Aarhus Documents 01

A Beaux Arts Education for the 21st Century AARHUS DOCUMENTS 01

A Beaux Arts Education for the 21st Century

Aarhus Documents 01: A Beaux Arts Education for the 21st Century

Editor: Gerard Reinmuth Content Manager: Louise Heebøll Translation: John Mason, Jette Jansen, Tjeksproget.dk, Gerard Reinmuth, Louise Heebøll Layout: Gilbert Hansen, B Print: Narayana Press, Odder ISBN: 978-87-92700-01-8 Publisher: The Architectural Publisher B in collaboration with the Aarhus School of Architecture © 2011, Fonden til udgivelse af Arkitekturtidsskrift B Copenhagen and B the Aarhus School of Architecture, the authors and photographers ACKNOWLEDGEMENTS I want to thank the students of fi rst year ture for providing regular feedback, cri- CONTENT 2009-2010 who are listed at the back of tique, disagreement and encouragement the book. The energy and vitality of the in equal measure. In particular, Niels student body at the Aarhus School of Park Nygaard must be acknowledged as 6 Foreword Torben Nielsen Architecture provides an inherent rea- a proxy co-researcher for the chapter on 8 Introduction Gerard Reinmuth son to be engaged within the school and ‘Architectural Education in Denmark’. A This book would never have been possi- this group were exemplars in this regard. detached perspective was provided by a ble without the extremely generous and I could also have individually thanked number of Australian colleagues of whom PART ONE: A NEW BACHELOR open way in which Anders Gammel- some particularly engaged and enthusias- Adrian Lahoud and Anthony Burke must gaard Nielsen and Anne Elisabeth Toft ad- tic members of the student body for their be mentioned. I would also like the thank 12 Redesigning First Year Gerard Reinmuth dressed my imposition in their teaching contribution to the success of the study the current Australian Ambassador to 14 Rethinking the Bachelor Degree Course Anne Elisabeth Toft & Anders Gammelgaard Nielsen program during the 2010 spring semes- trip to Australia, but I suspect that they Denmark, James Choi, who also reviewed ter. Having only just established a new know who they are already. my ‘context’ pieces and subsequently fi rst year program, Anne Elisabeth and provided further insight into Danish cul- 18 Context 1: ARCHITECTURAL EDUCATION IN DENMARK Gerard Reinmuth Anders allowed their creation to be sub- The study tour would not have happened ture and politics. Teneil Van Dyck of my jected to a range of inquisitions, critiques without the support of the University of offi ce formally proof-read, edited and, and suggestions all before the fi rst year of Technology, Sydney. where necessary, challenged the fi nal PART TWO: FIRST YEAR, A CONVERSATION the new program had even been complet- texts and translations, providing a fresh ed. Over and above any pedagogic or in- The Rector of the Department of De- pair of eyes when we needed it most. 30 Slow Architecture Gerard Reinmuth tellectual machinery in place, a generous sign, Architecture and Building, Desley 34 Unit 1a: General Approach to the Teaching of Architecture Anders Gammelgaard Nielsen approach is perhaps the most signifi cant Luscombe, must be thanked for allow- My involvement in this pedagogical test- characteristic in determining the success ing such an ambitious invasion of her ing ground could not have occurred with- 40 Unit 1b: General Approach to the Teaching of Architecture Anne Elisabeth Toft of any pedagogic endeavour. Their partic- campus to occur at all, while Head of the out the full support of my practice and in ipation in this book was also signifi cant, School of Architecture Anthony Burke particular my co-directors Richard Blythe not only via their authorship of key texts must be thanked for backing the project and Scott Balmforth. I must also thank Projects concerning the fi rst year program but in a from the outset, advocating the venture Tamara Donnellan and Chris Rogers who 48 The Motor Unit 1a Anders Gammelgaard Nielsen co-editing role on the specifi c parts of the with the Rector and providing the neces- managed TERROIR’s Sydney offi ce in my book that relate to their respective studio sary leadership within the school to make absence allowing me large tranches of 72 Composition and De-composition Unit 1b Anne Elisabeth Toft assignments. it happen. The second Year Coordina- time overseas to participate in the proj- 94 Jack in the Box Unit 1a Anders Gammelgaard Nielsen tor, Joanne Jakovich, also deserves special ect. Anne Elisabeth and Anders were support- mention for her efforts to integrate one 116 Bridging the Gap Unit 1b Anne Elisabeth Toft ed in their teaching program by an en- hundred and twenty Scandinavian stu- Finally I wish to acknowledge Torben 140 Earth and Sky Unit 1a Anders Gammelgaard Nielsen thusiastic and highly engaged group of dents with her student body and teaching Nielsen, Rector of the Aarhus School of tutors who provided a valuable resource program and for her resolution of the nu- Architecture and originator of my in- 174 Structure, Seriality and the open Programme Unit 1b Anne Elisabeth Toft in terms of communicating the school’s merous organisational and coordination volvement in the fi rst year experiment program in fi ne detail. Of these tutors, dilemmas that regularly presented them- and of my role as Editor of this book. It Louise Heebøll continued her involve- selves during the time in Sydney. My as- is rare that someone in his position has 210 Context 2: SCHOOL IN A CITY, CITY IN A SCHOOL Gerard Reinmuth ment in the project as Content Manager sistant, Rachael Annear, must be thanked the bravery to invite an outsider to inter- for the book. Louise coordinated the de- for her role as proxy travel agent for the vene and critique a new experiment in livery of the book content and personally months before the trip. The combination education, particularly when this experi- PART THREE: AUSTRALIA photographed many of the student proj- of her delightful manner and organisa- ment is in many ways his personal proj- 224 A Practitioner in the Academy Gerard Reinmuth ects that appear on the following pages. tion skills defused one potential disaster ect and has been closely associated with She was also an important interface with after another and without her regular in- his ascension to Rector. To then ask me 229 The Opera in Three Acts Gilbert Hansen who must be thanked tervention the trip would not have been to be Guest Editor of a book on this ex- 250 Broken Hill Rasmus Grønbæk Hansen & Stefan Rask Nors for the graphic design and layout. Final- possible. periment and to provide no interven- ly, Louise’s understanding of Ander’s and tion whatsoever in the content is quite Anne Elisabeth’s separate approaches to A number of people went to great lengths remarkable. I hope that he fi nds this vol- 264 Context 3: A COLLECTIVE CULTURE Gerard Reinmuth teaching was of constant assistance and to either proof read my texts and engage ume worthy of the resources invested in this knowledge informed many of the de- in conversations about them. In partic- realising it and the lack of censorship to tailed decisions required to resolve the ular, I must thank Claus Peder Pedersen, which it was subjected. 270 The Future Torben Nielsen layout. Mads Tholstrup and Niels Park Nygaard Gerard Reinmuth, Aarhus, from the Aarhus School of Architec- December 2010.

4 - Acknowledgements Content - 5 0.1 Dear Reader, FOREWORD In your hand you are holding the fi rst book in a new series called ‘Aarhus Documents’ which will be pub- Torben Nielsen lished annually by the Aarhus School of Architecture.

We have not edited the book ourselves but given a person – one who is not ordinarily part of our school and it’s history – free rein to analyse, criticise and give a honest assessment of the Aarhus School of Architecture – for good or bad – so that we can be challenged.

The task has been given to the Australian architect and this year’s Visiting Professor at the Aarhus School of Architecture, Gerard Reinmuth. He is responsible for the conception of the book. Reinmuth developed the book’s structure and also collaborated with Gilbert Hansen on the layout.

While this book initiates a series of annual publications, they will not be yearbooks in the normal sense. There is no description of the school’s present departments or projects from the fi rst to the last year of study. On the contrary, the book focuses solely on the fi rst year of study. A phase understood by all architects as the beginning of a long life in the puzzling and sometimes overwhelming world of architecture. A world of op- portunities, frustrations and wonderful experiences, a world where it is about generating form and space for the benefi t of human beings and their daily life. So, dear reader this book deals with the fi rst year of study at the Aarhus School of Architecture in the academic year of 2009/10.

The fi rst year of study is perhaps the most important year of education because it lays the foundation for the rest of the architectural programme. This is where the standard is set. From a educational stance the fi rst year of study must challenge and fuel the coming years. This should continue throughout the academic pro- gramme. You have to be kept focussed in order to get better and develop both as a teacher, a researcher and a student.

The Aarhus School of Architecture is in the middle of a process of change, with regard to both structure and content. Individual responsibility, the will to experiment and the development of artistic innovative work are intensifi ed. This is what we wish to support and strengthen in both teaching and research. Concurrently we are focussing on a high academic level in both the bachelor and the master programme.

The book illustrates the initiation of a hopefully new development of the high-quality school that we already have; a school that for many years – and I suppose through its entire four fi ve years of existence has had a strong position in Denmark and internationally. This must continue. It does require, however that we are also able to meet new challenges; that we respond to a world in rapid change; a change that requires that we de- velop the Aarhus School of Architecture both with regard to pedagogy and research.

We wish to thank Gerard Reinmuth for his work on developing the publication content and editing the book and for having had the courage to analyse and criticise. Thanks to Anne Elisabeth Toft and Anders Gammel- gaard Nielsen for the huge task in heading the two project processes of which the fi rst year of study has con- sisted. Thanks to all the teachers who have made the teaching and the students’ studies interesting and re- warding. Thank you to Louise Heebøll whose efforts in gathering all the threads enabled the publication to succeed.

I hope that the book can trigger some thoughts and inspire both ourselves and others so that we can set the agenda for architecture and the architectural education of the future – equally when it comes to research and education.

Torben Nielsen, Rector

6 - Foreword Foreword - 7 0.1 How does a school whose practices the Aarhus School of Architecture ious discourses relating to the train- ucating new students. While Mas- am constantly surprised at the way are fi rmly planted in the Beaux Arts has become a laboratory for test- ing of architects? A survey of pub- ter level studios are often run on this issue is handled by career aca- INTRODUCTION tradition respond to these emergent ing the pedagogical strategies devel- lications on education reveals a the basis of the course leader’s PhD demics who are teaching the next Gerard Reinmuth conditions? In 2008 Torben Niels- oped by the group and has resulted persistent focus on the more ‘glam- research interest and might actual- generation of architects. There is a en2, the Assistant Rector3 of the Aar- in a rolling set of transformations orous’ Masters studios run by well- ly have little sense of responsibili- surprisingly limited understanding hus School of Architecture, select- in later years which are now pro- known practitioners, which are un- ty toward the precise development of what actually happens in prac- ed a group of academics from the gressing into the second and third derpinned by their current research of each individual student. Teach- tice or what its pedagogical poten- school who had varying research years of the Bachelor degree. The interests. Comparably little space is ing in fi rst year requires very clear tial is. This issue is hindered by the interests and pedagogic approaches fi rst year education has subsequent- given to teaching fi rst year architec- pedagogic ambitions - coupled with antagonism towards the academy and tasked them with reviewing the ly been rebuilt over the past three ture outside very specifi c arenas of the ethical requisite that students which persists in the profession - a School’s education from top to bot- years in response to this transfor- discourse within the academic sys- gain a broad range of experiences large part of which considers gradu- tom. An ambition to increase the mative agenda, culminating in the tem. A proposed question to inter- as a foundation for further explora- ating students unprepared or at the quality of Masters students’ at the fi rst complete test-drive of the new rogate is why teaching in fi rst year tion and ultimately specialisation very least ill-equipped to practice School led to an inevitable focus on education in 2009-10. is usually considered a less desirable of one form or another. That is, the architecture as they defi ne it. Only the formative years of the Bachelor role in architecture schools? It is pedagogic aims and ambitions, and a very small minority cross these degree as the initial site for chang- WHY FIRST YEAR? generally utilised by young academ- the structure via which these are battlelines with the comfort borne es to the established pedagogy. The First year is a formative experience ics primarily as a way into ‘the sys- to be realised, needs to be thought of a mutual understanding. group was then asked to consid- in the student’s education and of- tem’, a platform from where ascen- through in the context of education er how the Bachelor degree might ten reverberates throughout their sion to a teaching role at Masters and learning as opposed to the ten- While recent changes made to the be reformed in light of a perceived career. First year is often a shock, level may commence. dency for Masters level teaching to fi rst year teaching program at the disjuncture between education, re- given the transition from a struc- be self-focused on the studio lead- Aarhus School of Architecture are search and practice at the school tured high school education to the A CONTESTED SPACE er, their ambitions and on occasion the primary subject of this book, and a more pragmatic requirement demands of a higher education de- “In the early 2000s practitioners and their own works. they have occurred in parallel with to align the course structure with gree - particularly in regards to ar- the profession demanded that architec- a complete restructure of the entire the Bologna Accords.4 chitecture where the curriculum tural education develop in one direc- The issue of research is equally School, which thus forms a back- and pedagogical models can be tion, while the requirements of univer- vexed. As most countries demand ground condition for many of the While this all sounds fairly straight- vastly different to anything stu- sities and the wider community were greater research activity from their discussions contained within it. forward, the Aarhus School of Ar- dents have previously experienced. gradually pulling it in another. Fran- institutions, teaching time is re- While some institutions have ad- “Around the world architectural edu- chitecture is, like many schools, First year is the moment when stu- cis Duffy argues that this situation duced including the time available dressed The Bologna Accords by the cation is evolving in response to a new wrestling with a generational tran- dents fi rst encounter formal lectures is inevitable; ‘both the teaching and to prepare for it. Research output simple act of renaming or redefi n- international agenda and there is a sition which makes for a particu- about architecture and where they the practice of architecture are fi rm- is a key measure of the quality and ing certain activities, the Aarhus growing awareness that architectural larly sticky and unwieldy context initially come into contact with the ly embedded in society and, when so- standing of contemporary univer- School of Architecture has used it as practice has also changed. Advanced for someone with a transformative enormous range of techniques and ciety changes, both must follow.’ The sities. This has led to particular di- a prompt to restructure their entire technologies, innovative business and agenda. Simplistically, it could be skills that will be developed and re- end result of this situation is that the lemmas for the discipline of archi- degree. The focus on fi rst year can partnership models and new modes said that the combination of gen- fi ned over their careers. Of equal fabric of architectural education had tecture where the very question as be rationalised as it is a profound- of interaction have all assisted archi- erational factions and a Danish re- importance is the immersive nature become stretched taut between the to what constitutes valid research ly vital component of an architect’s tects to adapt to, and operate within, liance on consensus building (with of the program. First year is the site confl icting desires and commercial re- particularly in the areas of ‘research education and therefore has been an increasingly global workplace. In the consequently complex and in- where students encounter the work alities of its stakeholders.”5 by design’ is contested. A number the preference selected by the Rec- this environment there are heightened direct way that power is wielded) ethic of an architect in practice for of problems emerge in relation to tor of the School to start address- concerns for ecological and social sus- tends to result in radical change be- the fi rst time. This cocktail of infor- First year is a particularly diffi cult the very defi nition of research and ing these changes. This book is a re- tainability and architects are ideal- ing diffi cult to implement within mation, sensory and at times phys- venue from where to address the how to integrate research activi- cord of the context within which ly positioned to take responsibility for a single tenure as Rector. This con- ical overload leaves a strong im- tension between the roles of the ed- ty with teaching. The requirement this occurred, the steps that led to these issues. However, in order to rea- dition will be familiar to many of pression which has a profound ucator, researcher and practitioner for a particular breadth in the fi rst the development of the new curric- lise this potential, architects must di- our academic readers, perhaps with and continued effect on the way which defi nes much contemporary year program adds a further level ulum and of the work undertaken rectly engage with the new knowledge their own local contingencies. in which students develop an ap- discussion about architectural edu- of complexity for those teaching at in that year. economy and work in close partner- proach to design and the idea of the cation. this level. ship with their academic counterparts. Despite these complexities, a review profession as a whole. This book attempts to problematize In this way architects may be able to of the Bachelor degree was com- I will briefl y fl esh out this tri-po- This education-research debate is these changes at Aarhus and in do- take advantage of the opportunities pleted in 2008 and a series of rec- Given the signifi cance of the fi rst lar contest starting with the role of compounded by a persistent confu- ing so hopes to offer other schools a presented by the global workplace and ommendations were put forward to year program, why is it that this the educator. My personal perspec- sion of how to engage practice. As suite of questions and provocations take responsibility once more for the the Vice Rector and accepted. Since critical moment in an architectural tive is that fi rst year is a demanding a practitioner with a heavy involve- to stimulate their own course de- future of our built environment.”1 2009, the fi rst year of education at education has little presence in var- one given the responsibility of ed- ment in architectural education, I velopment. It is intended for a wide

8 - Introduction Introduction - 9 readership – from those considering requirements at the fi rst year level. so I have made numerous short- where to commence an architecture My contribution to this experiment cuts in the interest of brevity ensur- Part One degree to academics in other insti- – centred on a study trip to Aus- ing the focus remains on the main A NEW BACHELOR tutions who are wrestling with sim- tralia – is something of a slice cut content. Whether any value resides ilar issues. In addition to these spe- through the program by an outsider in this approach will be for others cifi c audiences, it is also hoped that and practising architect. In my spe- to judge. the broader profession will fi nd the cifi c case, perspectives on research content relevant as they continue and practice which had developed ENDNOTES to refl ect on their own practices in external to this environment were 1. Ostwald M. & Williams A., 2008, ‘Under- standing Architectural Education in Austral- conjunction with their own educa- bought to the program and enacted asia: An Analysis of Architecture Schools, tional experiences. in response to what I had encoun- Programs, Academics and Students ’, Aus- tered at the school. tralian Learning and Teaching Council, Vol.2, This book will unpack the process p. 4. of this transformation, the content As for my involvement more gener- 2. Torben Nielsen subsequently became Rec- tor in February 2010. of the education and the issues it ally, the role as contributor and ed- 3. The title for the Heads of the two schools has uncovered in three ways. First- itor of this volume resulted from of architecture in Denmark is Rektor. Al- ly, the conceptual drivers behind my engagement by the school as though this title is rarely used in English the new fi rst year education are ex- a Guest Professor in 2010 to en- we have translated it directly here to Rec- plained by those responsible for re- gage directly with the fi rst-year ex- tor. Using the more common title of Dean might imply a standard university structure, designing and running the pro- periment. Yet, the request from which is not the case with the two schools gram. Secondly, the actual teaching the Rector to edit this book with- which stand alone as institutions within program is outlined in detail by us- out censorship and from my own themselves. ing examples of the work which re- viewpoint was a surprise and exhib- 4. The Bologna Accords were enacted in sulted. Interrupting this core struc- its a bravery that currently exists in 1999 to underpin a common European Higher Education Area within which aca- ture are three interventions I have the leadership of the school which demic degree standards would be compat- authored – on the contexts provided I can only commend. Yet, it does ible. by Danish architectural education leave me with the strange task - and 5. Ostwald M. & Williams A. 2008, Op.Cit. and its history, on the school’s en- responsibility - of somehow giving p. 9. vironment and on the constellation enough of an insight into Danish of teachers and assistants responsi- society, schooling and architectural ble for the education at the school. education to suffi ciently contextu- alise the content of this book about A NOTE ON THE AUTHORS a School that I have only recently The two key contributors – Anne- come to know. Elisabeth Toft and Anders Gammel- gaard Nielsen– examine this gener- Subsequently, the book is coloured al framework enacted through two by my fi rst-hand perspectives and separate but equally specifi c lens- an acceptance of a certain naivety es. We will see how the research in- as is the luxury of the visitor. I am terests of each – which can be loose- not Danish, I am not an academ- ly described as representation in the ic (but a practitioner who some- case of Toft and research by mak- times teaches), and I have been a ing in the case of Gammelgaard spectator, not an originator, in re- have driven quite different respons- gard to the educational initiatives es to the same questions concern- being discussed in this book. There- ing fi rst year. In both cases, we will fore, I have allowed the various see a research agenda which has contributors to the education speak been explored at PhD level that in- in their own words wherever possi- forms teaching in the fi rst year of ble. When my voice does appear I the Bachelor course, thus confi rm- have attempted as much as possible ing the potential for a direct link to give an account of the education between research and educational and context “as I see it”. In doing

10 - Introduction 1.2 at the school since the mid-1990s ing the degree. Many of these are school4, the fi ve departments5 have of clearly defi ned constellations Finally, the Aarhus school has suf- and in 2006 became Assistant Rec- diffi cult for an institution to public- had an organisational function with aligned research agendas. Per- fered in recent times from a lack of REDESIGNING FIRST YEAR tor – a period during which he set ly identify and some may not have based on disciplinary lines but very spectives are honed by public in- international input. Academics with Gerard Reinmuth in place the agenda which is now been articulated in the formal doc- little organisation of the research tellectual engagement and confl ict. a longer history at the school6 will being enacted. Thus, while Nielsen umentation produced by the team agendas within each Department, Considering this, it can be suggest- recall how in the 1980s a very high has the unenviable task of chang- working on the project. Thus the particularly in the case of the larg- ed that structural and cultural issues proportion of staff were from over- ing an environment of which he commentary below is something of est of these which has been devoted at the Aarhus School of Architecture seas and the culture at the school At present, the Bachelor education has been very much a product of, it a fi ctional account of my person- to Architecture. conspire with the studio-teaching was one of intense engagement at the Aarhus School of Architec- is my opinion that to task an ‘out- al creation, based on my percep- emphasis to create an environment with international architecture cul- ture is structured around a two year sider’ with this particular agenda tion of the issues in play. The verac- This lack of articulated difference in which has been non-conducive to ture.7 In recent years, the culture introductory education after which would result in massive resistance ity of this account can be measured approaches presents diffi culties for a strong research culture and pro- has ossifi ed and internalised and each student would join a depart- and, most likely, no effect. Navigat- in that it survived six months of in- anyone redesigning a Bachelor de- fi le. These issues also constrain the nearly all new staff have come from ment for their third year. These dis- ing the complexities and intricacies formal conversations with those in- gree as a complete education. The research culture in less direct ways a circle of familiar colleagues or for- cipline focused departments (Archi- of any school structure and politic volved in the Bachelor redesign and fi rst two years have been run as si- - for example, the school lacks an mer students. tecture, Landscape and Urbanism, is diffi cult and altering these is near is supported by my observations los with little interrelation between organised publishing apparatus to Architectural Heritage, Design and impossible without a mandate. It is of the new fi rst year education in the two programs - if anything, enable the distribution of research Thus while the development of a Architectural Design)1 then provide critical to assert that this restructur- progress. the two years have until recent- content. new Bachelor degree was not offi - a home for students’ from third ing is by its very nature is diffi cult ly housed completely differing ap- cially based on these issues they are year onward extending to the Mas- to achieve in the Danish consen- The fi rst of these has been, until re- proaches to how Bachelor students Another dilemma at the school is omnipresent in its conception and ters degree. However, the require- sus culture. You simply can’t just do cently, a lack of a combined vision should be taught. Then in third an uncertainty in regard to Dan- structure. The offi cial account of ment to align with the Bologna 3+2 what you want. at the school. For, despite the in- year, students have entered one of ish tradition. This is perhaps unsur- this process is given on the follow- model – a clear three year Bachelor credibly networked nature of the the fi ve disciplinary-based depart- prising given the recent transforma- ing pages by two of its chief archi- education followed by a two year Subsequently, Nielsen gathered to- staff body – most have taught to- ments, adding a third disconnect- tion of Danish architectural culture tects, Anders Gammelgaard Nielsen Masters prompted the rethinking of gether a small group charged with gether, have taught each other, or ed component to their Bachelor ed- from a locally involved and refl ec- and Anne Elisabeth Toft. this structure. rethinking the Bachelor degree. Two studied together at the school – in ucation. tive community to a practice based of this group – Anders Gammel- an institutional sense the School is on the importation of foreign mod- ENDNOTES It has been interesting to watch a gaard Nielsen and Anne Elisa- quite fragmented. Members of staff While it may be argued that expo- els and the export of services in- 1. Until recently the school has had 5 de- partments, which will be abandoned from number of schools of architecture beth Toft – would go on to run are well aware of each other’s in- sure to three different approaches is ternationally. However, there are mid 2011 as the result of a restructure of the 2 respond to the Bologna Accord the fi rst iteration of the new struc- terests and a great deal of cross-stu- of value to students, the ill-consid- also local issues, not least of which institution which took place during 2010. over the past few years. Some have ture. In the following pages, Gam- dio activity occurs in the form of ered way alternate approaches have is the mortgage held by the Royal 2. 1999 Bologna Accord was established to simply re-branded or re-named melgaard Nielsen and Toft outline visiting critiques and informal dis- been introduced to students is in- Academy of Fine Arts on the idea of create a European Higher Education system their existing courses and made mi- this process and the key issues they cussions, yet there are few public tellectually and programmatical- a Danish tradition and the Aarhus allowing academic qualifi cations and quali- ty assurance standards to be recognised. nor adjustments to accommodate chose to address in this restructur- intellectual contests in evidence. ly ineffi cient. A unifying structure school’s need to differentiate itself 3. As articulated in author’s article ‘Con- the minimum form of compliance. ing process and in the rewriting of The long-standing social connec- which can underpin a logical pro- from that institution. text 1: Architectural Education in Denmark’, However, the more ambitious and the Bachelor degree which resulted. tions among staff does not work as gression through the Bachelor de- that identifi es the marginalisation of theo- self-critical schools have taken the a resilient foundation for ideologi- gree and appropriately organise the Having raised the issue of practice ry and history studies that are dominated by opportunity afforded by the Ac- The Aarhus School of Architecture cal contests but rather breed a fear way in which students come into we are presented with another co- the role of the design studio at the Aarhus school. p. 24. cord to completely reconsider their has, like any school, its strengths of articulating difference. Further, contact with different perspectives nundrum – how to engage the ex- 4. Ibid. p. 18. course and this is exactly what hap- and weaknesses. In the case of Aar- there are no formal breeds research has been absent. tended profession? As a mirror of 5. Refer to note 1. pened at the Aarhus School of Ar- hus a strong studio and teaching centres which organise or articulate the academic culture, the scale of 6. The author has discussed this phenome- chitecture. tradition pushes up against a weak- the various research interests in the This lack of combined vision and a the city of Aarhus and the intense non with teachers at the school including ness in the way disciplinary knowl- institution which would perhaps as- unifying structure has perhaps in- connectivity between the profes- Tine Nørgaard and others who bemoan the current lack of new staff at the school from It is important to note that the Rec- edge is transmitted to students3 sist in depersonalising contests of evitably resulted in defi ciencies in sion (nearly all of whom studied at overseas. tor charged with seeing through and, related to this, a weakness in this type. the School’s research culture and the school) and the school has led 7. Until his untimely death in January 2006, these changes at Aarhus - Torben research generally. profi le. Like any school, The Aar- to a high degree of social interac- Svein Tønsager was an energetic member of Nielsen - is very much a product of This lack of clarity in terms of re- hus School of Architecture con- tion between the two architectural the school who is perhaps best known for the environment he is now trans- While this is a key structural issue search interests results in a form tains a small number of highly ac- institutions. This social interaction his organisation of a series of internation- al lectures that brought many of the world’s forming. With an established pro- which underpinned the design of of total cohesion which in fact tive academics who are able to forge leads to numerous informal engage- key architects to the school throughout the fi le in the fi eld of light in architec- a new Bachelor education, a num- shrouds myriad differences that are out a reputation beyond their in- ments, roles as guest critics and so 1990s. ture, Nielsen could be said to be a ber of other defi ciencies in the way never formally articulated. As dis- stitution. However, the strongest on. However, none of these inter- teacher and researcher with classic the Aarhus School operated were in- cussed in my refl ection on the cur- schools tend to generate their re- faces are particularly strategic or of Scandinavian interests. He has been fl uential in the process of redesign- rent educational paradigm at the search profi le from a combination lasting value to either party.

