- helt uppglasade rummet innehåller en nità. It provided workplaces, housing, symmetrisk dubbeltrappa av den mest and recreational facilities for workers storslagna sorten. Uppgiften blir att designed by Italy’s foremost architects. mäta upp trappstegen och även provgå We begin the day’s tour with a visit to den, sakta eller mycket sakta och arm i the Asilo Nido Olivetti daycare center of arm, så som man en gång skred uppför 1940, which was built of stone instead trappan till något evenemang i palatset. »» Nervi’s Exposition Palace of reinforced concrete because the Samtidigt påminner Peter Christensson Photo: Peter Christensson

stu dy to u r s at te n year s 41 om 60-talsfilmen The Italian Job, som rial bör ha runda hörn. Vi kommer fram och kulturellt där inte minst Turin som studenterna fått se och där man körde till floden Po för en teckningsstund vid industristad var ledande. Här visade små Morris Mini nerför trappan i en stenbron. Den byggdes efter rivningen Nervi hur han som både konstruktör biljakt som också tar oss till ett antal av befästningarna av lokala hantverkare och byggare kunde forma överväldi- av de andra byggnader i Turin som vi som skarpt tillskuren kallmur, formad gande rum till rimliga kostnader och besöker. av Napoleons franska ingenjörer från på kort tid. Turin står här med två stora Nästa trappa är Guarinis Palazzo Corps de Ponts et Chaussées. Sista hallar som man letar en användning Carignano. Fasaden är en övning i kon- stoppet blir Mole Antonelliana, ritat för samtidigt som förfallet går vidare. vexa och konkava former. Den konvexa av den säregne arkitekten Alessan- Nerviexperten Cristiana Chiorino hjälper formen innehåller den svängda dubbel- dro Antonelli under andra halvan av oss in i de låsta rummen och guidar oss trappan som omger det ovala rum som 1800-talet och ansett vara världens genom konstruktionerna. användes för det Subalpina parlamentet högsta murade byggnad (167 m). Det En övergiven byggnad som hittat en och skulle ha blivit Italiens parlament sätter fortfarande ribban för hur höga användning är Fiats Lingottofabrik från om Turin, där det enade Italien utropa- nya höghus i Turin får bli. 1920-talet med den berömda bilracerba- des 1861, fått förbli huvudstad. Trappan nan på taket. Vi tar oss upp via rampen, är inte bara svängd, den har också ett Industristaden Turin en katedralliknande betongkonstruktion ovalt vilplan. Ovanför det är stegen kon- Andra dagen ger vi oss ut i industrista- med filigranbjälklag, och får en utsikt kava, nedanför konvexa, vilket skapar den Turin. Pier Luigi Nervis Palazzo Es- över Turin. Den stora fabriksanlägg- en dynamisk vågrörelse. posizioni byggdes som utställningshall ningen övergavs i början av 1980-talet. Vandringen genom centrala Turin på 1940-talet i den av Nervi uppfunna Så småningom hittade den en ny tar oss via den stora barockplatsen San prefabricerade 4 cm tunna fiberce- användning som köpgalleria, hotell och Carlo genom kvarter med små vårlikt mentkonstruktionen som ger rummet konferensanläggning. På taket ritade välkomnande platser. Vid handels- ett magiskt ljus. Vi fortsätter till Palazzo Renzo Piano en spektakulär helikopter- kammaren av Carlo Molino från 1964 Lavoro som byggdes på kort tid för landningsplatta med VIP-konferensrum berättar Jana Madjarova om hur teorin den stora utställningen 1961, när man och konstgalleri. för elliptiska partiella differentialekvatio- firade Italiens första 100 år mitt i en ner förklarar varför fönster i skivmate- period av framgångar både ekonomiskt Efter industrialismen Resans tredje dag gör vi en utflykt med tåg i riktning mot Alperna som hela tiden är närvarande i Turins horisont. Vi åker till Ivrea, Olivettis brukssamhälle som från 1930-tal till 1970-tal byggdes ut till ett mönstersamhälle präglat av begreppet Comunità, med omsorg om arbetsplatser, bostäder och gemensam- hetsanläggningar för arbetarna ritade av Italiens främsta arkitekter. Vi börjar vår vandring med ett besök på daghem- met Asilo nido Olivetti från 1940, där sten fick ersätta betongen, eftersom ar- meringen behövdes i rustningsindustrin. Vi har en teckningsstund i trädgården. Ibland blir vi inbjudna att hälsa på bland storögda små barn. Vi fortsätter till det säregna halvcirkelrunda bostadshuset Talponia ritat av Gabetti och Isola från Turin på 1960-talet. Liksom Facit i Sveri- ge, som också hade sociala ambitioner, hängde Olivetti inte med i digitalise- ringen av kontorsmaskinerna. Besöket blir en påminnelse om att vi lever i postindustrialismens samhälle.

stu dy to u r s »» Talponia, Gabetti, Isola Photo: Hanna Jakosson »» Nervi’s Palace of Labor »» Lingotto rooftop driving track. Photo: Oscar Borgström

at te n year s 43 Study tours. In UK with AT2

The second-year study tour travels to and to Charlotte Square, the classic England and Scotland. Our itinerary urban space in Edinburgh. In Glasgow varies a little from one year to the next, we visit Charles Rennie Mackintosh’s but we always explore both the roots masterpiece of Art Nouveau archi- of industrialism and today’s high-tech tecture, the Glasgow School of Art, and construction. The trip is formulated see how he used steel beams to allow as preparation for the theme of the huge windows that bring daylight into third year of study: Architecture. (The the school’s studios. In Newcastle we »» Lisa and Moa at Hadid’s office. first-year’s theme is Space, the second examine Ralph Erskine’s Byker Wall »» Models at Hadid’s office. year’s Building.) The students are re- housing development, and the wood Photo: Anton Nordfeldt quired to collect material for a common details he imported from Sweden are »» Courtyard of British Museum. travel journal, and each must choose found wanting. one building along the way and de- scribe its basic facts, its context in time Office visits and place, its concepts for space and In 2014 our itinerary kept us in southern movement, structure and construction, England, primarily London and Bath. At and its intensions with materials, light, Zaha Hadid’s office our group was re- sound, climate, and sustainability. ceived by two former AT students, Lisa In 2012 the itinerary wandered from Kinnerud and Moa Carlsson, who work Newcastle northward through Scot- there. Hadid’s interest in parametric land. We saw some of the classics of design was of course closely aligned bridge construction, including the Forth with our program’s direction. The office, Bridge, a cantilevered railway structu- located in a converted Victorian board re from 1890, and the Tyne Bridge, school, felt both elaborated dark and a through-arch bridge in Newcastle monochromatic, and intimate, labyrin- from 1928. But we saw some newer thine, and full of surprising spaces. bridges as well, including the movable Johan Dahlberg describes a quick Gateshead Millennium Bridge, opened tour through the offices of Foster + in 2002, which put Newcastle on the Partners. After a short introduction map, and the last structure Ove Arup we arrive at a great hall with windows designed personally, Kingsgate Bridge overlooking the Thames: “Models of va- in Durham from 1963. AT students rious size and construction lie on every Emma Blomqvist and Emna Hachicha available surface, including the desks. were inspired by Arup’s bridge, and The walls, which must be eight meters wrote, “The combination of the hard high, are covered with shelves that are concrete, the soft water, and the wild full of models. We learn that everyone green of the trees forms an impeccable sits here together—architects, engine- composition that creates a feeling of ers, project managers, and lawyers. One tranquility and strengthens Arup’s vision consequence of this is that the projects of ‘total design’.” have multiple disciplines involved right Our interest in engineering is always from the start.” united with a feeling for architectu- Joel Matsson recalls our visit to AA, re. Our itinerary also takes us to the the Architectural Association School twelfth-century Durham Cathedral of Architecture, which has produced

stu dy to u r s at te n year s 45 so many famous architects. We sneak surrounds it. Also made of wood, the 1826, the first suspension bridge with a around through a labyrinthine environ- Savill Building (2006) in Windsor Great roadway. Our students’ travel journals ment like “willing followers of our travel Park is a larger space that is part of a are full of characterizations that capture guide, Morten’s, better-to-ask-forgive- garden exhibition. The glazed-in court- the adventurous spirit of the trip: “We’re ness-than-permission principle.” After yard of the British Museum (2000) is going to have to move at the speed marveling at the fact that the privileged the most sophisticated structure of all, of light. But there are worm holes in students here pay over 20,000 euros designed by Foster + Partners as archi- time, so we’re good.” “Morten may have annually in tuition, Joel concludes with tect with Buro Happold as engineers. promised that he’s not going to bother the reflection, “Here you test things for It is carefully fit within the geometry of you, but I haven’t promised anything.” the sake of testing, regardless. Can you the existing buildings. “There is a guard, but there are forty of sew in concrete? Why would anyone Mats Ander, teacher and colleague us, so we can always swarm him if we want to sew in concrete? Who cares from the department of Applied Mecha- have to.” — let’s give it a try! And not infrequ- nics, came along with us on the 2014 Storbritannien med AT2 Andra resan går till Storbritannien. Resvägarna är här lite olika från år till år men hela tiden med intresse både för industrialismens rötter och dagens high-tech. Resan är formulerad som en förberedelse för den tredje årskur- sens tema, Arkitektur (första årskursen har temat Rum, den andra Byggnad). Studenterna har som uppgift att skriva en resedagbok, där de väljer varsin byggnad på vägen och beskriver dess grundläggande fakta, dess kontext i tiden och platsen och dess koncept för rum och rörelse, struktur och produk- tion och kring ambitioner om material, ljus, ljud, klimat, hållbarhet. 2012 gick resan från Newcastle norrut genom Skottland. Här finns några av brobyggandets klassiker som konsolbron Forth Rail Bridge från 1890 och bågbron Tyne Bridge i ently the results are fascinating. It is trip, and recalls how contagious our Newcastle från 1928. Men också nyare liberating to see that it’s possible to group’s curiosity was. And he believes broar som den uppfällbara Gateshead relax with the weight of 121,610 euros on that curiosity is a necessary condition Millennium Bridge, invigd 2002, som your back.” for lifelong learning: “It seems to me satte Newcastle på kartan eller Ove that in this regard too the AT program Arups sista egna verk, Kingsgate Worm holes in time succeeds again. And we don’t always Bridge i Durham från 1963. Om Arups That England trip had a special theme: need to travel so far, either. You can bro skriver Emma Blomqvist och Emna gridshell structures. A gridshell can be get a good deal of the benefit just Hachicha inspirerat: ”Blandningen av described as an upside-down woven by walking out your front door with a den hårda betongen, det mjuka vattnet basket. It is an elegant and materi- totally different pair of glasses and a och trädens vilda grenar blir en självklar al-efficient structure, but a complex sketchbook.” komposition som skapar en rogivande one both to engineer and to construct, The 2015 trip followed to some känsla och stärker Arups vision, ’Total so the technique is seldom used. The extent in the tracks of the previous one, Design’”. Downland Gridshell by Cullinan Studio with a detour to Wales to see a few Ingenjörsintresset förenas hela architects and Buro Happold engineers, more classic bridges — the Iron Bridge tiden med känslan för arkitektur. På built of wood in 2001 in West Sussex, in Coalbrookdale from 1781, the world’s resan stannar man också till inför relates to the traditional half-timbered first cast-iron bridge, and Thomas Tel- Durham Cathedral från 1100-talet och buildings of the open-air museum that ford’s Conwy Suspension Bridge from vid Edinburghs klassiska stadsrum

stu dy to u r s »» Ironbridge »» Kingsgate bridge, Durham Photo: Karl-Gunnar Olsson

at te n year s 47 Charlotte Square. I Glasgow besöker ning. Kontoret, som ligger i en ombyggd Joel Matsson tar oss med på besö- man Mackintoshs mästerverk i jugen- viktoriansk skola, kändes sofistikerat ket på AA, Architectural Associations darkitektur, Glasgow School of Art, och mörkt och enfärgat, intimt, labyrintiskt skola där så många berömda arkitekter tittar på hur han använt stålbalkar för och fullt av överraskande rumsligheter. gått. Vi smyger runt i den labyrintis- att åstadkomma stora ljusinsläpp till Johan Dahlberg beskriver en snabb- ka miljön som ”villiga följare av vår skolans ateljéer. I Newcastle granskas tur genom Foster + Partners kontor. reseledare Mortens bättre-be-om-ur- Erskines Byker Wall och trädetaljerna Efter en kort introduktion kommer säkt-än-tillåtelse-princip”. Efter att ha som Erskine tagit med sig från Sverige man till den stora salen med fönster förundrats över att de priviligierade får underkänt. mot Themsen: ”Modeller av varierande studenterna här betalar över 200 000 storlek och utförande står på varje ledig kronor per år i studieavgift avslutar Besök på kontor yta, även på skrivborden. Väggarna, Matsson med en reflektion: ”Här testar 2014 höll sig resan till södra England, säkerligen åtta meter höga, täcks av man för testandets skull, urskillnings- främst London och Bath. På Zaha hyllor fyllda med modeller. Vi får höra löst. Kan man sy betong? Varför skulle Hadids kontor tas gruppen emot av två att här sitter alla tillsammans: arkitekter, man vilja sy betong? Vem bryr sig, vi tidigare AT-studenter, Lisa Kinnerud ingenjörer, projektledare och jurister. En testar! Och resultatet är inte sällan och Moa Carlsson, som arbetar här. konsekvens av detta blir att projekten fascinerande. Det är befriande att se Zaha Hadids intresse för parametrisk redan från start får flertalet discipliner att det går att slappna av med 1 112 860 design ligger förstås nära AT:s inrikt- involverade”. kronor på axlarna”.

»» Modell made by Smithson and is to be found in the exhibition of Master´s Thesis January 2016.

»» Modell made by Smithson and is to be found in the exhibition of Master´s Thesis January 2016.

stu dy to u r s Maskhål i tiden Ett särskilt tema för Englandsresan var gridshell-konstruktioner. Ett gridshell kan liknas vid en upp och nervänd flätad korg. Det är en elegant och ma- terialeffektiv konstruktion men komplex att både beräkna och bygga och därför ganska sällan använd. Cullinans och Buro Happolds Downland gridshell i trä från 2001 i West Sussex förhåller sig till det omgivande friluftsmuseets traditio- nella korsvirkesbyggnader. Savill Buil- ding, också i trä, från 2006 i Windsor Great park är ett större rum som del av en trädgårdsutställning. British Muse- ums övertäckta innergård från 2000 är den mest avancerade konstruktionen, med Foster + Partners som arkitekt och Buro Happold som konstruktör. Den är inpassad i en given geometri av befintliga byggnader. Mats Ander från Tillämpad mekanik följde med på resan 2014 och berättar om sina intryck av AT:s nyfikenhet som smittar av sig. Och han menar att denna nyfikenhet är en förutsättning för ett »» Photo: Oscar Borgström livslångt lärande: ”Jag upplever att man »» Royal National Theatre, Denys Lasdun i denna mening lyckats även här på Photo: Anton Nordfedt AT-programmet. Vi behöver inte alltid åka särskilt långt heller. Det kan räcka en bra bit på vägen med att pröva att gå ut genom bostadsdörren med en uppsättning av helt nya glasögon och en skissbok”. 2015 års resa gick delvis i samma spår som 2014 men med en avstickare till Wales och några klassiska broar igen, Iron Bridge i Coalbrookdale från 1781, den första gjutjärnsbron, och Tho- mas Telfords Conwy Suspension Bridge från 1826, världens första hängbro med vägbana. Reseberättelsens kapitel inleds med citat som fångar AT-resan som äventyr: ”Vi kommer att behöva röra oss med ljusets hastighet. Men det finns maskhål i tiden”, ”Morten har kanske lovat att han inte ska störa er, men jag har inte lovat någonting”, ”Det är en vakt och vi är 40 personer, vi kan alltid skingra oss”.

at te n year s 49 Study tours. Switzerland with AT3

Each year in October the third-year ned farther than any other bridge in class from Architecture and Engine- the world, yet he worked with the same ering makes a trip to Switzerland. We materials and construction methods visit the Alps to study Europe’s finest that were being used at that particular bridges and some of its best architec- time. Through practical experience ture. We drive ourselves in minibuses, Grubenmann built up an incomparable allowing us the freedom to explore the knowledge structural design that he smallest detours and the responsibility used to build numerous column-free to keep ourselves on schedule. church interiors full of light and clarity. Switzerland is like a mirror image of Swiss architecture grows from the Sweden. Both countries are small and country’s culture of building with res- prosperous. People express their identi- pect for the local context. We study the ties in the local and act all over the en- vernacular architecture based on wood tire world. A green agenda permeates both in its load-bearing structures both societies. In Switzerland the buil- and surface textures. The same under- ding culture is still strong and alive. The standing and sensuousness lives on Swiss are proud of their engineering in Switzerland’s modern architecture, and demand the most of architecture. with its broad and varied palette of Their culture aims for excel- materials. Peter Zumthor’s sympathetic lence, a goal we share in our Archi- architecture provides the fixed points tecture and Engineering program. for our itinerary. And we always take our annual bath at his Therme Vals. Bridges and baths Basel is an equally given destination All over Switzerland we find Robert along our way. We study Herzog & de Maillart’s sculptural bridges in concrete Meuron’s best buildings, from their first where forces and form are integrated iconic designs to the construction sites into an organic whole. It is easy to of their very latest work. In St. Moritz draw associations with the optimized we visit Norman Foster’s futuristic inter- structures in nature. In Christian Menn’s pretation of the Swiss chalet, a tour de elegant bridges we find pre-stressed force of sophisticated computer design »» Photo: Oscar Borgström concrete pushing the boundaries of coupled with a deep understanding of »» Salginatobel Bridge. structural design. He consequently handicraft and human expression. Le Photo: Peter Christensson avoids expansion joints in his concrete Corbusier’s little house for his mother structures, rigorously executed from and father on the shore of Lake Gene- silhouette to detail. We explore Jürg va is a highpoint of the trip. SANAA’s Conzett’s expressive bridge design. Rolex Learning Center in Lausanne and Each structure is a work of art that tells Jean Nouvel’s Concert and Convention its unique story of patterns of forces Center in Lucerne are always worth a and play with materials. re-visit. The art of bridge building in Switzer- land is deeply rooted in tradition. Hans Playing our way Ulrich Grubenmann’s bridges from the The study tour of Switzerland has eighteenth century offer a natural place been the jewel in the crown since our to begin our bridge safari. They span- very first trip in 2008. In the midst of

stu dy to u r s at te n year s 51 the superlative beauty of the Alps we committed knowledge we experience around us. When we jump up and down find meticulousness and a culture of from our many local hosts. We meet on the bridges and when we fill their excellence that we bring home. The the engineers and architects behind churches with our songs, we feel the engineering and architecture of Swit- the great bridges and architecture bounce in our bodies and the sound in zerland sets the bar for the Architecture and the curators and guides who tell our ears and understand a little more of and Engineering program. their stories. We are delighted by the the play of forces in the structures and During the study tour we establish fine cultural heritage of Switzerland the acoustics of the rooms. the theme for the following year’s cour- and thoroughly enjoy the welcoming Morten Lund se in Optimized Structures. We base hospitality. on the subsequent Acoustics design Peter, Karl-Gunnar, and I and Other memories studio project on our experiences from participate in the tour every year. Our AT students and faculty carry with them our visits to the churches and concert students draw everything they see and the memories and stories of our tours halls and not the least on the recurring play their way from one site to the next. of Switzerland. The strongest are often sound intervention in Zumthor’s Saint We are all curious about phenomena the most recent. Karl-Gunnar recalls, Benedict Chapel. Most important of all, and history, and we search for patterns “Dusk creeps over our group as usual, however, is the warm friendship and that tell a little more about the world and little pocket flashlights and mobile phones come out to light the way. A narrow hiking trail has led us to the stone carvings in Val Camonica, which are many thousands of years old, and we can barely make them out — until the full moon suddenly rises over the peaks of the Alps to fulfill the magic of the place and the moment, and to lead our way back to the buses.” And then there are the eternal discussions about how the bridges we see actually work. Karl-Gunnar explains the mechanics and the static concept: “How did the engineer plan for the bridge to bear its dead load, how is it constructed to redistribute temporary loads on weak points, how is it desig- ned to carry asymmetrical loads, and how does it deal with horizontal ones? Some bridges are hard to read, and we may not all agree on the load-bearing concept. Who’s right — the students, Morten, or I? We try jumping up and down on the bridges. If they flex the most in the middle they act mostly like a beam, but if they flex most at the qu- arter point they act mostly like an arch. What do we think the engineer’s design strategy was?” This makes some indelible impres- sions on our students. Jonas Lundgren remembers one stop on a tour in October of 2010: “Tired and hungry, our class is gathered together in a tight clump near the abutment at one end of the Salginatobel Bridge. After almost an hour’s discussion it’s starting to get