12 - Part One A New Bachelor - 13 1.2 This chapter contains refl ections on this is vital in order to answer the arose that we would make a book in September the same year. The au- collaboration with educational in- the background for rethinking the challenges presented by society at documenting and discussing this thors of the vision statement were stitutions abroad. In this way a ba- RETHINKING THE bachelor degree course at the Aar- any time. experiment in developing the new given the responsibility for the im- sis is established for adding value to BACHELOR DEGREE COURSE hus School of Architecture. bachelor course. plementation of the new initiatives Danish and foreign courses through The Aarhus School of Architecture beginning with the teaching of the sharing knowledge and exchang- Anne Elisabeth Toft & BACKGROUND was last restructured in 2002, when The initial stage of working on new fi rst year units. ing professional skills. We are con- Anders Gammelgaard The initial ideas for this book orig- its current curriculum was formulat- the vision consisted of an exten- vinced that such collaboration will inated more than three years ago. ed. Since 1994, however, the school sive period of internal and exter- With the new bachelor degree run- contribute to improvements in the Nielsen At that time – January of 2008 – the has made conscious attempts on nal research. The internal research ning in its third year many of the creation of networks and in cultur- then senior management team1 of several occasions to work on devel- consisted in reviewing a series of initiatives have been implement- al understanding, which will ben- the Aarhus School of Architecture oping the fi rst component of the analyses of the School of Architec- ed and considerable change has al- efi t the parties involved in a global initiated a comprehensive process degree. This has been done in the ture by third-party consultants un- ready occurred. Most of the changes context characterised by mutual de- of development, with the intention belief that the foundation course dertaken during the previous fi ve are indentifi ed within the fi rst year pendence. In this context the idea of creating a degree course in ar- is signifi cant for the outcome of years. Concurrently, we made a course. However new initiatives are is that in the future, academic staff chitecture that could hold its own the architectural degree course as a thorough study of the history of now appearing in the second year in the bachelor course will devel- with the best in the world.2 Accord- whole, and that regularly upgrad- the school from its foundation in course resulting in radical chang- op interdisciplinary research col- ing to the management’s strategic ing the course will result not only 1965. The external research consist- es. The third year course is still ‘un- laborations with selected schools plan, this process of development in more qualifi ed bachelor gradu- ed of a survey and analysis of bach- touched’, but will in the coming ac- of architecture and design studios was framed towards ‘internation- ates but also in more qualifi ed mas- elor curricula and schools in Europe ademic year be the focus for new abroad. The internationalisation al excellence’ that would begin with ter graduates. and North America. These investi- initiatives. This will lead to the full of the bachelor course will also oc- a rewriting of the bachelor degree gations were followed by interviews implementation of a new bachelor cur through the presence of visiting course.3 The aim of the new independent with local, national and interna- degree. professors from abroad, just as its bachelor school was to give the tional partners. international character will fi nd ex- From the management’s side there bachelor degree a clearer profi le, AIMS pression through permanent teach- was a wish that an independent raise academic standards and pro- The fi nal part of the project focused In the following section some of ing staff that ideally will include bachelor school should be set up, mote the sense of an organisation on developing the vision and for- the most important elements de- both Danish and foreign teachers. effective from the 2008 academ- with a common culture and a com- mulating the description of it. This fi ned in the vision statement for ic year. This would mean that the mon set of values.4 It was, at the resulted in a thirty page text that a new bachelor degree will be de- An Arts Degree bachelor course would no longer same time, intended to ensure that touched upon all signifi cant points scribed and discussed. The aim of the new bachelor de- be an entity with roots in the es- from 2010 the course was compati- concerning the operation of the gree is to maintain and strength- tablished fi ve departments of the ble with other architecture courses bachelor school; its teaching and re- An international School en the Danish architecture degree school of architecture. The existing in Europe.5 search along with its communica- In a globalised society in which in- course as a so-called arts degree fol- structure of the departments with tion and management.7 dividuality and tailor-made solu- lowing the tradition of the academy their divisions into a variety of dis- FORMING A VISION tions are increasingly in demand, of arts.8 Taking the arts as a starting ciplines was in many ways very stat- Rethinking the bachelor degree be- The core of the vision was distilled students should be able to com- point it is essential that this tradi- ic and out of step with the times. gan when the school’s management into a series of new initiatives and pose their own degree by follow- tion is challenged in order to gener- It was to be disbanded to give way picked a small group of people to focus areas for the Aarhus School of ing a variety of courses at different ate innovation ensuring that in the to a more dynamic structure that develop a vision of ‘the best con- Architecture. At the same time, the institutions of higher education. future these artistic qualities con- would be organised around projects ceivable bachelor degree course’.6 vision plan identifi ed and took into The course at the Aarhus School tinue to be relevant within society. and networks.This would be a fl ex- account the particular qualities that of Architecture has to be attrac- In our opinion this can be achieved ible model that, it was felt, would The group consisted of fi ve of the had developed from the time of the tive to students both from Den- through a conscious awareness that be more adequately able to live up younger teachers and researchers school’s foundation. Among these mark and from abroad. In our view the artistic tradition is no longer to to contemporary society’s priori- from the school’s fi ve departments. were a tradition of self-organisation this means, for example, that in the function in an industrialised society ties rather than the exising depart- What they had in common was among the staff with a considerable long term the teaching should take but in a knowledge society. ment model. considerable experience of teaching freedom in regard to method and place in English and that the course on both the bachelor and the mas- content of the developed courses should as a whole be more interna- Denmark has traditionally occupied Being responsible for the fi rst pilot ter’s components of the course. The and research. Conjointly teaching tionally oriented. a strong position in the area of ar- project, we believed that the new vision statement was to be devel- has been organised in studios with chitecture. Among several reasons degree course in architecture con- oped within three months. During tutoring on a daily basis. Internationalisation should be pres- this has to a great extent been at- stantly had to be subject to ongo- this time an overall strategy and an ent at all levels in the architecture tributed to the Danish degree in ar- ing reassessment and development. action plan for the project was de- The vision statement was complet- course. The bachelor level courses chitecture.9 We believed and still believe that veloped. Simultaneously, the idea ed in May 2008 and implemented should, therefore, be developed in

14 - Part One A New Bachelor - 15 Danish architects have for many demic set of values and a common dents to refl ect upon their own de- In relation to the execution of ing that is produced by the teach- ENDNOTES years been in international demand culture can be developed in this in- sign process with the intention to courses, exercises and assignments, ers of the bachelor course. Teach- 1. The Rector Staffan Henriksson, the Vice- Rector Torben Nielsen and the Head of Ad- for a set of reasons. Among these terface that will unite the entire develop this as a dynamic and con- emphasis is placed on challenging ing and research are, therefore, in a ministration Kirsten Præstegaard. are the Danish architects’ approach bachelor degree across year groups tinuous process. Simultaneously, it students’ abilities to analyse and to constructive interchange with each 2. Henriksson, Staffan 2008-2011. Handling- to aesthetics, their democratic de- and courses. enables them to combine different act in innovative ways. This takes other right from the beginning of splan (Action plan). Draft of 21st Febru- sign and their ability to think ho- working methods and hereby cov- place, for example, through stu- the fi rst year of the course. ary 2008 for an Action Plan for the Aarhus listically and to create architectural Towers of Knowledge: ering a larger range of design solu- dents acquiring a process-oriented School of Architecture, p. 1. 3. idem. ‘added value’ in society. To main- a Strategy for Communication tions. Last but not least it prevents working method, whereby teach- Through recurrent discussions and 4. Gammelgaard Nielsen, Anders; Høgfeldt- tain this position, at the new bach- and Documentation the students from taking norma- ers and students discuss the stud- through a process-oriented design Hansen, Leif; Lykke-Olesen; Toft, Anne Elis- elor course certain emphasis is giv- To respond to increasing demands tive positions in relation to the de- ies in particular alongside the devel- approach to the selected interdisci- abeth: Visionsbeskrivelse af ny bachelorskole en to the artistic dimension. At the for communication of the results sign process. opment of the students’ ability to plinary themes in the teaching, stu- ved Arkitektskolen Aarhus, p. 11. same time, the course agenda will of the degree course, a digital bank design refl ectively and self-critical- dents gradually develop their archi- 5. Resultatkontrakt 2007-2010, p. 2. 6. The group was made up of the following: primarily enter into teaching and is to be established for the storage The increased emphasis on tools of- ly. Students are taught to identify, tectural vocabulary. This also takes Boris Brorman Jensen, Leif Høgfeldt Hans- research collaborations with other of assignments and projects. The ten enables the students to progress interpret, analyse and contextual- place in connection with the com- en, Andreas Lykke-Olesen, Anders Gammel- schools of architecture that follow a bank’s data are to create a basis for rapidly in developing ideas and de- ise architectural issues. At all stag- pletion of analytical written assign- gaard Nielsen and Anne Elisabeth Toft. similar trajectory regarding an artis- refl ected communication of the de- signs. This occurs through the pos- es of the course, emphasis is placed ments. These written assignments 7. The authors responsible for the formula- tic approach to architecture. gree results of the bachelor school. sibility of critical discussions at a on the students’ working out an in- are typically developed at the same tion of the vision are: Leif Høgfeldt Hans- en, Andreas Lykke-Olesen, Anders Gammel- high level when design proposals dependent architectural expression, time as students work with prob- gaard Nielsen and Anne Elisabeth Toft. The Extended Research Concept The idea is also that the school’s re- are executed with quality and de- a response or suggestions for prob- lem-oriented project work. In the 8. According to ‘Arkitekturnation Dan- It is our intention that the bache- searchers will use this material to termination. As the course places lem-solving the issues raised by an written assignments students can, mark’ – regeringens arkitekturpolitik (‘Den- lor degree will be recognised in the develop new areas of knowledge great emphasis on the development exercise or assignment. Further- therefore, refl ect on their own pro- mark, nation of architecture’ – the govern- future for its integration of teach- in basic research. The knowledge of the students’ design skills, it also more, the aim is for students to be duction, In introducing these, we ment’s architectural policy) (2007), the arts academy tradition of the architecture de- ing, research and artistic develop- bank is at the same time a collec- takes into account the reality that able to place their statements in a wish to promote the students’ com- gree course is seen as ‘a Danish hallmark’. ment work. This is due to establish- tion point for teachers and stu- architect’s work nowadays increas- context (theoretically, analytically, munication and linguistic skills. At Source: ‘Arkitekturnation Danmark’ – reger- ing a number of laboratories that dents in the bachelor course, from ingly addresses the development politically etc). Writing programmes the same time we wish to challenge ingens arkitekturpolitik (2007), p. 48. will nourish new concepts of re- which they can draw inspiration for of so-called ‘immaterial’ design. At and refl ected argument are, there- their abilities to ‘multi-task’. 9. ‘Arkitekturnation Danmark’ – regeringens search, which includes, for exam- the course of assignments that lie the same time many master’s gradu- fore, central elements in the teach- arkitekturpolitik (2007), p. 48. 10. We distinguish here between basic re- ple, research by design and research ahead. Since the communication of ates end up in what are termed new ing of the bachelor degree. The aims for the vision statement search and applied research. by teaching. These concepts of re- the results of relevant work makes types of projects, such as the de- and for the new bachelor degree 11. This condition is defi ned by the Minis- search by design and research by up a vital element in the drive to re- sign of services, messages, systems The desire to create continuity can be summed up in the following try of Culture, regulation no. 531 of 27th teaching are to be in close dialogue form the bachelor degree, both stu- or scenarios. in studies on the bachelor degree overall points: June 2002 on degrees in architecture at the with each other constituting a com- dents and researchers must be pre- course makes it important that from - Teaching in a holistic yet unit Royal Danish Academy of Fine Arts, School of Architecture and the Aarhus School of Ar- mon platform for new forms of pared to have their work made Analysis and the development of the outset methodological links and based course that emphasises chitecture (bachelor and master’s degrees). learning and discourse in architec- accessible to the public. It is to be concepts are now considered as an thematic transitions are established discussion of the subject’s various 12. These working methods are made up ture and research. believed that this will stimulate the architect’s core skills. Therefore the between individual sets of exercis- approaches to method. of: a) a generative working method, char- quality output of the production new bachelor degree gives high pri- es, assignments, courses and lecture - Research and research by design in acterised by an introductory description of The research is primarily intend- and communication. ority to innovation, the generation series over the three years of the relation to teaching. a series of operative actions and their or- der, followed by their activation and exe- ed to be basic research.10 This will of ideas and the development of course. To ensure this overall struc- - Qualifi cation of the pedagogical cution (the process is known, whereas the qualify teaching just as teaching Study Practice strategies at all levels. ture and to create cohesion between and didactic dimensions within outcome is unknown); b) a synthesising will qualify research. It is the am- The core element of the new bach- the syllabuses, certain recurring ar- the bachelor course. working method (also called the contingent bition that a large proportion of elor degree course follows the tra- As the increasing pace of change in chitectural themes are introduced, - Documentation and exposure of working method), characterised by an intro- the school’s teaching material and ditional problem-oriented project the labour market demands an abil- which are discussed and illustrated the research results achieved at the ductory description of all parameters creat- ed by form and space, followed by idea de- students’ work are to be included work.11 This has proved its pedagog- ity to adjust and to think in new in various ways in conjunction with bachelor school. velopment, which releases the parameters as actual research material for the ic qualities since the foundation of ways, the course responds to this by teaching. In the fi rst year an over- - Development of new models for in a synthesis; and c) a conceptual working school’s researchers. In this way stu- the Arhus School of Architecture. stimulating the students’ entrepre- arching theme of the course, for ex- project and network collaboration. method, whereby ‘image transferences’ from dents’ completed assignments are neurship skills through integrating ample, is working method, and here - Development of strategies for in one discipline area to another create the ba- subjects to create a background for The new initiatives are the system- an Innovation and Entrepreneur- students on both units are intro- ternationalisation. sis for the design process. The images can be, for example, linguistic, photographic, research refl ections. Corresponding- atic introduction to a broad vari- ship approach into the course. The duced to three working methods painterly or auditory in nature. ly, research results should be able ety of working methods and tools. teaching prioritises the development – the generative method, the con- to form a starting point for teach- This provides different perspec- of interdisciplinary forms of study- ceptual method and the synthesis- ing and for courses for the school’s tives. The introduction to diverse ing and collaborating, team-building ing method.12 These themes are also students. The idea is that an aca- working methods enables the stu- and group-based problem-solving. refl ected in the research by teach-

16 - Part One A New Bachelor - 17 1.4 standing, applying any of the lessons contained with- “It is true, that the Danes have developed, adapted. They in this volume in another context would be futile. I also have travelled the world and had connections of trade and Context 1: ARCHITECTURAL EDUCATION IN DENMARK contest that publications on architectural education culture in all parts of the world. But they have never ac- Gerard Reinmuth which omit this perspective are incomplete. complished a synthesis of diverse elements, as is required, if Denmark is to be spoken of as a genuine nation. Their co- In our twenty-fi rst century globally interconnected re- herence as a people is in fact due to an emphasis on homo- ality - where the very idea of culture as a stable, shared geneity. Here counts not both/and, but either/or.”5 condition is fundamentally questionable2 - the stubborn consistency of Danish culture demands refl ection and The sentiment contained within H.C Andersen’s phrase observation. The issue can be approached by invok- and Mellon’s critique accounts for both the strengths ing the Australian academic Waleed Aly who makes this and weaknesses of the architectural education offered in contention in regard to the globalised condition: Denmark. It is my opinion that both the schools of ar- chitecture in Denmark - the Architecture School in Aar- “The much-mourned breakdown of community and of fam- hus and the Royal Academy of Fine Arts in Copenhagen ily has been accompanied by the corresponding emergence – can be understood as outstandingly Danish in terms of of new forms of these. Today’s most vibrant communities course content, pedagogic approach and cultural prac- seem to be virtual and de-territorialised (though not neces- tices. This consistency is so profound that any diversity sarily socially rich), and the traditional nuclear family is or differences between the schools tend to exist within merely one (by no means dominant) feature of the social a relatively narrow bandwidth when compared to con- While this volume should suffi ciently describe how the Despite the veracity of Boeri’s claim for place as a de- landscape. Combined with mass migration and the global- tests about educational approaches occurring elsewhere. Aarhus School of Architecture is grappling with the ed- vice, it is rare to fi nd publications from the Academy isation of information, this means that the historical conti- Put simply, where in an Australian school we might see ucation of an architect in contemporary context, it also which include reference to the context that gave rise to nuities and social norms that matter to people have very lit- a debate between black and white, in Denmark the de- needs to be acknowledged that this conversation takes the specifi c pedagogy being examined. Those publica- tle to do with their geography now, and far more to do with bate resembles more a discussion about which shade of place within the Danish context, which has its own par- tions which do exist are generally devoid of contextu- their identity.”3 grey it shall be. ticularities. This context penetrates almost every lev- al information beyond some scenographic images of the el of the education from the precise pedagogic strategies studio or teachers which at best acts as a sort of atmo- These conditions challenge most fi elds of endeavour, in- A level of insulation has also reinforced this natural ten- maintained to the manner in which cultural practices spheric wallpaper. This approach denies the placed-ness cluding the global tertiary education environment. In dency towards a narrow bandwidth. I would go as far to and politics are played out in the institution itself. of the education and the instrumentality of that place the English-speaking world in particular, universities are say that in recent years the architecture schools in Den- This is important here as many of the best known teach- in enabling a specifi c educational experience to occur. host to a diverse and multicultural demographic both in mark have acquired a steady stream of international vis- ing studios are now located due to very specifi c cultur- The Aarhus School of Architecture exists within a very terms of the student and academic bodies. Architectur- itors and collaborators while at the same time steadfast- al constellations (Harvard GSD, the Architectural Asso- specifi c historical and cultural context and by under- al education refl ects this trend, particularly at the most ly resisting the tendencies toward internationalisation ciation) rather than more general contexts (The United standing something of this context the possibility ex- respected institutions which attract students and staff as it might be more fully understood. This is perhaps States, England). Thus, ambition is manifest in studio- ists to engage with the course material and student proj- from across the world. where one of the cracks between the two schools starts specifi c activity which can be easily transferred from ects in a more nuanced way than would be otherwise to appear. The Vice-Rector of the Royal Danish Academy continent to continent. Boston can be understood here possible. The quote from Waleed Aly can be considered alongside of Fine Arts once explained to me that it is almost im- as not so much a context for an education but a loca- the slogan accompanying advertisements for the Danish possible for foreigners to teach at that School as the tra- tion for a specifi c studio. Teaching in Denmark resists Therefore, I have found it necessary – or perhaps it is People’s Party, an openly anti-immigration party which dition has been that permanent Professors always speak this tendency. better to say, feel compelled – to contextualise the ac- currently holds the balance of power in the Danish Gov- Danish6. This is an extraordinary situation for an insti- counts of an architectural education which underpin ernment: “. . .herfra min verden gaar”. The quote comes tution supposedly engaging with a globalised knowledge In fact, the Danish context and the practices institution- this book with a refl ection on the broader cultural and from a song by H.C. Andersen and quite literally, means economy. In comparison this has not been the case with alised within it present a series of challenges for one as- educational tendencies pertinent to the formulation and “from here my world begins”. While it will be uncomfort- the Aarhus School of Architecture - which has in the piring to reposition the idea of locality and place in a enactment of this education. This should not be mis- able for many in Denmark that an anti-immigration past engaged a number of foreign Professors.7 globalised context. Stefano Boeri, current Editor of Arbi- taken as an attempt to give a comprehensive treatise on party has appropriated this phrase, equally I could posit tare and commentator-at-large on architectural educa- Danish society or a history of Danish architectural ed- the view that it is perhaps an accurate assessment of the This uncertainty in regard to the integration of inter- tion and practice writes about place as follows: ucation and should certainly not suggest that the au- general Danish attitude and thus captures in four words national infl uences has recently manifested itself in dience for this book is specifi cally Danish or Scandina- both the best and worst of the country’s approach to ev- a structural weakness within the Danish architectur- “ . . not to be understood as a mere geographical context, or vian. On the contrary, the purpose of this intervention erything from international relations to architectural ed- al practice. Despite the abundant resources available the localisation of a determined object (or practice) in a place is to make clear that the content throughout the book ucation. Or, more bluntly and in the words of former from a proud architectural tradition, Danish architectur- of tradition and historic culture, but rather is a device capable is very much the result of an engagement in a specif- English Ambassador to Denmark, James Mellon: “The al practice has been hijacked in the last decade by a sim- of concentrating structural tendencies that – developed locally ic cultural, pedagogic and urban context – as is the case Danes are not a nation (...) they are a tribe.“4 He goes on in plistic importation of overseas trends and models. That – unfold at the moment in which external fl ows of transfor- with the best schools or arguably, the best architectur- the same passage to note: is, into a void created by a non-pluralistic and non-in- mation enter into contact with a determined territory.”1 al works, anywhere. I contest that without this under- tellectual education, graduating architects are quick to

18 - Context 1 Context 1 - 19 engage with current international tendencies but with- teenth century, “What is lost to the enemy must be gained geneity in the population. Not only has the Danish can refer still to the vision and infl uence of Pastor N.F.S. out the intellectual rigour to fully re-frame lessons from on the homefront”.10 This tendency to focus inwards welfare society “proved poorly equipped for integrating im- Grundtvig (1783-1872). these tendencies in the Danish context. One can now can be linked to the deep fear of revolution in the mid migrants”12 but a direct antagonism has worked with this pinpoint a raft of young practices trying to follow in 1850s in the wake of a series of war losses to Germany failure such that Denmark now has the most draconi- Grundtvig is universally credited as the key infl uence particular the footsteps of head-fi gure Bjarke Ingels and and later, approaching World War Two, resulted in a de- an13 immigration laws in Europe. Bo Lidegaard14 writes: on the formation of the modern Danish national con- his practice BIG. This group, who at best present a se- fensive desire to bind the country as a singular project. sciousness. Key tools in Grundtvig’s infl uence were his ries of OMA-lite hybrids, have merged together into a Denmark - along with other Scandinavian countries – “ . . many Danes felt increasingly uncomfortable with a contribution to national literature (he wrote numerous constellation with equally witty names but little divid- contains enough cultural residue from these events to growing minority of poorly integrated migrants who ap- books and either wrote or translated over one thousand ing consequence. The result has been a tranche of work still consider itself as a consensus society in many as- peared not to share the values common in the traditional fi ve hundred hymns) and his teaching based on what which avoids the rich potential in synthesising diverse pects of its organisation, political and cultural charac- Danish society. Moreover, the suspicion spread that many could in today’s context be considered a fundamental- infl uences against the background of a tradition and in- teristics. came neither to fl ee prosecution nor to seek genuine work, ist reading of the Bible. That his teachings continue to stead has a created a band of younger architects who are but rather to enjoy Danish welfare allowances without in- reverberate widely in Danish education and society is remarkably similar in approach and who all look pri- That this loss in territory resulted in greater internal tending to contribute to the common wealth.”15 largely due to his phenomenal infl uence in both reli- marily to external models. consistency and a tendency toward internal reliance is gious and secular circles in the mid nineteenth century. perhaps also linked if one thinks of island cultures – not Notwithstanding these conservative impulses, further As Danish democracy took hold, Grundtvig’s views in The schools of architecture in Denmark must necessarily an unreasonable comparison given that Denmark’s only criticism of this situation from a ‘new world’ perspec- a society whose fundamental values remain largely un- be held responsible for this situation. The Aarhus School land border (with Germany) is only sixty eight kilome- tive would be the potential for lethargy in a workforce changed since that time continue to hold relevance. of Architecture is perhaps feeling this responsibility and tres long. The remainder of the country is surrounded that often will not see any great return for initiative and are now subsequently rebuilding their education from by water, and, with the small scale of the country, you where the very act of working overtime is often discour- The common denominator of all Grundtvig’s pedagogical the ground up. The next extract identifi es some of the are rarely more than thirty kilometres from the coast. As aged16. In addition, employees are, in my experience, efforts was to promote a spirit of freedom and disciplined parameters the Aarhus School will have to address in the with island cultures, the issue of identity is handled in a constantly being thwarted by complex power structures creativity within educational practices. He opposed all process of rebuilding. very particular and protective way. - often referred to as ‘the invisible wall’ even by Danes compulsory activity in the educational environment, in- themselves - which make the exercise of power very dif- cluding exams. His maxim “only willing hands make light CONSENSUS SOCIETY The desire to maintain a level of uniformity has led to a fi cult. This fuels a tendency to operate in complete iso- work” exemplifi es the spirit of freedom, cooperation and While it is a somewhat absurd idea to summarise a culture of extensive consultation and discussion in most lation if one wants to achieve something. Thus a great discovery that he wished to instill in students. whole country in a few pages, it is an inescapable fact aspects of political or business life. This emphasis on ne- irony of the tendency for consensus is that, in this ac- that a few observations on the broader context can gotiation is not a caricature provided by a foreigner but ademic environment at least – with a number of differ- “Grundtvig felt strongly that the new school must be a cen- greatly assist in unpacking the nature of architectur- is well documented, and can be immediately brought ent and well-argued positions – no consensus is possi- tre of liberal education, a ‘school for life’….while he was not al education, or in fact any cultural endeavour, in that back to architectural culture, for example, by invok- ble. Danish caricaturist Robert Storm Petersen summed specifi c about the subjects to be taught in the school, he did context. ing words of a Professor at the Royal Danish Academy up this paradox: “One thing we agree on - something needs stipulate that they be cultural rather than practical as the of Fine Arts in Copenhagen, Christoffer Harlang who is to be done. But what must be done, we will probably not school should provide education for life, not for living’...the As an Australian, who is used to people with an ex- very direct on this issue: agree on.”17 ‘schools to this day help their students to better understand tremely diverse mix of cultural backgrounds present in life and contemporary issues, hone skills of responsible citi- every aspect of their lives, arrival in Denmark always “ .. the discussion about architecture as a negotiation with Trying to re-organise large systems - such as an architec- zenship, provide the climate for discussion of challenging is- presents something of a shock given the genetic con- the surrounding society and especially with its social and ture school - within this paradigm is complex, to say the sues, and contribute to developing and sustaining a common sistency evident in the population. This stereotypical technical development, occupies a considerable portion of least. cultural identity and thus a basis for cooperation.”18 observation is backed up by the numbers - as of 2010, what the most prominent Danish architects have been writ- 559,8108 persons from a total of 5,557,709 million9 were ing in the twentieth century.”11 ARCHITECTURAL EDUCATION IN DENMARK: A BACKGROUND Christian Kold, a Danish educator, was one of the fi rst either immigrants or descendants of recent immigrants. Having painted a very broad picture of the greater cul- to enact Grundtvig’s vision for folk high schools. Kold In practical terms this means that with the exception of Combined with this situation is the effect of one of the tural context I will now set down an equally schemat- confi rmed this focus on building upon the natural po- a few isolated pockets in Copenhagen and Aarhus one last surviving welfare state structures on the psychology ic account of the history of architectural education in tential of each student via a teaching method based on will rarely brush up against a substantive immigrant cul- of the inhabitants. While neo-liberal policies swept the Denmark as a means via which the particularities of the an oral narrative method. Tuition would be personally ture. western political and economic landscape in the past Aarhus School of Architecture can be understood. customised and guided by the combined interests of the thirty years, it is only recently that a party with these student and teacher.19 This homogeneity is not accidental. In the nineteenth tendencies has been in power in Denmark. The relative- Pedagogic Model century Denmark lost several wars and most of its ter- ly intact welfare state model provides not only for hous- As with the tendency toward consensus building as out- This approach remains embedded in the Danish school ritory, a period during which the fi rst steps of democra- ing and child-support but works in concert with a high- lined on the previous pages, many other institutions education, from early childhood learning to universi- tization also took hold. This combination of democra- ly unionised workforce which (even in the professions) and practices within Denmark fi nd root in the politi- ty studies. Bo Lidegaard notes that this dual ambition tization, forced ethnic homogeneity and a reduction in controls salaries, benefi ts and so on. cal changes of the mid nineteenth century. Therefore, it of promoting the idea of the collective while promot- power and territory led to a consensus-focused, intro- is somewhat remarkable to an outsider but perhaps not ing the intellectual development of each student has be- verted ‘enough-in-ourselves’ mindset as exemplifi ed in One dilemma bought about by the success of the Dan- at all surprising to a Dane that when discussing Danish come impossible in Denmark to state a common goal a common phrase adopted in Denmark in the mid nine- ish welfare state was a further tendency toward homo- architectural education in a contemporary context we for the education of children. He notes that the national