stu dy to u r s »» Photo: Oscar Borgström »» Photo: Ulf Jansson »» Grubenmannmuseum, Rosmarie Nüesch Photo: Karl-Gunnar Olsson

at te n year s 53 dark, but Morten presses on, impas- Broar och bad sioned in his attempt to show his force Over hele landet møder vi Robert Mail- diagrams on a paper that it’s way too larts skulpturelle betonbroer, hvor kræf- dark to see. Morten: ‘Without question, ter og form er integreret i en organisk they calculated the point loads at the helhed. Det er let at få associationer til quarter points, so without question naturens optimerede konstruktioner. I it’s a BEAM.’ KG: ‘Sure, Morten, but I Christian Menns elegante broer rækker still think that globally it acts to carry den forspændte beton mod grænserne the dead load like an ARCH.’ Morten: af materialets muligheder. Minimale ‘But KG, no, it’s a BEAM.’ How the konstruktioner uden dilatationsfuger og discussion fell apart and we were able i et konsekvent udført design fra silhuet to get out of there I can’t remember, til detalje. Vi udforsker Jürg Conzetts but the lesson was that even the art of udtryksfulde broer. Hver konstruktion er engineering sometimes lies in the eye et kunstværk, der fortæller sin origi- of the beholder.” Patrik Thorsson and nale historie om kraftspil og materiale. Marcus Stark recall the “jumping test” Schweizernes brobygningskunst er on the Traversina footbridge: “Jumping dybt forankret i traditionen. Hans Ulrich up and down on a bridge that is just Grubenmanns broer fra 1700tallet er en way too high up is something you can naturlig begyndelse i vores brosafari. never forget.” De spændte længere end andre broer Art teacher Peter Christensson i verden. Grubenmann brugte de ma- remembers a moment on the platform terialer og byggeteknik som i landets beneath the Salginatobel Bridge: “It øvrige broer fra samme tid. Gennem sin was starting to get dark. The students praksis havde han bygget sin eneståen- are always given the assignment of de viden om kræfter og konstruktioner, writing haiku poems — to try out a som han anvendte i sine mange søjle- concentrated use of language but also, frie kirkerum fulde af lys og klarhed. as Tomas Tranströmer says, to see with Schweizernes arkitektur vokser på cleaned eyes. In the darkness, with the samme måde ud af landets bygnings- majestic figure of Salginatobel setting kultur med en respekt for stedets krav. the stage, they read aloud their newly Vi oplever en folkelig arkitektur, der penned poems by the light of pocket bygger på træets muligheder i den flashlights. It was huge.” bærende konstruktion og udtrykker sig gennem fladernes stoflige virkninger. Schweiz med AT 3 Den samme forståelse og sanselighed Hver oktober rejser årskurs 3 fra er bevaret i den moderne arkitektur »» Photo: Oscar Borgström Arkitektur och Teknik mod Schweiz. med sin store og varierede materialepa- »» Photo: Ulf Jansson I Alperne studerer vi Europas fineste let. Peter Zumthors sympatiske arkitek- brobygningskunst og gode arkitektur. Vi tur er vores faste rejsemål. Og vi tager kører selv i minibusser. Med frihed til at altid vores årlige bad i Therme Vals. vælge de smukkeste omveje og ansvar Basel er ligeledes et fast punkt i rejsen. for hinanden. Vi studerer Herzog & de Meurons Schweiz er som et spejlbillede af bedste bygninger fra de første ikoniske Sverige. Begge lande er små og frem- eksempler til byggepladserne allernyes- gangsrige. Mennesker bærer sin iden- te eksempler. I Sankt Moritz besøger vi titet i det lokale og agerer udadvendt i Norman Fosters futuristiske fortolkning hele verden. En bæredygtig agenda går af schweizerhytten, en tour de force igennem hele samfundet. I Schweiz er i avanceret computerdesign koblet bygningskulturen levende. Folk er stolte med håndværkets dybe kundskab og over sin ingeniørkunst og arkitektur. menneskelige udtryk. Le Corbusiers lille Og stiller krav. Det er et sådant miljø vi hus for sin mor og far ved bredden af oplever med Arkitektur och Teknik. Genevesøen er et højdepunkt på turen. Sanaas Learning Center i Lausanne og

stu dy to u r s at te n year s 55 Jean Nouvels kongres- og koncerthus i årgange af studerende tegner vi alt koncepten: ”Hur har ingenjören tänkt Luzern er altid gode gensyn. hvad vi ser på vores vej, mens vi leger att de ska bära egentyngd, hur är de os gennem rejsen. Alle er nysgerrige konstruerade för att fördela tillfälliga Vi leker oss genom resan på fænomenerne og historien finder laster i svaga punkter, hur är de Studierejsen til Schweiz har været vi mønstre der fortæller en lille smule utformade för att bära asymmetriska kronen på værket siden vores første tur mere om vores omverden. Når vi for- laster, och hur bär de horisontella i 2008. Midt i Alpernes skønneste natur sigtigt hopper på broerne og synger i laster? Ibland är broarna svårlästa, och finder vi en omsorg og et udsyn, vi rumme, mærker vi svingningerne i krop- vi kanske inte är överens om koncept bringer med os hjem. Ingeniørkunsten pen og lyden i øret og forstår en smule för bärning. Vem har rätt? Studenterna, og arkitekturen i Schweiz sætter ni- mere af kræfternes spil i konstruktioner Morten eller jag? Vi prövar och hoppar veauet i Arkitektur og Teknik. I efterår- og akustik. på broarna. Är de vekast på mitten bär ets kursus Optimerede strukturer bliver Morten Lund de mest som en balk, är de vekast i fjärdedelspunkten bär de mest som en båge. Hur tror vi att ingenjören tänkte?” På studenterna gör detta oförglöm- liga intryck. Jonas Lundgren minns ett besök i oktober 2010: ”Trötta och hungriga står vår klass tätt samlade i klump vid ena brofästet till Salginato- bel-bron. Det har börjat skymma efter nästan en timmes diskussion, men Morten fortsätter upprymt att försöka visa sina kraftanalyser på ett papper som det är på tok för mörkt för att se. Morten: Utvivlsomt, de beregnede de punkbelastninger på kvartspunkter, så uden tvivl er den en BALK. KG: Jaa Morten, men jag tycker ändå att globalt för egentyngden så verkar den som en BÅGE. Morten: Men KG, ikke, den er en BALK. Hur diskussionen urartade och vi kom därifrån minns jag inte, men lärdomen var att även ingenjörskonsten ibland ligger i betraktarens öga”. Patrik Thorsson och Marcus Stark minns ”hopptestet” på Traversina steg: ”Att temaet altid slået an under studierejsen Andra minnesbilder hoppa på en bro som befinner sig på og til forårets projektkursus i akustik AT-studenter och lärare bär på minnen alldeles för hög höjd gör att man aldrig bygger vi på erfaringerne fra besøgene och historier från Schweizresorna. De glömmer det”. i kirker og koncertsale og vores tilba- starkaste är ofta de sena. Karl-Gunnar Läraren Peter Christensson minns gevendende lydintervention i Zumthors minns: ”Som vanligt smyger sig kvälls- ett ögonblick på plattformen nedanför Sankt Benedikt Kapel. Det vigtigste af mörkret på gruppen, och små ficklam- Salginatobel-bron: alt er imidlertid alle venskaberne med por och mobiltelefoner får lysa upp. De ”Det började skymma. Studenterna vores lokale værter, der langsomt er mångtusenåriga hällristningarna i Val får alltid som uppgift att skriva haiku vokset frem over årene. Vi møder inge- Camonica, som en smal vandringsstig -poesi, för att pröva ett koncentrerat niørerne og arkitekterne bag værkerne lett oss fram till, kan knappt urskiljas, språk men också för att som Tomas og kuratorerne og guiderne, der formid- när fullmånen plötsligt stiger upp över Tranströmer säger, se med tvättade ler historierne. Vi nyder godt af deres alptopparna, fullbordar platsens och ögon. I mörkret, med Salginatobels gæstfrihed og glæder os over den fine stundens förtrollning, och leder oss mäktiga gestalt som fond, lästes det kulturarv de skaber og forvalter. vägen tillbaka till bilarna”. nyskriven poesi till skenet av ficklampor. Peter, Karl-Gunnar og jeg selv plan- Och de eviga diskussionerna om Det var stort”. lægger rejsen og deltager selv hvert broarnas verkningssätt. Karl-Gunnar eneste år. Sammen med de skiftende förklarar mekaniken och de statiska

stu dy to u r s »» Photo: Karl-Gunnar Olsson »» Chapel San Benedetg, Peter Zumthor Photo: Oscar Borgström Photo: Ulf Janson

at te n year s 57 Material Theory of Architecture. Walking the City

Material Theory of Architecture is an step of the way. During the first years it are related to the city we visit. “Walking elective course that is given by AT but was about exploring “the material turn” as an aesthetic practice” has become is also open to Architecture program in the humanities and social sciences, a theme of the course, informed by students. It has turned out to be a and tying it together with the AT pro- the writings of Francesco Careri and different format for a course and a field gram’s interest in “a material culture.” Rebecka Solnit. trip — one that seems to fill a need, and Over time it has become increasingly The trip we take has not been the has been attracting students for five about exploring what kind of role art usual tour of notable works of archi- years now. and the humanities can play in the edu- tecture, but has instead been about The course has its roots in an cation of architects and engineers. In a wandering and documenting the city unrealized course that was intended to series of seminars we read texts on the and its life in words and images. The deal with the link between architectural material turn from philosophy, cultural reflective tempo has been appreciated theory and materiality. In developing geography, ethnology, and architecture. by the students. We have been to Paris, the course, Claes Caldenby, Peter We also prepare for a trip that conclu- St. Petersburg, Trieste, and Istanbul. Christensson, and in the beginning also des the course by listening to music, Among the many highlights, we recall Morten Lund worked together every reading fiction, and watching films that meeting the doll maker Viktor Grigorev

stu dy to u r s in St. Petersburg and the author Claudio Magris at the San Marco café in Trieste, and a visit to Orhan Pamuk’s Museum of Innocence in Istanbul.

Att begå staden Materiell arkitekturteori är en frivillig kurs som hör hemma på AT men är öppen också för arkitekturstudenter. Den har visat sig vara en annorlunda »» The Bronze Horseman Peter the Great form för kurs och studieresa som tycks in Saint Petersburg. fylla ett behov och har lockat studenter »» By the Galata Bridge in Istanbul. i nu fem år. Photo: Peter Christensson Ursprunget finns i en ”tom” kurs, tänkt att handla om kopplingen mellan arkitekturteori och konstruktion. Claes Caldenby, Peter Christensson och från början även Morten Lund har steg för steg utvecklat kursen. De första åren handlade den om att utforska ”den materiella vändningen” i humaniora och samhällsvetenskap och knyta samman den med intresset för ”en materiell kul- tur” i AT-utbildningen. Vartefter har den alltmer blivit ett undersökande av vilken roll konst och humaniora kan spela i arkitekt- och ingenjörsutbildningen. I en serie seminarier läser vi texter om den materiella vändningen från filosofi, kulturgeografi, etnologi, arkitektur. Vi förbereder oss också för den avslutan- de resan genom att lyssna på musik, läsa skönlitteratur och se filmer med knytning till den stad vi ska besöka. ”Gåendet som estetisk praktik” har blivit ett tema för kursen, genom texter av Francesco Careri och Rebecka Solnit. Resan har sedan inte varit den vanliga raden av sevärd arkitektur utan i stället gått ut på att vandra och i text och bild registrera staden och dess liv. Det reflekterande tempot har varit upp- skattat av studenterna. Vi har besökt Paris, Sankt Petersburg, Trieste och Istanbul. Bland de många högtidsstun- derna minns vi mötena med dockmaka- ren Viktor Grigorev i Sankt Petersburg, författaren Claudio Magris på café San Marco i Trieste och besöket i Orhan Pamuks Oskuldens museum i Istanbul.

at te n year s 59 “No Other School Has the Same Strength.” AT’s Bachelor’s Thesis

At the end of the third year of study, AT first undergo a short introductory cour- sentations to express and explain its students do a bachelor’s thesis. For stu- se in acoustics. All presentation and qualities, particularly in terms of the dents in the School of Civil Engineering critique of proposals occurs in English. chosen technical focus.” the bachelor’s thesis is a paper, and for AT’s 2014 self-evaluation for the The results of the competition must those in the School of Architecture it is Swedish Higher Education Authority be considered an unprecedented suc- a design project. Architecture and En- included a review of this arrangement: cess — so much so that the competition gineering chose the latter form, which “The fact that the bachelor’s thesis has organizers changed the rules in 2012 to tests students’ artistic skills but also been given a technical focus on acous- limit the number of submissions from includes analysis and simulation. tics is just a coincidence, and is actually any university to three. Chalmers had participated in the immaterial. It is not the technical focus Mendel Kleiner, Professor Emeritus American Society of Acoustics’ annual of the assignment that is being evalu- in Applied Acoustics, was instrumen- student design competition in the past, ated (acoustics knowledge is tested in tal in establishing the collaboration but had never won. Then we orchestra- the parallel course Indoor Climate) but between AT’s bachelor’s thesis students ted a collaboration in groups of three rather the ability to allow a technical and students in the Room Acoustics — two AT students and one graduate focus to provide the inspiration and to graduate course. He describes the student from the Sound & Vibration drive the development of the design, experience for us: “On the whole our (MPSOV) program. The AT students and the ability to use different repre- participation in the competition has

bac h e lo r’s th es i s resulted in many first prizes and many AT-studenter och en mastersstudent som en följd av elevernas entusiasm för second prizes, all as a result of the från programmet Sound & Vibration uppgiften och unika kunskapskombina- students’ enthusiasm for the assign- (MPSOV). AT-studenterna får en kort tion. Teknik utan ett gott arkitektarbete ment and their unique combination of inledande kurs i akustik. All presenta- med framgångsrikt koncept och visuali- expertise. Technology with a successful tion och kritik sker på engelska. sering är bara teknik och på motsvaran- concept and visualization but without I AT:s självvärdering 2014 till UKÄ de sätt saknar arkitektarbete utan solid good work on the architecture is just kommenteras upplägget: ”Att kandida- teknikbas trovärdighet. Jag vet inte om technology, and in the same way tarbetet har fått sitt tekniska fokus på någon annan skola internationellt som architecture work that is not based akustik är en tillfällighet och egentligen har samma styrka som Chalmers med on a solid technical foundation lacks oväsentligt. Det är inte uppgiftens tek- den interdisciplinära utbildning som fås credibility. I don’t know of any other niska fokus som examineras (akustik- med kombinationen av AT- och MPSOV- school internationally that has the same kunskapen examineras i den parallella kunskap”. strength as Chalmers in terms of the kursen Klimatsystem) utan förmågan Kleiner talar om skillnaderna mellan interdisciplinary education you get with att låta ett tekniskt fokus ge inspiration AT-kulturen och mastersprogrammets the combination of knowledge from AT och driva bearbetningen av projektet, ingenjörskultur. Den stora skillnaden, and MPSOV.” och förmågan att med olika representa- menar han ligger ”i synen på verk- Kleiner talks about the differences tioner uttrycka och förklara resultatets ligheten där AT-studenternas öppna, between the culture of the AT program kvalitéer, särskilt med avseende på valt undersökande och prövande arbete and that of the Master of Civil Engine- tekniskt fokus”. alltför ofta verkar oseriöst för masters- ering program. The big difference, he Resultaten i tävlingen måste sägas studenterna som ofta förväntar sig att says, is in “the view of reality, where AT ha varit en exempellös framgång. Så det finns ett fast optimalt svar på frå- students’ open, explorative, and testing framgångsrik att arrangörerna från 2012 geställningar de möter både i arkitektur work too often seems unrealistic to the ändrade reglerna och begränsade anta- och i rumsakustik. Ändå bedömer jag graduate students, who often expect let bidrag från varje universitet till 3. det som att samarbetet varit ett fram- that there is a fixed, optimal answer Mendel Kleiner, professor emeritus gångsrikt sätt att nöta två kulturer mot to every question they encounter in i Teknisk akustik, var med och drog varandra. AT-elevernas eget sökande both architecture and room acoustics. igång samarbetet mellan AT:s kandi- efter kunskap framstår också i skarp Nevertheless, in my judgment the col- datarbete och masterskursen Room kontrast till den traditionella ingenjörs- laboration has been a successful way acoustics. Han beskriver sina erfaren- utbildningens stressade sökande efter to rub those two cultures against each heter: ”Sammantaget har vårt delta- omfattande exakt kunskap tillhandahål- other. The AT students’ autonomous gande i tävlingen resulterat i ett flertal len av lärare”. searching for knowledge stands out in förstapriser och många andrapriser, allt sharp contrast to the traditional engi- neering program’s stressful searching for comprehensive, precise knowledge acquired from teachers.” Results ”Ingen annan skola har samma styrka” 2009: first prize, 3 of the 4 honorable mentions AT:s kandidatarbete I slutet av tredje året görs ett kandi- 2010: 3 of the 5 honorable mentions datarbete. På ingenjörsutbildningarna examineras det i form av en uppsats, 2011: first prize, 4 of the 5 honorable mentions på Arkitektur i form av ett gestaltnings- arbete. Arkitektur och teknik valde den 2012: 2 honorable mentions senare formen som prövar konstnärliga färdigheter, men också innehåller ana- 2013: first prize lys och simulering. Chalmers hade tidigare deltagit i 2014: 3 of the 4 honorable mentions American Society of Acoustics (ASA) årligen utlysta Student Design Compe- 2015: first prize, 1 honorable mention tition, men utan framgång. Nu regisse- rades ett samarbete i grupper om två

at te n year s 61 karl eriksson, rikard olsson, victor gunnarsson

Archapel 2009

The curved metal sheets, driven deep strips of fabric form a peaceful inner into the soil, form a sacred place in the space. A place for peace and worship. barren landscape. The vastness of the A place for music, strong and immer- landscape and the monumentality of sing. the sheets give the place, not only, an The unique properties of the site obvious visual characteristic but also a challenge the acoustic design of the more subtle acoustical one. There are building. Special care has been taken echoes, you hear the metal and feel to tame the acoustics of the sur- the hard surfaces. Some sounds are roundings including aircraft, rain and amplified; some are diminished among ambient noise. The chapel is well suited the sheets. for music of different kinds and a spe- Passing through the lobby the cial loudspeaker arrangement is used echoes and the noise of the wind and for good speech intelligibility. Variations the ocean are left behind. Entering the of the room acoustics permit different chapel you can see the ocean in the uses such as dancing sessions, which west, but you cannot hear it. Further can be held without interfering with into the chapel low-hanging lights and other activities in the building.

24 ACOUSTIC DETAILS 01 see number for reference

Archapel 20 mm o tube 23 Helmholtz cavity

20 Absorption Mineral Wool

LED-lighting Gravel 21

02 Louvers 03 Acoustic Blinds (22) Reflectors (23) Helmholtz Lights (24) Damped Windows 01 26 Adjustable blinds with heavy absorption Large laminated metal reflectors suspended Lighting fixures with integrated Two sheets of laminated glass separated by a large air behind cover the back wall of the chapel from the ceiling reflect sound toward the curved Helmholtz absorbers, tuned to different space, which sides and top are covered with mineral enabling variation of reverberant charac- walls. Their irregular postioning contributes to frequencies, giving a balanced warmth wool. The bottom is covered by gravel on top of a air teristics . See reverberation time graph. the diffusive properties of the ceiling. and reverberation at low frequencies. cavity effectively forming a Helmholtz resonator. Exterior Arrival Interior STC 84 metal sheet 01 1 The curved metal sheets, driven deep into the soil, form a sacred PLAN 0 PLAN -1 ROOM ACOUSTICS Reverberation Time RT T30 IACC 1-IACC DETAILS footbridge 02 scale 1:200 [s] scale 1:200 1,0 scale 1:20 4 7 place in the barren landscape. The vastness of the landscape and C-80 [dB] STI [%] 3 2 entrance 03 -0.5 0,8 the monumentality of the sheets give the place, not only, an obvious chapel Reverberant With loudspeaker 2 reverberant direct entrance 04 0,6 5 Dry Without loudspeaker chapel dry visual characteristic but also a more subtle acoustical one. There are 100 0,4 multi purpose 1 20 mm steel plates Detail A 6 reception 05 1 room Connection between echoes, you hear the metal and feel the hard surfaces. Some sounds 80 0,2 2 460 mm structural STC 73 elevator 06 concrete curved wall and roof aircraft takeo +0.0 03 0 60 [Hz] 0,0 [Hz] are amplified; some are diminished among the sheets. 01 toilets 07 125 250 500 1k 2k total 4k transmission loss 125 250 500 1k 2k 4k 8k 16k 3 gravel 8 09 LF NC-20

125 kHz - 4kHz dB level, 01 Clarity Speech Intelligibility 40 predicted noise level cloakroom 08 5 ms

transmission loss, dB loss, transmission 9 10 20 The unique properties of the site challenge the acoustic design of the private office 16 19 50 12 50 mm concrete 16 13 40 2 3 0 10 10 2 3 13 50 mm pressed fibre 10 10 open-plan office 17 0 10m frequency [Hz] building. Special care has been taken to tame the acoustics of the frequency [Hz] glass isolator 17 14 Lateral energy fraction Strength Detail C 18 14 50 mm mineral wool surroundings including aircraft, rain and ambient noise. The chapel multi-purpose room 18 The reflectors (23) suspended from the ceiling The sound level is strong and evenly distributed Transmission loss for the different Noise calculation for the chapel considering Vibration and STC 75 N direct energy towards the curved walls for throughout the chapel. 0 10m elements of the chapel and the composite the worst case scenario of aircraft noise. The 15 290x160 mm air duct sound insulation in 19 catering kitchen 19 110 is well suited for music of different kinds and a special loudspeaker a high amount of early lateral reflections, construction. predicted noise level satisfies NC20. 16 mineral tile ceiling HVAC room light wells 20 resulting in a large apparent source width. 100 5 arrangement is used for good speech intelligibility. Variations of the 90 17 resilient metal stud HVAC Strategy roof hanging strips of fabric 21 80 total 18 HVAC 20 01 STC 94 room acoustics permit different uses such as dancing sessions, which N HVAC70 with humidity control side walls windows -1.0 0 10m acoustic blinds 22 18 200 mm structural for60 a comfortable room climate 20 can be held without interfering with other activities in the building. dB loss, transmission concrete laminated metal reflectors 23 25 50 23 and to prevent excessive high 19 suspension spring HVAC 40 20 2 3 isolator helmholtz lights 24 frequency10 absorption.10 frequency [Hz] Detail D 21 22 20 16 mm laminated Acoustic blinds and loudspeaker cluster 25 glass FACADE damped windows 11 26 scale 1:500 reflecting stage screen 26 10 21 21 20 mm facade board 18 12 22 acoustic blinds 20 20 18 16 14 17 STC 60 3 0 10m SECTION north west south east scale 1:200

bac h e lo r’s th es i s Archapel

01

Exterior

24 ACOUSTIC DETAILS metal sheet 01 The curved metal sheets, driven deep into the soil, form a sacred 01 plan 0 see number for reference

Archapel scale 1:200 20 mm o tube footbridge 02 place in the barren landscape. The vastness of the landscape and 23 Helmholtz cavity entrance 03 20 Absorption Mineral Wool the monumentality of the sheets give the place, not only, an obvious -0.5 LED-lighting Gravel 21 direct entrance 04

02 visual characteristic but also a more subtle acoustical one. There are Louvers 03 Acoustic Blinds (22) Reflectors (23) Helmholtz Lights (24) Damped Windows 01 26 reception 05 Adjustable blinds with heavy absorption Large laminated metal reflectors suspended Lighting fixures with integrated Two sheets of laminated glass separated by a large air behind cover the back wall of the chapel from the ceiling reflect sound toward the curved Helmholtz absorbers, tuned to different space, which sides and top are covered with mineral echoes, you hear the metal and feel the hard surfaces. Some sounds enabling variation of reverberant charac- walls. Their irregular postioning contributes to frequencies, giving a balanced warmth wool. The bottom is covered by gravel on top of a air teristics . See reverberation time graph. the diffusive properties of the ceiling. and reverberation at low frequencies. cavity effectively forming a Helmholtz resonator. elevator 06 Exterior Arrival Interior +0.0 STC 84 metal sheet 01 1 The curved metal sheets, driven deep into the soil, form a sacred PLAN 0 PLAN -1 ROOM ACOUSTICS Reverberation Time RT T30 IACC 1-IACC DETAILS are amplified; some are diminished among the sheets.footbridge 02 scale 1:200 [s] toilets 07 scale 1:200 1,0 scale 1:20 01 4 7 place in the barren landscape. The vastness of the landscape and C-80 [dB] STI [%] 3 2 entrance 03 -0.5 0,8 the monumentality of the sheets give the place, not only, an obvious 01 chapel Reverberant With loudspeaker 2 reverberant direct entrance 04 0,6 5 Dry Without loudspeaker chapel dry visual characteristic but also a more subtle acoustical one. There are 100 0,4 reception 05 multi purpose 1 20 mm steel plates Detail A 6 cloakroom 08 1 room Connection between echoes, you hear the metal and feel the hard surfaces. Some sounds 80 0,2 2 460 mm structural STC 73 elevator 06 concrete curved wall and roof aircraft takeo +0.0 03 02 04 0 60 [Hz] 0,0 [Hz] are amplified; some are diminished among the sheets. 01 toilets 07 125 250 500 1k 2k total 4k transmission loss 125 250 500 1k 2k 4k 8k 16k 3 gravel 8 09 LF NC-20

125 kHz - 4kHz dB level, 01 Clarity Speech Intelligibility 40 predicted noise level cloakroom 08 5 ms

helmholtz lights 24 Facade loudspeaker cluster 25 scale 1:500 reflecting stage screen 26

north west south east anna arvidsson, malin landh, mihkel toome

Striations of Sound 2011

“Striations of Sound” celebrates stage at the same time as visitors to chamber music and its harmonious the outdoor pavilion pass through the tones. The strictly defined outline of lobby with their picnic-baskets. the building is wrapped in striations of The large, open outdoor music pa- stainless steel, providing both natural vilion is terraced and built up from the light in to the building as well as a view flowing striations. The stage is reces- to the outdoors. The wall is present sed into the building, creating a shelte- everywhere music is being apprecia- red and sound projecting atmosphere. ted, in the chamber salon, the outdoor Indoors, the striations are transfor- pavilion and the green room, making med into whitewashed wood panels, the experience of the musical perfor- with recessed lights and variable mance and the architecture something acoustic absorbers. During evening per- to remember. formances, the striations come to life in The visitors are welcomed to the the light from the sunset and move with venue by a spacious and active lobby the music. where everything happens; there’s movement and people everywhere. Musicians can be seen in their last preparations and on their way to the

OUTDOOR MUSIC PAVILLION ENTRANCE CHAMBER MUSIC SALON

STRIATIONS TO SOUND celebrates chamber music and its as visitors to the outdoor pavilion pass through the lobby LEVEL 1 harmonious tones. The strictly defined outline of the with their picnic-baskets. Benefits from striations, SCALE 1:400 ACOUSTICAL ACHIEVEMENTS predicted diffusion coefficients LEVEL 1 building is wrapped in striations of stainless steel, providing S The different users of the AUDIENCE OUTDOOR ARENA MUSICIANS 1 Background Background Acoustic features both natural light in to the building as well as a view to the The large, open outdoor music pavilion is terraced and LOADING ZONE 1 lobby sound level [RC] sound level [dBA] STRIATIONS TO SOUND strive, - see the lobby and arrival patrons 2 ticket booth in different sound controlled - obvious direction through the from private chill-out balcony outdoors. The wall is present everywhere music is being built up from the flowing striations. The stage is recessed 0.8 B-B 3 wardrobe/cloakroom environments, towards the lake lobby, entering under portico with - a “walk of fame” to get in the appreciated, in the chamber salon, the outdoor pavilion and into the building, creating a sheltered and sound projecting 15 16 O Chamber music salon 20 25 SOUND ISOLATION 1 4 lawn chair rental and the outdoor pavilion. outdoor pavilion in a direct course right mode before performing the green room, making the experience of the musical atmosphere. 0.6 A-A Green room 25-30 30-35 SOUND ISOLATION 1 17 5 elevator - feeling of entering a stage when - hidden door from the green room performance and the architecture something to remember. Outdoor music pavilion - 40-45 Shielding from road noise SOUND ISOLATION 1 6 restroom for disabled persons Lobby 35-40 40-45 Absorbing ceiling exiting the lobby to the outdoor to the upper balcony 0.4 18 U Indoors, the striations are transformed into whitewashed 14 21 7 restrooms gentlemen Guest rooms 25-30 30-35 SOUND ISOLATION 3 pavilion - equally easy access to the social green room as to the private The visitors are welcomed to the venue by a spacious and wood panels, with recessed lights and variable acoustic 0.2 8 restrooms ladies Mechanical room - - SOUND ISOLATION 2 active lobby where everything happens; there’s movement absorbers. During evening performances, the striations 9 staff changing room N quarters after a concert SOUND ISOLATION 3 and people everywhere. Musicians can be seen in their last come to life in the light from the sunset and move with the 0 10 staff shower and toilet 125 500 2000 8000 preparations and on their way to the stage at the same time music. 11 13 19 20 11 auxiliary equipment Octave band centre frequency (Hz) 12 vomitory PATRON STAFF AUDIENCE CHAMBER MUSIC SALON 13 chamber music salon D - unaffected view over the lake - private entrance and areas on the - open lobby with a big, floating 12 14 chamber music stage SOUND ISOLATION 1: SOUND ISOLATION 2 - perfect view over the outdoor main floor staircase up to the social rooms 9 15 loading entrance Allows for simultaneous rehearsals in the Green pavilion and stage from her - all functional areas and facilities - flow of people around the Room during performance in the Chamber Salon. A-A 10 22 16 dressing and make-up room balcony around the stage chamber room in the pauses 8 17 instrument repair room - direct access to the guest house - light- and recording booth - integrated sound perfection 9 8 Balanced noise control design Wall construction: 5 1 18 piano storage room Wooden panels in chamber from her home integrated in the balconies elements in the salon 7 6 80 GREEN ROOM 19 instrument storage C music salon - backdrop over the lake with the 5 rehearsal in green room 4 20 outdoor stage 60 190 mm concrete block colors from the sunset 21 audience area outdoor music pavilion 90 mm batt insulation in cavity 2 3 90 mm air gap 22 mechanical, electrical room O 40 background in chamber salon 190 mm concrete block (RC-20)

ENTRANCE B-B 20 CHAMBER MUSIC SALON No rigid contact chamber salon Solid walls: - acoustic diffusers between isolated walls 0 >5dB below background - interior and exterior furnitures N (dB) Level Sound Pressure A harmonious wall Vertical Slices 125 500 2000 8000 ASTC-80 T Octave Band Centre Frequency

Ceiling construction: SCALE 1:2000 SOUND ISOLATION 2 Ceiling construction: SOUND ISOLATION 3: Neoprene hangers: 5 mm static R Room-within-room construction, mechani- Spring hangers: 25 mm static Room-within-room construction, that allows double-glazed windows to defl. (min.) cal room placed far away from Salon and defl. (min.) simultaneous practice and rest in adjacent The guest house offers six musicians a attenuate road traffic noise sound isolating walls between rooms 50 mm batt insulation 50 mm batt insulation comfortable and relaxing stay during Green room, allowing for long ducts and rooms 2 x 13 mm GWB sound absorption faced sliding LEVEL 2 2 x 13 mm GWB their visit to the venue. The familiar practicing area DIRECTION silencers. Sealed to wall with resilient caulking door to increase noise SCALE 1:400 O Balanced noise control design Sealed to wall with resilient Balanced noise control design shape and composition of the rooms let isolation to the corridor and to B-B LEVEL 2 caulking 80 80 Wall construction: the musicians focus on themselves and mechanical room noise level music practice sleeping area add absorption in the room POCANTICO LAKE A-A Wall construction: 2 x 13 mm GWB their performance. 23 elevator L 60 60 Batt insulation in stud cavity long ducts runs 90 mm structural concrete wall 25 mm steel studs LOADING ZONE PATRONS HOUSE Changes in level: - inner and outer landscapes 24 lobbybalcony 25 mm air gap SOUND ISOLATION 3 between the guest separate takeoff from the main 30 25 bar 40 background in guest rooms 40 background in guest room 25 mm air gap GUEST ROOM GUEST

50 mm concrete block wall ROOM GUEST (RC-25) rooms allows for simultaneous music branch to eliminate cross-talk 26 vomitory (RC-25) on each side of: sound 20 guest rooms 20 50 mm concrete block practice and sleep/rest in adjacent 27 lower mezzanine Floor construction: adjacent guest room isolating >5dB below background 50 mm concrete floating slab on rooms. 28 light- and recording control MECH. ROOM 0 >10dB below background Floor construction: corridors

0 (dB) Level Sound Pressure ENTRANCE (dB) Level Sound Pressure 50 mm neoprene/rubber isolators 125 500 2000 8000 125 500 2000 8000 50 mm Concrete floating slab on GUEST HOUSE 35 29 upper mezzanine cavity filled with batt insulation Octave band centre frequency (Hz) Octave band centre frequency (Hz) 50 mm neoprene/Rubber Isolators ENTRANCE 30 multi-purpose greenroom structural slab below 25 cavity filled with Batt Insulation corridor with view over 29 31 musicians “walk of fame” No contact with perimeter walls 27 Structural slab below outdoor arena through SLEEPY HOLLOW ROAD 32 musicians lobbybalcony PARKING 28 34 ASTC-70 ASTC-70 No contact with perimeter walls translucent facade 34 33 storage (resilient filler at perimeter) 26 31 A-A 24 34 34 musicians guest rooms 34 35 patrons house EMERGENCY GENERATOR 23 32 34 - located away from the venue HIGHWAY 117 N 34 - concrete block structure enclosing the generator Translucency: - shading from sun in façade 23 - mufflers/ silencers and vibration isolators to attenuate noise - light and connection between 33 - intake/exhaust louvers are directed towards the road outdoor and indoor ENTRANCE MUSICIANS

70-75 dB sound attenuation from vegetation B-B

50-55 dB HIGHWAY SLEEPY HOLLOW 35 000 vehicles/24h SCALE 1:200 40-45 dB ROAD SCALE 1:200

bac h e lo r’s th es i s OUTDOOR MUSIC PAVILLION

STRIATIONS TO SOUND celebrates chamber music and its as visitors to the outdoor pavilion pass through the lobby LEVEL 1 harmonious tones. The strictly defined outline of the with their picnic-baskets. Benefits from striations, SCALE 1:400 predicted diffusion coefficients LEVEL 1 building is wrapped in striations of stainless steel, providing 1 both natural light in to the building as well as a view to the The large, open outdoor music pavilion is terraced and LOADING ZONE 1 lobby 2 ticket booth outdoors. The wall is present everywhere music is being built up from the flowing striations. The stage is recessed 0.8 B-B 3 wardrobe/cloakroom appreciated, in the chamber salon, the outdoor pavilion and into the building, creating a sheltered and sound projecting 15 16 4 lawn chair rental the green room, making the experience of the musical atmosphere. 0.6 A-A 17 5 elevator performance and the architecture something to remember. GREEN ROOM 6 restroom for disabled persons 0.4 18 Indoors, the striations are transformed into whitewashed 14 21 7 restrooms gentlemen The visitors are welcomed to the venue by a spacious and wood panels, with recessed lights and variable acoustic 0.2 8 restrooms ladies active lobby where everything happens; there’s movement absorbers. During evening performances, the striations 9 staff changing room and people everywhere. Musicians can be seen in their last come to life in the light from the sunset and move with the 0 10 staff shower and toilet 125 500 2000 8000 preparations and on their way to the stage at the same time music. 11 13 19 20 11 auxiliary equipment Octave band centre frequency (Hz) 12 vomitory

ENTRANCE CHAMBER MUSIC SALON LOBBY CHAMBER MUSIC SALON 13 chamber music salon

reflecting and 14 chamber music stage RETRACTABLE ROOF 12 ACOUSTICAL ACHIEVEMENTS diffusing walls STORED OVER GUESTHOUSE view out

towards S Background Background Acoustic features The different users of the AUDIENCE OUTDOOR ARENA MUSICIANS The big outdoor arena lays partly recessed and well protected from disturbing elements. The 9 The Green room is a multifunctional room used as a rest and practice area by the musicians, 15 loading entrance R lake absorbing ceiling and walls in sound level [RC] sound level [dBA] STRIATIONS TO SOUND strive, - see the lobby and arrival patrons lights seeping through the façade of the guest house envelopes the pavilion to the left hand of as well as a VIP gathering space for parties, banquets, and small performances. The striations the bar and mingling area in different sound controlled - obvious direction through the from private chill-out balcony the audience, with the magnificent view over Pocantico Lake to the right. The striations slips create an expressive wall which also turns into a bar and gives the shape of the small stage. A environments, towards the lake lobby, entering under portico with - a “walk of fame” to get in the O Chamber music salon 20 25 SOUND ISOLATION 1 away from the façade and become artificial contour lines that creates the outdoor landscape A-A large glass façade towards the lake gives a beautiful view over the Pocantico Lake. The room is 16 dressing and make-up room Green room 25-30 30-35 SOUND ISOLATION 1 and the outdoor pavilion. outdoor pavilion in a direct course right mode before performing O together with natural grass. 10 divided into two zones; one open mingling area with the bar and stage, and one lounge area 22 - feeling of entering a stage when - hidden door from the green room absorbing walls Outdoor music pavilion - 40-45 Shielding from road noise SOUND ISOLATION 1 where more quiet discussions of the evenings performance take place. U Lobby 35-40 40-45 Absorbing ceiling exiting the lobby to the outdoor to the upper balcony The feature of the striations on the many exposed surfaces yield excellent diffusion and help 8 behind bar 17 instrument repair room Guest rooms 25-30 30-35 SOUND ISOLATION 3 pavilion - equally easy access to the social O to distribute the sound over the audience area (alleviating any potential acoustic irregularities The space is designed with acoustic treatment evenly spread throughout the room, yielding a Mechanical room - - SOUND ISOLATION 2 green room as to the private caused by the open space facing the lake to the south). reverberation time ranging from 0.3 to 0.6 sec. N quarters after a concert 9 8 nonparallel walls SOUND ISOLATION 3 5 1 18 piano storage room M The roof over the stage is a part of the building itself. It projects the sound over the audience reflecting walls area and enhances the feeling of being out in the nature but still sheltered. The small roof at the behind stage PATRON STAFF AUDIENCE CHAMBER MUSIC SALON back of the audience area (raised from the striations), which is on ground level at the patron’s 7 6 D - private entrance and areas on the - open lobby with a big, floating 19 instrument storage - unaffected view over the lake house, gives a chance for an even more private and sheltered atmosphere. RETRACTABLE ROOF PARTLY SOUND ISOLATION 1: SOUND ISOLATION 2 main floor staircase up to the social rooms - perfect view over the outdoor PROTRUDED Allows for simultaneous rehearsals in the Green pavilion and stage from her - all functional areas and facilities - flow of people around the 5 In the event of rain, the double layer Outdoor pavilion Room during performance in the Chamber Salon. balcony around the stage chamber room in the pauses 20 outdoor stage - light- and recording booth - integrated sound perfection A PTFE roof is extruded, sheltering the 0.8 4 High freq. absorber Balanced noise control design Wall construction: - direct access to the guest house VARIABLE ACOUSTICS audience area. The design of the roof porous absorbers (porous absorber) Wooden panels in chamber from her home integrated in the balconies elements in the salon From the outside a shoebox-shaped box, the inside of the chamber music salon turns into a There are two types of variable acoustic 80 GREEN ROOM allows for the supporting 3D-truss and 0.6 C music salon - backdrop over the lake with the landscape of free-forming and floating walls. The striations are shaped by whitewashed wooden 25mm mineral fiber 21 audience area outdoor music pavilion rehearsal in green room C roof to be stored in a recess above the features in the Chamber music salon, one for 190 mm concrete block colors from the sunset 0.4 panels, which increase the light and spacial experience while also contribute to early3 reflections 10mm perforated wood panel 60 guest house. The double layer design low and one for high frequency absorption. 90 mm batt insulation in cavity and excellent diffusion in the mid and high frequencies (>500 Hz).2 The balconies grow from the By sliding panels vertically the acoustics for [1mm diameter perforations, 90 mm air gap includes sound absorptive material in the 0.2 helmholtz 30%open area on panel] 40 background in chamber salon striations, where also upward lighting, variable absorbs and installations are hidden. 22 mechanical, electrical room O resonators different types of performances and/or 190 mm concrete block cavity in order to attenuate rain noise. 1mm perforated panel

(RC-20) O time (s) Reverberation 0 ensembles can be tuned. 20 CHAMBER MUSIC SALON No rigid contact chamber salon 125 500 2000 8000 attachment stainless steel between isolated walls Octave band centre frequency (Hz) 5 mm PVC-sheet 0 >5dB below background Led lighting N (dB) Level Sound Pressure 125 500 2000 8000 ASTC-80 U variable acoustics To align the panels vertically (~1mm): Octave Band Centre Frequency ENTRANCEslightly convex ceiling - 30% of wall area B-B Typical wall “striation” stainless steel expansion unit, roof enclose reflecting and diffusing reflecting and diffusing containing electrothermally controlled OUTDOOR PAVILION - directs sound to walls - placed high up on the walls 25 mm wood veneer T the pavilion sidewall roof over stage (mineral wax) plunger S COMPLETELY COVERED plaster backing (depth varies) Solid walls: - acoustic diffusers sound absorbing Variable absorber SOUND ISOLATION 2 Ceiling construction: SOUND ISOLATION 3: Ceiling construction: adjustable ceiling Neoprene hangers: 5 mm static vomitory R Room-within-room construction, mechani- Spring hangers: 25 mm static Room-within-room construction, that allows double-glazed windows to reflectors Low freq. absorber defl. (min.) cal room placed far away from Salon and defl. (min.) simultaneous practice and rest in adjacent The guest house offers six musicians a attenuate road traffic noise sound isolating walls between rooms T 0.8 50 mm batt insulation - interior and exterior furnitures side reflectors shallow balconies porous absorbers (Helmholtz resonator) Green room, allowing for long ducts and 50 mm batt insulation rooms comfortable and relaxing stay during sound absorption faced sliding 2 x 13 mm GWB practicing area 0.6 25mm mineral fiber A harmonious wall silencers. Vertical2 x 13 mmSlices GWB their visit to the venue. The familiar double glazed windows balcony in two levels Sealed to wall with resilient caulking door to increase noise 50mm air gap O Balanced noise control design Sealed to wall with resilient Balanced noise control design shape and composition of the rooms let - flexible settings for isolation to the corridor and to I backdrop over lake 0.4 10mm perforated wood panel caulking the musicians focus on themselves and 80 80 Wall construction: sleeping area add absorption in the room choir Helmholtz [10-20mm diameter perforations, mechanical room noise level music practice 0.2 Wall construction: 2 x 13 mm GWB their performance. incline resonators 100mm O.C.]