20 - Context 1 Context 1 - 21 credo for the public school system includes the idea that relying on their artistic vision to unify everything from One aspect of the establishment of the school in only “His opinion was that the school of architecture should be a the school “prepares the pupils for participation and deci- urban plans to a teapot. In this sense, you could say the a generation or so ago was the simultaneous engage- laboratory, where students should be given the opportunity sion-making in a democratic society as well as for assuming approach is prescient of the late twentieth century phe- ment of a raft of relatively young staff whom have sub- to develop themselves, and that the mode of teaching should co-responsibility for the solving of common tasks”20 while nomena of the ‘starchitect’. sequently remained with the school for their careers and take the individual student as a starting point. For him, “teaching and overall daily life in the school must be based - in the case of some - still have a presence. Not surpris- however, an important aspect was that getting an education on intellectual liberty and democracy”.21 The Royal Danish Academy of Fine Arts remained the ingly, this dominance of an entire generation of teach- should be the responsibility of the student.”31 only architectural education in Denmark until the ers had a profound effect on the culture of the school Architectural education within Denmark also operates school in Aarhus was established in 1965. However, the and the content of the education. Michael Asgaard An- Despite many adjustments to the curriculum and new very clearly within this paradigm. Readers will observe commencement of a new education occurred very much dersen makes this observation about this tendency with- education theories since this time, an enduring aspect of in the texts by Gammelgaard Nielsen and Toft that it within the paradigm of the existing school and thus to in the Danish architecture schools: the education has been this Grundtvig inspired and de- is this understanding above all else that contextualises this day the two schools form equal parts in which is pendant ‘student-centred’ approach to education which both these articles on teaching practice and the projects considered a single Danish architectural education.29 “While there may not have been a broad theoretical tradi- remains the defi ning characteristic of the school. That themselves exhibited within this book. Both schools are uniquely located within the Minis- tion, there has certainly been a great degree of continuity it remains is not so much a strategic decision but can be try of Culture, further reinforcing the similarity of the within the faculty of each school, which is partly because attributed to the foundation of the school in the Beaux Two Schools, One Education two schools and as such they respond to different crite- of the small number of schools and the limited exchange of Arts tradition and the alignment of select aspects of this Architecture is taught at two accredited schools in Den- ria and constraints than would normally be the case for teachers. Thus, one generation has taught the next, who has tradition with longstanding views on education and the mark – the Royal Danish Academy of Fine Arts in Co- schools located with an Education ministry. then taken over and so on.”30 individual within Denmark. penhagen and the Aarhus School of Architecture.22 The Royal Danish Academy of Fine Arts was founded in A Responsibility Despite the passing of forty fi ve years, this relatively The Centrality of the Studio 1754 and was based on the French Academy model, ed- One constraint faced by the two schools is that collec- short history - and the continued presence of some orig- The education of an architect in Denmark is exception- ucating artists and craftsmen until 1857 when it was tively they are responsible for the education of all archi- inal staff in and around the school even until now - has al in that it revolves completely around the design stu- agreed that the Academy would include an architectur- tects in the country. While larger countries may have resulted in a culture where inter-generational knowl- dio. Unlike many schools internationally32 - which un- al education23. The tradition of an arts-based education twenty or even fi fty schools of architecture – allowing edge is retained – quite literally by the retention of the derstand the studio in the context of a range of subjects was reinforced by the late industrialisation of Denmark for greater variation and opportunities for focused dif- originating staff-member and/or their disciples. Howev- aimed at building expertise in related areas (theory, his- which led to close contact between designers and mak- ferences between schools – both schools in Denmark er, as with any culture of this type, this retained knowl- tory, structure etc) - the Danish schools position the de- ers until well into the twentieth century24 and has con- must necessarily be ‘generalist’ and ensure that their edge comes at the expense of the diversity and num- sign studio effectively as the sole subject while all other tinued to exert a substantial infl uence on Danish archi- students are educated in a broad manner. For one of the ber of new ideas and infl uences. As outlined previously, inputs occur through this studio environment. Austra- tecture until recently.25 two schools to move outside the agreed central agen- a number of long-standing cultural and social practic- lian Academic Michael Ostwald describes the Beaux Arts da would skew the approach of graduates entering the es thwart the fuller integration of varied infl uences into atelier as follows: Christoffer Harlang writes that the effect of this link- profession in such a way that would be intolerable in a the existing system. The long tenure of existing academ- age with the Beaux Arts tradition has been that the Dan- Danish context. Subsequently, this understanding of a ics also made it frustrating for younger voices to pene- “First, the atelier was emphatically project-centred; a stu- ish architectural education is based “more on skill than on greater responsibility is never far from the surface when trate the school and, even when they do, it is diffi cult dent had to complete a number of architectural design com- knowledge”.26 This emphasis on skill, and thus the inevi- innovations to the education models are being dis- to make a mark on the education as their forebears were petitions each year to progress through their studies. Next, table focus on one’s individual creative talent ties neatly cussed. able to in the 1960s and 1970s. the atelier relied on students being self-directed in their indi- into the concept of self-realisation which is fundamen- vidual projects, while remaining in close proximity to, and tal to the Danish education as a whole. RECONFIGURING THE AARHUS SCHOOL OF ARCHITECTURE The ‘Black Box’ identifying with, a larger group occupying the same physi- Given the degree of homogeneity in the Danish archi- An inevitable question to ask of those at the school in cal and conceptual space. The third characteristic was that The idea of the multi-talented and skilled Beaux Arts de- tectural education system, one might ask what partic- this moment would be - what does the Aarhus School the atelier operated under the stewardship of a talented pa- signer was re-framed in the 1960s at the Aarhus School ularities defi ne the specifi c education being offered in of Architecture do best? Having put this question to a tron. The atelier’s patron was expected to be knowledgeable of Architecture by Nils Ole-Lund (Professor at the School Aarhus? The answer relates not so much as to what is number of teachers at the school during the preparation in the arts and sciences of architecture, but also to be able to from its inception until his retirement in 2000). Lund taught but in how. of this book, the answers were identical. However this model the intellectual and social qualities required of an ar- suggested that the increasing tendency toward special- agreed strength has nothing to do with excellence in a chitect. This latter dimension is important because it recogn- isation in the contemporary construction industry re- The Aarhus school was established in 1965 in response particular research area or in the transmission of partic- ises that architectural education has always involved a mix- quired architects to operate in a ‘harmonising’ role27 to political pressure to help alleviate a lack of trained ar- ular disciplinary knowledge. Rather, the commonly un- ture of education and enculturation. Finally, it is notable that summarised and bought together their various in- chitects in Jutland. That is, the school was conceived derstood strength of the school is in its teaching ap- that, at the École the critique occurs outside normal working puts required to see a building realised. This idea of the out of an idea to create more practitioners and this em- proach. hours and is framed, simultaneously, as a time to learn and architect as a central fi gure refl ected the general Dan- phasis continues to dominate discussions about the to socialise. This reinforces a further pattern, wherein stu- ish tendency to regard architectural practice as a disci- school’s role. However, the education system and gradu- This approach is perhaps embedded in the ideology dents in a particular atelier tend to socialise primarily with pline whose practitioners could generate a single con- ation provisions mirrored the Royal Danish Academy of which drove the school in the early years of its exis- each other”.33 cept linking together everything from utensil design to Fine Arts, featuring a wide school curriculum which re- tence, known as the ‘black box’. This was a concept es- town planning.28 It also reinforced the idea of the archi- fl ected the view of a single-concept architecture as previ- tablished by Nile Ole-Lund and has been explained by Ostwald’s description is uncanny in the way it brings tect as an ‘artist’ who could work across multiple scales, ously discussed. Anne Elisabeth Toft as follows: together key elements which in turn describe the stu-

22 - Context 1 Context 1 - 23 dio at the centre of a Danish architectural education – a fore, quite literally, often have only their own experi- diagrams and the resultant buildings exhibit an intense- proaches39, both exist within the same Ministry, oper- project-centred place, self-directed students and the stu- ence to rely on with any historical or theoretical materi- ly diagrammatic quality. Largely because of the success ate according to the same criteria and are located in the dio as the centre of a social constellation. The key omis- al limited to that provided by a design tutor in response of these fi rms, all but one of which is still based in Aar- same cultural context. Yet, the schools are different and sion is perhaps in the absence of a patron in the Aarhus to their work. This issue is felt not just in the design stu- hus36, the school continues to be identifi ed for its links in a contemporary education environment, it is impor- model, where all teachers are addressed on a fi rst name dio but in research projects proposed by younger ac- with practice while the Royal Academy of Fine Arts in tant to be able to articulate what this is. The fi rst key basis – titles are never used – and teachers rarely attempt ademics which to outsiders often appear very light in Copenhagen reputation is one of a more esoteric char- difference, and which has already been discussed, is the to exert some sense of higher authority within the stu- terms of historical or theoretical grounding. But then, acter and at least understood as a more academic edu- difference in the way studios are run at the schools. dio space. In Aarhus the dominance of the studio lead- this is not surprising if we turn to the words of Nils Ole cational experience. Certainly, many practices across The second key difference is structural, and effects the er is deliberately suppressed at every level from the way Lund and his comments from 1966, a year after the Denmark still speak of their preference for Aarhus grad- way in which the academics develop and articulate their the studio is formulated, through to an openness to di- school was founded: “One takes the mode of teaching as uates.37 own research interests. verse techniques and the daily cultural and social prac- the starting point, rather than the subject itself.”34 tices that take place in the studio. I should briefl y note However, not surprisingly, there is currently a deep The structure of the Aarhus school has in recent his- that this is one of the greatest differences between this Therefore, this book deals not so much with the re- questioning in Denmark about the work produced in tory been divided into very generic fi elds – Architec- school and its sister institution at the Royal Danish form of an education per se but its focus is on the spe- the past ten years up until the fi nancial crisis in 2007. ture, Landscape and Urbanism, Architectural Heritage, Academy of Fine Arts where studios are run more like a cifi c content of the design studio. For, within the cur- While the rush to participate in ‘international’ archi- Design and Architectural Design. The vacuum creat- series of kingdoms constructed around key fi gures. It is rent Aarhus School structure, once the design studio has tecture culture has resulted in some successful practic- ed by a typically Danish discomfort with a single au- certainly the experience of students’ who have been at been taken into account the education itself can be said es and spectacular visions, much of the work is now be- thority has affected the manner in which these depart- both institutions that a clear separation between teacher to have been addressed. Until a new raft of structural ing understood as of dubious merit. Further, in this rush ments have been run – as gathering structures for people and student is culturally ingrained at the Copenhagen changes deal with the issues noted above and the studio to internationalise and to channel contemporary for- within the same fi eld but with sometimes little caus- school, while in the Aarhus school the culture is one of is repositioned or reconsidered in relation to them the mal predilections in local projects a connection with the al relation beyond that. The result has been the exis- teacher and student united in common enquiry. architectural agenda is incomplete. qualities for which Danish architecture has been known tence of departments with fl at internal structures which in the past has been lost. The result is, in my view, is a tacitly encourage a splintered focus among the staff in Therefore, students at Aarhus are taught very much in EDUCATION TO PRACTICE profession struggling to reconcile its advanced ability at each department. Further compounding this tenden- the Grundtvig tradition it would seem, where the pri- A by-product of this emphasis on the studio has been marketing with a body of disciplinary knowledge that cy is the fact that in the Aarhus school, the contin- mary emphasis is on self-realisation. This is where the the school’s excellent reputation in terms of creating has been dispensed with. Although Christoffer Harlang ued dominance of the ’68 generation and their impulse Aarhus School of Architecture is at its most distinctive – young practitioners who transition easily into architec- has a very specifi c position on this issue, he nevertheless to critique as a fi rst order response remains ingrained. a pedagogical approach which places the students’ per- tural offi ces. Students’ leave the education at the Aarhus can be relied on here to sum up this situation: Needless to say, this approach can be particularly unpro- sonal skills and interests as the basis for the direction school literally having already ‘practiced’ in some form ductive if one wants to establish some agreed research of studio projects. Students are addressed as equals and for fi ve years; attending a studio every day as one would “Danish architecture is now standing at the crossroads. The areas upon which the school can start to build a profi le. their opinions are valued. So, a combination of a delib- attend an offi ce. Students work through design prob- one way leads across smooth and facile recapitulations of erate pedagogical approach from Lund and the studio- lems often in group work constellations as they would foreign models, accompanied by simple rhetoric. The other The fl at management structure has also meant that a se- based approach as it is deployed at the school in Aar- in an architectural offi ce. Yet, at present the role of the seeks to generate its own meanings through reciprocity with ries of individual research interests are allowed to sur- hus unites teachers and students in an enquiry around a school in relation to practice is a particularly vexed issue the cultures that our forefathers have left behind.”38 vive with a high level of independence. This is not specifi c design problem that will be tackled in as many as the school works through the reality that it has been surprising given that the school is lacking a grand sin- ways as there are students involved. Assessment of the a victim of it’s own success. In this milieu, a review of the education in Aarhus was gular narrative or even a stated series of research agen- work is based on the veracity of each proposition and not only inevitable, but the timing of this review thus das. There is no need to ‘cluster’ research interests or the ability of this proposal to engage with this group of This success dates to the manner in which the free-cur- ensures that attempts to make change at the school pro- seek commonality in any way, and any such clustering peers who have all explored the same problem and un- riculum of the 1970s (and to which the ‘black box’ con- vide, by proxy, a venue where all the angst and criticism that does occur is informal and emerges from connec- derstand its particular diffi culties. cept was attached) gave way in the 1980s to a return to regarding the current direction of Danish architecture tions built independently among staff. A benefi t of this core disciplinary focus, predominantly at the request of can be played out. Many in Denmark who bemoan the for students’ has been the tacit encouragement of a plu- A negative aspect of the complete dominance of the stu- and due to political pressure applied by students’. current direction in architectural practice lay the blame ralistic environment and the exposure to a wide range dio is that theory and history studies are marginalised to at the school that generated the practitioners who are of views throughout the education process. A negative the point that they barely exist. For example, while a se- This return to a focus on design skills in particular had a now so successful. It is therefore critical that the school, is that the school has a low research profi le internation- ries of lectures are available in history and theory in the massive effect on the school during that period and sub- under it’s new direction, starts to articulate what it ally as the fragmented structure provides little incentive early years, there are often few tasks built around them sequently in the Danish profession in the decades since stands for. to form research clusters or use the momentum borne of and thus little incentive to even attend the lectures. In which is populated by students’ of that time. A sim- a busy constellation to create a strong research profi le. the Masters degree, there are no other subjects at all be- ple exemplar is the fact that four of the most dominant RE-STRUCTURE That diversity in the research interests between teach- yond the studio. A common tendency is then to fi ll this practices in Denmark over the past decade were formed The publication of this book is a perhaps a fi rst step in ers has been allowed to survive is testament to the si- intellectual vacuum with an over-reliance on contempo- around 1990 and consisted of graduates from the same confi rming this direction. lo-like manner with which studio’s operate in respect rary references without the historical push-back, knowl- department in Aarhus from 1983-4.35 These fi rms are all to each other – despite their co-location in the same de- edge of local traditions or the theoretical frame with noted for their design-focus and in particular their abil- As I have outlined previously, the architecture schools partment. which to address them appropriately. Students’ there- ity to reduce complex problems to simple and/or novel in Copenhagen and Aarhus are borne of similar ap-

24 - Context 1 Context 1 - 25 Therefore, while clarity exists regarding the unifi ed school has not been research but its student-centred 18. Kulich J., 2002, Grundtvig’s Education Ideas in Central and Eastern Eu- teaching approach at the school, this clarity is not mir- teaching approach which is both popular and success- rope and the Baltic States, Forlaget Vartov, Denmark. 19. Christen Kold-bøger, Free School magazine in cooperation with the rored with an analogous understanding in terms of a ful. But what does the future hold? Danish Free School Association, Viewed 04.12.12, ,. be addressed in the coming months if the school is to The following pages may give a hint of how an in- 20. Lidegaard, Bo., Op.Cit., p. 282. take advantage of the restructuring process. Outlining creased focus on research in teaching will be enacted. 21. Idem. key knowledge areas will have consequences among a But for this implicit direction to be enabled with greater 22. Architecture is also taught at Aalborg University, in the Institute for Architecture, Design and Mediology. However, this education sits with- staff body used to working on their own interests with- focus and momentum it will need to be clearly articulat- in the normal university structure and is not considered a formal archi- out the need to align to stated research groups. Howev- ed by the school management. Thus, the Rector’s com- tecture education by the Ministry of Culture. The relevant degrees of- er, this change will need to occur if the school aims to ments in the forward and postscript to this book consti- fered at Aalborg are M.Sc. (Master of Science) in Architecture, M.Sc. in articulate its position on a wider stage and compete in- tutes the fi rst statement of this new agenda. Urban Design, and M.Sc. in Industrial Design. Graduates of these cours- ternationally for students and research opportunities. es can be awarded the title of architect after interview or other addition- al procedures. 23. Toft E.A. and Kjær. P. 2001 , ‘Reform Conceptions in Architectur- ENDNOTES This is a major point of difference with the Royal Acade- al Design Education Practised in Certain European Countries Since 1945: 1. Boeri. S. 2010, The Eye of the Needle of Local Space, Abitare, Posted my of Fine Arts in Copenhagen where the teaching and Country Report, Denmark’ History of Architectural Design Education in Eu- 14.07.2010, http://www.abitare.it/direttore/the-eye-of-the-needle-of- research structures work across each other in a matrix. rope’ , Johannes, Ralph (Ed.), Essen, p. 18. local-space/, viewed on 19 October, 2010. 24. Asgaard Andersen, Michael. Op.Cit. p. 10. The teaching structure is focused in a dozen or so de- 2. TERROIR fi rst starting addressing these issues directly as a result of 25. The Aarhus Cluster of Architects: A (short?) story of Competitive partments, each led by a key fi gure who, to a large ex- the ‘Cosmopolitanism and Place’ conference held at UTS in 2005. Comradery. Presentation by Tine Nørgaard, 24.03.10. In the 1990s a new 3. Aly W. 2010, ‘What’s Right?’ The Future of Conservatism in Austra- tent, constructs each department in their own image. breed of architects who had trained in Aarhus in the 1980s effective- lia, Quarterly Essay, Issue 37, p.96. Placed across this structure is a separate array of research ly took over the Danish profession in terms of practice size and volume 4. Mellon, James. Og Gamle Danmark, en Beskrivelse af Danmark i det centres which provide focus for a set of research activi- of work done. Key among these are Schmidt Hammar Lassen, 3XNiels- Herrens År 1992. Passage translated by Niels Park Nygaard. en and CUBO. ties considered fundamental to the current direction of 5. idem. 26. Harlang, Christoffer, Op.Cit. p. 10. the school. 6. Conversation with Assistant Rector at the Royal Academy of Fine 27. Toft E.A. and Kjær P. 2001, Op.Cit., p. 48. Arts, June 2008 28. Toft E.A and Kjaer P. 2001, Op.Cit., p. 49. 7. Although since the 1980s this tendency has reduced. A clear benefi t of this model is a more explicit outline 29. Toft E.A and Kjaer P. 2001, Op.Cit., p. 6. 8. Statistics Denmark, 10.11.2010. Immigrants and their descen- of the expertise held within the institution and the in- 30. Asgaard Andersen, Michael, Op.Cit., p. 5. dants and foreign nationals, Statistics Denmark, viewed 12.12.2010,< 31. Toft E.A and Kjaer P. 2001, Op.Cit., p.50. creased momentum possible with research groups work- http://www.dst.dk/HomeUK/Statistics/focus_on/focus_on_show. 32. For example, in Australia, studio teaching constitutes perhaps 40% ing toward related goals in related subject areas. In aspx?sci=565>. of total student time compared to Denmark where the fi gure is closer to 9. Statistics Denmark, 11.02.2010,Population by region and time, Sta- terms of teaching, the top-down departmental structure 100%. Refer to Ostwald M., 2008, ‘Understanding Architectural Educa- tistics Denmark, viewed 12.12.2010, . fi ts or otherwise of which can be debated. and Teaching Council, Vol.2, p.9. 10. Phrase attributed to Danish poet H.P. Holst and popularised by 33. Ostwald M., 2008, Ibid., p.12. Captain Enrico Dalgas after Denmark lost South Jutland to the Prus- 34. Lund, Nils-Ole, Arkitektskolen i Aarhus, Arkitekten, 1966, p.238. Yet, as I write, a vote is being taken at the School Board sian army in 1864. 35. Tine Nørgaard, Op.Cit.. 11. Harlang, Christoffer, Negotiating with the surrounding society in of the Aarhus School of Architecture on the adoption 36. In 2010, 3XN completed a 3-year process of moving to Copenhagen Nordic Architects Write: A documented anthology, Michael Asgaard An- of a new structure for the school40. This new structure by formally closing their Aarhus offi ce. dersen ed., Routledge, Milton Park, 2008, p. 10. will end a reliance on broad disciplinary-focused de- 37. While anecdotal, this opinion is commonly stated by the larger offi c- 12. Lidegaard, Bo. 2009. A Short History of Denmark in the 20th Centu- es in Denmark in public lectures and private discussions. partments in favour of a new structure focused instead ry. Nordisk Forlag, Copenhagen. p. 352. 38. Harlang, Christoffer, Op.Cit. p. 17. on the content of individual studios. With less mid- 13. Traynor, Ian. Immigration: Far-right fringe exploits European co- 39. The institutions of the Royal Danish Academy in Copenhagen and alitions. This article was fi rst published on “http://www.guardian. dle-management and thus less opportunity for build- the Aarhus School of Architecture. co.uk/” at 17.42 GMT on Monday 15 November 2010. A version ap- ing power centres, the new structure promises much in 40. This vote, taken by the School Board on December 2, 2010, resulted peared on p.14 of the Main section of the Guardian newspaper on terms of improved research cultures and without the ap- in the adoption of a new structure for the School. Tuesday 16 November 2010. proach to teaching which currently predominates. Fur- 14. Bo Lidegaard is a writer on Danish foreign policy and history and ther, this re-structure should make the sort of teach- since 2003 has served as Permanent Under-Secretary of State at the ing approaches we can see documented here for fi rst Danish Prime Minister’s offi ce. year permeate the entire Bachelor course at the Aarhus 15, Lidegaard, Bo. op.cit., p. 353. 16. Danish union rules are so strict that the penalty rates for working School. overtime are often prohibitive for architectural employers. It is there- fore standard practice for employees to have to ask permission to THE FUTURE work overtime – a bizarre concept in many western countries and in From this overview we can come to the conclusion particular in the architectural profession where a cult of overwork is that, in recent history, the school in Aarhus has lacked perhaps greatest among the professions. 17. Wang, Wilifred, ‘Between Arrangement and Subtle Rebellion’ in a grand narrative and has a structure which encourag- Nordic Architects Write: A documented anthology (Michael Asgaard An- es this dispersed approach. The primary identifi er of the dersen ed.. Routledge, Milton Park, 2008. p. 407.