L 60 60 Batt insulation in stud cavity long ducts runs coefficient Absorption 25mm perforated wood panel 90 mm structural concrete wall -good audience diffusing and reflecting walls 0 25 mm steel studs C 25 mm air gap SOUND ISOLATION 3 between the guest separate takeoff from the main sight lines striations create terracing space for technical surrounds the chamber 125 500 2000 8000 absorbs between 63-200 Hz 40 background in guest rooms 40 background in guest room 25 mm air gap Octave band centre frequency (Hz) GUEST ROOM GUEST 50 mm concrete block wall ROOM GUEST rooms allows for simultaneous music branch to eliminate cross-talk installations for stage aligns vertically as the porous absorbers (RC-25) (RC-25) on each side of: sound 20 guest rooms 20 50 mm concrete block practice and sleep/rest in adjacent Floor construction: adjacent guest room isolating S >5dB below background 50 mm concrete floating slab on rooms. MECH. ROOM 0 >10dB below background Floor construction: corridors

0 (dB) Level Sound Pressure Sound Pressure Level (dB) Level Sound Pressure 50 mm neoprene/rubber isolators 125 500 2000 8000 125 500 2000 8000 50 mm Concrete floating slab on cavity filled with batt insulation Octave band centre frequency (Hz) Octave band centre frequency (Hz) 50 mm neoprene/Rubber Isolators structural slab below cavity filled with Batt Insulation corridor with view over Chamber music salon No contact with perimeter walls Structural slab below outdoor arena through 7dB (fully occupied) 10dB 1dB 2.5 ASTC-70 ASTC-70 No contact with perimeter walls translucent facade (resilient filler at perimeter) 11dB 5dB 11dB 1dB 1dB 9dB 2.1 SCALE 1:2000 10dB 10dB -12dB -14dB 2dB -11dB 3dB 1.7 12dB no absorption

2dB -15dB 1.3 4dB 6dB full absorption 0.9 Reverberation time (s) Reverberation STRENGTH (Gmid) CLARITY (C80) STRENGTH (Gmid) CLARITY (C ) TO DETERMINE NOISE RATIO (U80) 80

The room gain (Gmid) varies from 2dB to 5dB. A PA system The clarity index ranges from 6 to 10 dB, indicating a The U80 is calculated assuming a chamber ensemble (85 dBA), and The strength (Gmid) is evenly distributed throughout the The early reflections from the side walls, and ceiling 0.5 can compensate for relatively quiet performances and greater amount of early sound energy than late sound a background sound level of 45 dBA. The results (>-15db) indicate room, indicating uniform useful reflections throughout the lead to a subjectively pleasant environment for music 125 250 500 1000 2000 4000 8000 soloists. energy. that a PA systemLEVEL is not required 2for ensemble music. salon. appreciation. Octave band centre frecuency (Hz) DIRECTION SCALE 1:200 SCALE 1:200 SCALE 1:400 THE OUTDOOR MUSIC PAVILION: Acoustic simulation results, open roof THE CHAMBER MUSIC SALON: Acoustic simulation results B-B LEVEL 2 A-A POCANTICO LAKE 23 elevator LOADING ZONE PATRONS HOUSE Changes in level: - inner and outer landscapes 24 lobbybalcony 30 at te n year s 65 25 bar 26 vomitory 27 lower mezzanine ENTRANCE 28 light- and recording control GUEST HOUSE 35 29 upper mezzanine ENTRANCE 30 multi-purpose greenroom 25 29 27 31 musicians “walk of fame” SLEEPY HOLLOW ROAD 32 musicians lobbybalcony PARKING 28 34 34 33 storage 26 31 A-A 24 34 34 musicians guest rooms 34 35 patrons house EMERGENCY GENERATOR 23 32 34 - located away from the venue HIGHWAY 117 N 34 - concrete block structure enclosing the generator Translucency: - shading from sun in façade 23 - mufflers/ silencers and vibration isolators to attenuate noise - light and connection between 33 - intake/exhaust louvers are directed towards the road outdoor and indoor ENTRANCE MUSICIANS

70-75 dB sound attenuation from vegetation B-B

50-55 dB HIGHWAY SLEEPY HOLLOW 35 000 vehicles/24h 40-45 dB ROAD isak naslund, hjalmar kaudern, xianjuan wong

Obsidian 2013

Inspired by the tremendous forces of be something out of the ordinary. nature and music, the Obsidian states a Parallell to this the exterior of the opera break from everyday life into the magni- hall is made extraordinary by a cracked ficent world of opera. Its secretive form facade pattern. This gives interesting and acoustical design gradually raises outlooks and spreads suggestive light the visitors’ expectations from outside trails over the surroundings. and in and makes sure to sustain them In nature, obsidian is formed when when the curtain draws. hot lava gets cooled down rapidly. In- spired by this the opera hall is designed Concept as a glowing core of the black stone. To define the site the ground is raised, whereunder public and backstage areas are housed. In the middle of this new landscape a black monolithic box is placed, containing the main auditorium. An opera performance is and should

Lobby Spatial experience Aisle

The Site Plan Spatial experience Section A-A Section B-B Analysis of Acoustic Environment 1:2000 +2.5 m / 8.2 ft 1:500 B The journey through the building 1:500 Detail A 1:500 Obsidian Detail B Montreal University Opera The visitor’s way from outside and in has been a key Rooms Noise Criteria Reverberation time element in the design process. Firstly, one enters the +28.4 [m] +28.4 [m] park area, moves under the lifted ground into the Inspired by the tremendous forces of nature and +24.8 [m] +24.8 [m] 11 cavelike lobby. Thereafter, the journey continues music, the Obsidian states a break from everyday 1. Entrance - - 14 14 13 13 13 13 13 11 9 11 into the stone, up through bright aisles and finally +21.2 [m] life into the magnificent world of opera. Its secretive 11 +21.2 [m] 2. Lobby NC40 1.1 s into the glowing core. A journey through contrasts form and acoustical design gradually raises the vis- 3. Box office NC35 0.5 s of both acoustics and light. +16.6 [m] +16.6 [m] itors’ expectations from outside and in and makes 7 15 sure to sustain them when the curtain draws. 4. Manager’s office NC35 0.5 s 10 8 +12.0 [m] +12.0 [m] 5. Bar area NC40 - 12 Plan +5.2 m / 17.1 ft 1:500 6. Cloakrooms NC40 - 15 12 B +7.5 [m] +7.5 [m] Concept 12 7. Restrooms - - 15 +3.6 [m] +3.6 [m] To define the site the ground is raised, whereunder 24 8. Lobby stage NC40 1.1 s public and backstage areas are housed. In the mid- 16 +0.0 [m] +0.0 [m] dle of this new landscape a black monolithic box is 9. Green room NC30 0.9 s 6 17 placed, containing the main auditorium. 23 10. Rehearsal room NC20 1.3 s 5 18 11. Small rehearsal rooms NC25 0.5 s 25 10 Detail C 26 12. Storage - - 13. Solo dressing rooms NC35 0.6 s 19 Detail A A A 5 Detail B Detail C HVAC 14. 4-person dressing rooms NC35 0,7 s 27 6 Wall section STC70+ 1:20 Facade Green lobby roof 1:20 Silent air supply 28 15. Chorus dressing rooms NC35 0.8 s The auditorium is sound isolated by the room-in-a- The facade acts as a first front of sound isolation - To create a good acoustical environment in the lob- The ventilation is made silent by two methods. 16. Doorman NC35 - 20 room principle. The perimeter walls are separated mainly reducing high frequency noise, because of by different measures have been taken. Airborne Firstly, the MER is placed under the backstage N from the rest of the structure to avoid structure-born the light weight. The cracked panels are made of noise is reduced by mass in the concrete walls and area which has lower noise criteria than the au- 17. Stage door - - 4 ditorium. Secondly, the air is supplied at low lev- An opera performance is and should be something noise transmission . By comparison with similar wall high-pressure laminate, which gives the exterior its roof. Structure-born noise and step sound from 18. Kitchen NC40 0.6 s el, under the seats and at low speed. The rising 23 3 structures the sound transmission class is estimated black shiny expression. The panels cover a frame passers-by on the roof is taken care of by an earth out of the ordinary. Parallell to this the exterior of the warm air is naturally taken out through the roof. opera hall is made extraordinary by a cracked facade 19. Costume/Wig shop NC40 0.6 s 22 6 to be above STC70, which guarantees NC15 in the construction, which is carried by concrete beams. layer and a spring-suspended ceiling. Since the vol- auditorium. ume of the lobby is large, the reverberation time pattern. This gives interesting outlooks and spreads 20. Loading bay - - 21 suggestive light trails over the surroundings. 2 A A is reduced by absorptive perforated wood panels. warm air 1 21. Scene shops NC40 0.6 s 21 cool air 22. Stage escape NC15 - 7 23. Wings NC15 - 24. Ready area NC15 - 12 12 Access Traffic Greenery 25. Stairs to service balcony NC20 - 26. Ventilation shaft - - The building faces northwest, as this In the near surroundings, noise is With a vision to make the opera not In nature, obsidian is formed when hot lava gets is the main direction of arrival, where mainly emitted from traffic north and only an opera, but also a new social 27. Orchestra pit NC15 1.1 s parking and a metro station are sit- west of the site. The street east of the hub the site is designed as a green cooled down rapidly. Inspired by this the opera hall 28. Mixing position NC15 - α [-] uated. This becomes the front of the site is partly shielded by an adjacent park. Large parts of the roof of the op- Auditorium Aisle Outside Suspended ceiling is designed as a glowing core of the black stone. 1.0 opera. On the backside the loading building and only a smaller street era is accessible and trees cover this 29. Orchestra dressing room NC35 0.8 s B bay is placed, accessed by a new road. runs along the southern border. new park from the streets. 30. Mechanical Equipment Room - - The ceiling of the lobby is covered 0.9 0.8 B 100 [mm] Earth by perforated wood panels, which, Plan as seen in the graph to the right, 0.7 +13.5 m / 44.3 ft 1:500 have high absorptive qualities. The 0.6 300 [mm] Concrete reverberation time for the lobby 0.5 Noise Calculations 12 was calculated to about 1 second 0.4 - suitable for intermission mingling B Spring ceiling hanger 0.3 as well as foyer concerts. Absorption coefficient In the far surroundings, main sources Highway Train track Aircraft Worst case scenario 0.2 of noise include a highway 300 metres 0.1 30 away from the site, a train track 400 me- SPL [dB] SPL [dB] SPL [dB] SPL [dB] 5 Lobby reverberation time 500 m at source at source at source sum of sources tres away and a flight path 500 metres 130 130 130 130 125 250 500 1K 2K 4K on site on site on site STC70 curve 30 29 7 Absorptive surfaces reduce the re- directly above the area. 120 120 120 120 NC15 curve Frequency [Hz] level achieved verberation time in the large open The impact of the different 110 110 110 110 volume of the lobby. sources on the site were calculated, 100 100 100 100 with results as shown in the graphs to T-30 [s] 90 90 90 90 Helmholtz absorbers Principle Data Result the right. A A α [-] 80 80 80 80 1.8 300 m The noise levels at the site were The low-frequency noise, transmit- Absorber depths: 0.9 70 70 70 70 1.6 added to simulate a worst case scenario. Plan ted through the facade is absorbed 100 120 170 200 250 [mm] 0.8 This however proved that the main con- 60 60 60 60 -2.0 m / -6.6 ft 1:500 1.4 400 m 200 [mm] Concrete by microperforated Helmholtz Hole diameter: 0.7 cern is not of the noise from far-away 50 50 50 50 absorbers to reduce noise in the 0.5 [mm] 0.6 1.2 sources but rather the traffic close to 7 40 40 40 40 27 120 [mm] Mineral wool aisles outside the auditorium. The Hole separation: 0.5 1.0 the site. Therefore the noise from the 30 30 30 30 cavity depths are varied in order 2 [mm] 5 50 [mm] Air gap 0.4 0.8 surrounding streets was estimated and Absorption coefficient 20 20 20 20 to cover a wider frequency range. Sheet thickness: 0.3 0.6 added to simulate a worst case scenar- Light fixtures behind the absorbers 4 [mm] time Reverberation 10 10 10 10 200 [mm] Concrete 0.2 0.4 io. Further calculations showed that the light the aisles and the outside of enclosure of the hall needs to reach at 0.1 0.2 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K Diffusive panels the building. least STC 70 to ensure NC15. Frequency [Hz] Frequency [Hz] Frequency [Hz] Frequency [Hz] B 63 125 250 500 1K 2K 4K 8K 125 250 500 1K 2K 4K Frequency [Hz] Frequency [Hz]

bac h e lo r’s th es i s The Site Plan Obsidian Analysis of Acoustic Environment 1:2000 +2.5 m / 8.2 ft 1:500 B Montreal University Opera Rooms Noise Criteria Reverberation time

Inspired by the tremendous forces of nature and 11 1. Entrance - - 14 14 13 13 13 13 13 11 music, the Obsidian states a break from everyday 11 9 life into the magnificent world of opera. Its secretive 2. Lobby NC40 1.1 s 11 form and acoustical design gradually raises the vis- Spatial experience 3. Box office NC35 0.5 s itors’ expectations fromLobby outside and in and makes Aisle Auditorium Rehearsal Room 7 4. Manager’s office NC35 0.5 s 15 sure to sustain them when the curtain draws. 10 8

Spatial experience Section A-A Detail A Section B-B The Auditorium The journey through the building 1:500 1:500 Acoustical analysis for three modes Opera 5. BarConcert area NC40Speech - 12 Detail B The visitor’s way from outside and in has been a key The main purpose of the auditorium is for op- For opera performances the hall is in its For classical concerts the reverberation time element in the design process. Firstly, one enters the +28.4 [m] +28.4 [m] For speech events, the reverberation time era performance. Its design is therefore focused standard mode, as seen in the section to the needs to be increased and thusly the ceiling park area, moves under the lifted ground into the needs to be lowered. Therefore the ceiling is +24.8 [m] +24.8 [m] on this mode with regards to reverberation time right. The average height of the ceiling has is raised. To fit the orchestra on the stage, 15 cavelike lobby. Thereafter, the journey continues lowered, absorptive curtains are pulled be- and balance between vocalists and ensemble. been calibrated to 22 metres to achieve the 6. Cloakroomsthe pit floor is raised and a stage shell is NC40 - 12 into the stone, up through bright aisles and finally +21.2 [m] +21.2 [m] hind the balconies and an absorptive wall is The hall is however also adjustable to appropiate reverberation time of 1.6 sec- introduced which seals off the stage tower Concept into the glowing core. A journey through contrasts placed behind the stage. The orchestra pit is suit other performances, such as classical con- onds. and directs all sound towards the audience. 12 of both acoustics and light. +16.6 [m] +16.6 [m] raised to give room for more auditors. certs and speech events. This is realized by use

of different methods, explained under each of 7. Restrooms - - +12.0 [m] +12.0 [m] Strength Clarity Strength Clarity Speech Transmission Index 15 Plan the following sections. +5.2 m / 17.1 ft 1:500 Analysis shows that the sound Clarity is very important for the sing- The analysis shows clearly that the Bearing in mind that the hall is main- The measures taken, proves to have a 24 To define the site the ground is raised, whereunder +7.5 [m] +7.5 [m] B strength is good and reaches all parts ers to achieve intelligibility. The clarity stage shell reinforces the orchestra ly an opera, the analysis shows ad- very good effect on the speech intelli- +3.6 [m] +3.6 [m] Hall reverberation time of the hall. Higher levels for singers should be lower for orchestra to get 8. Lobbyand gives good stage values for sound equate values for clarity in concert NC40gibility. All seats, including balconies, 1.1 Balconiess than orchestra is also favourable for a more reverberant sound, which the strength. Also, the sound is at good mode. have good values of STI. Architectural and acoustic measures 16 +0.0 [m] public and backstage areas are housed. In the mid- +0.0 [m] Calculations show that the reverberation time is balance reasons. analysis confirms. level on all seats. suitable for each of the three modes of the au- ditorium. The average is 2.0 seconds for concert, The balconies of the auditorium have 6 dle of this new landscape a black monolithic box is 1.6 for opera and 1.0 for speech. 9. Green room NC30 0.9 beens designed so that they will feel Detail C Singers Singers 10 as equally part of the room as the 17 T-30 [s] Orchestra Orchestra orchestra floor. For this reason they have been tilted and directed towards 23 placed, containing the main auditorium. Detail A the stage. 5 Detail B Detail C HVAC 10. Rehearsal room NC20 1.3 s Wall section STC70+ 1:20 Facade Green lobby roof 1:20 Silent air supply 2.5 5 G C-80 G C-80 STI The auditorium is sound isolated by the room-in-a- The facade acts as a first front of sound isolation - To create a good acoustical environment in the lob- The ventilation is made silent by two methods. 2.0 dB dB dB dB [-] Flying balconies Problem Solution Firstly, the MER is placed under the backstage 10 15 10 15 1.0 18 room principle. The perimeter walls are separated mainly reducing high frequency noise, because of by different measures have been taken. Airborne 0.9 Normally, the audience in balconies area which has lower noise criteria than the au- 1.5 25 from the rest of the structure to avoid structure-born the light weight. The cracked panels are made of noise is reduced by mass in the concrete walls and 10 11. Small rehearsal rooms10 NC25 0.5 onlys receive sound from a limited ditorium. Secondly, the air is supplied at low lev- 0.8 noise transmission . By comparison with similar wall high-pressure laminate, which gives the exterior its roof. Structure-born noise and step sound from 5 5 range. By offsetting the balconies from 1.0 0.7 26

el, under the seats and at low speed. The rising time Reverberation structures the sound transmission class is estimated black shiny expression. The panels cover a frame passers-by on the roof is taken care of by an earth 5 5 the walls more reverberant sound will to be above STC70, which guarantees NC15 in the construction, which is carried by concrete beams. layer and a spring-suspended ceiling. Since the vol- warm air is naturally taken out through the roof. Opera 0.6 0.5 Concert reach the listeners and thusly greater 0 0 0.5 auditorium. ume of the lobby is large, the reverberation time Speech 0 12. Storage0 - - envelopment is achieved. A A is reduced by absorptive perforated wood panels. warm air 0.4 -5 -5 cool air 125 250 500 1K 2K 4K - 0.3 - Curved fronts At sides At back -5 -5 Frequency [Hz] 0.2 19 -10 -10 The balcony fronts are curved to 0.1 13. Solo dressing rooms NC35 0.6 matchs the interior expression of the -15 -15 0.0 -10 -10 hall. They are also used acoustically in that they reflect soundA down to A the orchestra at the sides (increasing 6 Rehearsal room 14. 4-person dressing rooms NC35 0,7 clarity)s and spread sound in multiple 27 Acoustics and privacy directions at the back to avoid focus- sing effects. Auditorium Aisle Outside α [-] Suspended ceiling The rehearsal room is designed to give acousti- Mirror wall Angled walls STC 60 wall 1.0 Orchestra pit Curved panels 28 cal properties similar to those of the opera hall 15. Chorus dressing rooms NC35 0.8 s 0.9 The mirror wall, purposed for dance To avoid flutter echo in the smaller re- 12.5 gypsum board Acoustic measures Diffusive walls and stage shell The ceiling of the lobby is covered but in a smaller room. Calculations show that 12.5 gypsum board 0.8 rehearsals, can be covered by absorp- hearsal rooms, the walls are angled in Principle Stage shell B 100 [mm] Earth by perforated wood panels, which, this is achieved with regards to reverberation 70 x 45 wooden studs cc450 tive curtains when a lower reverbera- relation to each other. The wall facing 70 mineral wool as seen in the graph to the right, 0.7 time as seen in the graph below. Plan tion time is demanded. The opposite the outside is treated with absorptive 20 air gap The orchestra pit is semi-open and has adjust- The interior of the hall is designed as The walls act as diffusive surfaces in When the stage shell20 is introduced for have high absorptive qualities. The 0.6 The rehearsal room is also a multi-pur- 70 x 45 wooden studs cc450 +13.5 m / 44.3 ft 1:500 wall of the mirror is angled to avoid material as to in some way simulate 16. Doorman able floors to create various settings for the NC35a glowing core with walls that are clad - two different ways. The curvature will classical concerts it seamlessly blends 300 [mm] Concrete reverberation time for the lobby 0.5 pose room. Therefore the reverberation time 70 mineral wool performers and to create a good sound environ- with curved wooden panels. When lit into the expression of the hall, since standing waves when music is re- the conditions of the real stage. 12.5 gypsum board spread sound waves in multiple direc- N was calculated to about 1 second 0.4 can be changed by pulling of absorptive cur- 12.5 gypsum board ment. The floors and all walls except the back upon these panels give the room its tions as seen in the plan illustration the same curved surfaces are used for - suitable for intermission mingling hearsed/performed in the room. B Spring ceiling hanger 0.3 tains in front of the mirror wall. wall are reflective to spread sound and give warm tone. The panels are also diffu- below. A section through the walls re- it. The panels are rigid to avoid sound as well as foyer concerts. Absorption coefficient 0.2 17. Stage door good balance with the singers. The back wall is - sive in order to achieve good acousti- - veals that they also function similarily leakage into the stage tower, and the 4 0.1 Diffusive wall STC 45 wall absorptive to reduce the sound level for a good cal properties of the hall. to a 2D Schroeder diffusor. diffusion is beneficial for the overall 5 Lobby reverberation time Rehearsal room reverberation time working climate. The ceiling is diffusing to give sound experience. Following the exterior concept, one 12.5 gypsum board 125 250 500 1K 2K 4K proper balance in the orchestra. An opera performance is and should7 be something Absorptive surfaces reduce the re- The reverberation time can be changed in the of the side walls is given a cracked 12.5 gypsum board Frequency [Hz] verberation time in the large open rehearsal room to host different events. displaced pattern. This will act as a 70 x 45 wooden studs cc450 18. 70 mineral Kitchen wool Section 1:200 NC40 0.6 Plans volume of the lobby. diffusive surface and prevent stand- 12.5 gypsum board 23 3 ing waves between the parallell walls 12.5 gypsum board out of the ordinary. Parallell to this the exterior of the T-30 [s] T-30 [s] Helmholtz absorbers Principle Data Result of the room. A A α [-] 1.8 1.8 22 6 The low-frequency noise, transmit- Absorber depths: 0.9 STC19. 63 wall Costume/Wig shop NC40 0.6 s opera hall is made extraordinary by a cracked facade 1.6 0.8 1.6 Section ted through the facade is absorbed 100 120 170 200 250 [mm] 12.5 gypsum board 1.4 200 [mm] Concrete by microperforated Helmholtz Hole diameter: 0.7 1.4 45 x 45 wooden studs cc 450 45 mineral wool absorbers to reduce noise in the 0.5 [mm] 0.6 1.2 1.2 pattern. This gives interesting outlooks7 and spreads 120 [mm] Mineral wool 160 concrete aisles outside the auditorium. The Hole separation: 0.5 1.0 1.0 20.22x70 wooden Loading laths bay - - 21 cavity depths are varied in order 2 [mm] 0.8 22 mineral wool 5 0.4 0.8 time Reverberation 50 [mm] Air gap 12.5 gypsum board Absorption coefficient Sprung floor 2 to cover a wider frequency range. Sheet thickness: 0.3 0.6 0.6 suggestive light trails over the surroundings. Light fixtures behind the absorbers 4 [mm] time Reverberation 6 wooden surface 200 [mm] Concrete 0.2 0.4 18 plywood 0.4 without curtains light the aisles and the outside of 18 plywood Diffusor Chair storage 1 0.1 0.2 with curtains 21. Scene shops NC40 0.6 s Diffusive panels the building. 0.2 50 x 100 battern cc 400 75 x 75 neoprene pad 21 B 63 125 250 500 1K 2K 4K 8K 125 250 500 1K 2K 4K 125 250 500 1K 2K 4K concrete building pad Absorptive wall Elevator platform Frequency [Hz] Frequency [Hz] Frequency [Hz] 22. Stage escape NC15 - 7 23. Wings NC15 - 24. Ready area NC15 - at te n year s 67 12 12 Access Traffic Greenery 25. Stairs to service balcony NC20 - 26. Ventilation shaft - - The building faces northwest, as this In the near surroundings, noise is With a vision to make the opera not In nature, obsidian is formed when hot lava gets is the main direction of arrival, where mainly emitted from traffic north and only an opera, but also a new social 27. Orchestra pit NC15 1.1 s cooled down rapidly. Inspired by this the opera hall parking and a metro station are sit- west of the site. The street east of the hub the site is designed as a green 28. Mixing position NC15 - is designed as a glowing core of the black stone. uated. This becomes the front of the site is partly shielded by an adjacent park. Large parts of the roof of the op- opera. On the backside the loading building and only a smaller street era is accessible and trees cover this 29. Orchestra dressing room NC35 0.8 s B bay is placed, accessed by a new road. runs along the southern border. new park from the streets. 30. Mechanical Equipment Room - -

Noise Calculations 12

In the far surroundings, main sources Highway Train track Aircraft Worst case scenario of noise include a highway 300 metres 30 away from the site, a train track 400 me- SPL [dB] SPL [dB] SPL [dB] SPL [dB] 500 m at source at source at source sum of sources 130 130 130 130 tres away and a flight path 500 metres on site on site on site STC70 curve 30 29 directly above the area. 120 120 120 120 NC15 curve level achieved The impact of the different 110 110 110 110 sources on the site were calculated, 100 100 100 100 with results as shown in the graphs to 90 90 90 90 the right. 80 80 80 80 300 m The noise levels at the site were added to simulate a worst case scenario. 70 70 70 70 Plan This however proved that the main con- 60 60 60 60 -2.0 m / -6.6 ft 1:500 400 m cern is not of the noise from far-away 50 50 50 50 sources but rather the traffic close to 40 40 40 40 27 the site. Therefore the noise from the 30 30 30 30 surrounding streets was estimated and 20 20 20 20 added to simulate a worst case scenar- io. Further calculations showed that the 10 10 10 10 enclosure of the hall needs to reach at 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K 63 125 250 500 1K 2K 4K 8K least STC 70 to ensure NC15. Frequency [Hz] Frequency [Hz] Frequency [Hz] Frequency [Hz] johan dahlberg, johanna isaksson

The Bield 2015

On the north shore of the Ohio River is a natural step in Pittsburgh’s cultural one of the city’s many striking steel in Pittsburgh, Pennsylvania, a casino transformation. A riverside walkway bridges, the beautiful river valley and wishes to expand its market with from downtown is already under the impressing downtown skyline, thus a multipurpose venue for the perfor- development, and the site for the offering a panoramic view of key Pitts- ming arts. Located in an industrial performance hall lies as a natural point burgh elements. landscape, the development of the site for pause along this way, framed by

THE BIELD VIEWPOINT The roof creates a public space, offering panoramic views over the West End Bridge, the river valley and the Pittsburgh downtown LOBBY The lobby space is defined by the concrete skyline. shell ceiling and the layered, dramatic inner wall.

SITE CONCEPT PROTECTIVE SHELL LOBBY DRESSING ROOMS SILENT HVAC AND MECHANICAL ENGINEERING ROOM

On the north shore of the Ohio River in Pittsburgh, The venues main entrance is to the riverside, on the Following the beautiful views at the location and the The venue is to be used for a wide range of productions, The buildings main shield against the noises in the absorption at the bottom. The height of the glass wall The lobby is a large space, subject to much external The dressing rooms are located in close proximity to STC 58 The ventilation noise is controlled by structurally T30 s Lobby reverberation time Pennsylvania, a casino wishes to expand its market with tranquil, sheltered side, just off the pathway running noisy environment, the Bield is designed as a shelter. Dug including pop and country acts, Broadway-style surroundings is the green roof, where moist earth and requires mullions, which are equipped with acoustical noise and the high glass walls provide ample reflective the stage area, with easy access to the stage wings. One 16 mm gypsum board disconnecting the mechanical engineering room from mullion isolators that decouple the acoustical mullion Exhaust fans a multipurpose venue for the performing arts. Located along the river. The entrance through the casino provides down into the ground, it shields both its interior and the productions, comedy shows and dance reviews and concrete provides strong isolation. A layer of rubber surfaces. The lower part is therefore angled upwards to floor up is the green room. The rooms are designed 16 mm gypsum board the rest of the building, and by supplying air to the granulate effectively stops transmission of the sounds section from the main mullion section, stopping the in an industrial landscape, the development of the site access both from the casino lobby and the casino parking riverside from the surrounding noise, creating a tranquil thus the auditorium is equipped with variable acoustics. reflect sound away from the visitors to the ceiling, which to create a good environment for warm-up prior to 45x90 mm wood studs auditorium at low speed. The air is then taken out along is a natural step in Pittsburgh’s cultural transformation. house. Another parking possibility is on the other side plaza in front of the river. The roof is in continuum with The hall houses as many as 2,100 seats, but maintains created by people walking on the roof. The next noise transfer from unit to unit. Ground vibration is performance, as well as a quiet place to relax. Therefore, the roof to exhaust fans at the top of the double layer is made absorptive by absorptive plaster. The curved 3.0 100 mm mineral wool protection is the large glass wall, carefully constructed reduced by supporting the building from bedrock. A riverside walkway from downtown is already under of the casino, thus allowing the pedestrian entrance the ground, accessible to the public in order to give, an intimacy in the experience by dividing the audience shape of the ceiling makes for unwanted reflections they are equipped with retractable heavy curtains to 35 mm air gap wall. The mechanical engineering room is located on to minimize sound transmission and equipped with development, and the site for the performance hall lies situation. rather than take away, a space along the riverside and to into sections of different heights, forming small islands of sound, bouncing back from the low edges. This is reduce reverberation time outside practice hours. 45x90 mm wood studs the roof of the backstage area, with soil separating it to as a natural point for pause along this way, framed by one provide a higher viewpoint. Trees and other vegetation and at the same time helping early reflections to reach prevented by installing absorptive surfaces in the floor 2.0 100 mm mineral wool some extent from the auditorium. The other end is open of the city’s many striking steel bridges, the beautiful shield the rooftop landscape visually from the highway the entire audience. Furthermore, the stage can be at the low parts of the ceiling. These measures together The rooms are acoustically separated from each other 16 mm gypsum board to the same area as the loading dock. Noise propagation river valley and the impressing downtown skyline, thus and attenuates noise transmission. extended out into the auditorium, bringing performers either by a coupled bathroom set or by an isolating but 16 mm gypsum board is controlled by structural damping by the soil and by Air inlets < 3 m/s create a reverberation time of 1.1 s in the lobby, yielding 1.0 offering a panoramic view of key Pittsburgh elements. such as orchestra or concert entertainers in front of the light wall that provides good isolation for mid- and high separating the room from the main structure by a floating good conditions for speech. The inner wall is streamlined HVAC section proscenium, creating a closer experience. frequencies. floor. with wooden strips, separated by gaps of about 60 mm, f Dressing room wall STC 60 creating absorption of particularly the mid and high sedum 125 250 500 1K 2K 4K Hz frequencies in order to achieve a good climate for speech. 100 mm growing medium filter sheet Retractable heavy curtains allow changes of 40 mm rubber granulate reverberation time from 0.8 to 1.8 s Vibration isolators waterproof membrane Wooden panels roofing sheet 60 mm gaps Diffusive walls to achieve create a longer reverberation Flexible collar 150 mm concrete Absorbent and a nice envelopment of sound Absorbent 20 mm mineral board Structural NOISE Inner ceiling with alternating absorptive and diffusive 5 mm synthetic acoustic plaster damping by soil Discharge sound Fresh air intake acoustic tiles attenuator Intake sound The main sources of noise are the six lane highway 100 are the determining factors. Ground vibrations may be Non-parallel walls to avoid flutter echo attenuator meters to the north and the four lane West End Bridge 80 present as well as low frequency noise from naval traffic meters to the west. Furthermore, the venue is situated on the river. The result is a sound level on site of around Acoustic mullion isolator STC-40 sound isolating doors about 550 meters from the Heinz Field stadium, 500 70 dBA, suggesting a total wall isolation of 55 dbA to Horizontally stabilizing glass Glass facade elevation Inner lobby wall, 1:20 Dressing room concept Neoprene pad meters from a two track railroad and under a flight path ensure NC-15 in the auditorium. columns under steel spring to the Pittsburgh International Airport. The main sources STC 49 Air discharge to Vibration isolators of sound are estimated to be traffic and train, and as the 6.5 mm laminated glass GREEN ROOM system graph below shows, the traffic from bridge and highway 5 mm air gap Principal drawing of mechanical engineering room isolation out over the lobby and further dividing the activities in Lp dB Lp dB 6.5 mm laminated glass The green room is located on the upper level, looking out 3. T s over the river and surrounding landscape. The use ranges the room. The back door gives access to the upper level 30 Dressing room rev. time Angled lower part from small performances to relaxed lounging, dividing exit out into the park. An absorptive wall behind the bar 3. 80 80 Sound absorptive treatment the room into different acoustical climates. A small area keeps reverberation time down to create a good 2. stage for recitals or music performances is located in one environment for speech, and the bar also divides the 2. 3.0 1. 60 60 corner. A large balcony gives the possibility of looking room into smaller parts for more intimate conversations. LOADING DOCK NOISE ISOLATION 1. Building envelope, 1:20 1. 2.0 5. 40 40 6. The noisy parts of the backstage area and loading dock 1. 4. Glasfasad are isolated from the auditorium by a double walled 1.0 corridor, where the wall towards the auditorium is 20 20  Car/casino entrance Absorbent DOUBLE LAYER Reflective walls behind stage to disperse made up of double layers of concrete separated by an f  Park entrance Dressing room plan 1:200 air gap, much similar to the wall around the rest of the f f A walkway runs around the auditorium on the upper sound out into the room  Pedestrian entrance Riverside walkway 125 250 500 1K 2K 4K auditorium. 63 125 250 500 1k 2k 4k Hz 63 125 250 500 1k 2k 4k Hz level, giving lookouts over the lobby and riverside and Hz Diffusing, non-parallel walls to avoid Neoprene pads  Sum of sources  Sum of sources exposed by a large glass wall towards the park on the flutter echo and hard sound The large sliding doors are sound proofed by neoprene other, dissolving the separation of interior and exterior.  Large dressing room, 1.8 s 1. Solo dressing rooms  Highway and bridge  STC 55 pads, by absorption above the upper sliding mechanism Sight line to downtown Pittsburgh Furthermore, it creates a double isolation layer against  Large dressing room (w/ curtains), 0.6 s 2. 4-person dressing rooms Site plan 1:2000  Train  NC-15 Absorptive wall behind bar and absorption and by running the bottom sliding mechanism in a the surrounding noise.  Small dressing room, 1.6 s 3. Choir dressing rooms  Max level desired by furniture in lounge area to reduce submerged slit, with isolators that are elevated when the  Small dressing room (w/ curtains), 0.6 s 4. Access to orchestra dressing rooms and orchestra pit Track with Walkway section reverberation time for more intimate door is moved. 5. Easy access to stage wing neoprene isolator conversations Green room 6. Access to green room on level above Backstage wall with acoustical sliding door

SECTION A, 1:200 PLANS, 1:1000

ROOM NC-value RT

Lobby NC-40 0.9 s Wings NC-15 Stage NC-15

Orch. pit NC-15 Storage Auditorium NC-15 1.1 - 2.0 s Box office NC-35 Upper A Green Manager’s office NC-35 Backstage room lobby

Green room NC-30 Dressing rooms Orch. dressing rooms NC-35 0.6 - 1.8 s Wing Choir dressing rooms NC-35 0.6 - 1.8 s Scene shop Fly tower Solo dressing rooms NC-35 0.6 - 1.6 s WC

Loading dock WC MER

-4.0 Storage Wing + 4.6 Mix booth + 0.0 Cloakroom WC + 4.6 To casino

Man. Box office office WC

Bar Entrance

Orch. dressing room A

Storage Orch. pit

BOTTOM LEVEL ENTRANCE LEVEL UPPER LEVEL

bac h e lo r’s th es i s WALKWAY The back of the building features a curved glass facade dissolving the border between FLEXIBILITY The auditorium is designed to house LOBBY The lobby space is defined by the concrete interior and exterior. The corridor acts as a buffer a variety of performances including rock, broadway shell ceiling and the layered, dramatic inner wall. between noisy exterior and calm interior. and opera.