26 - Context 1 Context 1 - 27 Part Two FIRST YEAR, A CONVERSATION 2.0.1 First year students of architecture extent of ground covered but by the ample of research in action to ob- structural input (the bridge), a land- es between the 1A and 1B projects commence their education with an depth with which students come to serve, a live experiment where the scape project (at the University of in terms of how they are present- SLOW ARCHITECTURE enormous range of knowledge to be understand the limited and specifi c parameters established for teach- Aarhus) and fi nishes with a youth ed, formatted, and the supporting Gerard Reinmuth acquired and skills to be developed territory within which they are al- ing fi rst year in the new Bachelor hostel project in an idyllic land- information given to each. This in the coming years. The combina- lowed to operate. would be tested by two diverse per- scape. In every project, an array of is not an editorial error but stems tion of multiple software platforms, spectives. Toft and Gammelgaard external inputs from consultants from my interest in having Gam- architectural histories, theoretical One of the outcomes of prescribing Nielsen therefore split fi rst year into and artists are introduced to stu- melgaard Nielsen and Toft present discourses, design techniques and a new structure for the Bachelor ed- two halves of seventy fi ve students dents to further extend the sense of their studio in terms that are appro- the need for a level of self-discovery ucation was that the slow pace of each and ran separate fi rst year pro- what the project could be. This is priate to their separate approaches. conspire to form an incomprehen- the course combined with the fo- grammes concurrently. These two an expansive program which var- sible territory. Aware of the scale of cus on developing a sensibility via programmes converged in terms ies constantly in the scale of task These six projects form the heart of the task ahead, many architectural the accrual of techniques would be of overall structure but diverged in and area of expertise being covered. this book and constitute the mate- institutions attempt to cover all of institutionalised by the structure of terms of their separate research in- Without the precise constraints rial against which the various argu- this in its entirety via the creation the fi rst-year education. Yet opin- terests and separate approaches to of Gammelgaard Nielsen’s stu- ments, propositions and refl ections of extraordinarily intense programs. ions within the school remain di- managing a year-long pedagogical dio, Toft’s project results vary more expressed by the various authors The best documented1 of these in vided in regard to this approach program. widely in their standard and also in and around this material can be recent years is the fi rst year program - some see this as a return to a tra- in the breadth of exploration. Stu- measured. In making their assess- at Swiss Federal Institute of Tech- ditional Danish architectural ed- As will be evident from the follow- dents have a greater chance to fail. ments of the work and the program nology, Zurich (ETH). ETH have a ucation while others view it as an ing pages, the two approaches vary which produced it, readers should structure which includes a week- escape from recent tendencies to enormously. Gammelgaard Niels- The following pages outline three consider that when compared to ly barrage of history and theory lec- teach the Bachelor program as a en frames projects in his studio projects from each of the separate most publications of student work, tures along with introductions to sort of early preparation for solving around an extremely tight, step-by- studios but are assembled here as a the space given here to the mate- a vast array of tools from drawing typical architectural problems such step process. This tightness comes single body of work. Resisting the rial produced by the fi rst-year stu- and model-making to most com- as the single family house. Either from a focus on fundamental ques- temptation to show both studios dents is signifi cant. There are few mon software platforms currently way, this conception of the educa- tions around space, light and mate- either in parallel or sequentially, overlays or other graphic effects as in use by the profession. tion of an architect is far from the rial, all of which are explored and we elected instead to structure this are regularly deployed in books of ETH example, where the pace is fre- represented at 1:1 scale. The ped- chapter as a conversation between this type – usually to obscure the In contrast, the education of an ar- netic and the breadth of informa- agogic aims and ambitions of the two collaborators who are address- precise quality or resolution of the chitect in fi rst year at the Aarhus tion conveyed is enormous. Recent- program and the structure of the as- ing the same questions with dif- student work presented. This is a School of Architecture proceeds at ly at ETH, the idea of ‘the norm’ has signments implement an extreme ferent approaches. The dialogue in rare publication devoted to student a remarkably slow pace. This is an been introduced to anchor this ex- precision- to the point that students this book in many ways represents work where the material published education which operates outside pansive set of inputs with a familiar almost cannot fail. The progression then the conversation that occurred deserves proper engagement and is contemporary time in many ways territory from where to develop an from the fi rst project (The Motor) to between the two studios during the presented in a way that invites this as students sit in the studio for fi ve architectural approach. At the Aar- the last (Earth and Sky) is incremen- year – some moments of direct ex- from the reader. days per week and patiently de- hus School of Architecture, we fi nd tal and controlled. Critics argue this change and a great deal of aware- velop drawing and model-making the opposite situation. Education- cohesiveness and uniformity among ness of each others’ studios initia- ENDNOTES techniques to a high level. Driven al emphasis is on slowing the pace students is a weakness, while Gam- tives and a constant adjustment in 1. The Publications of Angélil, M. 2003, Inchoate: an experiment in architectural by the Danish emphasis on individ- down to a crawl to provide maxi- melgaard Nielsen insists there is val- response to the successes and fail- education, Swiss Federal Institute of Tech- 2 ual self-realisation , the course fo- mum time for refl ection. The band- ue in teaching fundamental skills ures of the program occurring in nology (ETH) , Zurich. Angélil M. & Hebel cus is on equipping each student width of information conveyed to in a highly controlled manner. He parallel. D., 2008, Deviations: Designing Architecture: A with a range of skills in which they students is limited, and any idea of considers this a substantive foun- Manual, Birkhäuser, Basel. will come to excel rather than at- ‘the norm’ is rejected. In the words dation year in which both a confi - Each studio is introduced with a 2. As discussed by the author in ‘Context 1: Architectural Education in Denmark’ in this tempting to convey the full extent of Anders Gammelgaard, “the draw- dence and sensibility are developed text which frames the precise ap- book, p.21. 3 of the discipline. Toft and Gammel- ing of houses is not permitted.” by students and which they can ex- proach of each, after which six proj- 3. Anders Gammelgaard Nielsen, ‘Unit 1a: gaard Nielsen present an argument pand upon in future. ects are shown in detail – the key General Approach to the teaching of Archi- that through the development of Having set down a framework for three projects which underpinned tecture’, p.34. excellent representation skills, stu- the structure and content of the In contrast, Toft ran a more ag- each studio. The relationship be- dents are simultaneously develop- Bachelor education and fi rst year in ile and open-ended program. Af- tween each project in terms of its ing an ability to develop creative particular, Toft and Gammelgaard ter some initial exercises which timing and occurrence is illustrated processes, to work together and to Nielsen elected to run the fi rst-year foreground her interests in repre- on the program of the year. develop a spatial and formal sensi- course themselves. For an outsid- sentation, the studio then turns bility. The emphasis is not on the er this has been an intriguing ex- to projects which relies heavily on Readers will notice some differenc-

30 - Part Two Slow Architecture - 31 1ST SEMESTER, FALL 2009 2ND SEMESTER, SPRING 2010

September October November December January February March April May June

Unit 1A MOTOR DRAW AND ORDER EARTH AND SKY ESSAY: THE AMORPHOUS VERSUS THE EUCLIDIAN LIGHT MENU AUTOCAD PHOTOSHOP & INDESIGN WESTCOAST BUNKERS WORKSHOP GRAPHICAL ASSIGNMENT / JACK IN THE BOX BUILDING MEASURING UTZON SYMPOSIUM

All of 1st year AUSTRALIA ARCHITECTURE HISTORY METHOD AND CULTURAL EDUCATION SYDNEY AUSTRALIA

Unit 1B BROKEN HILL ANALYSIS OF ARCHI- TECTURAL PROJECTS SECTION AND MOVEMENT AUTOCAD COMPOSITION AND DE-COMPOSITION STRUCTURE, SERIALITY AND THE OPEN PROGRAMME GRAPHICAL ASSIGNMENT / PHOTOSHOP & INDESIGN BRIDGING THE GAP

32 - Part Two Schedule of Year - 33 2.0.2 AN IDEAL COURSE the course in Unit 1a, we take these architecture, often resulting in ar- ition. This initial reference to intu- further contributes to the discus- Ever since the founding of the Aar- overall considerations as a basis, chitectural qualities being reduced ition, combined with the extension sion of the sensing of matter as an UNIT 1A: hus School of Architecture in 1965 while making no claim to be pre- to linguistic banalities. Jørn Utzon’s of architecture plays a decisive role approach to architecture. Böhme’s GENERAL APPROACH TO THE there has been a tradition for lively senting the ideal course for fi rst activity as an architect stands as a in our perception of the world. In main thesis argues current mate- discussion surrounding the content year students. On the other hand good example of this. There exists everyday life we are confronted dai- rials have lost a large part of their TEACHING OF ARCHITECTURE of the architecture program. present a possible response to what countless descriptions of Jørn Ut- ly with a constant stream of mate- constructive signifi cance and have Anders Gammelgaard might constitute an excellent fi rst zon’s architectural work, and even rials that stimulate our senses and been reduced to conveyors of char- The discussion has often been con- year course. though these are penned with a through them affect our inner men- acter and atmosphere. In its most Nielsen ducted from ideological or norma- convincing profundity, they suc- tal state. We see materials, touch extreme consequence this develop- tive positions, with the tendency to We will, therefore, resist proposing ceed only sporadically in capturing them, walk on them and orient our- ment has led to substantiality – i.e. strive for an ideal singular course. a defi nitive answer but will gladly the actual stature of this architect selves in relation to them. Finally, the appearance of matter as mat- present our pedagogical approach and his constructions. Ironically by virtue of our physical bodies, we ter – becoming an independent el- We probably have to admit that we so it is available for all to see and, enough, Jørn Utzon himself wrote have an eternal kinship with them ement that has divorced itself from have never succeeded in fi nding we hope, discuss. only a few articles about his own – we are made of matter, just like the inner structure of substance. Ar- that solitary ‘utopian’ course – and work. materials. chitecture has become a skeleton at present we can perhaps thank BODY KNOWLEDGE that carries an outer skin of sub- our lucky stars that this is the cir- Having taught architecture for a On the other hand, language con- The German architect Gerhard Auer stance. cumstance. Experience tells us that number of years, many people will, stitutes a tool that allows the com- (b. 1938) has described two lead- our ideological and normative dis- I am sure, be able to nod in recog- munication of architectural refl ec- ing tendencies that express our re- On the other hand, the character cussions have never brought us any nition of the moment when speech tions and as such makes up the lationship to matter and calls of materials becomes autonomous: closer to the truth about the ideal suddenly seems to become mute foundation of the pedagogical sit- them fundamental conditions for materiality becomes pure outward architectural paradigm. Experimen- and when the only way forward ap- uation. the spirit of the current age. One form. Wood, glass, steel, and marble tation and the continuing empirical pears to be action. Many will un- of them is represented through as elements of architecture and de- construction of knowledge have, on doubtedly experience this moment Language is inadequate in the com- a world that is reduced to imag- sign no longer designate materials the other hand, constantly devel- as a point of no return. One either munication of architecture, but it is es and surface, with an increase in in themselves, but qualities of ap- oped the degree course. has to continue as before or start all all we have at our disposal. Or is it? the number of non-material ways pearance, indeed the more charac- over again. Do alternative solutions exist that of perceiving. The internet is a rep- teristic, the better.5 Today we stand at a crossroad. can solve this paradox? Are there resentation of this world. The oth- There are many directions to What characterises this moment is ways in which architectural quali- er appears through a regression into In his refl ections about the sensing choose between, and each has equal that we can on the one hand hear ties can be captured without them materiality, and then back to the of substance Böhme differentiates validation. It is essential that we ourselves speak with an inner, well- vanishing – like sand vanishing be- recognition of the world through between three different forms of re- make a decision and commit our- practised voice, while on the oth- tween our fi ngers, this appears to be the senses. Extreme sports and ac- lationship that we create with ma- selves to pursuing our nominated er we have to recognise that ar- the case when language is brought tive holidays represent this world. terials. These are relations that each path whilst, accepting the full con- chitecture appears to be losing its to bear? in their own way involves different sequence of our choices. This also momentum. The entire academ- In his article ‘In the black Box’ Pro- aspects of sensation, namely: Der means that we are obliged to ex- ic tradition passes us by as a déjà Perhaps there is a way out? A meth- fessor Carsten Thau emphasises this arbeitenden Beziehung (the work- clude some of the content of our vu experience, and suddenly David od that allows us through didactics need for sensual stimulation. Thau ing relationship), der wahrnehmen- course, instead of covering the en- Byrne’s famous dictum ‘Stop mak- to transmit an understanding of ar- speaks of human beings, “whose ner- den Beziehung (the perceptive re- tire gamut of the architectural dis- ing sense’1 makes complete sense. chitectural quality that may extend vous system is charged up by variety lation) and der mediale Beziehung cipline, as we did formerly. In order Verbalisation and intellectual refl ec- across the narrow framework lan- and unpredictability.”2 (the medial relation).6 to achieve higher levels of student tion’s pincer grip on architecture guage seems to offer. qualifi cation and competency we stand face to face with the bodi- Regardless of our choice of ‘worlds’ According to Böhme we use the have to select and emphasise partic- ly dimension in architecture. Lan- This is the challenge we at Unit 1a – material or non-material – Ger- working relation to build up a ular architectural themes. This mo- guage seems to create a distance teaching have undertook, our goal hard Auer’s argues, as humans, we sense-based relationship to materi- dus operandi has proved to raise from architecture and leaves us through our teaching attempted to have the opportunity to choose, als. This relationship involves a fun- the quality of the course as a whole. with a fundamental paradox in ar- present an answer. This response is and it is this opportunity that peo- damental recognition of the charac- In addition has also contributed to chitectural teaching. by no means adequate but will pro- ple can create pragmatic use of teristics of materials in essence their promoting the discourse of archi- vide a foundation for discussion. ‘shopping around’3 between the physical capabilities. We work with tecture at an elevated standard in On the one hand architecture two worlds. the materials and thereby appreci- the preliminary stages of the course. proves to be diffi cult to capture We are trying to advocate an under- ate their inner structure, elastici- through the medium of language. standing of architectural qualities In his article Staged materiality4 the ty, tensile strength, heat-conduct- In the following presentation of Language only does poor justice to that occurs through bodily intu- German philosopher Gernot Böhme ing capacity and so on. Our earliest

34 - Part Two First Year: A Conversation - 35 senses of experiences are created by to a greater extent from existential conception and in their concrete re- a diversity of methods for produc- en from research. For example, the In composing a well-function- means of the working relation. experiences and transformations of alisation. If this eventuates the best ing architecture, we feel it is impor- emphasis on concrete precedents as ing teaching team, there are also a reality and to a lesser extent from possible conditions are produced tant that students are introduced to a basis for the teaching of the ab- number of fundamental conditions Through ‘meeting the world’ we es- diagrammatic constructions. This for pinpointing architecture’s ‘black these methods and their possibili- stract forms of architecture repre- that have to be in place. Most cru- tablish a relationship to our im- approach will no doubt be greet- box’. ties during the course. It is vital for sents an approach to architecture cial of these would seem to be mu- mediate environment and there- ed by a fair number of critical voic- students to appreciate that creating that is a direct extension of research tual respect, both professional and by create close relationships with es in the current academic world, In order for students to deliver architecture can take place through conducted by the present author. In personal. If this respect exists, then its materials. For instance, a child especially at a time when the shap- quality and create conformity be- a process of development and not this context it is hardly surprising everything seems to be possible. replaces work with play. Through ing of architecture has become syn- tween concrete and abstract mean- simply by mimicking or reusing ex- that Martin Heidegger and Gernot play our surroundings are ‘tested’ onymous with the architectur- ing, teaching must provide them isting architectural fragments. The Böhme are central fi gures in the ap- Professional differences and a vari- and through this the child builds al diagram. This approach should, with the opportunity for practising. former can lead to the production proach to the phenomena of archi- ety of pedagogical approaches can up a sense of familiarity with his or however, be viewed as a strate- of architecture that the world has tecture. The same is true of under- stimulate each other, and teaching her materials – the stick that breaks gy rather than an attempt to pro- Fulfi lling this requirement is one of never seen and that expands the standing architecture based on the can blossom with greater diversity. when it is bent beyond its breaking vide an ultimate truth. This means the central elements in the educa- fi eld. The latter can lead to architec- body as an active experiential tool. point, the fl int that is crushed un- that we regard it as our task to test tional theory on Unit 1a. Our mot- ture becoming ‘in-bred’, a risk that As mentioned earlier, there have at der a piece of granite, the lump of the consequences of an approach to is, therefore: We tolerate any the architectural discipline con- THE TEACHING TEAM times been tendencies for the Aar- clay that is dissolved in water and by making it a strategy in the teach- mistake as long as there is a willing- tracts. As with other schools of architec- hus School of Architecture to strive so on. In the same way both the ar- ing course. ness to start all over. ture worldwide, there is an express for the ideal course of architecture tisan and the artist build up a fun- As always the preconditions for ex- wish at the Aarhus School of Archi- without ever succeeding in fi nding dament sense of familiarity with ART CONCRETE – ABSTRACT panding the discipline are a com- tecture to develop our teaching to it. This kind of normative thinking materials through the working re- The underlying paradigm for teach- As mentioned earlier, one of the bination of innovative thinking the highest possible level. For all has proved to be fruitless as the ide- lation. This familiarity later cre- ing at Unit 1a is that architecture is bases of teaching at Unit 1a is that and a continual challenging of the our good intentions, we do not al- al course of architecture is a utopi- ates the basis for a free and intuitive an art. This involves an acceptance we study the fundamental phenom- boundaries of architecture. Today ways succeed. It seems as though an dream. In other words there are shaping of those materials. To know that there are areas within architec- ena of architecture using an ap- such innovative thinking seems to success is dependent on a set of ba- many possible avenues. What seems a substance is to know its possibil- ture that are only possible to out- proach that takes concrete exam- be linked to the above-mentioned sic conditions. Of these, budget to be crucial is that the teaching ities. The artist becomes one with line and whose core remains always ples as a starting point. In practice working methods. We have, there- considerations are not insignifi cant. collective are united in choosing a his or her materials, and the mate- inaccessible. In other words there this means that we work primarily fore, chosen to carry out a systemat- Nevertheless, it is perhaps not the common strategy for their teaching rials constitute the artist’s extend- exists a ‘black box’ that constitutes using full-scale models and accurate ic process of teaching and working most crucial factor. In other words methodology. ed arm. the artistic core of the subject and materials. It could be said that the methods during the fi rst year of the there is, fortunately, no direct cor- is unfeasible to articulate. The ar- teaching builds on the principle of course. In a future perspective the relation between the quality of our Finally having a fl at management Teaching at Unit 1a focuses around chitectural endeavour represents an ‘face value’. As a consequence what pedagogic structure is an attempt to teaching and the size of our budget. structure in the team is particularly such concepts about matter. At the eternal striving to arrive at this in- is created is real architecture, since expand the fi eld of architecture. helpful in the development of good same time through materials, we ner core but without any certainty all assignments are made up of gen- However, responsibility and free- education courses. This is crucial if create a link to classical metaphysi- that this will ever occur. Even in the uine presentations. RESEARCH AND TEACHING dom of action appear to be cen- personal initiative is to be promot- cal thinking. This link also forms a fi nal completed building, for all the The basis for strengthening the stu- tral elements on the path of suc- ed and if there is to be a constant dualism between idea and phenom- care and ingenuity that may lie be- The rationale for focusing on ac- dent’s awareness of method is cre- cess. The prime conditions in which infl ux of new ideas. As always, what enon and matter and form. In line hind it, there is no guarantee that tual examples as teaching tools re- ated through the research experi- teaching can develop successful- creates good courses is individual with Aristotelian tradition we re- the artistic quality is present. lies partly on the tangible results ence possessed by those responsible ly are, then, the composition of a initiative. gard matter as being a prerequisite it achieves. We are of the convic- for teaching the fi rst year. This sit- team consisting of enthusiastic and for the realisation of form. In addi- Given that a course in architecture tion that, rather than representing uation is unique within the Aar- responsible teachers who are al- At Unit 1a the team has been made tion we regard matter as possessing is situated within the fi eld of aes- a subject outside itself, architecture hus School of Architecture, where lowed a high level of personal au- up of relatively young teachers with a number of possibilities for poten- thetics, the teaching constantly ini- is something in itself. Learning the research has traditionally been re- tonomy while, subsequently giv- a mixture of practical and academ- tial formal expression. It is further- tiates refl ection on aesthetic quality. abstract phenomena of architecture lated to teaching at the masters or en support from management. This ic experience. The average age has more our conviction that it is by is supported through exercises and PhD. Level. is, however, not the same as saying been thirty one years. The team working with hands, through hand- A precondition for such refl ection assignments that are concrete in na- that teaching will necessarily bring consists of: icraft, that we can use matter to in- only exists through the teaching ture. In other words, what is ab- The infl uence of research on teach- the results that are expected. Even - Louise Heebøll stil into the body a sense of quality. and in particular in the complet- stract is achieved through concrete ing takes place primarily through with these base conditions imple- - Lars Vilsgaard This does not take place to the same ed assignments. There is a consider- means – and vice versa. the systematic learning of work- mented there is still the chance that - Lars Holt degree via the intellect. able degree of signifi cance and pre- ing methods that have been men- fi ascos and disappointing courses - Ole Egholm Pedersen cision in this structure. It is crucial EXPANSION OF THE ARCHITECTURAL tioned. In addition to this it also will occur. This is a necessary risk if - Rasmus Grønbæk Hansen Finally, our fundamental approach that assignments are carried out in FIELD takes place through the direct use the aim is to attain the highest re- - Anders Gammelgaard Nielsen is that architectural qualities arise a meticulous nature both in their In a time that is characterised by of elements in the discipline tak- sults.

36 - Part Two First Year: A Conversation - 37 The team have jointly dealt with velopment takes place and at the defi ned course with no possibilities cinct descriptions of assignments responsible ensuring further prep- everything required to be done in same time to regard the end result of change. At the end of the year we with an operational focus have a aration of the course content as a relation to the teaching program. as a consequence of the process. would evaluate the course with the positive effect on the procedural de- whole. It is therefore, possible as The procedural process becomes the aim of making changes for the fol- velopment of a student’s response the course proceeds for both stu- Their tasks have been: aim. From a pedagogical viewpoint lowing year. to the brief and, moreover, make it dents and teachers to get their bear- - Preparation and execution of a this fi nds expression in the aim of uncomplicated for the students to ings of which assignments the stu- joint pedagogical and didactic assignments often being ‘blanked Today we evaluate and redesign the make a start on them. In contrast, dents have completed. strategy off’ in addition to assignments be- course simultaneously. This enables in our experience long and com- - Drafting and execution of a joint ing issued in limited doses. In the us to make very quick changes and plex descriptions of assignments What follows is a survey of three strategy for architecture as a same way assignments are support- hereby optimise the exercises as we with highly metaphorical text often of the course’s teaching modules. subject ed by lectures and readings that ini- go along. In the extreme scenario paralyse the student’s ability to act Common to these modules is the - Drafting and execution of a set of tiate working methods oriented we have managed to introduce as- and anticipate their resolutions. fact that they integrate their exer- exercises and assignments around processes. signments without knowing how cises and assignments. This means - Logistical planning they would end. By doing so we Since it is our primary strategy at that there is a set of assignments - Internal and external communica In the drafting of the course’s exer- have been able to respond directly Unit 1a to stimulate students to that introduce one (or more) ba- tion cises and assignments the teaching to the work already carried out by challenge the limits of building and sic architectural themes while at the - Everyday supervision of the team have chosen to take a set of the students. produce architectural answers not same time provide exercises in one students selected basic conditions and prin- envisaged worldwide, we have to or more working methods and a - Drafting of pedagogical guidelines ciples as the reference point. The This technique of ‘adaptive’ teach- pose questions that open up and number of tools. for the students aim of these principles has part- ing has proved to be extremely promote architectural creative pro- ly been to sharpen the profi le of ar- motivating for students as well as cesses. ENDNOTES 1. Stop Making Sense 1984 was a live con- EXERCISES AND ASSIGNMENTS IN THE chitecture as a subject and partly to teachers. At the same time is has cert movie featuring David Byrne’s band COURSE make it clear that the teaching was created a teaching environment The outline of content on the sec- Talking Heads. Architecture students in 2010 gen- experimental. The following fi ve where students and teachers more ond page fulfi ls a number of pur- 2. Thau C. May 2001, In The Black Box, erally possessed good skills in deal- principles have been employed: than ever before form a unit to- poses. Its main intention is to de- Arkitekten. May 2001. ing with diffi cult issues in a com- 1. All assignments are developed gether. In this environment the scribe the teaching objectives that 3. Gerhard Auer’s reference?? plex world. At the same time they from scratch. teaching situation seems to be very students are expected to attain 4. Böhme.G 1995, Staged materiality, Daida- los, no.56, pp. 36-43. acquire a well-developed critical 2. Answers to all assignments are transparent as the students are in- through the assignment. This is cru- 5. idem. sense in regards to both the content completed using full-scale 1:1 troduced to and fully accept that cial for our ability to assess the stu- 6. idem. and the teaching methods of the models. we as teachers develop the course as dent’s qualifi cations and skills in a discipline. All these abilities are im- 3. Answers to all assignments are in the course unfolds. consistent manner. It is also essen- portant to becoming a good archi- the form of presentations (i.e. tial to follow the student’s general tecture student and in the last anal- they are architecture rather than HAND-OUTS development in the subject. ysis a good architect. On the other representing architecture). Alongside each course a description hand when it comes to going into 4. Solutions to all assignments are of assignments has been prepared as This outline of the assignment con- depth or detail student’s abilities are exhibited. a hand-out. Descriptions of assign- tent also contributes positively in often weak, with the result that aca- 5. The drawing of houses is not ments consist of a single A4 sheet providing students with an over- demic presentations at times appear permitted. divided into two pages. The fi rst view of their own learning process. to be superfi cial and lacking clear page contains the actual text for the This is a major help for fi rst year architectural intentions. This is in DEVELOPING EXERCISES AND assignment, which describes step students, who often fi nd their ar- itself a minor dilemma as long as ASSIGNMENTS by step its content and the various chitecture course to be very chaot- it is restricted to a closed teaching In the daily practice of teaching we stages. The second page is made up ic and incomprehensible due to the context. Longer term the damage seem to develop the exercises and of an outline of the content of the complexity of the subject. can be more serious if it is projected assignments as an on going process. assignment. out onto a wider social context. This is a practice that has changed This section of the handout pro- dramatically over the years. In pre- The reason for this brief descrip- vides a chart that makes it easi- In order to deal with this issue it vious years we would develop the tion of the assignment lies in a er for students to navigate through has proved necessary to strength- course with all assignments fi na- conscious pedagogical strategy, in the various elements, methods and en the student’s ability to carry out lised prior to our fi rst meeting with which the aim is to stress the vari- tools they encounter during the in-depth study. The overall strat- the students. By doing so the rest ous processes of the assignment as course. Finally, this content outline egy here has been to promote the of the academic year would fol- opposed to creating an image of the of individual teaching modules cre- processes in which architectural de- low as an execution of the pre- end result. In our experience suc- ates an overview for the teacher’s