LOBBY DRESSING ROOMS SILENT HVAC AND MECHANICAL ENGINEERING ROOM AUDITORIUM WALL DESIGN AUDITORIUM SPECIFICS AUDIENCE

The lobby is a large space, subject to much external The dressing rooms are located in close proximity to STC 58 The ventilation noise is controlled by structurally The auditorium is acoustically separated from the rest TECHNICAL INFORMATION SEATING OPTIMIZATION T30 s Lobby reverberation time noise and the high glass walls provide ample reflective the stage area, with easy access to the stage wings. One 16 mm gypsum board disconnecting the mechanical engineering room from of the structure by a highly isolating wall, with double Exhaust fans surfaces. The lower part is therefore angled upwards to floor up is the green room. The rooms are designed 16 mm gypsum board the rest of the building, and by supplying air to the concrete layers and an air gap. The roof is structurally In order to accommodate an audience as large as 2.100 reflect sound away from the visitors to the ceiling, which to create a good environment for warm-up prior to 45x90 mm wood studs auditorium at low speed. The air is then taken out along disconnected over the wall to prevent flank transmission. seats with the best possible experience with regards performance, as well as a quiet place to relax. Therefore, the roof to exhaust fans at the top of the double layer to sight and proximity a weighted effectiveness value is made absorptive by absorptive plaster. The curved 3.0 100 mm mineral wool Space for speaker cluster Elevation angle Excentricity shape of the ceiling makes for unwanted reflections they are equipped with retractable heavy curtains to 35 mm air gap wall. The mechanical engineering room is located on (Veneklasen, 1975) was used. Combining the distance of sound, bouncing back from the low edges. This is reduce reverberation time outside practice hours. 45x90 mm wood studs the roof of the backstage area, with soil separating it to Reflectors above to stage, the elevation angle, the eccentricity in plan entrance door prevented by installing absorptive surfaces in the floor 2.0 100 mm mineral wool some extent from the auditorium. The other end is open STC 70 and the sight-line clearance above the row in front, the at the low parts of the ceiling. These measures together The rooms are acoustically separated from each other 16 mm gypsum board to the same area as the loading dock. Noise propagation absorbtive panels in lobby seating layout could be optimized with regards to the either by a coupled bathroom set or by an isolating but 16 mm gypsum board is controlled by structural damping by the soil and by Air inlets < 3 m/s 200 mm concrete Priority seats parameters of wall angle, rows in each section and height create a reverberation time of 1.1 s in the lobby, yielding 1.0 light wall that provides good isolation for mid- and high separating the room from the main structure by a floating 120 mm mineral wool Light rigging between rows. The overall effectiveness reached a value good conditions for speech. The inner wall is streamlined HVAC section frequencies. floor. 50 mm air gap Mixing booth of 0.54. with wooden strips, separated by gaps of about 60 mm, f Dressing room wall Distance to stage Sight line clearence creating absorption of particularly the mid and high 200 mm concrete 125 250 500 1K 2K 4K Hz frequencies in order to achieve a good climate for speech. diffusive panels Retractable heavy curtains allow changes of reverberation time from 0.8 to 1.8 s Vibration isolators The inner auditorium walls are made up of similar 1 Wooden panels wooden strips as the inner lobby wall, but here without 60 mm gaps Diffusive walls to achieve create a longer reverberation gap in order to diffuse rather than absorb. The strips Absorbent and a nice envelopment of sound Flexible collar undulate along their length-axis and are angled in section Absorbent Structural in order to create an enveloping, diffuse soundscape. The Inner ceiling with alternating absorptive and diffusive damping by soil Discharge sound Fresh air intake differences in protrusion from the wall creates an effect acoustic tiles attenuator Intake sound similar to that of a Schroeder diffusor. In the back of the hall, the angled panels are exclusively directed upwards Non-parallel walls to avoid flutter echo attenuator to prevent back reflections. At the frontmost part of 0 the walls, the panels instead align, creating a smooth STC-40 sound isolating doors reflective surface. Visualization of Glass facade elevation Inner lobby wall, 1:20 Dressing room concept Neoprene pad audiovisual experience under steel spring Air discharge to Vibration isolators GREEN ROOM system Principal drawing of mechanical engineering room isolation EXTENDABLE STAGE TERRACED SEATING The green room is located on the upper level, looking out out over the lobby and further dividing the activities in 3. T s In order to house more intimate performances and The seating is arranged in terraced sections, minimizing longer reverberation time and providing early reflections over the river and surrounding landscape. The use ranges the room. The back door gives access to the upper level 30 Dressing room rev. time bring the experience closer to the audience, the hall is the absorptive effect of the audience on the sound for the mid part of the audience. The rises of the sections from small performances to relaxed lounging, dividing exit out into the park. An absorptive wall behind the bar 3. 10 m equipped with an extra lift in front of the orchestra pit. 2 m reaching the backmost rows (Schultz, 1964). The highest differ, the ones furthest back steeper in order to the room into different acoustical climates. A small area keeps reverberation time down to create a good 2. Raising this as well as the pit lift creates an extended sections to either side furthermore provides parallel accommodate good sight-line clearance. stage for recitals or music performances is located in one environment for speech, and the bar also divides the 2. 3.0 1. stage that protrudes out in the auditorium. The seats can 7 m walls, creating a shoebox environment, both yielding corner. A large balcony gives the possibility of looking room into smaller parts for more intimate conversations. LOADING DOCK NOISE ISOLATION 1. neatly be stored beneath the first section, or moved up on 1. the stage beneath the fly tower to create a surrounding, 2.0 5. 6. vineyard layout. The noisy parts of the backstage area and loading dock Front section view 1. 4. are isolated from the auditorium by a double walled of lowered reflector 1.0 corridor, where the wall towards the auditorium is Absorbent Reflective walls behind stage to disperse made up of double layers of concrete separated by an f sound out into the room Dressing room plan 1:200 air gap, much similar to the wall around the rest of the Section of back wall Section of side wall Section of front wall 125 250 500 1K 2K 4K Hz auditorium. Diffusing, non-parallel walls to avoid Neoprene pads The large sliding doors are sound proofed by neoprene flutter echo and hard sound  Large dressing room, 1.8 s 1. Solo dressing rooms pads, by absorption above the upper sliding mechanism  Large dressing room (w/ curtains), 0.6 s 2. 4-person dressing rooms Stage extended towards audience Absorptive wall behind bar and absorption and by running the bottom sliding mechanism in a  Small dressing room, 1.6 s 3. Choir dressing rooms by raising front lift by furniture in lounge area to reduce submerged slit, with isolators that are elevated when the Terraced seating  Small dressing room (w/ curtains), 0.6 s 4. Access to orchestra dressing rooms and orchestra pit Track with Plan view of undulation at back and side wall Plan view of front wall reverberation time for more intimate door is moved. 5. Easy access to stage wing neoprene isolator conversations Green room 6. Access to green room on level above Backstage wall with acoustical sliding door

PLANS, 1:1000 VARIABLE ACOUSTICS ROOM NC-value RT

Creating an auditorium for multipurpose use, especially C-80 [dB] G [dB] STAGE SHELL CONCERT • 2,100 seats The stage shell blends seamlessly with the same Lobby NC-40 0.9 s for a large audience, requires variability in the acoustics. • RT 2.0 s wooden panels as the auditorium walls, with undulating Wings NC-15 This variation is achieved by the two main principles of 15 15 • Reflectors in highest position and angled surfaces at back and ceiling to create an Stage NC-15 increasing volume and changing absorption. The effective • Stage shell closes off fly tower enveloping sound for the orchestra as well as for the Orch. pit NC-15 Storage ceiling height is controlled by hanging reflectors that can • Possibility of moving orchestra in front of proscenium, possibility of placing seating in the shell. The shell Auditorium NC-15 1.1 - 2.0 s be elevated or lowered. This is sufficient for changing the 0 5 and then lowering a reflector to provide reflections to consists of a modular system that can be stored within Box office NC-35 Green Upper reverberation time between 2.0 and 1.6 seconds. Further A lobby the south wing when it is not needed. Manager’s office NC-35 Backstage room the orchestra. lowering the reverberation time, to accommodate -15 -5 Green room NC-30 Dressing amplified music and voiced performances however rooms Orch. dressing rooms NC-35 0.6 - 1.8 s Wing require further measures. As amplification of sound will Scene shop Choir dressing rooms NC-35 0.6 - 1.8 s be required for the spoken voice to carry to all parts WC Fly tower Solo dressing rooms NC-35 0.6 - 1.6 s of the large audience, loss of sound due to increased absorption will not be an issue. Therefore, absorptive Loading dock WC MER surfaces can be drawn out to cover the reflectors and OPERA C-80 [dB] G [dB] ORCHESTRA PIT -4.0 absorb sound of different frequencies depending on the • 2,100 seats The orchestra pit is designed with an overhang, Storage Wing • RT 1.6 s providing space for performance presentations in front + 4.6 distance to the reflectors. 15 15 Mix booth + 0.0 • Reflectors lowered, providing the decrease in of proscenium and minimizes the risk of orchestra Cloakroom WC + 4.6 reverberation time. overpowering singers in opera mode. The surfaces are To casino 0 5 • Fly tower open reflective, with exception of the back wall which has Man. Box office some absorption to reduce back reflections and sound office T30 s WC -15 -5 level for the musicians. A diffusive panel in the ceiling provides envelopment and coherence. Bar Entrance

3.0

Orch. dressing 2.0 C-80 [dB] room A BROADWAY ABSORPTIVE SURFACES The reflectors are light enough to allow lower • 2,100 seats frequencies to reach the entire volume, creating a longer • RT 1.1 s 1.0 15 reverberation time optimal for orchestral concerts. A • C-80 around 10 dB, which is desirable for amplified Storage thick and highly porous velour fabric can be drawn out Orch. pit music and speech f to cover the reflector, hanging down at an adjustable 0 • Reflectors in lowest position distance, where a drop of about 300 mm is optimal for 125 250 500 1K 2K 4K Hz • Absorbtive surfaces drawn out in front of reflectors low frequency absorption. -15  Concert, 2.0 s  Opera, 1.6 s BOTTOM LEVEL ENTRANCE LEVEL UPPER LEVEL  Broadway, 1.1 s REFERENCES Veneklasen, P., Auditorium Acoust., 1975 Schultz, T.J., Prop. of sound across aud. seat., 1964

at te n year s 69 From Master’s Thesis to Research

For a Master’s Degree in Architecture Från exjobb till forskning or Engineering, the thesis project is an För yrkesexamen till arkitekt eller civil- assignment that demonstrates the stu- ingenjör är examensarbetet det arbete dent’s mastery of the central elements som visar att en student behärskar de of the profession’s expertise and skills. centrala delarna av yrkets kunskaper For the Master of Science in Engine- och färdigheter. För civilingenjörsexa- ering the format is a scientific report, men är formen en vetenskaplig rapport and for the Master of Architecture it is och för arkitektexamen normalt ett normally an architectural design project. gestaltat arkitekturprojekt. Den veten- The scientific report requires in-depth skapliga rapporten kräver ämnesför- study in the chosen topic and skill in djupning och färdigheter i användning the use of civil engineering methods av civilingenjörens metoder och verktyg and tools, while the design project medan det gestaltade arkitektarbetet requires skills in the use of architectural kräver färdigheter i användning av arki- methods and tools from analysis of tektens metoder och verktyg, allt ifrån the project conditions to the ability to analys av förutsättningar till förmåga organize practical reality into an artistic att organisera praktisk verklighet till en whole. konstnärlig helhet. The planning for the AT program Det var här, i de två examensarbe- found one of its points of departure tena och insikten om deras olika förut- here, in the two thesis project formats sättningar och form, som planeringen with their different conditions and av AT tog en av sina utgångspunkter. forms. Now we have results from that Nu har vi ett resultat, en serie av väl planning in a series of well-executed genomförda vetenskapliga rapporter scientific reports and architectural och gestaltningsprojekt. Många har design projects. Many have done the gjort arkitektarbeten, lite färre har gjort design project, somewhat fewer the ingenjörsarbeten och några har genom- engineering report, and a few have fört dubbla examensarbeten. I samman- done both. In the summary below there ställningen nedan finns också flera som are also those who are on the way to är på väg mot dubbla examensarbeten achieving double thesis projects but men som när detta skrivs bara har have only completed one so far. avslutat det ena. It is not unusual for a thesis project Det är inte ovanligt att examens- to be part of a larger research effort. arbeten ingår som delar i större »» Illustration: Erica Henrysson Sometimes a thesis project can even forskningsprojekt. Ibland kan examens- identify new research issues and direc- arbeten också öppna för nya forsk- tions. Below are two examples. ningsfrågor och inriktningar. Vi kan visa två exempel på detta.

maste r’s th es i s

Adaptive building envelopes

Master of Science Thesis in the Master’s Programme Architecture and Engineering

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at te n year s 71

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Double Master’s Thesis

Jens Olsson Emma Gjers Ellen Ordell Arkitektur 2014 Arkitektur 2015 Tillämpad mekanik 2015 Morten Lund MPARE Morten Lund MPARC Mats Ander MPARC Pendentive Inverted Performative Arts The Bovall Folding Within the Same Thread — Structural Center Aesthetics in Load Carrying Fibre Emma Gjers Composites Jens Olsson Bygg- och miljöteknik 2015 Tillämpad mekanik 2013 Wolfgang Kropp MPSOV Vedad Alic Håkan Johansson MPARE Stage Acoustics in Concert Halls — A Arkitektur 2012 Form Finding and Size Optimization. Study of Musicians’ Acoustical Morten Lund MPARE Implementation of Beam Elements Environment. Good Vibrations and Size Optimization in Real Time Form Finding Using Dynamic Relaxa- Hanna Modin Vedad Alic tion Arkitektur 2015 Tillämpad Mekanik 2013 Morten Lund MPARE Mikael Enelund MPARE Peter Selberg Polhem Visitor Center Vibration Reduction in Soil Through Arkitektur 2015 the Use of Buildings at the Synchrotron Paula Femenias MPDSD Hanna Modin Radiation Facility MAX-IV Rosenlundspassagen – för Göteborgs Bygg- och miljöteknik 2014 omställning till en hållbar stad Carl-Eric Hagentoft MPARE Erica Henrysson Rosenlundspassagen — For Göteborg´s Adaptiva klimatskal Arkitektur 2014 Transition into a Sustainable City Adaptive Building Envelopes Morten Lund MPARE Sail Over the Tracks — Varberg´s New Peter Selberg Lukas Nordström Railway Station Bygg- och miljöteknik 2015 Arkitektur 2014 Bijan Adl-Zarrabi MPSEB Morten Lund MPARE Erica Henrysson Renovera med växthus och fasbytande 12.273799 E 63.042831 N — Structural Tillämpad mekanik 2012 material. Utvärdering av påverkan på and Contextual Wooden Design in a Mats Ander MPARE hållbarheten för ett miljonprogramhus Parametric Environment Conceptual Design and Analysis of Renovating with a Greenhouse Membrane Structures and Phase Change Material Assessing Lukas Nordström Sustainability Implications for Million Bygg- ochmiljöteknik 2014 Malin Landh Housing Renovation Robert Kliger MPARE Arkitektur 2014 Design trästrukturer i en parametrisk Morten Lund MPARC Magnus Pettersson miljö – undersökning av en alternativ Bastionsbron — A New Pedestrian Arkitektur 2015 designprocess Bridge Over Vallgraven Sten Gromark MPARC Design of Timber Structures in a Selling Qualitative Architecture in a Parametric Environment — Exploration Malin Landh Quantitative Way Examination of of an Alternative Design Process Bygg- och miljöteknik 2014 Attefallshus Rasmus Rempling MPARC Ellen Ordell En jämförande studie som beskriver Magnus Pettersson Arkitektur 2014 teoretiska strategier inom design- Teknikens ekonomi och Morten Lund MPARC processen för ingenjörer och arkitekter organisation 2015 Rummet emellan – arbeta isär och A Comparative Study of Theoretical Mats Lundqvist MPBDP leva ihop Approaches Describing the Design Capturing and Transferring Knowledge Between House Process for Structural Engineers and in Entrepreneurial Startup Ventures Architects Business Development in Project Imnus Emergency Housing at Chalmers School of Entrepreneurship

maste r’s th es i s Caroline Martinsson Jonas Lundgren Arkitektur 2014 Bygg- och miljöteknik 2014 Morten Lund MPARC Holger Wallbaum MPSEB Bastionsbron — A New Pedestrian Livslängdens påverkan i en jämföran- Bridge Over Vallgraven de LCA av strukturer i betong och massivträ – en fallstudie av Strandparken Caroline Martinsson i Sundbyberg

Bygg- och miljöteknik 2014 The Impact of Life Expectancy in

Rasmus Rempling MPARC LCA of Concrete and Massive Wood

En jämförande studie som beskriver Structures — A Case Study of Strandpar-

teoretiska strategier inom design ken in Sundbyberg processen för ingenjörer och arkitekter A Comparative Study of Theoretical Camilla Samuelsson Approaches Describing the Design Arkitektur 2016 Process for Structural Engineers and Morten Lund MPARC Architects Sensory Bath — Thrilling and Calm Encountering in a Vertical Bath Jonas Lundgren Experience Arkitektur 2014

Maria Nyström MPSEB Camilla Samuelsson

From Emergency Shelters to Homes Tillämpad mekanik 2015 Structural Folding — Design of Paperboard Housing Mats Ander MPSEB A» »parametricIllustration: design Camilla method Samuelsson, for origami Björn architecture Exploring Living Conditions in Structural Folding — A Parametric 0DVWHU¶VWKHVLVLQVestlund Structural Engineering and Building Technology Camilla Samuelsson and Björn Vestlund Post-disaster Settlements Design Method for Origami Architecture »» Illustration: Jens Olsson

Department of Applied Mechanics CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2015

at te n year s 73 Form finding and size optimization Implementation of beam elements and size optimization in real time form finding using dynamic relaxation Master’s thesis in Architectural Engineering

JENS OLSSON

Department of Applied Mechanics Division of Dynamics CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2012 Master’s thesis 2012:46 Architecture Master’s Thesis

Lillemor Boschek Hanna Fredriksson Ellen Persson Arkitektur 2013 Arkitektur 2014 Arkitektur 2014 Claes Caldenby MPDSD Sten Gromark MPARC Morten Lund MPARC När kropp möter stad – ett existentiellt Att fylla ett tomrum i staden Inside Outside or in Between – utforskande Filling A Gap In The City En förskola i Lunden, Göteborg As the Body Meets the City — An Inside Outside or in Between — A Existential Exploration Liss-Kristin Jacobsson Kindergarten in Lunden, Gothenburg Arkitektur 2014 Hannah Vennman Ola Nylander MPARC Karl Eriksson Arkitektur 2015 Träbandsbron – en gång- och cykel- Arkitektur 2015 Michael Edén MPARC bro över Göta Älv utförd i trä Morten Lund Flexibel rumsanvändning och The Wooden Ribbon Bridge: A Pedestrian Robin Hood Gardens — A Choreographed brukbarhet för alla – ändring och and Bicycle Bridge over Göta Älv, Demolition bevaring av Töcksfors Göteborg missionskyrka Fredrik Asphult Flexible Use of Space and Usability Joel Petersson Berge Arkitektur 2014 for Everyone Arkitektur 2012 Anders Hagson MPARC Lena Falkheden MPDSD Norra Masthugget — Urban Structure Sofie A A Aronson Vår skolgård! Arkitekturpedagogik som and Outdoor Environment Arkitektur 2013 metod för att göra elever delaktiga i en Lena Falkheden MPDSD designprocess Sebastian Jenneteg Vi möts i våra rörelser – att gestalta Our Schoolyard! Architectural Pedago- Arkitektur 2013 för stadsliv gics as a Way of Making Children Take Morten Lund MPARC Meetings Through Motion: Urban Part in a Design Process Rebirth of Scandinavium Design for City Life God vardagsmiljö på Ringön Att integrera ett industriområde i Filippastaden Karlsson på verksamheternas villkor Arkitektur 2014 Morten Lund MPARC Helena Rengemo Kontrast – en fristad för eken i en urban kontext Contrast — A Sanctuary for the Oak in an Urban Context

Anna M L Gyllenswärd Arkitektur 2013 Morten Lund MPARE The Re-Use and Re-Activation of Nordstan Parking Garage

Lowa Sundh Arkitektur 2014 Morten Lund MPARC Gate to the Sacred Good Everyday Environment in Ringön, Gothenburg - Integrating an industrial area with the city on the businesses’ terms Carl Christoffersson ArkitekturExamensarbete 2013 vid Chalmers Arkitektur Master Program Design for Sustainable Development MortenHT Lund 2013 MPARE Building: Skinned — Facade Performance and Design

maste r’s th es i s Hanna Mangs Arkitektur 2013 Morten Lund MPARE Light Boxes

Helena Rengemo Arkitektur 2014 Björn Malbert MPDSD God vardagsmiljö på Ringön – Att integrera ett industriområde i staden på verksamheternas villkor Good Everyday Environment in Ringön, Gothenburg — Integrating an Industrial Area With the City on the Businesses´ Terms

Marcus Stark Arkitektur 2014 Ola Nylander MPARC Lilla Fjellsholmen – varsamt byggande i en unik skärgårdsmiljö Lilla Fjellsholmen — Building Gently in a Unique Coastal Environment

Emma Svanström Arkitektur 2013 Morten Lund MPARC »» Illustration: Helena Rengemo A Second Layer »» Illustration: Joel Berge, Anna Sofia Vår skolgård! Wannerskog Tobias Göthfelt Arkitekturpedagogik som metod för att göra elever delaktiga i en designprocess Arkitektur 2014 Sten Gromark MPARC The Evolution of a Building Adaptive Re-Use of a Paper Factory in Mölndal

Malin Mirsch Arkitektur 2012 Morten Lund MPARE Nya Göta Älvbron A New Göta Älv Bridge

JOEL BERGE ANNA SOFIA WANNERSKOG at te n year s 75

1 Katarina Rosengren Caroline Werner Anna Arvidsson Arkitektur 2014 Arkitektur 2011 Arkitektur 2015 Lena Falkheden MPARC Lena Falkheden MPARE Krystyna Pietrzyk MPDSD Odlingsverket – Ett socio-ekologiskt Livet på landet – boende och hållbar Beyond a Barrier – hur en högvatten- system kring stadsodling utveckling på landsbygden barriär i Göteborg kan ge fler värden

Odlingsverket — A Socio-Ecological Countryside Living — SustainableVT 2013 till staden än att enbart mota bort ett

System of Urban Farming Development and Housing inARKITEKTUR Rural klimathot Areas Beyond A Barrier — How a Storm Surge

Martina Boyton ODLINGSVERKET Barrier Can Provide More Values to the Arkitektur 2013 Mikael Stenberg City Than to Solely Defeat a Climate Morten Lund MPARE Arkitektur 2013 Threat The Re-Use And Re-Activation Morten Lund MPARE of Nordstan Parking Garage Between Inside & Outside Daniel Stenqvist Arkitektur 2013 Jonas Reutherborg Filip Karlén Morten Lund MPARE Arkitektur 2014 Arkitektur 2014 A Higher Aim for Wood — Creating

Morten Lund MPARC Ola Nylander MPARC ROSENGREN JOSEFIN RHEDIN OCH KATARINA New Possibilities for an Old Material Into the Wall — Ski Cabins in Stöten Lilla Fjellsholmen – varsamt byggande i en unik skärgårdsmiljö Linda Bergquist EXAMENSARBETE VID CHALMERS TEKNISKA HÖGSKOLA

Nazdar Ghalali LillaFARMING URBAN OF SYSTEM SOCIO-ECOLOGICAL A - Fjellsholmen — Building Gently Arkitektur 2016 Arkitektur 2013 in a Unique Coastal Environment Inga Malmqvist MPARC Inger Lise Syversen MPDSD Vasakyrkans saluhall – att transformera Meetings in the Public Space Pontus Johansson en kyrka till en ny typ av mötesplats Planning for Social Interaction in Arkitektur 2015 Vasakyrkans Saluhall — To Transform a

Hammarkullen Morten Lund MPARC 1 1 Church Into a New Meeting Place

ODLINGSVERKET KRING STADSODLING SYSTEM - ETT SOCIO-EKOLOGISKT The Trash Lab Pedram Seddighzadeh Yazdi Arkitektur 2014 Morten Lund MPARC House of a Hundred Columns — Gothenburg´s House of Making

Hanna Jakobsson Arkitektur 2014 Morten Lund MPARC Moderna Museet, Göteborg Museum of Modern Art, Göteborg

Gustav Johansson Arkitektur 2014 Ola Nylander MPARC Lilla Fjellsholmen – varsamt byggande i en unik skärgårdsmiljö Lilla Fjellsholmen — Building Gently in a Unique Coastal Environment

Isak Regnström Arkitektur 2014 Morten Lund MPARC Glider´s Plywood House

maste r’s th es i s Erica Regen Isa Sverneborn Arkitektur 2015 Arkitektur 2016 Björn Malbert MPDSD Inga Malmqvist MPARC Formalizing Informality — An Investiga- Förskolan Bergakungen – en förskola tion About How a Formally Educated i den förtätade staden Architect Could Work with Informal Bergakungen Preschool — A Preschool Architecture in Improvement Programs in the Densified City of Informal Settlements Javier Enrique Perez Sota Avin Mahammad Arkitektur 2014 Arkitektur 2013 Morten Lund MPARC Lena Falkheden MPDSD Building Extension for the Music Kastanjealléparken — Children´s Academy of Tampere Participation as Basis for an Architectural Competition Program Amanda Sten Arkitektur 2015 Emna Hachicha Björn Malbert MPDSD Arkitektur 2015 Transition Hub – en mötesplats Morten Lund MPARC för omställning till ett hållbart samhälle Floating Above Cable Car Station in Transition Hub — The Concept of a Järntorget, Gothenburg Meeting Place for the Transition Towards a Sustainable Future Alexander Odelberg Arkitektur 2014 Petrus Torstenson Ola Nylander MPARC Arkitektur 2015 Med barn i stan – ett påbyggnadspro- Morten Lund MPARC »» Illustration: Josefin Rhedin, Katarina jekt i centrala Göteborg med fokus på Pavilion of Rain — Public Shelter in Rosengren barnfamiljer Nordic Climate »» Illustration: Emma Svanström With Kids In The City — An Extension Project in Central Gothenburg with Focus on Families with Children

Josua Smedberg Arkitektur 2015 En rättvis byggnad – social och ekologisk hållbarhet genom bygg- nation med lokala material Fair Building With Local Materials

Malin Fredriksson Arkitektur 2015 Sten Gromark MPARC A SECOND LAYER To Build A Tree MASTER THESIS PROJECT IN ARCHITECTURE MATTER SPACE STRUCTURE STUDIO Maria Johansson SPRING 2013 EMMA SVANSTRÖM Arkitektur 2014 Morten Lund MPARC Brick Lanes — A Swimming Center for Bringing the Sport Into the Urban Environment

at te n year s 77 Engineering Master’s Thesis

Stefan Nyström Johan K V Johansson Anna Sandberg Bygg- och miljöteknik 2014 Bygg- och miljöteknik 2011 Bygg- och miljöteknik 2013 Björn Engström MPSEB Göran Lindahl MPDCF Joosef Leppänen MPSEB Arkitektur och teknik i den konceptuel- Master the Renovation Load. Structural Response of Reinforced la fasen av byggnadsprojekt Strategic Aspects and Opportunities in Concrete Frames with Regard to Expo- Architecture and Engineering in the Residential Property Renovations. sions Conceptual Phase of Building Projects Staffan Sjöberg Sandra Andersson Martin Pettersson Bygg- och miljöteknik 2014 Bygg- och miljöteknik 2013 Bygg- och miljöteknik 2014 Paula Wahlgren MPSEB Göran Lindahl MPDCF Karin Lundgren MPSEB Fuktsäkerhet hos en träregelvägg Construction Management in Practice FE-modellering av textilarmerade med ett yttre lufttätt skikt — Perspectives of CM Utilisation in betongfasadelement Hygrothermal Performance of a Sweden. FE-modelling of Textile Reinforced Light Weight Wall Assembly with an Concrete Façade Elements Exterior Air Barrier Anna Larsson Bygg- och miljöteknik 2015 Sandra Berg Agnes Orstadius Angela Sasic Kalagasidis MPDCF Bygg- och miljöteknik 2013 Bygg- och miljöteknik 2014 Optimering av nattkyla genom Göran Lindahl MPDCF Robert Kliger MPSEB efterbehandling av data genererad i Construction Management in Practice Design trästrukturer i en parametrisk styrsystem — Perspectives of CM Utilisation in miljö – undersökning av en alternativ Night Cooling Optimization Using Sweden. designprocess Post Processed Control Systems Data Design of Timber Structures in a Eveline Ottosson parametric environment — Exploration Johan Karlsson Bygg- och miljöteknik 2012 of an Alternative Design Process Bygg- och miljöteknik 2014 Göran Lindahl MPDCF Björn Engström MPSEB Managing Change Through Participation Alternativa armeringsmetoder – förlängd livslängd hos utsatta betong- strukturer Alternative Reinforcement Approaches — Extended Service Life of Exposed Space for picture Concrete Structures The Process of Developing Replace this square with a picture illustrating the content of the report. This pictureShared should Construction Guidelines in 26 be “floating over the text”, in order not to change the position of the title belowpublic (clic organisationon Format: Object: Layout, and chose “In front of text”) Patrik Thorsson Instructions for use of this template Bygg- och miljöteknik 2014 Replace the yellow marked text with your own title, name etc on the first nine Karinpages. Lundgren MPSEB Replace only the text and not the return-signs, comment marks [mp1] etc. UpdateFE-modellering all field av textilarmerade in the document by choosing Edit: Select All (Ctrl A) and then clicking the F9-button.betongfasadelement (The FE-modelling of Textile Reinforced footers need to be marked separately and updated with the F9-button.) Write yourConcrete report Façade Elements using the formats and according to the instructions in this template. When it is completed, update the table of contents. Jonathan Chausset The report is intended to be printed double-sided. Bygg- och miljöteknik 2014 Christine Räisänen MPDCF Meausering Organizational Innovation in Collaboration with a Swedish Consultancy Firm

Coveredmaste r’s th Timber es i s Bridges Inspiration, conceptual and final design Master of Science Thesis in the Master’s Programme Structural Engineering and Building Technology

JACOB FLÅRBACK

Department of Civil and Environmental Engineering Division of Structural Engineering Steel and Timber Structures CHALMERS UNIVERSITY OF TECHNOLOGY Göteborg, Sweden 2015 Master’s Thesis 2015:2 Marcus Andersson Björn Vestlund Bygg- och miljöteknik 2015 Tillämpad mekanik 2015 Patrik Höstmad MPSOV Mats Ander MPSEB Estimation of Correction Factors of Structural Folding — A Parametric Railway-induced Ground-borne Noise Design Method for Origami Architecture from Tunnels Through Rock Covered by Soil Viktoria Henriksson Tillämpad mekanik 2016 Jacob Flårback Mats Ander MPSEB Bygg- och miljöteknik 2015 Rationalizing Freeform Architecture— Robert Kliger MPSEB Surface Discretization and Multi- Covered Timber Bridges Inspiration, objective Optimization Conceptual and Final Design Maria Hult Sandra Bentland Tillämpad mekanik 2016 Bygg- och miljöteknik 2015 Mats Ander MPSEB Filip Nilenius MPSEB Rationalizing Freeform Architecture— Towards Ultra-thin Façade Elements— Surface Discretization and Multi- Textile Reinforced Green Concrete objective Optimization with Cacuum Insulation Panels

Hanna Lundevall Energi och miljö 2013 »» Illustration: Jacob Flårback Filip Johnsson MPTSE »» Illustration: Agnes Orstadius, Energy Efficiency Potential of the Lukas Nordström European Building Stock — A Case Study of France

Mia Callenberg Energi och miljö 2016 Sverker Molander MPTSE Interpretation and Implementation of Natura 2000 in Environmental Impact Assessments — A case study of Blå Tor- get, a Small Square by the River Säveån

Alexander Sehlström Tillämpad mekanik 2013 Mats Ander MPSEB Multi-objective Topology Optimization: Tracing of Pareto-optimal Structures with Respect to Volume, Compliance and Fundamental Eigenvalue

Andrea Alexandersson Tillämpad mekanik 2015 Mats Ander MPSEB Isogeometric Analysis in Form Finding in Architecture

 at te n year s 79      

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        Post-graduate in Structural Mechanics

Vedad Alic was in the first class of AT Forskarstudier vid students, and is one of those who have byggnadsmekanik achieved a dual master’s degree. He Vedad Alic tillhörde den första kullen is also the first AT student to go on to AT-studenter och är en av dem som post-graduate study. Since 2013 he is a tagit dubbla examina. Han är också den doctoral degree candidate in the Divi- första AT-studenten som gått vidare sion of Structural Mechanics in the De- till forskarstudier. Sedan 2013 är han partment of Construction Sciences at doktorand på Avdelningen för bygg- Lund University. The division’s research nadsmekanik, Institutionen för bygg- is focused on mathematical modeling vetenskaper, LTH i Lund. Avdelningens to describe, simulate, and explain how forskning är inriktad mot matematisk materials and structures work, and the modellering för att beskriva, simulera primary numerical method they use is och förklara materials och strukturers called the finite element method (FEM). verkningssätt, och den numeriska me- Alic’s research topics deal with tod som man i huvudsak arbetar med the methods and tools that support kallas finita elementmetoden (FEM). decision making in the early stages of Vedads forskningsfrågor handlar design. His research is a direct exten- om metoder och verktyg som stödjer sion of the exploratory working method beslutsfattande i tidiga designskeden he developed through his double Det är en direkt förlängning av det un- thesis projects at AT. In describing the dersökande arbetssätt han utvecklade approach, he says, “Modeling tools for genom sina dubbla examensarbeten på conceptual studies must encourage AT. Han uttrycker detta som att ”De ma- creativity and be capable of interactive- tematiska verktygen måste uppmuntra ly modifying the model in a sketch-like till kreativitet, och i en konceptfas fashion once it has been created.” snabbt kunna skapa olika alternativa In an effort to achieve that objective strukturmodeller och på ett skiss- Alic has seized on a development track liknande sätt modifiera dem.” within the finite element method called För att nå dit har han tagit fatt i ett isogeometric analysis, which he has utvecklingsspår inom finita element- applied to shell structures. This analysis metoden som kallas isogeometrisk makes use of the same mathematical analys, och som han tillämpat för functions, called b-splines (or NURBS), skalstrukturer. Denna analys använder used in the modeling tools architects sig av samma matematiska funktioner use in parametric design. Alic can there- som de modelleringsverktyg arkitek- by couple his structural mechanical ter använder för parametrisk design, analysis directly to the architect’s digital b-splines (NURBS). Därigenom kan modeling process. Vedad koppla den strukturmekaniska analysen direkt till arkitektens digitala skissverktyg.

»» Illustration: Vedad Alic

maste r’s th es i s The combination of Grasshopper components for a simple form finding.

Different examples generated by changing the boundary conditions or initial geometry.

at te n year s 81 Own firm and mathematical research

island and the community would do better if handled in this way. So now the three main buildings from our thesis project have made it through design, and permitting, and now on the island of Lilla Fjellsholmen the results are in — three finished model buildings.” At the Department of Mathematical Sciences at Chalmers this is the first project in the field of Computational Architecture. The form and attributes of the landscape as well as the individual buildings is described by two sepa- rate geometrical (numeric) grids. The challenge is to formulate a mathema- tical model that allows an architect to quickly test various building volumes and get an idea on the view qualities for different buildings and where the windy spaces are located. Going for- ward there is an opportunity to weigh several different architectonic qualities against one another and quickly be able In 2014, Gustav Johansson, Filip Karlén, is that they focus only on the exterior — to generate a set of design proposals and Marcus Stark did a joint thesis pro- their buildings are meant to be associa- with quantitative assessments of both ject that has already been built and led ted with a certain architectural style. qualities and shortcomings. to the founding of their own architectu- “Instead of just looking like a certain re firm, CREAM. In addition to working type of architecture, our thesis project Eget kontor och matematisk as practicing architects, the three have was about respecting and incorporating forskning had an opportunity to develop the the qualities of the site, in the same Gustav Johansson, Filip Karlén och ideas they explored in their thesis with way people used to do—but this time Marcus Stark gjorde 2014 ett examens- the support of researchers from the using modern tools, technological con- arbete som redan lett till genomförande Department of Mathematical Sciences ditions, and contemporary demands and och start av eget arkitektkontor, CREAM. at Chalmers. desires for the standard of living. The Förutom att vara projekterande arkitek- They describe how digital technolo- result is a modern coastal community ter så har de fått möjlighet att utveckla gies can be used to create an archi- with contemporary architecture. Three sina idéer från examensarbetet med tecture tailored to a particular place: kinds of main buildings and a variety of stöd av forskare från institutionen för “The objective with our thesis project façade treatments make it feel cohe- Matematiska vetenskaper på Chalmers. for Lilla Fjellsholmen was a modern and rent but not monotonous. De beskriver hur digital teknik kan enduringly sustainable island commu- “The thesis project’s particular com- användas för att skapa en arkitektur för nity based on qualities that are typical bination of modern planning, unique en särskild plats: ”Målet med examens- of many traditional towns along the architecture, and optimally located buil- arbetet Lilla Fjellsholmen var ett mo- Swedish west coast. The problem with dings was well received by the owners dernt och långsiktigt hållbart ö-samhälle, many of today’s new housing projects of the island. They understood that the baserat på kvaliteter som är typiska för

maste r’s th es i s at te n year s 83 många traditionella orter längs västkus- manhållet, men utan att bli monotont. formulera en matematisk modell som ten. Problemet med många av dagens Just kombinationen av modernt tillåter en arkitekt att snabbt pröva olika nya bostadsprojekt längs västkusten samhälle, unik arkitektur och optimalt huslägen och få svar på hur vindförhål- är att man bara fokuserar på det yttre, placerade hus gjorde att exjobbet togs landen och utsikt påverkas. I förläng- husen ska helst förknippas med en viss emot väl av ägarna till ön. De förstod ningen ligger möjligheten att väga flera arkitektonisk stil. att ön och samhället skulle må bättre olika arkitektoniska kvaliteter mot var- I stället för att bara efterlikna en viss av att hanteras på det här sättet. Så nu andra och snabbt kunna ta fram förslag typ av arkitektur, gick det här examens- har de tre huvudbyggnaderna i exjobbet på möjliga lösningar där kvaliteter och arbetet ut på att respektera och ta till tagit sig igenom både projektering och brister är måttsatta. vara på platsens kvaliteter, på samma bygglov och på ön Lilla Fjellsholmen sätt som man gjorde förr. Men den här står resultatet. Tre färdiga visningshus.” gången med moderna verktyg, tekniska På institutionen för Matematiska förutsättningar och nutida krav och vetenskaper på Chalmers är detta det önskemål på levnadsstandard. Resul- första projektet inom fältet Computatio- tatet blev ett modernt kustsamhälle nal Architecture. Landskapets form och med en samtida arkitektur. Tre sorters egenskaper liksom de enskilda husen »» Finished model building on huvudbyggnader och olika sorters beskrivs av två separata geometriska Lilla Fjellsholmen. fasadbehandling gör att det känns sam- (numeriska) nät. Utmaningen är att »» Mathematical studies of wind and view.

maste r’s th es i s at te n year s 85 “The Culture of Creativity and Self-Confidence.” AT Internships Abroad

Architecture and Engineering is an hip following the third year of study. education that emphasizes the basic We have established a network that knowledge and skills of both archi- includes some of the world’s most tecture and engineering. This choice prominent architecture and engineering carries an ambition to provide students firms — such as Herzog & de Meuron, with tools and approaches for a future SBP, Buro Happold, Knippers Helbig, of unknown assignments and chal- and others — and they have now had lenges in a rapidly changing world. The such good experience with interns from specific training for a profession comes AT that they are enthusiastic about not from university but from professio- welcoming more. nal environments and especially those Karl-Gunnar Olsson becoming role models early in a career. Looking for collaboration with the Testing the boundaries very best architecture and engineering When we ask AT students to reflect firms has been a key aspect in the on their internships, they frequently development of AT, making connections mention several skills as important as- that help place students in internships sets developed during their education. and permanent positions. From the very Johanna Isaksson (AT 2012) interned at first group of AT students our study Buro Happold: “I think the most impor- tours have included exploring what it’s tant thing is the faith that you can learn like inside exemplary architecture and new things quickly and figure out the engineering cultures. On the first tour stuff you don’t know — new software, we visited Foster + Partners, Arup, new methods, new ways of thinking. So and Skanska in London and Schlaich much of the time you can solve things Bergermann Partner (SBP) in Stuttgart. (and help others solve things!) if instead Jörg Schlaich himself had invited us of thinking, ‘No, I don’t know this’ you to visit his firm’s Stuttgart headquar- think, ‘I can probably find out how to do ters, and welcomed us with freshly this.’ Another thing that has served me baked pretzels. Many of the firm’s own well is the ability to read structures and employees jumped at the chance to join load patterns, but I would have liked to us and listen to one of the foremost be even better at it! More preliminary engineers of our era talk about archi- calculations, estimating dimensions for tecture and structure as an indivisible different materials, one step further in whole. In 2010 Schlaich was honored load diagrams, and more conceptual with Chalmers’s jubilee professorship, sketching through various structural and for an entire year we were allowed designs.” to borrow him as a guest lecturer and Johanna also feels that her exper- critic. That also led to an opportunity for tise was appreciated: “Although Buro year-long internships for AT students Happold has tremendous expertise in at SBP. parametric design and programming, Later we were given a similar it’s concentrated in just a few people, opportunity at Buro Happold in Bath, so you can quickly get to a place where and today about one-third of every AT you’re given a great deal of responsibi- »» Ontario Celebration Zone, Thornton class goes abroad for their interns- lity and you know quite a bit more than Tomasetti.