38 - Part Two First Year: A Conversation - 39 2.0.3 This chapter will present the over- turi in the preface to the book for our way of thinking and speak- their own individual angle on the by design and research by teach- all academic aims of the teaching Complexity and Contradiction in ing about architecture and architec- assignment and thereby may also ing. The ambition for the future is UNIT 1B: in Unit 1b and how these were im- Architecture.3 The quotation is very tural experience. This also includes formulate their own overall design for refl ected teaching, research and A GENERAL APPROACH plemented in the curriculum for striking for the critical and analyti- ways in which we as teachers teach concept. research by design to be in perma- 2009/2010. The section includes cal approach that the architect em- architecture. Venturi describes the nent close dialogue with each oth- TO THE TEACHING OF considerations about learning tar- ploys when he develops architec- creative process as a self-refl ective In this introductory ‘research phase’ er and to constitute a common plat- ARCHITECTURE gets, method, discourse, pedagogy ture but which he also employs one, in which architects constant- we make use of scientifi c methods form for the development of new and didactics and so on. when refl ecting on it. The quota- ly have to assess and reassess their derived from, for example, ethnog- forms of teaching and discourses in Anne Elisabeth Toft tion indicates that there is a form ideas, methods and forms of expres- raphy, anthropology, sociology and architecture and research. Complet- RESEARCH BY DESIGN – IN THE STUDIO of research by design constantly go- sion, and in which they constant- planning. The aim is that the ‘re- ed study assignments will, there- “Because I am a practicing architect, ing on – both before, during and af- ly have to pose themselves critical search phase’ should generate both fore, ideally be able to form a ba- my ideas on architecture are inevitably ter the architect’s work with the de- questions about what they are pro- information and ideas for the stu- sis for research refl ection among the a by-product of the criticism which ac- velopment of a project. It is well ducing, about conventions deter- dent. The teaching is organised in school’s researchers. In return, re- companies working, and which is, as known, Venturi is an architect who mining what is good and bad ar- such a way that students refl ect not search results will be able to form a T.S. Eliot has said, of can master both construction and chitecture, about functionality and only on the results of their research basis for teaching and for the cours- “capital importance... in the work the refl ection about construction. application, about ‘beautiful’ and but also on their visual communi- es taken by students at the school. of creation itself. Probably, indeed, But he also manages to refl ect about ‘ugly’ design - even questions as cation. For example, we teach the the larger part of the labour of sift- the business of writing about ar- to what architecture is, or can be. students to pose critical questions METHOD AND PROCESS ing, combining, constructing, ex- chitecture, and, as something quite Their work is experimental, but the about the tools and techniques they At Unit 1b, we take as our starting punging, correcting, testing: this separate, he and his wife, Denise experiment is intentional; is direct- employ in relation to various re- point the students and their indi- frightful toil is as much critical as Scott Brown, also refl ect on their ed by conscious criteria that are reg- search methods. Last but not least, vidual skills. We attempt to teach creative. I maintain even that the teaching of architecture in their ularly drawn up and qualifi ed by at Unit 1b we try to formulate and them using a holistic learning mod- criticism employed by a trained book Learning from Las Vegas.4 the architect. The architect does not to contextualise – both for ourselves el5 that tries to include as many as- and skilled writer on his own work know what the result of the experi- and for the students – what the cre- pects as possible. We nurture their is the most vital, the highest kind Architects develop their ideas and ment will be; it does not exist a pri- ative process is or can be defi ned as, individuality and their indepen- of criticism...”.1 their projects using a wide variety ori but takes form by means of var- and what core competences the ar- dence. We listen to the students’ I write, then, as an architect who em- of tools, and they express them- ious operational moves, which he chitect may possess. Is the archi- visions and help them to pursue ploys criticism rather than a critic who selves using a wide variety of dif- puts into practice in the course of tect’s work process and the devel- them. Teaching is about develop- chooses architecture and this book rep- ferent media and means. Their way time. These moves refl ect his per- opment of design regarded – or can ing their creative potential. This resents a particular set of emphases, of working is not one track nor, sonal involvement and motivation. they be regarded – as forms of re- means that they also ought to fi nd a way of seeing architecture, which I for that matter, linear. It is multi- search by design? What does this that their architectural course is a fi nd valid. farious and operates constantly at Teaching in Unit 1b is research consist of, and what experiences continuation of and not a break In the same essay Eliot discusses anal- the intersection between presenta- based. This means that we are in- can we, as architects and teachers, with their former studies rather ysis and comparison as tools of liter- tion and representation. At Unit 1b, terested even in the fi rst year of derive from it? Is it relevant to sub- now they are just using other criti- ary criticism. These critical methods we try right from the outset to in- the bachelor course in linking re- mit even the teaching at bachelor cal means. are valid for architecture too: architec- troduce students to a ‘mindset’ of search with design and teaching. level to a critical appraisal and re- ture is open to analysis like any other methodological freedom and diver- We are interested in providing stu- gard it as a research area? Can the At Unit 1b, we regard the process- aspect of experience, and is made more sity, and we therefore use Venturi’s dents with a basic understanding of students’ teaching materials and the es of design, of process manage- vivid by comparisons. Analysis in- quotation as a basis for discussion method and in teaching them that results of their studies be includ- ment and of developing analysis cludes the breaking up of architecture and reference in many different systematic studies and analyses can ed as actual research material for re- and concepts as the architect’s core into elements, a technique I frequent- contexts during the course of the be an important starting point for searchers from the school? In what skills. Teaching gives priority, there- ly use even though it is the opposite of fi rst semester. We also use it to place their architectural designs. For this ways can this research by teaching fore, to innovation, to the genera- the integration which is the fi nal goal our teaching within a disciplinary reason considerations about and ex- inform research by design, architec- tion of ideas and to programming of art. However paradoxical it appears, discourse. periments with research also form tural design and teaching? at all levels. Teaching is, as men- and despite the suspicions of many a natural part of the students’ proj- tioned earlier in this book, orient- Modern architects, such disintegration The quotation gives rise to a fun- ect work. Many assignments are or- The Aarhus School of Architecture ed around process and method. Our is a process present in all creation, and damental discussion about creativ- ganised in such a way that they has been experimenting in recent aim is to give students a thorough it is essential to understanding. Self- ity, about the understanding of are introduced with a so-called ‘re- years with a variety of approach- introduction to the phenomenon consciousness is necessarily a part of architecture as a study, about meth- search phase’, which typically in- es to research, a variety of research and an understanding that we are creation and criticism.”2 ods and processes of working and volves observation, documentation, methods and a so-called ‘extended’ dealing with a particular approach about the signifi cance of a vari- data collection and analysis. Along- concept of research. This includes to architecture and to the business These are the words of Robert Ven- ety of aspects of communication side this, students begin to develop artistic development work, research of producing architecture – that it

40 - Part Two First Year: A Conversation - 41 is rooted in discourse and that it there is a danger that they will relations between architecture and that we use in various contexts and es are integrated as far as possi- analyse and contextualise architec- is radically different from what is only reproduce what they already architecture’s representations, and situations. ble in a course of assignments that tural issues. In addition the aim is known as a traditional formalist ap- know. At Unit 1b, therefore, we be- whose answers we therefore also are divided up into phases. It seeks that students should learn to for- proach. At the same time we point lieve that as teachers we constant- ought to ponder when we as teach- When we employ a particular medi- to create a synergy and an over- mulate their own architectural strat- out to them that, as with so much ly have to challenge the students ers introduce our students to meth- um and a technique or method spe- lap between assignments and it can egies and to be in a position to put else, it is a cultural construction, – and ourselves – to break with con- ods and the use of tools. cifi c to it, our perception of what therefore be seen as creating both their statements in a wider context. and that in this course there is by ventions and reassess the employ- we perceive is altered. Mediation af- a framework around one large and The writing of programmes and re- large no ‘right’ or ‘wrong’ way of de- ment of standardised methods and Architects have always made use fects a shift in perception and in coherent set of assignments and a fl ected argumentation are, there- veloping and creating architecture. techniques. For the same reason we of representations. They have used doing so constitutes meaning. In framework around a series of as- fore, central to the students’ com- As long as students are prepared to harbour neither ambition nor in- them both as aids to development the process certain qualities of the signments of various lengths that pleted assignments. provide an account and a justifi ca- terest in miming the reality or the in the design process itself and as medium and the object of media- are autonomous but internally tion for their choice of approach practice that exists in the archi- communicative statements in sub- tion are emphasised while others linked. These assignments have a THE TEACHING and measures taken, we will even tects’ offi ces. We prepare students sequent presentations. For the same are toned down or disappear com- set agenda and function in relation At Unit 1b, we believe that all stu- challenge them to experiment and for the increasing speed of change reason, the emergence of new repre- pletely. The medium in itself deter- to each other, and this means that dents essentially have their own in- to be critical of the working meth- to be found in the labour market sentational techniques in the course mines the framework of our percep- careful consideration has gone into dividual ways of learning. They ods we introduce them to. We do by training their readiness to adjust of history have had a decisive in- tions in and through the use of the their thematic chronology. Each as- have various preferences and abil- this in order to sharpen their critical and by teaching them to operate in- fl uence on the architect’s work and medium, and it and its technology signment is an extension of its pre- ities and these circumstances are faculties as regards the teaching, the telligently in a fi eld of unknown thereby also on the design of archi- are, therefore, decisive in the way decessor, and they always contain decisive in determining how they course and the school – and, indeed, factors. We propose an experimen- tecture. At the same time the com- we read the world. That said, we elements of repetition and contex- function in various study contexts. the conventions of the subject and tal form of teaching, one in which munication and spread of architec- rarely have our attention directed tualisation in terms of their work- Our experience tells us that they the discipline as a whole. concepts are developed through ture via representations has been towards the medium while we are ing methodology. The assignments thrive in a variety of learning envi- techniques that, while they indicate signifi cant for the development of using it. The moment we make use can also challenge or reintroduce ronments and require various forms During the fi rst year of the course the strengths of a given programme the concept of architecture and of of a medium, our attention is nor- architectural concepts or issues that of stimulus. This makes certain de- we introduce students to a range do not necessarily wish to instru- architectural discourse. In the archi- mally directed solely at the work we students have already studied in a mands of the assignments sched- of different working methods. The mentalise them in a specifi c physi- tecture course such representations are in the process of carrying out or different context – in a previous as- uled for the year’s course and of the focus is, however, on the genera- cal design. and the media and technique asso- producing. For the same reason it signment or in relation to a course. way in which we as teachers super- tive, the synthesising and the con- ciated with them have had a signif- can be diffi cult to refl ect on the use The progression of assignments is vise the students in relation to these ceptual working methods as de- PRESENTATION AND REPRESENTATION icant bearing on the teaching and of media and to understand the sig- constructed in such a way as to give assignments. At Unit 1b, we are ex- scribed elsewhere in this book. The Just as it is essential for students to its framework. They have a bearing nifi cance of the medium and of me- students the opportunity to under- perimenting with various forms and aim is that students should acquire recognise the link between method on the working methods we intro- diation as a framework for cogni- take focused studies, adopt an in- situations regarding supervision. both knowledge and a concrete ex- and result or tool and technique, it duce as teachers, and they have a tion. dividual angle on their studies and The teaching takes place primari- perience of these various working is also essential that they recognise bearing on the students’ academic develop a critical analytical outline ly in the drafting room, where stu- methods and that they should be the link between representation and learning processes. Making use of a As a researcher into the relation be- that brings a variety of approaches dents have their own drawing board enabled independently to choose what is represented. As architects phenomenological appreciation of tween architecture and the repre- to working methodology into play. and sit in a common study envi- between them or combine them. In and future architects in training, we the fact that, far from being neutral, sentations of architecture I chose, as ronment, or in one of the school’s the same way we introduce the stu- work constantly in and with rep- media fi lter our perceptions and our Unit Master on Unit 1b to allow the These assignments address the two studios. The school is open dents to a broad range of tools and resentations. To a large extent our understanding of the world around discussion about use of equipment form, space, programme, construc- round the clock and the course is techniques so that they can rela- work is dependent on the interac- us, this is precisely what Unit 1b’s and about understanding media to tion and context of architecture. intensive. Teaching is based around tively quickly make use of a vari- tion between various reproductions. teaching focuses on. During the take an absolutely central place in They alternate between being ‘gen- drawing board supervision with dis- ety of graphic equipment both in But what does representation mean course of the year the students work the syllabus. A persistent theme and eral’ and being ‘specifi c’. In what cussion, which takes place several draughtsmanship and modelling. for the architect? What does it with a variety of media in order to a particular disciplinary angle in the we call the ‘general’ assignments times a week. This form of teaching We want them to feel the freedom mean to visualise and mould archi- explore them and their characteris- course is, therefore, refl ection about the students examine individual ar- allows students to focus on their and security of having a wide vo- tecture with the aid of representa- tics as media. This gives rise to dis- the relation between observation chitectural concepts, tools and re- learning process and on their indi- cabulary. At the same time it is im- tions? What is a sketch? And what cussions about the media’s various and notation, between presentation sources in isolation from the com- vidual ways of learning. Individual portant that, within the wider ge- implications does it have for our ar- technological potential and of the and representation. plexity of an actual architectural supervision is also given by means neric use of this vocabulary, each chitectural designs and represen- cultural codes and connotations as- assignment, while the ‘specifi c’ as- of weekly pin-ups, assessments and develop their own ‘language’, their tations that we as architects often sociated with them. It also gives rise THE SYLLABUS signments aim to synthesise skills in relation to oral and written peda- own way of using these tools or de- sketch in a wide variety of differ- to discussion about the relation be- The syllabus is based upon the and knowledge and result in mod- gogical guidance. veloping these techniques. ent representative scales at the same tween media and reproduction and guidelines laid down in the cur- est architectural proposals. Em- time? These are just some of the of the factors or conventions that riculum and the vision statement. phasis is placed, however, in all as- Assignments at Unit 1b are so ar- If architects start their design pro- many questions that crowd in on us determine our choice of the me- It is conceived as a holistic mod- signments on the student being ranged that the students work both cess having formal preconceptions, when we begin to refl ect upon the dia and the forms of representation el in which courses and exercis- challenged to identify, interpret, individually and in groups of vary-

42 - Part Two First Year: A Conversation - 43 ing sizes. Group work is prompted Technology in Sydney. This ap- the assignment and tailor it to the less of their formal position at the ary collaboration. The assignment of learning. Each of them, there- by, for example, courses and classes pointment was intended precise- new situation. We can also refrain school, everyone takes part in meet- is built up around a statics work- fore, has the chance to dwell on targeting teambuilding, communi- ly to put our course into perspective from defi ning our requirements ings, critiques, study tours, peda- shop, a course in construction and particular aspects of an assignment. cation and the work environment. and challenge our professional dog- of the assignment’s outcome until gogical consultations, academic as- an AutoCAD course. It was devel- At Unit 1b, we believe that the chal- The teaching of theory and history mas. This collaboration has allowed very late in the day. sessments and so on. In this way oped in collaboration with the lenge and the stimulus that is in- is carried out in parallel with proj- us to look at ourselves from the out- everyone has the same frame of ref- school’s engineers, and the teaching volved in working with different ect-oriented classes so that it can side and provided constructive crit- This relative fl exibility in the ar- erence, and this has a bearing on was carried out by engineers and ar- kinds of assignments and assign- contribute to contextualising them. icism in a number of signifi cant ar- rangement of the course is also con- the teaching, its organisation and chitects from Denmark and from ment questions can contribute to eas, and this has prompted us to ceived as a conscious ‘spoke in the our evaluation of it. abroad. The assignment introduc- promoting the individual student’s THE TEACHING TEAM develop new teaching models. Our wheel’ for the students. One of the es the synthesising working meth- creativity, independence and ability The teaching team behind Unit 1b collaboration with Reinmuth has things we are attempting in us- Depending on their specifi c inter- od. The third and fi nal assignment to make a critical analytical outline. has been assembled from relative- also prompted the present volume ing this means is to prepare them ests and competence, everyone also presented here is ‘Structure, serial- ly young and newly qualifi ed ar- – and a shared documentation and for the instability that often char- has the opportunity to participate ity and the open programme’. It is Regardless of the difference be- chitects with an interest in the sub- discussion of the last three years of acterises the working conditions of in working groups with other col- an example of what we call a ‘spe- tween assignments at the level of ject’s theory and practice. They experimentation with a rethinking the fully qualifi ed architect. We be- leagues from the school. In these, cifi c’ assignment. These are char- form and content and of the way bring to the course considerable of the introductory design course at lieve that it is important even in various subject initiatives of a more acterised by the fact that they are we at Unit 1b formulate them, they knowledge and experience of a va- the Aarhus School of Architecture. the fi rst year of their course to teach general nature are developed, such synthesising and result in modest all include refl ection about the rela- riety of design methods. Their par- the students how to multi-task and as papers for study groups or alter- architectural proposals. This assign- tionship between observation and ticular skills lie in the areas of ar- THE DEVELOPMENT OF THE SYLLABUS to work in a targeted manner on an ations to the teaching of the bach- ment brought into play a genera- notation, between what we, so to chitectural design, teaching, the AND THE COURSE OF ASSIGNMENTS assignment without knowing what elor course. This means that ev- tive, a conceptual and a synthesis- speak, ‘look at’, examine or present theory of architecture and the use Members of the teaching team all the requirements might be as re- eryone also has the opportunity to ing working method respectively. in our work on an assignments and of media. Since they are all grad- participate in the development of gards its outcome. In a variety of refl ect on the shape and content the way we do it. We regard meth- uates of the Aarhus School of Ar- the syllabus and the various courses ways, then, we train and test our of the course in academic environ- These three assignments are very od – and this includes our teach- chitecture and a number have also of assignments during the fi rst year. students’ readiness, innovation and ments and contexts that are outside different. They focus on different el- ing method – as a medium and as taught there, they have extensive The team work is according to a willingness to take risks through the remit of the unit. This further ements and they do so in different one of a variety of language sys- knowledge of the school and its ac- democratic model, and the syllabus teaching in which handling stress enriches the courses offered at Unit ways. Nevertheless both individu- tems that constantly transform the ademic profi le. This background is typically develops through lively di- and performance anxiety are also 1b, in that this also provides an av- ally and together they paint a rep- way we think and speak about ar- extremely valuable in relation to alogue to which everyone makes addressed. enue through which new views and resentative picture of the discourse chitecture and teaching in archi- the reappraisal of the teaching and their contribution. The syllabus is perspectives can be acquired. that takes place at Unit 1b. They il- tecture. The aim of the teaching is its signifi cance. This common his- a ‘work in progress’ that is never The many tasks of the teaching lustrate the way we at Unit 1b, ex- also, therefore, to indicate this rela- tory gives each of us a specifi c dis- completely fi xed until the very last team are delegated in such a way THE ASSIGNMENTS periment with our teaching and the tionship and to isolate its themat- cursive reference to work with – minute, being kept open as far as that different teachers on the team In this book three Unit 1b assign- pedagogical and theoretical con- ic content. and against. In the team we are possible to allow for chance, exper- are responsible for the development ments will be presented. These siderations that occupy us in rela- very aware that this is at one and imentation and spontaneous open- and organisation of the various formed part of the syllabus for tion to it. At Unit 1b, we believe that ‘mean- the same time our strength and ings that might crop up over the courses of assignments. As teachers, 2009/2010, which comprised in ing’ is determined by context. It is, our weakness – our blind spot. This two semesters. We try to follow a we are continuously working on a all six phased assignments along- The ‘DNA’ of the course is also em- therefore, also a feature of the as- common history, therefore, also de- similar evolutionary method in or- number of parallel assignments and side a range of courses and exercis- bedded in the way that we as teach- signments at Unit 1b that they termines a number of our strategies ganising the long course of assign- we are ourselves responsible for or- es specifi c to a variety of tools. The ers formulate our hand-outs to the will all in one way or another dis- for external collaboration. Among ments divided into phases through ganising our time. The members of fi rst assignment presented here is students. This is not uniform. Some cuss this relationship and this po- these, for example, is our broad col- the academic year. This evolution- the team are in constant commu- ‘Composition and de-composition’. texts for an assignment might be sition. This can take place using a laboration with colleagues from ary development means that it is nication with each other, and their This is an example of what we call a more ‘open’ than others. For exam- variety of approaches, and the con- Unit 1a, professional sparring with not unusual for the students’ hand- daily contact and close communica- ‘general’ assignment. In these, indi- ple, we sometimes let the students cept of context can also be illus- a large number of visiting lecturers outs to be re-written several times tion about the course and its prog- vidual architectural concepts, tools themselves take part in defi ning the trated and interpreted in a vari- and invited experts, and the execu- as the course progresses. The advan- ress are central to the discourse and resources are studied in isola- question the assignment is to ad- ety of ways. However, the students’ tion of several targeted courses at tage of this is that we as teachers that takes place around Unit 1b. tion from the complexity of an ac- dress and the requirements as re- study of different architectural phe- and with a variety of schools of ar- are constantly critical of the assign- For the same reason, all members tual architectural assignment. The gards its outcome. At other times, nomena or themes is not divorced chitecture abroad. ment, refl ecting on it, its construc- in the team are as far as is possible working method introduced in con- this is not an option. The aim is for from this discussion – not even if tion, purpose and level of diffi culty on a fulltime contract. This means nection with this assignment was the students’ to have the opportu- the teaching is typically organised In the spring semester of 2010 we and on the students’ and our own that everyone is whole-hearted- the generative method. The sec- nity to develop their creative skills in such a way that the assignments further extended our team to in- performance. If something unfore- ly involved in the course and all ond assignment presented is ‘Bridg- while at the same time allowing a hone in on the learning of a limited clude visiting professor Gerard Re- seen occurs, for example, we can take responsibility for the work that ing the Gap’, which is the result focus on their individual learning number of elements in the course. inmuth from the University of quickly and relatively easily adjust is carried out at the unit. Regard- of a more extensive interdisciplin- processes and their particular ways Scale and changes in scale in a de-

44 - Part Two First Year: A Conversation - 45 sign are also discussed in relation to Their Individual Learning Styles: A Practical Unit 1a PROJECTS all assignments. The discussion re- Approach, Prentice Hall, Englewood Cliffs, NJ. volves around the relation between 6. We can say in general terms, echoing the 2.1 THE MOTOR scale and conception and around American media theorist W.J.T. Mitchell how the choice of various work- that visual culture focuses on ‘(…) the 2.3 JACK IN THE BOX ing methods and tools – both ana- cultural construction of visual experience logue and digital – can be related to in everyday life as well as in media, repre- 2.5 EARTH AND SKY sentations and visual arts.’ Mitchell, W.J.T. different conceptions of scale and 1995, ‘Interdisciplinarity and Visual Cul- space. The concept of scale is seen, ture’. In: The Art Bulletin, December 1995, then, as a cultural construction Volume LXXVII, no 4, p. 540. linked to the various cultural and technological paradigms in the his- tory of art and architecture. The dis- cussion also addresses the relation between scale and representation, and the way in which different me- dia reproduce different scales in dif- ferent ways.

Another central leitmotiv in the as- signments is refl ection about the re- lation between presentation and representation. As teachers we reg- ularly conduct conversations with our students about this relation- ship, about what it means, and how we can experiment with it. The the- oretical basis of the teaching lies in the theory of art and architecture, and it employs an extended con- cept of discourse that has links to the cultural fi eld and to the inter- Unit 1b PROJECTS disciplinary area known as ‘visual culture’.6 2.2 COMPOSITION AND DE-COMPOSITION

2.4 BRIDGING THE GAP

ENDNOTES 1. Eliot, T.S. 1932, Selected Essays, 1917- 2.6 STRUCTURE, SERIALITY AND THE OPEN PROGRAMME 1932, Harcourt, Brace and Co, New York, p. 18. 2. Venturi, R. 1966, Complexity and Contra- diction in Architecture, 1966, second edition, 1977, reprinted 2008, The Museum of Mod- ern Art, New York, p. 13. 3. idem. 4. Venturi, R. & Scott Brown, D. & Izenour, S. 1979, Learning from Las Vegas, The MIT Press, Cambridge Massachusetts, and Lon- don, England. 5. We base our teaching on, for example, re- search by the American professors Dr. Rita Dunn and Dr. Kenneth Dunn into the con- cept of ‘Learning Styles’. Dr Dunn R. & Dr Dunn K.,1978, Teaching Students Through

46 - Part Two 2.1 THE MOTOR Unit 1a

2.1.0 ing architecture that transcends the ation of form and space follow ei- limits of our own imaginative ca- ther an additive or a subtractive THE MOTOR Title: pacity. The assignment can, in fact, method. This means that there is THE MOTOR Anders Gammelgaard Nielsen be regarded as a direct implemen- an enquiry into creating architec- tation of research experience trans- ture either by adding material (con- Duration: ferred into teaching. This use of re- structing) or by removing materi- 6 weeks search experience early on in the al (excavating). At the same time a new bachelor degree course at the range of modelling tools are intro- Aarhus School of Architecture con- duced that make it possible to devel- Objectives: stitutes one of its most revitalising op models of high quality. Developing precision in thought as well as in action elements. Developing understanding of space and form The point of departure for the MO- Developing model and technical skills The ability to be able to develop ar- TOR assignment is that a car engine Testing a generic working method chitecture that lies outside the stu- is dismantled in order to cast a spot- dents’ own imaginative capacity us- light on the individual engine com- Description: ing a generative method releases a ponents. This means that an ob- 00 Disassembly A motor is disassembled and analysed in relation to its functionality. A component is chosen limitless potential of creative pos- ject (the engine) is removed from from the motor and cleaned with engine cleaner and water. All oil residue is carefully removed. sibilities and in addition stimu- its original functionality and deter- lates the students’ ability to work mined context and staged as an aes- 01 Drawing The component is placed on tracing paper with 20x20mm grid as underlying layer. The con- MOTOR is the fi rst assignment that in abstractions. Research and teach- thetic object via a new contextual tour of the engine component is sketched and at the same time a frame is drawn around the component. The students at Unit 1a of the School ing are in this way linked together relationship being resolved. The de- of Architecture are introduced to. through the use of the same meth- contextualisation is dependent on frame overall must have a distance to the component of at least 20mm. The purpose of the assignment is od. In both cases there is a search a reading and analysis of the formal to shake up the students and their for an answer that the world has yet characteristics of the engine com- An axonometric frame is drawn which envelopes the component. This envelope must be orthogonal and be preconceptions of what architec- to witness. The artistic (architectur- ponent. This is crucial if the staging an approximation of the component form. Furthermore, the smallest line segment should not be less than ture is. This is done by introducing al) exercise is just as dependent as process is to succeed. 20mm. The surrounding frame must as a minimum be 50mm higher than the covering of the engine compo- them to a working method that al- the research exercise revealing new nent. lows them to develop architecture facts of the world. The reason for the use of a motor that resides beyond their own imag- component in the assignment is 02 Casting mould This axonometric drawing forms the basis for the construction of a casting mould. From inative capabilities. In other words The use of the research working that it represents an extraordinari- the axonometric drawing a set of working drawings in orthogonal projection accompanied by a list of ele- the core aim of the assignment is to methods in a teaching context rep- ly high level of precision. The neces- ments required to make the mould with precise indications of dimensions is produced. Cardboard thickness equip students with an understand- resents an example of research- sary consequence of this is that the should be taken into account. ing that architecture can be devel- based teaching in practice. By con- staging presupposes a corresponding oped through a predetermined ge- trast the MOTOR assignment also level of precision. From a pedagogi- neric process and that through this contains elements of teaching-based cal viewpoint this reinforces the stu- Based on the working drawings, a casting mould is made in cardboard. process opportunities exist to devel- research. This means that the an- dents’ ability to work with great pre- op something original and genuine swers to the assignments that the cision and to master the tools and 03 Casting A plaster cast is made. Before the casting the mould is reinforced on the outside with cardboard el- that decisively challenges the limits students arrive at by means of this techniques that are learnt during ements in order to resist the outward pressure from the plaster. The plaster element is revealed as the mould is of the fi eld of architecture. This un- practical and rigorous research- the course of the assignment. removed. The engine component is placed in position in the plaster element. derstanding is important if students based method become the object are to avoid mimicking an existing and output of research studies. As a The need to practise and reiterate 04 Soldering A spatial element in wire is made which is the same form as the plaster element. The engine world of imagery in architecture or researcher it is, therefore, possible processes repeatedly before the re- component, the plaster element and wire are combined to make a coherent composition. fragments of it. to make use of this teaching output sult is satisfactory forms part of a that becomes available through the fundamental approach. In other 05 Plywood discs The wire element is closed with discs as a refi nement of the engine component is staged. The assignment takes as it’s starting students’ completed assignments. In words mistakes are made welcome. point experiences with generative this manner research and teaching They are the precondition for learn- 06 Drawing The plaster and engine component are sketched in orthogonal projection drawing. working processes that the present can contribute to one another. ing. author acquired while conduct- ing research work for a PhD project. In the MOTOR assignment students Materials: These experiences provided an in- are introduced to the fundamen- White cardboard 1.5 mm thick, wood glue, gas burner (proxxon or similar), wire 1.6mm thick (steel), model sight into the possibilities that gen- tal architectural themes of form and plaster, plywood. erative methods hold for develop- space. These principles for the cre-

50 - The Motor Assignment - 51 Literature: Herrigel. E 1953, Zen in the Art of Archery, Routledge & Kegan Paul Ltd, London. Pirsig. R.M 1974, Zen And the Art of Motorcycle Maintenance: An Inquiry into Values, Morrow, New York.

INTRODUCTION COMPETANCY MASTERY

ARCHITECTURAL THEME

Form X Space X Construction Context Programme

WORKING METHOD

Generative X Synthesising Conceptual Analytical

TOOLS

Drawing analogue X (axonometry, double orthog- onal projection drawing) digital Model cardboard x wood x wire x plaster x Communica- written x tion oral x visual x (Indesign, Pho- toshop) Registration drawing photo x video

History

Theory

52 - The Motor Dismantling the Motor - 53 2.1.1 DISMANTLING THE MOTOR A mechanic demonstrates the function of a car engine and its various components after which he explains how the engine should be dismantled. Students are then in- vited to dismantle a number of engines after which the parts are separated and cleaned. A constant emphasis is given the precision of each engine component as these are given to be staged in the assignment.

54 - The Motor MDismantling the Motor - 55 2.1.2 DRAWING The engine part is taken from its original context and a new context is to be created for it. A series of or- thogonal drawings are made to test how the staging of the engine part might be possible. The different op- tions are discussed with tutors and one is chosen.

56 - The Motor Drawing - 57 2.1.3 CASTING Based on the orthogonal drawings, a casting mould is formed from cardboard. To pre- vent distortion of the mould a series of card- board braces are applied externally. Plaster is poured into the mould and left to set for one hour. Once the plaster has set, the card- board is removed and the cast is revealed.

58 - The Motor Casting - 59 2.1.4 SOLDERING A wire frame of the same outward dimensions of the plaster cast is added to it. The solid-void properties of the plaster cast are now augmented by the abstract fi gure of a wire frame.

60 - The Motor Soldering - 61 Various stages of the process are illustrated adjacent.

62 - The Motor Soldering - 63 2.1.5 MONTAGE To emphasise the staging of the engine part in its new context a series of thin plywood sheets are mounted onto the wire frame via thin wire ties. The plywood sheets must fi ll the extent of each section of the wire frame where they are located. The location of these sheets must take into account the direction from which the engine part is to be observed in its new context.

64 - The Motor Montage - 65 2.1.6 DETAILS A selection of the student work.

66 - The Motor Details - 67 2.1.7 EXHIBITION An exhibition is held where all proj- ects are displayed. By collecting all projects in an exhibition students can observe how the constraints of the as- signment as set can yield a surprising variety of results.

68 - The Motor Exhibition - 69 70 - The Motor Exhibition - 71 2.2 COMPOSITION AND DE-COMPOSITION Unit 1b 2.2.0 The assignment ‘Composition and tral demands on the teaching and numerable repetitions with minor In these exercises students trans- graphical precision in the drawings de-composition’ is the fi rst assign- on the way we as teachers tackle it. variations or displacements in their late selected collages from their cat- and on the students’ ability to in- COMPOSITION AND ment of the academic year. In oth- It raises questions about the way compositional principles and in alogue into mobiles. The challenge terpret, reproduce and develop spa- DE-COMPOSITION er words it is the students’ fi rst en- we assemble the assignment, about their graphic methods of presenta- for them consists primarily in in- tial relations in plan, section and counter with their architectural the way we formulate the students’ tion, a series of distinct visual typol- terpreting and transposing their elevation. In repeated drawing ex- Anne Elisabeth Toft studies and the teaching that is car- hand-outs, and about the way we ogies is developed. The medium is graphic motifs into concrete spatial ercises the students explore double ried out at Unit 1b. The assignment frame the discussions and topics ad- the collage, and the students work constructions. These exercises test orthogonal projection drawing and runs over six weeks. It is divided dressed by the assignment. For how exclusively in paper and on pa- their sensitivity to media and their the mechanisms that come into into phases and built up around a do we as teachers receive seventy- per in A3 format. In the collage the understanding of materials and of play in the making of parallel pro- set of exercises in working meth- fi ve new students of architecture? mutual interaction of fi gures and the various latent constructive po- jections. The intention is that stu- ods, a drawing course and a course And how do we introduce them in colours is explored. This is done us- tential in various materials. The ex- dents’ should be adept with ana- in chromatology. The aim of the as- a meaningful way to architecture ing Johannes Itten’s chromatology ercises also test their understanding logue drawing and should learn to signment is to pave the way for dis- and the course in architecture? How as a starting point.1 Chromatology, of tectonics, scale and spatial pro- master a variety of drawing tech- cussion about architecture and a do we speak to them about these collage techniques and composi- portioning. The mobiles can only niques developing a nuanced un- variety of design methods and pro- phenomena? Where do we begin? tional principles become the theme be constructed out of specifi c mate- derstanding of the potential of the cesses. It focuses on the exploration What can be called a ‘good’ start to of lectures and discussions, which rials, and this factor also makes spe- double orthogonal projection tech- of graphic techniques and strategies the course? Who is it we are teach- also put these into perspective and cifi c demands on the students’ proj- nique. A drawing is not simply a of representation, and attempts to ing? And why? position them in a historical con- ects. The materials the students can note or a graphic representation, it give students a basic introduction text. In this context, for example, use are: Japanese paper, cardboard, is also an operation and a genera- to composition in architecture and Because we at Unit 1b recognise the we look at the surrealists’ experi- wire and strips of wood (5x5 mm). tive medium. The double orthogo- the visual arts. students’ differences, their different ments with mechanical processes or nal projection process can be read educational backgrounds and in- ‘automatic writing’2 or at various vi- In the third phase of the assign- as a programmable ‘drawing ma- The introduction includes exercis- dividual skills, we arrange the fi rst sual strategies in Minimalist Art and ment the students are introduced chine’, the geometry and compo- es in geometry and learning about assignment in such a way that it Pop and Conceptual Art. to the architectural drawing. This sitional principles can be used as points, lines, surfaces and spatial does not require that they possess phase lasts three weeks. It focuses tools for the generation of form in extension. It points towards a num- any particular previous architec- The fi rst phase of the assignment on various forms of analogue draw- the development of architectural ber of disciplinary ‘cross-overs’. It tural abilities. For example, in the lasts for one week. Production ing, various graphic techniques and design. explores, for example, the theme of fi rst phase the students work with a takes the form of an extensive cata- expressions, and on how these have how techniques, methods and con- set of graphic exercises that do not logue of collages (twenty four in to- been used and are used in a vari- The students’ experiments are dis- cepts developed within the prac- at any stage require them to be al- tal), which are not produced with a ety of design situations. The dis- cussed in the light of work tak- tice of the visual arts have been ready able to draw. The exercises view of being ‘art’. They are self-re- cussions take current and histori- en from so-called ‘generative art’, appropriated and further devel- in this phase are all about percep- fl ective experiments, which focus cal viewpoints to address the theme which is a particular branch of oped in architecture, and vice ver- tion. They focus sharply on the hu- on experiment for the sake of ex- of drawing and the signifi cance of computer-based art. In digital gen- sa. The assignment also reconnoi- man sensory apparatus and on the periment and on the study of opti- drawing. This means that reference erative art, a portion of the work’s tres a number of graphic genres and students’ self-refl ection in their ex- cal perception. In the second phase is also made to digital drafting and construction is left to autonomous their aesthetic effects. The teach- amination of the relation between of the assignment, which also lasts rendering techniques, even though processes in the computer. The ing addresses the way architectural media, images, perception and the for one week, the study is extend- the focus is on analogue drawing. framework for the creative process representation can be read as a vari- construction of space. ed to include composition and This phase is introduced by a course is determined by the algorithms able, a labile concept and sign that spatial organisation in three di- in double orthogonal projection of the programmer – the artist – can alter both category and genre The exercises deal with composi- mensions. The medium that the drawing that includes various ex- whereupon progressive versions can depending on its context and func- tion and spatial organisation in students work with in this phase is ercises in descriptive geometry, in be generated by the automated pro- tion. The assignment brings togeth- two dimensions. They challenge the mobile. A well-known charac- which students learn to apply and cesses in the software. er experiments with collage, mo- the students to think in patterns, teristic of the mobile is that its ex- understand methods of parallel pro- biles, drawing and models. proportions, number systems, se- pression rests upon movement, ei- jection, central projection and ax- On the basis of their knowledge quentiality, hierarchies and in ther of the entire form or of parts onometric projection. about composition and of various The fi rst assignment of the academ- graphic contexts and to develop ab- of it. Students are therefore asked compositional principles, the stu- ic year is unique in that it consti- stract pictures and motifs using a to undertake a series of systemat- The mobiles that the students dents continue to develop their mo- tutes the framework for the stu- generative working method, which ic analysis of the relationship be- worked out in the second phase of bile compositions. They try out var- dent’s fi rst encounter with the relies simply on the operationalisa- tween perception and movement the assignment make up the point ious generative methods in double study of architecture and the archi- tion of a variety of compositional and to consider movement as a spe- of departure for the representations orthogonal projection drawing – tectural discipline. This factor nec- principles. The exercises are repeti- cifi c design parameter in four dif- that are developed in the draw- such as scaling, rotation, displace- essarily makes a number of cen- tive in their form. By means of in- ferent exercises. ing exercises. Emphasis is placed on ment and repetition – and each stu-

74 - Composition and De-composition Introduction - 75 dent lays down his or her own ring to the earlier phases of the as- individual strategy for develop- signment, there is discussion of ASSIGNMENT # 1 ing their composition. The strat- architecture’s various forms of rep- COMPOSITION AND DE-COMPOSITION egy might involve drawing in a resentation and the characteris- particular way or setting a specif- tics of their media and their per- Synopsis ic process in motion. They can, for formance. This takes place against The assignment gives a basic introduction to composition in architecture and visual arts. It consists of a num- example, choose to contrast, rein- the background of the students’ ber of tool exercises and a course in double orthogonal projection drawing (analogue drawing). These are il- force or counterbalance different own work in collages, mobiles, lustrated by lectures on compositional principles, chromatology and representational forms. The assignment parts of the composition, or they drawings and models. In addition can choose to import a new motif there are discussions about the as- focuses on the investigation of graphic techniques and different strategies of representation. Furthermore, it taken from one of their collages. signment, its presentation, content deals with design methods and the process of design. Students will experiment, analyse and conceptualise in The drawings are made using pen- and structure, why we had set it collages, mobiles, drawings and models. Taking the production of the students as our point of departure, we cil on large sheets of white paper and what the students have learnt will discuss the use of media, the meaning of media, and the relationship between presentation and represen- in A1 or A0 format. from it. tation in two and three dimensions respectively. The assignment deals with fundamental architectural themes and notions, for example form and space, context, structure and scale. In the fourth and fi nal phase of Composition and De-composi- the assignment, which lasts one tion: 1st Sept-9th Oct 2009 The students will work individually or together in pairs. week, they are asked to translate Concept: Anne Elisabeth Toft and Models should be developed for documentation and reproduction in photography of the total production. the drawn material into a model. It Lena Kondrup Sørensen is entirely up to the students to de- Formulation of assignment: The aim of the assignment velop individual strategies for this Anne Elisabeth Toft The aim of the assignment is to give you a basic introduction to composition in architecture and visual arts. translation. However, the model must be constructed in white card. ENDNOTES The assignment focuses on the investigation of graphic techniques and different strategies of representation. It has to be static, has to be able to 1. Itten J. 1961, Kunst der Farbe. Otto It also deals with design methods and the process of design. Maier, Ravensburg. stand on a table, and has to be in 2. Automatic writing; automatism: Autom- a scale of 1:1. As part of this exer- atism, or the ‘dictation of thought with- During the next few weeks you will work with architectural compositions in two and three dimensions. cise the students are asked to con- out the control of the mind’, is of deci- Through a number of tool assignments, you will become acquainted with different kinds of representation sider the potential and the limi- sive importance in surrealism and may and graphic expressions. Working through the assignment, you will experiment, analyse and conceptualise in tations of the model material and even be said perhaps to constitute its very touchstone. Automatism implies the inter- collages, mobiles, drawings and models. how best they can thematise and vention of chance and the abandonment exploit these in their translations. of the critical mind. Surrealist automa- Based on a simple set of ground rules, we will start a design process - or what we hereby decide to call a design Are there, for example, tectonic so- tism is described in: Breton, A. 1924, Mani- process. Sometimes the process will bid you to work quite mechanically, at other times your personal choice lutions that are ‘given’ by the ma- feste du surréalisme. Simon Kra, Les Pas per- and attitude will determine the continued process and the development of your work. terial? Do uncontrollable and un- dus. NRF. intended events always happen when we translate from one medi- We will discuss your process; what determines it, and how different representation techniques and media in- um to another? Could we perhaps fl uence the result of the procedure and your readings in the process. We will discuss the relationship between develop a strategy for generating (graphic) expression and medium, just as we will discuss the relationship between two and three dimensions, form based on this? The exercise space, form and context. We will also discuss your readings or analysis of your own work. draws the attention of the students towards details in the drawing’s A selection of relevant literature: transparency and to the physicali- Lise Gotfredsen: Billedets formsprog. ty of the model. Johannes Itten: Farvekunstens elementer. Johan Wolfgang von Goethe: Goethes farvelære. As in the previous phases there is Robert Lawlor: Sacred Geometry. Philosophy and Practice. here a focus on perception and on Kenneth Martin and Mary Martin: Constructed Works. the signifi cance of the codes and Brandon Taylor: Collage. The Making of Modern Art. connotations of the medium. In a variety of comparative readings summing up the process and refer-

76 - Composition and De-composition Assignment - 77 Hand-Outs 2.2.1 The assignment ‘Composition and De-composition’ runs MONICA SKOVGAARD CHRISTENSEN over six weeks. It is divided into four media specifi c phases: Phase 1: Collages – Compositions in Two Dimensions. Phase 1: Collages Exercises 1-6. Phase 2: Mobiles Students are asked to make a series of collages which express a Phase 3: Drawings given compositional word. In the collages they are required to only Phase 4: Models work with points, lines and planes. Compositional word: Dynamics. Daily students are given a number of exercises. Below you Collage. 29.5 x 42 cm. can see an example of one of these. The full assignment brief and all hand-outs can be viewed at: rum1.aarch.dk/ index.php?id=120092.

Preparation for: Collages - Compositions in Two Dimensions Exercise 1-4

In groups of four, you mix black and white acrylic paints so that you get three different grey shades (see example). Paint a number of A3-sheeets (glazed paper) with black, white and grey shades. Use a small paint roller for an even covered surface. Let the sheets dry. Repeat the process if necessary.

Collage - Compositions in Two Dimensions Exercise 1

Make a collage which expresses the given compositional word. In your collage, you should only work with points, lines and planes. The collage should hold an aesthetic quality that you defi ne and name. Consider the format of the paper (vertical or horizontal format) and how you chose to compose your picture surface. Consider how your composition relates to the centre and periphery of the A3 sheet. Consider your use of the grey scale from white to black. Repeat the exercise with variations (at least three times). Be as precise as possible when you work - both with regard to method, analysis and presentation. Be self-critical and consider what you do, why and how. In the bottom right corner of your collage you write: your name, the given compositional word, the title of your collage, and the number of your collage ( in chronological order).

78 - Composition and De-composition Collage - 79 2.2.1 2.2.1 MONICA SKOVGAARD CHRISTENSEN MONICA SKOVGAARD CHRISTENSEN

PHASE 2: Mobiles – Composition in Three Dimensions. PHASE 3: Drawing of Mobiles (Double-Orthogonal Exercises 1-4. Projection Drawing) Exercises 1-3. Collages are translated into mobiles. Students are asked to draw their mobiles as double-orthogonal Compositional word: Dynamics. projection drawings: plans and elevations. Mobile. Compositional word: Dynamics. Drawing. Pencil on white drawing paper.

80 - Composition and De-composition Mobiles - 81 2.2.2 LINN THERESE FENES FORREN Phase 2: Mobiles – Composition in Three Dimensions. Exercises 1-4 Compositional word: Displacement. Mobile.

PHASE 1: Collages – Compositions in Two Dimensions. Exercises 1-6. Compositional word: Displacement. Mobile. Collage. 29,5 x 42 cm.

Phase 2: Mobiles – Composition in Three Dimensions. Exercises 1-4. Compositional word: Displacement. Mobile.

82 - Composition and De-composition Mobiles - 83 2.2.3 LINN THERESE FENES FORREN Phase 2: Mobiles – Composition in Three Dimensions. Exercises 1-4. Compositional word: Asymmetri. Mobile.

Phase 3: Drawing of Mobiles (Double–Orthogonal Projection Drawing). Exercises 1-3. Plans, elevations and sections. Compositional word: Asymmetri. Pencil on white drawing paper.

84 - Composition and De-composition Mobiles - 85 2.2.3 LINN THERESE FENES FORREN Phase 3: Development and Transformation of Drawing (Double-Orthogonal Projection Drawing). Exercises 1-2. Students are asked to transform their drawings of mobiles. Each student formulates his or her own individual strategy for developing their compo- sition. However, the transformation should be based on the prescribed compositional word. Plan and sec- tion. Compositional word: Asymmetry. Pencil on white drawing paper.

Phase 4: Model. Exercise 1. Drawings are translated into models made from white cardboard. Scale 1:1. Compositional word: Asymmetry. Working model.

86 - Composition and De-composition Mobiles - 87 2.2.4 2.2.4 ANN PEDERSEN ANN PEDERSEN Phase 1: Phase 1: Collages – Compositions in Two Dimensions. Collages – Compositions in Two Dimensions. Exercises 1-6. Exercises 1-6. Compositional word: Asymmetry. Compositional word: Asymmetry. Collage. 29,7 x 42 cm. Collage. 29,7 x 42 cm.

88 - Composition and De-composition Collages - 89 2.2.4 Phase 4: ANN PEDERSEN From Drawing to Model. Phase 2: Exercise 1. Mobiles – Composition in Three Dimensions. Compositional word: Asymmetry. Exercises 1-4. Model. White cardboard. Compositional word: Asymmetry. Mobile.

Phase 3: Drawing of Mobiles (Double-Orthogonal Projection Drawing). Exercises 1-2. Plans and elevations. Compositional word: Asymmetry. Pencil on white drawing paper.

90 - Composition and De-composition Mobiles - 91 92 - Composition and De-composition Mobiles - 93 2.3 JACK IN THE BOX Unit 1a 2.3.0 More than ever before current ar- to question the rightness of choos- chitectural practice is characterised ing a degree course in architecture. JACK IN THE BOX Title: by teamwork rather than the result JACK IN THE BOX Anders Gammelgaard Nielsen of individual performances. This oc- In the assignment students design currence is particularly evident in and produce a full scale spatial con- Duration: the milieu of architecture that exists struction. The construction creates 6 weeks in Aarhus, where the country’s larg- a framework around a communi- est and most prominent architectur- cative situation between two peo- al offi ces have their base. Not only ple. The assignment is carried out Objectives: is it a common feature of these of- in groups of four to fi ve students. Develop an understanding of construction fi ces that they are all run by a team It introduces students to a synthe- Develop an understanding of spatial and programmatic connections of proprietors, but all their assign- sised working method, in which Develop an understanding of scale ments, both administrative and ar- a number of form-generating pa- Develop a working method that enables the synthesis of different components chitectural, are handled on the basis rameters determine the fi nal result. Develop competency in group work of collaboration. There is no argu- This technique of working is well- ment that the background for this known in architectural practice and Description: organisational structure is linked to is therefore critical to introduce stu- Based on the defi ned domain of (2.400x1.800x3.600mm) and the defi ned grid (600x600x600mm) along with the complexity that informs archi- dents at an early stage of the course. the handed out quantity of available material a spatial structure in wood is created. tectural practice, but it is also the It is characteristic of the synthesised outcome of a tradition. At the Aar- working method that involves a The handed out material consisting of 12mm thick plywood boards that are cut into smaller boards of vary- hus School of Architecture the em- great deal of communication while phasis is on teamwork, and there is at the same time challenging the ing proportions, must during the whole assignment remain constant. The plywood boards must only be re- no doubt that this form of teach- students in their ability to handle confi gured within the domain and the defi ned grid. Boards cannot be added or subtracted. ing transfers directly on the way or- issues with a substantial degree of ganisations are shaped in practice. complexity. The plywood boards are assembled by using wooden fi llets (21x21mm) that are screwed on to the boards along There is no escaping the fact the the edges. The quantity of wooden fi llets must vary dependent on the number of joints needed in the structure. above-mentioned offi ces are run by Finally the aim of the assignment is teams whose fi rst collaboration can to introduce students to spatial pro- The construction must be structurally stable, and in the assignment, we will take our starting point in lectures be traced back to the Aarhus School gramming. Through the formation and studio exercises that deal with braced structures. of Architecture. of these spaces students are able to translate these into structurally sta- During the course of the assignment, work will be undertaken in groups. The group work begins with a lesson In the assignment known as ‘Jack ble cross-sectional constructions. dealing with the identifi cation of personal competences and exercises in collaboration. in-the-Box’ the aim is to foster col- The course program consists of the Work will then be carried out in groups of four to fi ve students. laborative situations through man- establishment of a space for a com- aging a complex architectural issue. municative situation between two The aim is to conduct an integrat- people. As part of the assignment The programmatic component of the assignment will form the basis for spatial explorations. The programme ed teaching course that extends students are introduced to a range is an action – or more precisely an interaction between two individuals. Each group is given one of eight such from an introductory outline pro- of tools that as a whole constitute interactions. These are: to confess, to argue, to propose, to fl irt, to order, to gossip, to seduce and to preach. cess through to the project develop- the preconditions for completing ment phase and fi nally to presenta- the assignment. Communication is The interaction assigned to each group is to determine the way that the structure is entered and how the spa- tion and montage techniques. the absolute and essential apparatus tial form for this interaction is to occur. that forms the precondition for the Often a course of this nature is un- group work to function and succeed Course of assignment: fortunately very diffi cult to operate in completing the assignment. Week 1 in practice within an architectural Is a focused construction course dealing with shear wall structures. Work is to be carried out individually. degree course. It is, however, abso- The assignment is introduced by an lutely essential for students to expe- intensive course in collaboration, in rience the role of a practising archi- which the students learn and train Week 2 tect. In our experience, this type of how to handle group-work situa- Each group analyses the specifi c type of interaction assigned, forming the background for the spatial explora- assignment provides students with tions. This component of the course tions. The spatial structure is analysed in relation to static characteristics. Work is to be done in sketch mod- a defi ning experience, which can is run by a professional team of els at a scale of 1:10. cause students either to confi rm or coaches and team-builders.

96 - Jack in the Box Assignment - 97 2.3.1 Week 3 - 6 A BRACED STRUCTURE Each group’s proposal is then realised. The digital drawing tool, AutoCAD is introduced and used for produc- Rather than introduce concepts of ing working drawings. Based on these working drawings, the plywood boards are cut assembling the fi nal structure via abstract lectures and as- wooden structures at the scale of 1:1. signments, this project seeks to famil- iarise students with structural prin- The spatial wooden structures will be exhibited at the Aarhus School of Architecture. ciples via the act of designing and making. Therefore, the assignment Materials: starts with an explanation on the fun- Sign cardboard 1.25mm, wooden fi llets 2x2mm profi le, glue (sketch model scale 1:1) damentals of structure and in partic- ular braced structures – which is the Literature: Rasmussen. S.E. 1964, Experiencing Architecture, Chapman & Hall, London. structural system is to be used as the basis for the assignment.

INTRODUCTION COMPETANCY MASTERY

ARCHITECTURAL THEME

Form Space x Structures (discs) x Context Programme x

WORKING METHOD

Generative Synthesising x Conceptual Analytical

TOOLS

Drawing analogue digital x (AutoCAD 2D) Model cardboard x wood x wire plaster Communica- written x tion oral x visual x Registration drawing photo x video

History

Theory

98 - Jack in the Box A Braced Structure - 99 2.3.2 GROUP WORKSHOP The students undertake a workshop with introduc- es the students to the concept of group work. The workshop is run by a team of professionals in group dynamics from both inside and outside the school. In this workshop, students are asked to refl ect on their own potential and skills and that of fellow group members in the interests of forming produc- tive working relationships. The medium via which this workshop is conducted is the actual assignment task which is explored in the groups that will work together for the duration of the project.

100 - Jack in the Box Group Workshop - 101 2.33.33 TESTING OPTIONSS ATT 11:1010 Varioui s design proposp alsa areet testese edd for tht e spatp ial qualities andd struc- tural effectiveness in model form at a scale of 1:10. During this proprp cess, thee studedeentsn beecomc eef famia liar with the logic of the componentry to be useed andd theth spatial and structur- al sysysttems which result. Each sttu- dend t has to use the same system foro connecting the plywood whichi h has beeb n devev lopopo edd by one of t the tu- tors,s OleOl EgE hollm Pederseen.n

Group working with the communicative situation of “gossiping”.

102 - Jack in the Box Testing Options at 1:10 - 103 104 - Jack in the Box Testing Options at 1:10 - 105 2.3.4 DOCUMENTATION Students are taught the fundamentals of architec- tural documentation and in particular the func- tion of working drawings, shop drawings and spec- ifi cations. This occurs via the documentation of each of the component parts to be used on the construction along with specifi c details such as the location of screw holes and other connections.

106 - Jack in the Box Documentation - 107 2.3.5 CONSTRUCTION AND TESTING Each group then constructs their project at 1:1 and test it at 1:1 to see if their spa- tial solution supports, en- hances or triggers the inter- action between two people that constituted their spe- cifi c brief.

The images on this page are the fi nal results of the group working with the communicative situation of “gossiping”.

108 - Jack in the Box CONSTRUCTION AND TESTING - 109 2.3.6 EIGHT INTERACTIONS The illustrations below show two of the proposed spatial solutions for each of the eight interactions.

to fi ght

to fl irt to confess to gossip to command

to preach to propose to seduce

110 - Jack in the Box Eight Interactions - 111 2.3.7 EXHIBITION The exhibition bought together all projects completed at 1:1 scale along- side an adjacent display of all card- board models at 1:10. Students could then see the transference in scale of each project and test each at 1:1 for its veracity in communicating or sup- porting the specifi c interaction re- quired.