internships ab r oad most in those particular subjects.” “To get results and achieve the highest Digital tools Sara Almstedt (AT 2011), who inter- quality and still meet your deadline, eve- Johan Dahlberg (AT 2012) has wor- ned at Monte Stott and Associates in ryone needs to work together. Having ked at both Herzog & de Meuron in San Francisco, adds, “I came in with the been in that kind of environment pre- Basel and SOM in London, and he ability to take the initiative on my own. viously, being able to help each other adds the importance of being able to I was ready to work hard and I could and work together is probably the most work efficiently: “The digital tools are learn new software programs quickly. I important thing. Even if I don’t have all in my bones now. Also always trying to picked up those abilities and developed the expertise I need in place yet, I felt become more efficient in the way you them in working on my studio projects secure in my ability to be able to follow work. Maybe that’s a legacy from AT — at AT. I lacked the ability to be able to along and understand discussions you just could never afford to not have read construction drawings and practi- about both architecture and construc- an efficient approach when the exams cal knowledge of how the construction tion.” were raining down on you and deadli- industry works. The most important In the beginning of his year at nes approaching! Another very positive thing I learned in my years at AT was to Schlaich Bergermann Partner, Ulrik aspect of AT is the network you’ve built not be scared of making mistakes and Montnemery (AT 2012) was mostly up. [In school] there’s almost always so- testing the boundaries. In addition I’ve tasked with doing engineering calcu- meone who’s been at a given company noticed that I have a more open view lations, but he asked to be allowed to or university before, and it’s easy to find of collaboration between architects try his hand at other things: “Now I’m answers if you have specific questions, and engineers than I see in either my working with pedestrian bridges, from probably as a consequence of the classmates from engineering school or the first conceptual sketch to construc- extremely short distances between the the more senior engineers I’ve run into tion documents, and it feels a lot closer different years.” in the business.” to AT and closer to my own interests. A Johanna Riad (AT 2010) did her Jens Ljunggren (AT 2011) did a year bridge lecture with Morten in 2011 was internship at Buro Happold in Dubai for of internship at Herzog & de Meuron, what got me to transfer from Engine- ten months, where she brought a lot and describes a useful experience he ering to AT, and it finally feels like I’ve from her education but also detected brought with him from his education: closed that circle!” some shortcomings: “I came in with the

at te n year s 87 confidence to take on problems even first is an understanding of geometry when I didn’t know at first how to solve from both the architectural design them, and with many likeminded friends studio Space and Geometry, and the I could turn to with questions and to mathematics course on multi-variable bounce ideas off of. I was lacking in analysis. That knowledge helped me in presentation skills, and the situation my work at SBP. I worked with various of working for a client was completely kinds of pre-stressed, suspended roof new to me.” structures. It was important to under- Puria Safari Hesari (AT 2011) inter- stand what geometries are created ned for fifteen months at Buro Hap- when you stretch a surface between pold: “As an AT student you’re generally a number of points. Where does the well prepared to be able to work with water run off, what kind of structural and analyze complex geometry. I had a attributes does it have, and what is the lot of use for those skills, for example, best way to model it? when I was working on the Battersea “The second,” Samuel continues, housing project by Frank Gehry. My “is that the AT program revolves a lot job was to generate the geometry that around programming and learning defined each floor system. Because the different software programs. That’s form of these five buildings with sixteen something that gives you distinctive floors each was extremely complex, the practical advantages, in addition to process needed to be automated. In optimizing your work routine. At SBP I addition, the architect made frequent worked mostly with Grasshopper, and changes, which meant that the process being skilled at that impressed people needed to be done over again.” — I was given more responsibility than Viktoria Henriksson (AT 2009) has other interns, and also more time to worked at several different firms, and spend learning other things. has gotten more out of each experien- “The third is that frame of reference ce the further along she gets in her in both architecture and engineering education. At Thornton Tomasetti in that we’ve cultivated. It comes from New York she benefitted greatly from our architecture projects, but also from the combination of architecture and our study tours. It gives you a great engineering: “My team was made up deal of self-confidence in the design mostly of people from all over the world discussions that are always going on in with a similar background to mine. an office, but also a broad theoretical We were often brought in early in the understanding of how structures can design process on complex projects actually work.” that were anything but standardized. And Samuel summarizes: “On the In designing these completely new whole it’s the creative culture and the structural solutions we were constantly confidence the AT program gives you encouraged to think about architectural that is most valuable for a modern en- qualities — especially because there gineer at a firm with a such an enor- were no obvious references for what mous Baukultur like SBP has.” we were doing. When the design wasn’t standardized we were forced ”Den kreativa kulturen och to take just as much responsibility for självsäkerheten” AT på inter- the experience of the space as for the nationell praktik underlying structural system, and so we Arkitektur och teknik är en utbildning became designing engineers.” med tyngdpunkt i arkitekturens och ingenjörskonstens grundläggande kun- Geometry and design discussions skaper och färdigheter. I detta val ligger Samuel Eliasson (AT 2010) emphas- en ambition att genom verktyg och izes three things from his internship förhållningssätt bygga en beredskap »» Battersea housing project at Schlaich Bergermann Partner: “The för samhällets och yrkeslivets framtida Gehry

internships ab r oad at te n year s 89 okända arbetsuppgifter och utmaningar. andra lösa saker!) genom att inte tänka Den viktigaste yrkesutbildningen blir “nej det kan jag inte” utan “det kan jag den som sker på de arbetsplatser nog ta reda på”. En annan sak som varit man tidigt i sin karriär utvecklas i och bra att ha är förmågan att läsa struktu- präglas av. rer och kraftmönster, men jag skulle ha Att söka samverkan med de allra velat ha ännu mer! Mer överslagsräk- bästa arkitekt- och ingenjörskontoren ning, uppskattning av storlekar i olika har funnits som en grundton i utveck- material, steget längre i kraftmönster lingen av AT, för möjlighet till praktik med mer konceptskissande på olika och som framtida arbetsplatser. Redan strukturer”. med första kullen AT-studenter besökte Johanna upplever också att hennes vi på våra studieresor förebildliga kompetens uppskattats: ”Trots att Buro arkitekt- och ingenjörskulturer. I London Happold har stor kompetens inom Arup och Fosters + Partners och i parametrisk design och programmering, Stuttgart schlaich bergermann partner så är det koncentrerat hos några få (SBP). Jörg Schlaich själv hade bjudit personer och man kommer snabbt in in oss till huvudkontoret i Stuttgart på en plats där man får väldigt mycket och välkomnade oss med nygräddade förtroende och kan betydligt mer än de Pretzels. Många av kontorets egna flesta om just de ämnena”. medarbetare tog chansen att med oss Sara Almstedt, AT 2011, som prak- lyssna på en av vår tids absolut främsta tiserat på Monte Stott and Associates ingenjörer, och om arkitektur och bä- i San Francisco fyller i: ”Jag hade med rande struktur som en odelbar helhet. mig förmågan att ta egna initiativ, jag År 2010 fick Jörg Schlaich Chalmers var redo att jobba hårt och jag kunde Jubileumsprofessur och vi fick under snabbt lära nya dataprogram. Jag snap- ett år låna honom som gästföreläsare pade upp/utvecklade dessa förmågor och kritiker. Här föddes också möjlig- under projektarbeten på AT. Jag sakna- heten för AT-studenter till en årslång de förmågan att kunna läsa konstruk- praktik på SBP. tionsritningar samt praktisk kunskap Så småningom fick vi motsvarande om hur byggbranschen fungerar. Det möjlighet på Buro Happold i Bath, och viktigaste jag lärde mig under mina år idag reser ungefär en tredjedel av varje på AT var att våga göra fel och att testa AT-kull ut på internationell praktik efter gränser. Därtill märker jag att jag har årskurs 3. Vi har etablerat ett nätverk en mer öppen syn på samarbete mellan med några av världens främsta arkitekt- arkitekter och ingenjörer än klasskam- och ingenjörskontor, Herzog & de rater som gått på V och äldre ingenjörer Meuron, SBP, Buro Happold, Knippers jag stött på i branschen”. Helbig m fl som nu har god erfarenhet Jens Ljunggren, AT 2011, har ett års och gärna tar emot AT-praktikanter från praktik hos Herzog & de Meuron och Chalmers. beskriver en nyttig erfarenhet han hade Karl-Gunnar Olsson med sig från utbildningen: ”För att nå resultat och högsta kvalité till deadli- Att testa gränser ne hjälps alla åt. Att ha varit i en sådan I AT-studenterna egna reflexioner över omgivning tidigare, att klara av att hjäl- sin praktik återkommer några färdig- pa varandra och arbeta tillsammans är heter som varit viktiga att ha med sig kanske ändå det viktigaste. Även om all från utbildningen. Johanna Isaksson, AT kunskap inte är på plats än, så kände 2012, har praktiserat på Buro Happold: jag mig trygg i att kunna följa och förstå ”Viktigast tror jag är tron på att man kan resonemang kring både arkitektur och lära sig nya saker snabbt och ta reda konstruktion”. på sånt man inte vet. Nya programvaror, Ulrik Montnemery, AT 2012, fick i nya metoder, nya tankesätt. Det är så början av sitt år på schlaich bergermann »» Dubai Meraas Arena ofta man kan lösa saker (och hjälpa partner mest göra ingenjörsberäkningar Buro Happold

internships ab r oad men bad att få pröva på annat: ”Nu när tentorna regnade tätt och deadlines mot en kund var helt ovant för mig”. arbetar jag med gångbroar, från första närmade sig! En annan väldigt positiv Puria Safari Hesari, AT 2011, har idéskiss till bygghandling och det känns aspekt av AT är nätverket man byggt 15 månader på Buro Happold: ”Som mycket närmre AT och närmre mina upp. Det finns nästan alltid någon som AT-student är man generellt väl förbe- egna intressen. En broföreläsning med tidigare varit på något visst företag eller redd på att kunna hantera och analy- Morten 2011 var det som fick mig att universitet och det är lätt att få svar om sera komplex geometri. Jag fick stor byta till AT från Väg och vatten och änt- man har specifika frågor, förmodligen användning av dessa kunskaper när ligen känns det som att cirkeln slutits!” en konsekvens av de väldigt korta jag bl.a. jobbade på bostadsprojektet distanserna mellan årskurserna”. Battersea av Frank Gehry. Min uppgift De digitala verktygen Johanna Riad, AT 2010, har praktise- var att ta fram geometrin som definie- Johan Dahlberg, AT 2012, har jobbat rat 10 månader hos Buro Happold i Du- rade varje bjälklag. Eftersom formen på både på Herzog & de Meuron i Basel bai och haft mycket med sig men också dessa 5 byggnader med 16 våningar var och SOM i London och lägger till vikten saknat en del: ”Jag hade med mig en extremt komplex behövde processen av att arbeta effektivt: ”De digitala verk- trygghet att ta mig an problem man inte automatiseras. Dessutom gjordes det tygen finns i ryggraden. Även att alltid från början vet hur man ska lösa. Och ofta ändringar av arkitekten, vilket kräv- försöka effektivisera sättet man jobbar många likasinnade vänner att vända de att processen skulle köras igen”. på. Kanske handlar det om ett arv från mig till och bolla frågor och funderingar Viktoria Henriksson, AT 2009, har AT, man hade helt enkelt inte råd att med. Jag saknade kunskaper i presen- praktiserat på flera kontor, mer givande inte ha ett effektivt tillvägagångssätt tationsteknik och upplägget att jobba ju längre fram i utbildningen. På

at te n year s 91 Thornton Tomasetti i New York fick hon variabelanalysen. Den här kunskapen ningsdiskussionerna som alltid fanns på stor nytta av kombinationen arkitektur hade jag nytta av på SBP. Jag höll på kontoret, men också en stor teoretisk och teknik: ”Mitt team bestod till stor med olika sorters förspända, hängande förståelse för hur strukturer faktiskt kan del av människor från hela världen takkonstruktioner. Då var det viktigt fungera”. med liknande bakgrund som jag. Ofta att förstå vilka geometrier som bildas Och Samuel sammanfattar: ”På det kopplades vi in tidigt i designproces- om man spänner upp en yta mellan ett hela taget är det den kreativa kulturen sen, i komplexa uppdrag som var allt antal punkter. Vart rinner vattnet, vad får och självsäkerheten som AT-pro- annat än standardiserade. I utformandet det för strukturella egenskaper och hur grammet gett som efterfrågas från en av dessa helt nya strukturella lösningar, ska man modellera det på bästa sätt? modern ingenjör på ett företag med en uppmuntrades vi ständigt att ha arkitek- Det andra är att utbildningen på AT så enorm ”Baukultur” som SBP”. toniska kvalitéer i åtanke. Särskilt då kretsar mycket kring programmering det ofta saknades tidigare referenser. och att lära sig olika program. Förutom När designen inte var standardiserad att optimera en arbetsgång är det nå- tvingades vi ta lika mycket ansvar för got som ger direkta praktiska fördelar. det rumsliga intrycket som det bak- På sbp arbetade jag för det mesta i omliggande strukturella systemet och Grasshopper och bra kunskaper i det därmed blev vi formgivande ingenjörer”. imponerade, jag fick mer ansvar än övri- ga praktikanter och också mer tid över Geometri och gestaltning till att lära mig andra saker. Samuel Eliasson, AT 2010, betonar tre Det tredje är den referensram inom saker från sin praktik hos Schlaich arkitektur och ingenjörskonst vi har Bergermann Partner: ”Det första är den odlat. Den kommer från arkitekturkur- geometriska förståelsen, både från pro- serna, men också från studieresorna. »» M+ museum, Hongkong. jektkurser, rum och geometri och fler- Det ger en stor självsäkerhet i gestalt- Herzog & De Meuron

internships ab r oad at te n year s 93 johan dahlberg, johanna isaksson

AT = Where Disparate Disciplines Come Together

“To the new generations of designers, experience of architecture, by artisti- engineers, and architects, mathematics cally designing and building a pavilion and algorithms are becoming as natural to simulate a thermal environment. We as pen and pencil.” (Smartgeometry used it to conduct a number of expe- Group) riments testing various ways of using It’s not so easy to describe Smart- heat, moisture, and air to control the geometry for the uninitiated. “A hacka- microclimate. Sensors provided quanti- thon for architects” is the best descrip- tative data, but the physical experience tion we’ve heard yet for a conference of moving through the pavilion gave the on subjects that span from parametric experiments a deeper dimension. modeling, systems optimization, and Another cluster was held together analysis to simulation, programming, by Foster + Partners Specialist and robotics. The group behind Smart- Modeling Group, or SMG. The back- geometry speaks of a paradigm shift ground was NASA’s 3D-Printed Mars in which digital designers and makers Habitat Challenge, in which SMG won can utilize digital as well as physical second prize for a habitat constructed tools to varying degrees, and the group by autonomous robots. The workshops describe their areas of interest as para- took us from simple screws, cables, and metric design, programming, and digital gear wheels through artificial intelligence manufacturing. One thing that is clear and flock simulations to behavioral is that since it launched in 2003 the programming. The communication conference has become a gathering channels to Mars are a little too long for place for all the latest in the interface effective manual control, so we worked »» Model: Nano-Gyroids, A Collaboration between computers and design, and with so-called swarming, in which Between Architects and Crystallographers that every year attracts giants in the robots’ behavior is guided by a set of field – and from outside it – to attend objectives and relatively simple rules. its workshops and lectures. After cities That is tremendous technical depth like London, Barcelona, San Francisco, for an architecture firm, thanks to an and Hong Kong, Chalmers succeeded interdisciplinary team – AT inspiration in bringing Smartgeometry to Gothen- at the highest level! burg. Enthusiasm and hard work Ten clusters This year’s conference theme, Hybrid The workshops were composed of ten Domains, is tied to the interdisciplinary clusters, each of which explored a diffe- nature of architecture, so what better rent aspect of one of the many subjects than to hold Smartgeometry here that fall within Smartgeometry’s sphere at AT, in the field right in the middle of interest. One of this year’s clusters, between architecture and engineering. called Sensory Detective, was led by It is also a confirmation of the state of the Spatial Information Architecture the program after ten years, with AT Laboratory (SIAL) from RMIT University students playing indispensible roles at in Melbourne. In Sensory Detective we all levels of the workshops. In addition had the general goal of creating an to participating actively in every cluster, immersive design experience, a total AT representatives were charged with

smartgeomerty »» Model: Calibrated Modeling of Form-Active Structures »» Model: Sensory Detectives

at te n year s 95 organizing the entire event, and showed designers och hantverkare kan utnyttja fukt och luft, kan styra ett mikroklimat. great dedication in volunteering before, såväl digitala som fysiska verktyg i lika Sensorer gav kvantitativa data men during and after the conference. On grad och beskriver sina intresseområ- den fysiska upplevelsen av att passera the whole, the conference was steeped den som parametrisk design, program- genom paviljongen gav experimentet en in the abundance of enthusiasm, hard mering och digital tillverkning. Vad som djupare dimension. work, and talent that have come to är tydligt är att konferensen från och med Ett annat kluster hölls ihop av define the culture at AT. Seeing those starten 2003 blivit en samlingspunkt för Foster + Partners Specialist Modelling same attributes reflected in conference allt det senaste i mötet mellan datorer Group, eller SMG. Bakgrunden var participants from around the world was och design och att den varje år drar NASA’s 3D Printed Mars Habitat Chal- a unique experience, and a reassuring giganter inom och utanför ämnesområdet lenge där SMG fick andrapriset med confirmation that it is just here, where till workshops och föreläsningar. Efter ett habitat konstruerat av autonoma disparate disciplines come together, städer som London, Barcelona, San Fran- robotar. Workshopen tog oss från idel that Architecture and Engineering cisco och Hong Kong lyckades Chalmers skruvar, kablar och kugghjul, via artifi- flourishes. i år locka Smartgeometry till Göteborg. ciell intelligens och flocksimuleringar till beteendeprogrammering. Kommuni- kationskanalerna till Mars är lite långa för effektiv manuell kontroll, varför vi arbetade med så kallad swarming där mål och förhållandevis enkla regler styr robotarnas beteende. Stort tekniskt djup för ett arkitektkontor tack vare ett områdesöverskridande team, AT-inspi- ration på hög nivå!

Entusiasm och hårt arbete Årets tema, Hybrid Domains, knyter an till den interdisciplinära naturen inom arkitektur och vad kunde då passa bättre än att ha konferensen här, hos AT, i fältet mitt mellan arkitektur och ingenjörskonst. Det är också ett kvitto på var programmet befinner sig efter sina tio år – med AT-studenter som oumbärliga spelare på alla nivåer i workshopen. Utöver aktivt deltagande i samtliga kluster stod AT-representanter för organisation av eventet i dess hel- AT = Möten mellan disparata Tio kluster het och ambitiösa volontärinsatser före, discipliner Workshopen bestod av tio kluster som under och efteråt. På det hela taget ”To the new generations of designers, vart och ett undersökte en egen aspekt genomsyrades konferensen av det som engineers and architects mathematics av något av de många ämnen som fal- kommit att definieras som en AT-kultur, and algorithms are becoming as natural ler under Smartgeometrys intressesfär. ett överflöd av entusiasm, hårt arbete as pen and pencil” (Smartgeometry Ett av årets kluster Sensory Detective och begåvning. Att se samma egen- Group). leddes av SIAL (Spatial Information skaper speglade i konferensdeltagare Det är inte helt lätt att beskriva Architecture Laboratory) från RMIT i från hela världen var en unik upplevelse Smartgeometry för den oinvigde. Ett Melbourne. I Sensory Detective hade och vad man kan konstatera är att det dreamhack för arkitekter är det bästa vi det övergripande målet att skapa är just här, i mötet mellan disparata vi hört hittills för konferensen med en immersive design experience, en discipliner, som Arkitektur och Teknik ämnen som spänner från parametrisk totalupplevelse av arkitektur, genom trivs som bäst. modellering, optimering och analys till att konstnärligt utforma och bygga en simulering, programmering och robotik. paviljong för simulering av termisk miljö. Gruppen bakom Smartgeometry talar Här utfördes ett antal experiment för att om ett paradigmskifte där digitala se hur man på olika sätt, genom värme,

smartgeomerty Brady Peters, director Smartgeometry: “On behalf of the Smartgeometry (SG) organization, I want to thank all of the students and staff at the Chalmers University of Technology for your invaluable service to the SG Hybrid Domains” workshop and conference. The SG 2016 was the most interdisciplinary, and one of the best in the history of SG. We pride ourselves on staging one the world’s greatest architecture gatherings. The facilities at Chalmers were incredible – the ‘concrete hall’ was the perfect space for the workshop. The volunteers worked incredibly hard to prepare for, organize, and run the event, and beyond this, most were also completely engaged in the content and research of the workshops! Our brief, but intense, visit to Gothenburg, Sweden, has been one of the highlights of all Smartgeometry events to date. So, to all of you who helped make SG 2016 possible – our sincere thanks and welcome to the Smartgeometry family!”

»» Model: MARS, Martian Autonomous Robot Swarm »» Smartgeometry overwiev

at te n year s 97 PS

Three reflections of the editor in retro- And a reflection from the translator as spect: well: Less than one hundred days from I studied architecture and urban commission to printed book is extre- planning at Chalmers in the early 1990s mely fast, typical AT tempo. It would and have been working in those fields not have been possible without the – and translating from Swedish to contributions from all involved in the English on the side – ever since. production. In my current work trying to structure The book is an edited selection from urban development in Chicago around a much richer collection of insights and public investments in light rail and memories. It is nevertheless striking better bus transit, there is a massive how much engagement and enthusi- need for people who can bridge the asm there is about AT among all those gap between big data and planning who have contributed. The pleasure of policy. I hope thirteen years from now I work is contagious. will be asked to translate the ten-year AT is a meeting between the per- jubilee book for the Planning and Data spectives of architects and engineers, program … between art and technology. It’s an ex- The future is in the gaps between tension of a long tradition, from the 160 fields. That’s where the opportunity years that Chalmers has been training is – for innovation, for optimization, for architects. disruption. John Krause Tre saker som redaktörens reflektion i efterhand: Och en reflektion från översättaren: Knappt hundra dagar från beställ- Jag studerade arkitektur och ning till färdig bok är en extremt snabb stadsbyggnad på Chalmers i början av process, typiskt AT-tempo. Det hade 1990-talet och har arbetat inom dessa inte varit möjligt utan alla som ställt upp fält ända sedan dess – och översatt på förutsättningarna och bidragit på från svenska till engelska vid sidan om. olika sätt. I mitt nuvarande arbete, med att Boken är givetvis ett redigerat urval utveckla staden Chicago genom offent- ur ett ännu rikare material. Det är ändå liga investeringar i spårtrafik och bättre påfallande hur mycket engagemang busstrafik, finns det ett väldigt behov av och entusiasm över AT som finns hos folk som kan överbrygga klyftan mellan alla på olika sätt inblandade. Arbets- ”big data” och stadspolitik. Jag hoppas glädjen smittar av sig. att jag om tretton år blir ombedd att AT är ett möte mellan arkitektens översätta en tioårsjubileumsbok för ett och ingenjörens synsätt, mellan konst program för Planering och datorteknik och teknik. Därmed återknyter AT till en … tradition som länge var stark under de Framtiden finns i glappen mellan 160 år som det utbildats arkitekter på områden. Där hittar vi möjligheterna Chalmers. – för innovation, för optimering, för Claes Caldenby upplösning. at te n year s 99