112 - Jack in the Box Exhibition - 113 114 - Jack in the Box Exhibition - 115 2.4. BRIDGING THE GAP Unit 1b 2.4.0 How do architects and engineers stand it, and they have also contrib- The ‘Bridging the Gap’ assignment that the students have conducted a workshop in statics. The work- work together? How, when and uted to the emergence of a new for- is conceived as a teaching exper- in other contexts – on, for example, shop is intended to give students a BRIDGING THE GAP why do engineers enter the design mal expression – an expression that iment focused on architects and context, scale, working methods basic understanding of statics and Anne Elisabeth Toft process? And what does the collab- is often the result of the algorith- engineers conceiving and prepar- and the use of equipment. The as- construction principles. In order to oration between the architect and mic potential of a variety of soft- ing an assignment jointly. The ex- signment is site-specifi c and design lead this workshop we invited the engineer mean for the architectur- ware programmes. These media periment requires that they en- process is driven primarily via phys- Austrian architect Armin Kathan, al result? What does the develop- have also played their part in the ter into a dialogue with each other ical models. founding partner of the design stu- ment of new technologies and ma- development of new principles of and that they are responsive to each dio Holz Box Tirol,6 which is well- terials mean for construction and construction. Because of these new other’s competences. It is a mat- Bridges represent a unique typology known for its minimalist construc- for the ways in which architects principles we now think of the re- ter of encountering a different cul- and design challenge wherein archi- tions in wood and its prefabricated and engineers work together? What lationship between form and con- ture, different discursive codes and tectural and engineering aspects are building systems. In the architec- new forms of collaboration can we struction in quite a different way conventions. It is about different inherently fused, form and function tural design by Holz Box Tirol con- expect between architects and en- than we did just a few years ago. disciplines learning from each oth- are united for a higher purpose, in siderations about construction and gineers in the future? Such ques- Furthermore digital media have ers’ expertise. This collaboration which construction and design are tectonic solutions play an essen- tions form the basis for the assign- contributed to the development does not only present the teaching interdependent. Bridges single out tial role. ment ‘Bridging the Gap’, which is of new materials and of an entire- programme with a number of peda- and connect places and contexts, built up around a statics workshop, ly new understanding of them and gogical challenges; it also opens the but they also seem to demonstrate The point of departure for the a construction course and an Auto- their performative capabilities. way to an examination of the inter- to us how separating and connect- workshop, are studies of Leonardo CAD course. face between the two disciplines. In ing are only two sides of precise- da Vinci’s innovative engineering At Unit 1b, we believe that it is nec- addition it provides an opportuni- ly the same act.3 As Martin Heide- works, which include several bridg- The assignment focuses on interdis- essary to rethink the teaching of ty to refl ect on the antagonism that gger remarks in the text ‘Building, es. His work is documented in his ciplinary collaboration. It address- building techniques and construc- still exists to a considerable extent Dwelling, Thinking’: many sketchbooks, which contain es the collaboration between ar- tion in the bachelor course. We are between art and technology or art thousands of drawings and notes. chitects and engineers. At Unit 1b, adherents of the notion of an inte- and science and that has been – and “The location is not already there be- After a thorough analysis of da Vin- we believe that architects and engi- grated or holistic design process, in to some extent still is – a premise fore the bridge is. Before the bridge ci’s bridges and bridge collections, neers have to enhance their work- which architects and engineers work for a degree course in architecture stands, there are of course many spots the students test them and their ing and collaborative process. This together side by side and in which in Denmark. At Unit 1b, we want along the stream that can be occupied construction principles in a series goes for both the world of prac- students learn to lay weight on both students to act intelligently in a va- by something. One of them proves to of small working models. The mod- tice and of academia. Architects the artistic and the technological as- riety of cultural contexts and we be a location, and does so because of els are constructed of strips of wood and engineers should jointly devel- pects of architecture. In a way this want them to be able to work with the bridge. Thus the bridge does not and assembled without the use of op and design architecture, and it is form of thinking stands in critical people who have a background in fi rst come to a location to stand in it; glue or staples. The constructions therefore important that they work relation to the degree course hav- other disciplines and degrees than rather a location comes into existence are built using friction joints. Using closely and at an early stage dur- ing its roots in what is known as the their own. An important part of our only by virtue of the bridge.”4 the load tests of the working mod- ing the design process. Through the ‘tradition of the art academy’.1 Char- course, therefore, consists in teach- els and the results, these provide ‘Bridging the Gap’ assignment we acteristic of this tradition is that it ing the students to decode vari- The context also does something about stresses and tensions in the aim to introduce students to this has historically categorised architec- ous backgrounds and to understand to the bridge. It plays a part in de- constructions, the students devel- viewpoint. Through presenting ex- ture as a form of art and that teach- their signifi cance. termining the bridge’s function, its op new bridge models according to amples, discussions and presenta- ing has favoured the study of archi- construction and design. It is well- their own design. Just like da Vinci, tions we illustrate how the advent tecture’s aesthetic and conceptual ‘Bridging the Gap’ introduces stu- known that there are a multitude they make no mathematical calcu- of digital media in recent years has capabilities at the exclusion of al- dents to statics, tectonics, and the of different kinds, forms, and con- lations of the constructions but al- revolutionised the working areas of most all else. Teaching in building understanding of materials. The struction techniques for bridges. low their assessments to rely solely the architect and the engineer. Dig- techniques and construction has aim of the assignment is to arouse These differences are often the re- on tests of the models and on stud- ital media have not only made it been limited and has never taken the students’ interest in technical sult of conditions of their context. ies of the growth forms of nature. possible for architects and engineers centre stage in the students’ project and scientifi c aspects, to encourage These contexts and their signifi - Finally the bridges are construct- to work in new ways in the devel- work. The course will continue to be them to undertake interdisciplin- cance are placed in perspective in ed in the workshop in a scale of 1:1 opment of architecture, but digi- grounded in aesthetic values,2 but to ary collaboration and to instil in the ‘Bridging the Gap’ assignment. and are tested by having the stu- tal media have also altered the un- keep in step with technological de- them a refl ective understanding of As part of their assignment the stu- dents walk over them. The work- derstanding of society as a whole, velopments and their decisive sig- the relationship between construc- dents work with four different ur- shop concludes with a public exhi- addressing what architecture is or nifi cance for architecture and for its tion and form. The assignment fo- ban or landscape contexts5 whose bition and a critique and discussion can be. Digital media have gradu- forms of production, it is necessary cuses on bridge design and the con- differences make different demands of the results of the workshop. For ally transformed the design process to think about this grounding in a struction of bridges. It reintroduces on their bridge design. the critique and discussion we in- and the way in which we under- new and different way. and extends previous discussions The assignment is introduced by vited the Austrian engineer Chris-

118 - Bridging the Gap Introduction - 119 tian Aste, founding partner of Aste fer their knowledge about analogue around Fladbro Inn. 6. Armin Kathan (Holz Box Tirol), Austria. Konstruktion and professor at the double orthogonal projection draw- BRIDGING THE GAP . University of Innsbruck’s Faculty of ing to digital format. There they 7. Christian Aste (Aste Konstruktion), DESIGN OF A SMALL BRIDGE – A CHALLENGE TO ARCHITECTS 7 Architecture. zoom in on selected joints in the Austria.,. The next phase of the assignment working of these. The course focus- 8. The teaching was delivered by the fol- 1.1 Aim of course: comprises of a contextual analy- es on basic functions specifi c to the lowing: Engineering Architect, Jörg Ker- chlango (course manager); Civil Engineer, - Acquiring basic understanding of construction and of the correlation between architecture and construction. sis and the registration of sites. The programme and on the work fl ow Per Dombernowsky (course manager); Civ- - Building a bridge between the architect and engineer. students visit the four sites and, from analogue drawing to digital il Engineer, Niels Havsteen; Consultant En- - Showing the interdependence of the two occupations. with the aid of a variety of mapping technical drawing and back to the gineer, Mikkel Frandsen; Consultant Engi- methods and measurement tech- plotting of analogue drawings. neer, Ulrik Kæsseler and the teaching team - The constructively conscious architect’s cooperation with the creative engineer. niques, carry out a documentation from Unit 1b. 9. Armin Kathan (Holz Box Tirol), Austria. and survey of them. The students In relation to the assignment we 1.2 Course content Christian Aste (Aste Kon- are divided into small groups, and hosted an international series of struktion), Austria.. A proposal for a construction project is made; a bridge with average span. each group concentrates on a read- lectures, which took as their theme Julien de Smedt (JDS Architects), Denmark/ In a given, limiting context, a new bridge design is outlined with a defi ned function. By way of introduction, ing of one of the four sites. Dur- the collaboration of architects and Belgium.< http://www.jdsarchitects.com/>. a number of fundamental proposals are outlined whose potentials and limitations are identifi ed. Subsequent- ing this phase the students make engineers in the design process. Fabio Gramazio (Gramazio & Kohler), Switzerland.. The proposal is presented with an account of the working process and intentions. An account is given of re- they have learnt in previous assign- tween form, function, construc- fl ections regarding the relation of the proposal to the existing context – with regard to space and form as well ments. The intention is that they tion, fabrication and technology in as choice of materials and construction principle. should now be able to fi nd applica- a number of buildings. The lecturers The project must include a simple analysis of the construction. tions for these in new and different invited were Armin Kathan, Chris- contexts. tian Aste, Julien de Smedt and Fabio Gramazio.9 1.3 Aesthetic requirements These readings are then translated Bridges usually appear as signifi cant buildings in the city or landscape and deserve the same care in design onto large context models, which and aesthetic as the rest of architecture. subsequently form the basis for Bridging the Gap: 4th-22nd Jan Not only do bridges connect two points in the most effective and economic way; they have at the same time the students’ further work. In this 2010. a high signalling effect. phase they develop a bridge design Concept: Anne Elisabeth Toft, A footbridge or cycle bridge in addition to the primary function of the bridge can also be a place where you that corresponds to the context that Lena Kondrup Sørensen, stop to rest or observe the surrounding landscape – a ‘place’ in the land- or cityscape where you stay for a they have registered and analysed Stefan Rask Nors, short or long time and get an unusual experience. and which now exists as a model. Jörg Kerchlango. Structures of this dimension are very visible and can add visual experiences to the place regardless of whether The bridge design is developed us- Formulation of assignment: they are located in the city or in the untouched nature. ing laws of statics and construction Jörg Kerchlango. Consideration for the context, i.e. the connection that the bridge is placed in, is very signifi cant as a bridge in principles that the students’ learnt about in their statics workshop. The connection with a natural trail through a landscape with vegetation necessarily has to be designed differently ENDNOTES teachers are architects and engi- from the bridge placed in a rough technical harbour environment. 1. According to ‘Arkitekturnation Danmark’ neers, several of whom come from – regeringens arkitekturpolitik (‘Denmark, Form, construction and materials should be chosen so that they are not in contrast with each other and the Aarhus’ well-established circle of ar- nation of architecture’ – the government’s place. chitecture studios.8 architecture policy), (2007), the ‘academy of art’ tradition of the architecture degree is re- 1.4 Form of course garded as ‘a Danish characteristic’. It is the The assignment focuses heavily on government’s wish that this should be pre- Project work consists of four member groups supported by inspirational lectures on the understanding of con- the architectural model and on how served. See: Arkitekturnation Danmark - reger- struction and bridge design together with a workshop. we as architects can develop and ingens arkitekturpolitik (2007), p. 48. Supervision at the drawing tables by both engineers and architects. test both concepts and construction 2. idem. principles through models. In the 3. Simmel, G. 1997, ‘Bridge and Door’. In: Leach, Neil (ed.): Rethinking Architecture. 1.5 Course directors last phase of the assignment, which Routledge, London and New York, p. 67. Jörg Kerchlango, MArch., Engineer and Architect, Associate Professor. is built up around an AutoCAD 4. Heidegger, M. 1997, ‘Building, Dwell- course, the representational focus ing, Thinking’. In: Leach, Neil (ed.): Op.Cit. Per Dombernowsky, Civil Engineer, Associate Professor. switches to the architectural draw- p. 105. ing. Through a concrete notation of 5. The four contexts are: Stevnstrup Sta- tionsby, the area around Randers Rainforest, the bridge models, students trans- the area around Randers Bridge and the area

120 - Bridging the Gap Assignment - 121 3. Programme 4. Working method 3.1 Concept for a footbridge and cycle bridge The visit to the place will be on Monday 4th January in the afternoon. - The bridge is to be designed as a footbridge and cycle bridge. The fi rst line is always the most diffi cult to make in sketching. Therefore, all you can do is start with for in- - The construction material of the main structure is optional. stance the layout of bridges and sketches of the fi rst construction principles without determining a specifi c so- lution from the beginning. It is important to test as many options as possible in order to afterwards be able to 3.2 Location and functional demands choose based on a number of critical criteria: adaptation to the surroundings, functionality, optimisation of General requirements: the construction, utilisation of the materials and aesthetic requirement to entirety and detail. - The slope of the bridge should not exceed 1:10. The pavement selection must be any non-skid material. The number of proposals is then reduced to for instance three which are then thoroughly sketched in order to - The bridge should have a railing of 1.2 metres in height. select the fi nal proposal. - The bridge should be illuminated either integrated into the railing or by means of lamp standards that match the rest of the bridge design. It is important that from the beginning you work with a physical model while at the same time are sketching - The functional requirements below for the individual groups can be modifi ed according to agreement with with a pencil. You should alternate between the two tools as they each have advantages compared to the other. main counsellor. We have been aiming at the largest possible variation with regard to location, layout and Model photos should be part of the process. passage height of the bridge in order to obtain a broad range of solutions. The drawings should consist of: - The bridge is to be linked with a newly established footbridge and cycle bridge to Randers,Denmark. Plan (scale 1:100), Elevations (scale 1:100), Free-hand perspectives, Sectional drawing – cross section (1:20), - The bridge is to be built in a width corresponding to a foot and cycle path in both directions. Assembly details (scale 1:10 or 1:5), Model photos.

The bridge must: 5. Presentation - Go across the stream perpendicular to the bank. The presentation by the group must include an account of the process and of the choices that have been - Be one span and have a span of 30 metres. made. It is important that you argue in favour of the chosen design and the correlation of the project propos- - Be made with minimal slope. al with the surroundings. - Have a free passage height under the bridge of 2 meters. Great importance is also attached to the presentation having a high informative level and that a wide variety of the various presentation and communication tools are used that have been introduced during the fi rst aca- demic year. Site A: Stevnstrup Stationsby Site B: Randers Regnskov Formal requirements for the presentation: A poster in A2 format is produced. The poster must have graphics and text that gives an account of the idea and design of the project and also a basic account of the static principles and other relevant conditions. The presentation must also have a visualisation of the project. Models and sketches may be included in the presentation. Also ‘primitive’ models that illustrate the working process should be included. Similarly, hand drawn sketches that illustrate the development from idea to result may be included in the presentation.

Practical conditions of the presentation: The group presents the project for about fi ve minutes followed by ten minutes of critique. In attendance at the presentation are all students and course directors. Site C: Randersbro Site D: Fladbro A selection of relevant literature: Peder Gammel: Statik og Konstruktiv Forståelse. Hans Friis Mathiasen: Grundtræk af Bærende Konstruktioner i Arkitekturen. Cecil Balmond: Informal. Neil Leach, David Thurnbull; Chris Williams (Eds.): Digital Tectonics. Bennett, David (Ed.): The Architecture of Bridge Design.

122 - Bridging the Gap Assignment - 123 2.4.1 Phase 1: WORKSHOP BY ARMIN KATHAN, PARTNER, HOLZ BOX TIROL Students discuss their models with Armin Kathan, Christian Aste, Jörg Kerchlango and Per Dombernovsky.

124 - Bridging the Gap Learning - 125 2.4.1 Phase 1: WORKSHOP BY ARMIN KATHAN, PARTNER, HOLZ BOX TIROL Learning from Leonardo da Vinci’s engineering works: Students test dif- ferent bridge designs by da Vinci. Sketches by LLeilaeila SopSophiahia KKeivanlo.eivanlo.

126 - Bridging the Gap Construction - 127 2.4.1 Phase 1: WORKSHOP BY ARMIN KATHAN, PARTNER, HOLZ BOX TIROL Armin Kathan discusses statics, con- struction principles and modeling laws with students. Students operate in groups. Experiments are carried out in model. Models vary in scale.

128 - Bridging the Gap Construction - 129 “Leonardo da Vinci’s mobile bridge was a milestone in the history of statics. 2.4.1 Twist and friction turns the system into a stable bridge. Phase 1: All building elements get wedged together as a result of their self-weight, sustain themselves and there is no WORKSHOP BY ARMIN KATHAN, more need for any secondary fi xing, like screws and nails. PARTNER, HOLZ BOX TIROL This bridge had aroused the students’ interest in statics and inspired them to long for more understanding how Final critique with Armin Kathan, force works. Christian Aste, Jörg Kerchlango and Explorations of new constructions the joy of experimentation played a very vital part. Per Dombernowsky. The results of this exercise were impressive full of high quality and versatile and I want to proudly say thank you to all the attendees.“ Armin Kathan

130 - Bridging the Gap Construction - 131 2.4.2 Phase 2: BRIDGE DESIGN Bridge designs are developed and tested in model. Students work in groups. Working models and the fi nal bridge design.

132 - Bridging the Gap Bridge Design - 133 2.4.2 Phase 2: BRIDGE DESIGN Bridge designs are developed and tested in model. Students work in groups Working models and the fi - nal bridge design.

134 - Bridging the Gap Bridge Design - 135 2.4.2 Phase 2: BRIDGE DESIGN Students work in groups. They develop bridge designs that correspond to particular sites near Randers. Bridge designs are developed and tested in model.

136 - Bridging the Gap Bridge Design - 137 138 - Bridging the Gap Bridge Design - 139 2.5. EARTH AND SKY Unit 1a 2.5.0 of architectural students make up a of formal creation, namely addition heterogeneous group in regards to and subtraction. EARTH AND SKY Title: exercising self-discipline and self- EARTH AND SKY Anders Gammelgaard Nielsen management and thereby taking Since the assignment tests the stu- control of their own learning pro- dent’s abilities and skills at the end Duration: cess. There are students who possess of the fi rst year course, it carries 8 weeks a natural ability to manage them- particular weight in the overall as- selves, while others only attain this sessment of their level of achieve- ability in the latter stages of their ment in the subject. Objective: course. For this reason it is neces- Creating a project based on the exploration of light and space. sary to initiate learning situations To strengthen the student’s ability in which students are given the to handle the complete project pro- Description: chance to develop skills in decision- cess independently, we have cho- This fi nal assignment gathers together the threads from the current academic year. In this way, a project pro- making. This often extends deep sen to recapitulate the architectur- posal is developed that summarises the conceptual, thematic, work methodology and tool-related elements of into the student’s personality and al themes, working methods and the academic year. In addition, light is incorporated as the central form and space generating parameter. provokes questions of an existen- instruments that have been intro- tial nature. It can at times appear duced over the course of the year. The background of the assignment is based around two basic principles in the architectural formation – sub- to transgress personal boundaries The focus of the assignment is, tractive and additive form that includes the generation of space. when we as teachers and education- therefore, not the learning of new

The assignment known as ‘Earth alists concern ourselves not only elements and tools but the ability The subtractive architectural formation is characterised by material being extracted from a solid mass to form and Sky’ is the fi nal course in fi rst with aspects of the teaching that re- make use of existing learned tech- a void. This craft making methodology involves a manual process which results in the formation of space year at Unit 1a. late solely to the discipline but also niques through a working process address the student’s personal skills. that is self-managed and disciplined with a unique character. The aim of the assignment is to and that leads students towards the strengthen the student’s abilities to Our experience shows, however, fi nal assignment solution. The additive architectural formation is characterised by adding material whereby direct form and the genera- manage a project process individu- that the development of person- tion of space occurs. The technique is often associated with industrial typologies and builds on the repetition ally. The process involves develop- al skills is decisive in strengthening of mass production whereby architecture in the same way obtains a repetitive nature. ing the ability to make independent professional skills. In other words decisions. we can no longer regard students The relation between subtractive and additive architectural formation can often be closely linked. For in- exclusively as professional units but stance, the material that is removed in the subtractive process can often form the starting point of the archi- Students who embark on a course have to address them as complete tectural formation in the additive process. This creates a closed circuit in which the quantity of material re- in architecture must possess and de- individuals. mains constant. The assignment is divided into phases and consists of a group preliminary phase followed by velop varying degrees of autonomy a number of long-term individual phases. in relation to their studies. The ma- The point of departure for the jority of students come from a back- ‘Earth and Sky’ assignment is ex- ground in the high school system perience students acquired during In the preliminary phase, proposals are developed for formations of space. In which, the starting point occurs and are thereby extremely compe- their group study tour to Austra- in sections of a polystyrene cube. The proposal builds on subtractive and additive processes specifi ed. In the tent in solving assignments with lia. Building in particular on the re- subsequent phase, these project proposals are further developed based on the individual programming. problematic tendencies. On the search conducted on the Sydney other hand their ability to address Opera House and the architectur- Course of assignment assignments that they have formu- al principles of spatial creation that Week 1 lated themselves is limited. this building represents. In a polystyrene cube with a side length of 10 cm, three cuts are made in the x, y and z plane, respectively. The cuts are made successively as each cut is followed by the displacement and gluing together of the plane. At Unit 1a it is our conviction that The assignment investigated poten- Two of the cuts are made linear whereas the last cut can be made according to a self-chosen amorphous curva- it is no longer suffi cient to be able tial answers that project an airplane ture. The produced shape is cast as the core in a plaster cube of a suitable size. One surface of the polystyrene to address assignments set by oth- (either complete or in individual shape is to be fastened to one of the sides of the casting mould. In the resulting plaster cast, a vertical and ers; we must be able to set them parts) using space and light as the horizontal cut is made (with a saw) so that the polystyrene shape appears in the incision of the surface. The ourselves. We believe that this is essential architectural agency. Using what will characterise the elite of their studies of the Sydney Opera polystyrene shape is removed with mechanical aids and leaves a spatial imprint in the massive plaster cube. the future. House as a basis there is also the re- The produced spatiality is then observed and studied in relation to its light-related potential. quirement that potential solutions In our experience the current body relate directly to the two principles

142 - Earth and Sky Assignment - 143 Staging an aircraft with light can occur in radically different ways. The aircraft can be considered in purely formal Weeks 2-8 terms and to be staged through the use of light and space. In this regard, the aircraft can be understood as one fi n- A model plane at the scale of 1:50 is handed out. The model plane can either be assembled or remain in com- ished object or can remain in its separate parts as delivered as the unbuilt model. Alternately, the aircraft can be con- ponents, a project proposal is then made that stages the plane. The staging should be done using spatial, tex- sidered as a phenomenon whereby the purpose of the staging is to show this phenomenon. tural and light-related means. The assignment answer should also refl ect a subtractive and additive architec- tural formation.

Literature: Herrigel. E 1953, Zen in the Art of Archery, Routledge & Kegan Paul Ltd, London Pirsig. R.M 1974, Zen and the Art of Motorcycle Maintenance: An Inquiry into Values, Morrow, New York

INTRODUCTION COMPENTANCY MASTERY

ARCHITECTURAL THEME

Form x Space x Construction x Context x Programme x Light x WORKING METHOD

Generative x Synthesising x Conceptual x Analytical x

TOOLS

Drawing Analogue x Digital x Model Cardboard x Wood x Wire x Plaster x Communication Written x Oral x Visual x Registration Drawing Photo Video

History

Theory

144 - Earth and Sky Assignment - 145 2.5.1 GETTING STARTED Each student is given an orange foam cube into which they are allowed to make 3 cuts (one each along the x, y and z axis sequentially). Therefore, each cut is followed by the displace- ment of a section of foam which is then slid along the cube and re-glued. The next cut follows the same log- ic and so with three cuts and three moves a complex form is created.

146 - Earth and Sky Getting Started - 147 A plaster cube is then cast around this foam core. One the plaster is set, students cut down the centre of the plaster form to reveal an internal space cre- ated by the foam element. This space is then ex- plored for its spatial qualities as rendered in light.

148 - Earth and Sky Getting Started - 149 2.5.2 MODEL AIRCRAFT A model aircraft is handed out and students are advised to work with the aircraft as if it was at a scale of 1:50. As the model aircraft can ei- ther be assembled or remain in its constituent components as present- ed in the box, students propose a project which stages the aircraft in one of these conditions. Each pro- posal must include both additive and subtractive techniques to stage the aircraft. The proposal must in- clude a statement about how light and space can be confi gured to best stage the aircraft.

150 - Earth and Sky Model Aircraft - 151 Small Shaft Long Shaft with Extension 1 Long Shaft with Extension 2 Long Shaft with Extension 3

2.5.3 SIMONE FALDBORG JØRGENSEN My ambition was to orchestrate the aircraft’s tail with the use of light. For this purpose, I worked to achieve a constant and focused light on the tail, regardless of weather conditions and the inclination of the sun. My exper- iments focused on fi nding the best way to make an opening for light that achieved these aims.

152 - Earth and Sky Projects - 153 2.5.4 TINE KJØLDMOEN MOSENG “In my light investigations I developed the apparition (note: or apperance?) of the air- craft. I experimened with the scale of light from light to dark to investigate the transi- tion in the atmosphere, and to see how far I could go before the aircraft was no longer rec- ognizable as an airplane, but an object.”

154 - Earth and Sky Projects - 155 2.5.5 IDA FLØCHE MØLLER Light input has guided the creation of space. In particular I have worked with diagonal light intakes to create dynamism in the space. Light enters through these intakes to create cones of natural light which illuminate the aircraft and space from different an- gles during the day.

The aircraft is hung in the middle of the room to present it from all sides as it is a vehicle which moves in three dimensions. Viewers are led around the room and plane to emphasise the movement inherent in the plane. The model was built in plaster because of its lustrous texture. The solidity of the plaster emphasises the solid-void contrasts where the light intakes have been cut out of the mass.

156 - Earth and Sky Projects - 157 2.5.6 MARIA-THERESE GRANT The project worked with the phenomenon of mel- ancholy. “Melancholy hates haste and fl oats in silence. It must be handled with care” Nick Cave’s Love Song Lec- ture, October 21, 2000.

158 - Earth and Sky Projects- 159 2.5.7 KARL ÖSTGÅRD This project tries to negotiate the transition between void and solid – between ”Heaven” and ”Earth”. De- scending from ground level, the jour- ney takes you through a series of undulating surfaces exploring poche spaces of different spatial qualities. The deformation of the layered and punctuated surfaces, the penetrating light and the spaces created are a di- rect effect and almost literal reading and translation of a collision with the ground - the impact of the airplane, which at the bottom of the journey re- veals itself in an unfamiliar territory.

160 - Earth and Sky Projects - 161 2.5.8 ALEKSANDER JOHANSEN This model is a study of the spaces that are generated between the dif- ferent parts when the plane is sepa- rated along an axis which also en- ables a play with perspective. In this assignment, the aircraft is staged as a phenomenon. Through light and form I have staged the aircraft as an explosive phenomenon which moves from a defi ned starting point to many possible directions.

“Speed: Plywood strips point in the same direction as the aircraft and are cut into different lengths to emphasize its speed. The plywood is gathered at the point of departure and opens in the direction of fl ight, increasing the sense of speed. Drama: A sense of drama is inherent in a plane of war. The plane is in its element avoiding crossfi re. Copper pil- lars emerged via the process of creating a structure for the plywood strips and became associatd with a volley of bullets aimed at the aircraft.”

162 - Earth and Sky Projects - 163 2.5.9 JESPER STRUVE CHRISTENSEN 2.5.10 In this project the aircraft is looked at CHRISTIAN SALLY JUNG as an object with its inherent qualities. JENSEN An almost religious staging of the air- The aim in this project is to give craft occurs via hanging of the plane the visitor a total experience of as a cross. An entry sequence through the aircraft in its element - the air. a narrow opening creates a sense of The structure has been designed to drama on arrival such that experienc- guide the visitor around the aircraft ing the aircraft for the fi rst time is a between chosen view-points. revelation. The quality of the project is the simple way in which the atmo- sphere and space has been formed by a surface folded into 3 planes.

164 - Earth and Sky Projects - 165 2.5.11 “This model is a study of the spaces that are ANDERS KJÆRGAARD generated between the different parts when Taking its point of departure from the the plane is separated along an axis which discussion on whether or not to as- also enables a play with perspective.” semble the pieces that make up the model airplane, this project proposes a more calculated approach to the ques- tion. Assembled and later methodi- cally cut into individual elements the material no longer refl ects any notion of the airplane as a formal entity - the airplane has disappeared into thin air. Separated and displaced, these ele- ments now manifest themselves in an illegible context with no apparent re- lationship to each other. They reveal their true identity only in the collec- tive shadow cast on the ground and seen from a specifi c angle where they make up the silhouette of the airplane in the sky.

“This model shows how the object can remain frag- mented so that a story about its component parts and the whole aircraft can be told simultaneously.”

166 - Earth and Sky Projects - 167 2.5.12 AVIAAJA MAGDALENE EZEKIASSEN “Below is my fi rst concrete drawing. It re- minded me how the aircraft could be staged in the space I had made with the plaster cast and the subsequent effects of light and movement on the atmosphere of that space when it was occupied by the aircraft.”

“My father worked as an aircraft mechanic his whole life, so I have spent a lot of time in the han- “I designed a frame to hold the separate pieces of the aircraft in place in such a way that the frame itself became part of the gar looking at aircrafts in their whole form or in pieces. I am fascinated by the different components composition. A light source was placed below the installation, in a large opening which remined me of the atmosphere in that must be assembled to make the aircraft fl y. Therefore, from the beginning of this project I want- the hangar as the doors opened. When rendered by light, the components and frame combine to create a new atmosphere”. ed to stage an action or a process, rather than the object, and so tried to stage the assembly of the aircraft rather than the aircraft itself.”

168 - Earth and Sky Projects - 169 2.5.13 EMIL SCHARNWEBER The Spitfi re aircraft is known for its maneuverability. This quality is re- fl ected in the a spatial design based on the rocking of the aircraft’s wings. At the same time the form of the space results in a series of open- ings for the penetration of light in the manner of searchlight beams. The result is a space which recalls the Spitfi re in action.

“The rotation of the aircraft wings was captured and frozen in a series of still images. The resulting geometry formed a series of strokes which underpinned the design of the wall, ceiling and fl oor surfaces. A focused light enters the space between these planes, emphasising the form of the space. The result is an experience of space and light which recalls the dynamics of the aircraft, even though the craft itself is a static object in the space. “

170 - Earth and Sky Projects - 171 172 - Earth and Sky Earth and Sky - 173 2.6 STRUCTURE, SERIALITY AND THE OPEN PROGRAMME Unit 1b 2.6.0 In the fi nal assignment of the aca- to create his buildings.2 In conjunc- variation within the same species. of the assignment, they are given as In a new exercise, experiments are demic year, ‘Structure, seriality and tion with these he acquired knowl- These he could translate into geom- an ‘assignment within the assign- carried out with these. First they STRUCTURE, the open programme’, the founda- edge about the cultures and build- etry and mathematical formulae. In ment’, the task of rethinking and are subjected to a variety of infl u- SERIALITY AND THE OPEN tion is laid for a synthesising course ing traditions of these countries. He nature he could also study how var- critically reformulating this during ences – for example, pressure, trac- lasting eight weeks. This brings to- gave himself the time to experience ious growing conditions infl uence the drafting process. tion, scaling and repetition. The PROGRAMME gether a number of the working the local texture of the agricultural the development of the species.6 aim of the exercise is that the stu- Anne Elisabeth Toft methods and tools that the students and urban areas and to study wind This relationship he translated into The idea of the youth hostel is that dents should use these experiments have learnt to use over the course of and light conditions, landscape fea- a conscious design strategy.7 It is, it is to be constructed by the coast to make new discoveries about their the year. The assignment is linked tures, fauna and vegetation at the then, the same underlying thoughts near Moesgaard Beach, a little way structure and its growth principle. directly to the major theme of the sites where he was to build. For Ut- about organic architecture that can south of Aarhus. The assignment is They are carried out in double or- spring semester, which for both zon a reading of the place and of its be found again in Utzon’s so-called divided into four phases. It is not thogonal projection drawings and Unit 1a and Unit 1b was Jørn Ut- characteristics were of vital signifi - ‘additive architecture’, an architec- until they reach the fi nal phase models. zon, his working method and his cance in his architectural design. tural concept and building system that the students are told that what work. The focus of their studies was that he developed in the 1960’s.8 they are working on is to result in In the next phase of the assign- the Opera House in Sydney, Austra- In his text ‘The Innermost Being of a youth hostel. The aim of this se- ment, which also lasts a week, the lia. The students visited this build- Architecture’ Utzon writes: Utzon created a form of architec- crecy is that the students’ focus on area around Moesgaard Beach is ing in March, where it formed the ture that placed the human being at their work should fi rst and foremost studied. Using various measure- basis for a comprehensive analysis ‘We put everything in relation to our- the centre, architecture that always be through the study process rather ments, the students are brought of Utzon’s work.1 Through various selves. Our surroundings infl uence us seems to take as its point of depar- than on its result. face to face with the site and readings of this work the students through their relative size, light, shade, ture the human individual and its its characteristics. They work in acquired an insight into and an un- colour, etc. Our condition depends en- perceptions, its resources, its needs, The fi rst phase of the assignment, groups, but each student also has to derstanding of Utzon’s architectur- tirely on whether we are in a city or its creativity, its play. He himself lasting one week, includes an exer- make his or her own observations al vocabulary, his sources of inspira- out in the countryside, on whether the writes: cise in observation and notation. and carry out their own systemat- tion and his choice of motifs. They space in which we fi nd ourselves is This is an exercise that gets the stu- ic registration. As part of the study also learned about his way of work- large or small. Our reactions to these “On the road from the fi rst idea – the dents to carry out a painstaking students use a number of different ing. circumstances are at fi rst quite uncon- fi rst sketch – to the fi nal building, a study of some of nature’s growth mapping techniques and notation scious, and we only register them on host of possibilities arise for the archi- forms. At the start of the exercise, exercises such as ‘Serial Vision’10 In ‘Structure, seriality and the open memorable occasions, for instance in tect and the team of engineers, con- therefore, each student is hand- and ‘Body as Measure’.11 On-site programme’ we go behind the work the sublime enjoyment of a detail or tractors and artisans. Only when the ed a vegetable or fruit, which has studies are set alongside readings of to further explore Utzon’s work- a happy alliance with the surround- foundation for the choice between to be examined using 1:1 measure- historical material – photographs ing method. This study leads the ings or by a pronounced feeling of dis- the various solutions derives from the ments and a series of sections run- and maps – that show the devel- students to the development of a taste. But to elicit our unconscious re- awareness that the building must pro- ning at right angles across the ob- opment of the coast around Moes- small sketch project that emphasis- actions until they become conscious to vide the people who are to live in it ject. The sections are photographed, gaard Beach. For the students the es some of the qualities that Utzon us ought to be our starting point. By re- with delight and inspiration do the and subsequently catalogued. Using exercise consists of developing a va- strived for in his architecture. In hearsing our ability to grasp these dif- correct solutions to the problems fall measurements and photographs, riety of strategies for decoding and this way their analyses of the Op- ferences and their effect on us, by being like ripe fruits.”9 the students construct a double or- analysing the landscape’s structural era House are now put into perspec- in contact with our surroundings, we thogonal projection drawing, which composition. The total sum of regis- tive by their own design, which is fi nd our way in to architecture’s inner- In ‘Structure, seriality and the open represents the now bisected fruit or trations subsequently forms part of brought about through a study of most being.’3 programme’ students are to de- vegetable. The exercise now is about a common analogue data archive, Utzon and a refl ected application sign a youth hostel, a place where the student decoding the structur- which the students establish at the of Utzon’s working method. For us Inspired by, among others things, many different kinds of travellers al composition and growth princi- drawing studio. Using their surveys teachers in Unit 1b, the study gave the book by the Scottish zoologist with many different needs can live ple of the fruit or vegetable. These as a basis, they construct a variety an opportunity to theorise about D’Arcy Wentworth Thompson ‘On for longer or shorter periods. It is features are illustrated in drawings of landscape models that represent Utzon and his signifi cance as an ar- Growth and Form’,4 Utzon had ear- a democratic place that embraces and models, as the student keeps specifi c segments or features of the chitect. This theorising took place ly in his career developed what was both the individual and the group, redrawing the fruit or vegetable landscape. through our teaching and through called organic architecture.5 This a meeting point for many cultures. in ever more purifi ed and abstract the students’ work. was a form of architecture whose An important part of the assign- forms. In the end a set of diagram- After this exercise the students re- structural principles were built on ment is that students’ rethink the matic drawings are put together to turn to their optimised structure. As a rule Utzon’s working meth- concepts he found in his study youth hostel as an architectural cat- give an optimised model that only This now has to meet the landscape od included painstaking contextu- of natural growth forms. Here he egory. This means that, while the represents the structural composi- in the representations. Using exper- al analyses alongside study trips to found logical rules, harmonious re- traditional youth hostel is present- tion and growth principle of the iments in double orthogonal projec- the countries where he was going lations and systems that allowed ed to the students during the course fruit or vegetable. tion drawing and model work, the

176 - Structure, Seriality and the Open Programme Introduction - 177 students consider how the structure Formulation of assignments: Lena seen transposed into the so-called ‘Espansi- va’ building system, in which a number of can be scaled and what implications Kondrup Sørensen. STRUCTURE, SERIALITY AND THE OPEN PROGRAMME. identical components can be assembled into scaling might have for the struc- a fl exible house for the single family. AAA, UNIT 1B, F10 ture and its construction. There 9. Weston, R. Op.Cit., p. 12. ENDNOTES 6 APRIL-30 MAY are a number of ways in which the 1. Fourteen students from Unit 1a and 1b 10. ‘Serial Vision’ is a concept and a tool de- structure can make inroads into veloped by the English architect Gordon respectively were prevented from taking Utzon and his holistic and experimental attitude to architecture, his architectural basis of inspiration and his the landscape. Through these both part in the study trip to Australia. For these Cullen. In his book The Concise Townscape, 1960, he fi rst introduces this concept, which approach to creating architecture form the background of this term’s fi nal assignment. the structure and the landscape are students a course was arranged at the Aar- hus School of Architecture. This included defi nes the urban landscape as a series of re- We are here thinking of: transformed. Using a series of mod- an analysis of Bagsværd church, designed lated spaces. el studies, the students test the spa- - his inspiration from natural phenomena and biological growth principles converted into structures. by Jørn Utzon. The person responsible for 11. In the ’Body as Measure’ exercise our - his breaking down of architectural wholes into small parts and structures in varying spatial sequences. tial consequences of incorporating the preparation and execution of this course reference is to Maurice Merleau-Ponty and the structure into different strate- was the architect Jane Willumsgaard (Unit we take the body as a starting point as “the - his inspiration from and sensitivity to the context/site (i.e. location, plants, scale, materials, climate, sun and general medium [moyen général]” and the gic places in the landscape – plac- 1b). wind). 2. Munk Hansen, H. 2008, ’Jørn Utzon - en condition for having a world. Focus is on es that are determined by, for exam- - his inspiration from imported building motifs and architectural themes (metaphors). fornyer af islamisk arkitektur’. In: Hillen- the body as both the organ of perception ple, infrastructural considerations brand, Robert (ed.): Islamisk kunst og arkitek- and the measure for perception. - his understanding of architecture as the framework of a social life and community. or light and wind conditions. The tur. Forlaget Vandkunsten, Copenhagen, In the fi nal assignment of the academic year, we will be using many of the tools, techniques and methods experiments are registered in pho- pp. 11-12. that you have acquired so far during your fi rst year of study. Compared to the previous course of study that tographs, diagrams and double or- 3. Utzon, J. 2002. ‘The Innermost Being of has focused on composition, form, outdoor spaces, context and construction, the fi nal assignment will add thogonal projection drawings. Architecture’, 1948. In: Weston, Richard: Ut- zon. Inspiration - Vision - Architecture. Edition structure, indoor spaces and the functional programme as basic design parameters. Bløndal, Copenhagen, p. 10. In the fi nal phase of the assign- 4. Wentworth,T. 1917, D’Arcy: On Growth The course of the assignment will focus on: ment the functional programme is and Form. Cambridge University Press, Cam- introduced as a design parameter. bridge, 2nd ed. 1959. - studies of the serial understood as a recurrence of elements that belong to the same order but entail and The students are told that the struc- 5. Jørn Utzon was also inspired by, for ex- facilitate variation within this order. ample, Frank Lloyd Wright and Alvar Aalto’s ture has to provide the basis for a - experiments with fl exible, spatial structures that call for modifi cations in relation to place and allow change organic architecture. youth hostel with sleeping accom- 6. ‘The true innermost being of architec- in compositional scale and rhythm, and allow programme-related openness. modation for forty people. The pro- ture can be compared with that of nature’s The course of the assignment is divided into four main phases: gramme is very open. The aim is, as seed, and something of the inevitability of 1. Exercise: From object to seriality to structure mentioned before, that students are nature’s principles of growth ought to be a fundamental concept of architecture. If 2. Context to develop it themselves. In this fi - we think of the seeds that turn into plants 3. Spatial structure and context nal part of the assignment, which or trees, everything within the same ge- 4. Function, spatial structure and context lasts three weeks, it is therefore en- nus would develop in the same way if the tirely up to the students themselves growth potentials were not so different and Phase 1 to decide their strategies for their if each growth possessed within itself the ability to develop without compromise.’ 6-14 April sketch plans. Utzon, J. 2002, ‘The Innermost Being of Ar- In the fi rst phase of the assignment an object from nature - a vegetable or fruit – is to be cut up in a series of chitecture’ (1948). In: Weston, Richard: In line with Utzon’s thinking about Op.Cit. p. 10. sections that document and describe the structure of the object. Subsequently drawings of it should be trans- an additive form of architecture, 7. ‘It [architecture] requires an ability to cre- formed into a spatial structure based on logics in the characteristic construction of the object and its growth the students are, however, asked to ate harmony from all the demands made principles. Each student will individually analyse the object that they are given. by the undertaking, an ability to persuade design a fl exible building complex, them to grow together to form a new whole which consists of a number of re- – as in nature; nature knows of no compro- Phase 2 lated units or modules. The archi- mise, it accepts all diffi culties, not as diffi - 16-23 April culties but merely as new factors which with tecture has to be site-specifi c and it During this phase, the chosen site at Moesgaard Beach is to be registered phenomenologically and cartograph- should centre around human be- no sign or confl ict evolve into a whole.’ Utzon, J. 2002, ‘The Innermost Being of Ar- ically, individually and in groups. ings and their needs. chitecture’ (1948). In: Weston, Richard: Op.Cit. p. 11. Phenomenologically: 8. Frampton, K.1995, Studies in Tectonic Cul- The site is to be captured with auxiliary tools and all senses. Various information is gathered in groups for the Structure, Seriality and the Open ture. The MIT Press, Cambridge, Massachu- Programme: 5th April-29th May setts and London. Second printing, 1995, p. construction of a common database. We will be experimenting with various methods of reading the atmo- 293. In the 1960’s Utzon developed his prin- 2010 spheres and traces of human activities at the site. The following must be recorded: plants, materials, textures, ciples of additive architecture, characterised Concept: Anne Elisabeth Toft and by the synthesis between geometry, modula- light and wind conditions, views, sounds, smells, sheltered and exposed places, and spatial characters. Lena Kondrup Sørensen tion and standardised products. This can be

178 - Structure, Seriality and the Open Programme Assignment - 179 The aim of this phase is: - To test the spatial potential of the structure in relation to various site-specifi c situations and to test the fl exi- bility of the structure in relation to growth, evolution and terrain adjustment. - to develop interaction between structure and landscape in such a way that you read the architecture as re- sponding to the landscape and vice versa.

Phase 4 12-28 May (excl. critique) In the last phase of the assignment, we will introduce a functional programme for modifi cation and clarifi ca- tion of the structural proposal and the site-specifi c registrations and observations. In this way, the assignment moves from working in an investigative and testing way with a fl exible, open and purposeless structure into a specifi c building structure with a specifi c spatial programme, a given materiality and a given scale that interacts with the surroundings in an intended way. The hostel should include a public function (a café), semi-public functions (common rooms) and private functions (sleeping quarters). It should be designed as a building structure that can take in guests all year.

The hostel must meet the following programme demands: - Parking space on the existing parking space by the ice-cream booth. - Bicycle parking. - Reception with luggage room. - Sleeping accommodations for forty persons. - Common rooms (divided into a passive and an active zone). - Common lavatories and bathrooms. - Common laundry. - Common dining room/kitchen. - Public café. - Common outdoor spaces. - Cleaning room, renovation.

The following should be considered during the sketching process: - The position of the public, semi-public and private functions in relation to roads, path systems and movement patterns on the site/access conditions. - Location of building parts compared to the landscape relation and appearance. - Location of functions in relation to connections or experience of visual connections. - Clarifi cation of scale. - Clarifi cation of structure as construction, form and material. Cartographically: - Clarifi cation of daylight intake. Landscape curvature, plants, buildings, paths and traces must be drawn on plan and sectional drawings. These - Clarifi cation of spatial layout. must subsequently be translated into a landscape model (1:500).

A selection of relevant literature: Phase 3 D’Arcy Wentworth Thompson: On Growth and Form. 26 April-11 May Kenneth Frampton: Studies in Tectonic Culture. With the starting point in the theme “The Serial”, the spatial structure from Phase 1 is to be further devel- Richard Weston: Utzon. Inspiration - Vision - Architecture. oped. This should be done in dialogue with a given site at Moesgaard Beach, so that the structure goes from being without scale and context to being in scale and context-related.

180 - Structure, Seriality and the Open Programme Assignment - 181 2.6.1 TRINE VÅRBO FANGHOL Phase 1: From Object to Seriality to Structure Studying natural growth forms stu- dents carry out systematic examina- tions of fruits and vegetables. Op- timised models that represent the structural compositions and growth principles of the fruits or vegetables are constructed and tested. Photo and model.

182 - Structure, Seriality and the Open Programme Projects - 183 2.6.2 ANNE NØRBJERG MADSEN Phase 1: From Object to Seriality to Structure Structural studies of the fl esh of a yellow sweet pepper are investi- gated. Photo, drawing and diagram- matic model.

184 - Structure, Seriality and the Open Programme Projects - 185 2.6.3 JESPER HENRIKSSON Phase 1: From object to Seriality to Structure A dissected pomegranate is being analysed. Photo and drawing.

186 - Structure, Seriality and the Open Programme Projects - 187 2.6.3 JESPER HENRIKSSON Phase 2: Spatial Structure and Context In Phase 2 students are to further develop their optimised structure from Phase 1. The structure is to be transformed into an architectural structure. In model form students must carry out explora- tions of the spatial potentials of the structure. Photo and working model.

188 - Structure, Seriality and the Open Programme Projects - 189 2.6.4 THEA CHRISTINE HØGH Phase 1: From Object to Seriality to Structure Studies of a broccoli. Geometric analyses. Plan, section and model.

190 - Structure, Seriality and the Open Programme Projects - 191 2.6.5 MERETE GULDAGER Phase 1: From Object to Seriality to Structure Development of geometric variations and typologies. Ex- ploration of different combinations of the same module. Pointint of departure was an analysis of the structure and growthowth pprinciplerinciple of an oniononion.. Drawingawing and working model.

Students refl ect on and keep track of their working process in log books.

192 - Structure, Seriality and the Open Programme Projects - 193 2.6.6 Phase 2: Context LINN THERESE FENES FORREN Readings, comparisons and translations of different natural growth forms. Photo and drawing. Phase 1: From Object to Seriality to Structure Studies of a celery. The students were told that all drawings in the submission material should be hand drawn with pencil. Photo and drawing.

194 - Structure, Seriality and the Open Programme Projects - 195 2.6.6 LINN THERESE FENES FORREN Phase 2: Context Organising space. Photo, drawing and model.

196 - Structure, Seriality and the Open Programme Projects - 197 2.6.6 LINN THERESE FENES FORREN Phase 4: Function, Spatial Structure and Context Final project. Double-orthogonal projection drawings: plans and elevation.

198 - Structure, Seriality and the Open Programme Projects - 199 2.6.7 Phase 4: Function, Spatial ANN PEDERSEN Structure and Context Phase 1: From Object to Analyses of the programme of the Seriality to Structure youth hostel. Studies of a broccoli. Drawing. Photo and drawing.

200 - Structure, Seriality and the Open Programme Projects - 201 2.6.8 GITTE LANGBORG HANSEN Phase 4: Function, Spatial Structure and Context Final project. Point of departure was an analysis of the structure and the growth principle of an onion. Models.

202 - Structure, Seriality and the Open Programme Projects - 203 2.6.9 SIMON MOURITSEN Function, Spatial Structure and Context Final project. Point of departure was an analysis of the structure of garlic. Model.

204 - Structure, Seriality and the Open Programme Projects - 205 2.6.10 Testing the Structure JAN PARK SØRENSEN Point of departure was an Phase 3: Spatial analysis of an oyster mushroom. Structure and Context Working model. Testing the structure. Selection of a site. Working model.

206 - Structure, Seriality and the Open Programme Projects - 207 208 - Structure, Seriality and the Open Programme Projects - 209 Context 2: SCHOOL IN A CITY, CITY IN A SCHOOL

Gerard Reinmuth

In this age of intense globalisation and the participation The primary reason for the school’s location in Aarhus of cities in an international competition for inward in- was a desire to train more architects from Jutland – a vestment – which includes the education industry – the pressing concern in the 1960s and 70s. However, Aarhus relation between the physical aspects of a place and the was the logical location for Denmark’s second architec- intellectual capital assembled there is critical. The archi- ture school for a number of other reasons, not least of tecture school in Aarhus occupying as it does a network which was its capacity to boost an existing constella- of buildings at the northern edge of the old city creates tion of cultural and student activity. For example, the an interesting case study of the negotiation of a specifi c town boasts a signifi cant university, The Conservatori- constellation of spatial conditions and the resultant cul- um of Music and the Danish School of Journalism and tural and education practices. Engineering College. On the cultural front, the city has a long visual arts history culminating in a major arts Aarhus is located on the east coast of Jutland, where museum (ARoS) and the Aarhus theatre and is the home the Aa River empties into the Kattegat – the body of wa- of a number of signifi cant festivals of national signif- ter that stretches from Jutland to southern Sweden. This icance. The focus on Aarhus as a centre for education proximity to the harbour explains the city’s existence - and the arts has resulted in the city’s population being which stretches back until at least 700AD when it was younger and better educated than the Danish average - founded as a trade centre which later grew in response Aarhus University alone has fourty thousand students to an expanded trade network which stretched from where the inner-city population is only two hundred fi f- Germany to the Baltic Countries and the Jutland pen- ty thousand. This university town status has made Aar- insula. This history has had signifi cant impact on the hus an attractive place to study – it is not unreasonable form and structure of the inner city which, to this day is to compare it with to other centres internationally such dominated by an industrial harbour which remains one as Salamanca in Spain or Bologna in Italy. of the largest in Northern Europe. However, recent history has not been kind to the city. The city chooses to see itself through alternate lens- This one time capital of the Danish music industry, es – as a provincial capital which competes for invest- home of innovative education practices and research ment against a constellation of similar but smaller cities and producer of the architects who currently run the (which together form the recently labelled East Jutland biggest offi ces in Denmark2, Aarhus has watched Copen- Million City1) or as a hub within an international net- hagen ascend over the past fi fteen years from fi nancial work. The most successful periods in the city’s histo- ruin to become a major international centre. With some ry – such as the 1980s when the music and arts scene clever strategic investments in the city and regional in- exploded – emerged in the moments when this binary frastructure along with a range of programs designed to thinking was supplanted by another perspective. These build cultural production, Copenhagen has an enviable moments saw a confi dence in local practices leading to position in the globalised economy network as an inter- inward investment in them which in turn enabled the nationally popular destination. production of cultural or trade activity of international consequence. Aarhus has come to suffer from a ‘second city’ syndrome

210 - Context 2 Context 2 - 211 whereby its inhabitants defi ne themselves and their city campus. The result is a rich spatial experience for stu- The Library it into the studio in the weekly-contact model. in respect to the capital rather than focusing on the in- dents who fi nd their work spaces constantly pressing up The library sits adjacent to the canteen in a two level herent qualities and potential which exist in their spe- against the city. building which has been subtly transformed for its new The location of each student year or masters unit in cifi c place. Recent commentary in the Danish press3 has purpose. Despite its relatively small scale, the complex their own dedicated studio space also enables each stu- focused on this current malaise and suggests a contin- To traverse the school is to traverse the city – not just form of the library spaces and their extension over two dent to constantly measure their progress against that ued trajectory of investment loss – in both cultural and on the ground plane but also in section. Any visitor to levels makes its something of a maze – perhaps the ar- of their peers. In this transparent environment, students fi nancial terms. The city now feels threatened not only the school is engaged by this magical campus condition, chetypal nineteenth century private library as exempli- are constantly able to assess themselves in the context by Copenhagen but from nearby smaller cities such as threading its way through the north quarter of the old fi ed by John Soane’s own house and library in London. of the wider group. The result is an enriched learning Horsens and Herning who have increased their compet- city and occupying whatever buildings were available Within this incredibly small space stairs and bridges in- experience where knowledge transfer between students itiveness in recent years. This rise of these smaller cities via whatever means available. The extent of the school tersect rows of book shelving and create nooks for pri- is maximised and where a subtle and positive form of has further diminished Aarhus centrality and replaced it is perhaps best understood by connecting to its wireless vate workplaces and small meetings. competitiveness between students is constantly present. with the concept of the East Jutland, one hundred mile internet service which seems to provide reception for city of which Aarhus now merely forms a part. much of the inner city, given the spread and thread of The Studios The Extended Campus the campus. As has been discussed, the dominance of the design stu- The thread of the campus throughout the city has led The Aarhus School of Architecture has a signifi cant role dio in Danish architectural education is signifi cant. At to its extension throughout the city in conceptual terms to play in the city given its mandate and its location on This exercise in contingency - occupying available build- the Aarhus School of Architecture, studios are locat- in the form of a series of public venues located between a key hinge point at the northern edge of the old town. ings as they become vacant and on whatever terms are ed in a range of buildings from old industrial sheds to the school and town centre. In particular, three bar/res- Unlike architect CF Møller’s4 still remarkable Aarhus possible - has resulted in some remarkable teaching and school chemistry laboratories or gymnasia - in each taurants – all located within one hundred and fi fty me- University Campus which abuts its western edge, the workplace spaces. Studios occupy a dizzying array of case thoughtfully customised to operate as a studio or tres of the school and within eighty metres of each oth- Aarhus School of Architecture is embedded directly in spaces from medieval storage buildings to an old school critique space. The result is a wonderful collection of er – have had a signifi cant role in the culture of the the fabric of the town itself. When this condition is ex- gymnasium and merchant houses. The spatial wonder rooms, each with a distinct identity and environment. school over the years and in the interface between the tended by the constellation of bars, cafes, offi ces and re- has its negative side – there is a fragmentation of stu- The raw base palette and loose-fi t fl exible form of inhab- student and staff body. The fi rst of these, Café Englen, tail outlets in and around the School’s various built fab- dios from one another and a disconnection of staff offi c- itation ensures that studio spaces are robust in nature remains a sort of off-campus headquarters and is the site ric and whose economy they depend, separating the es not only from their own studios but from each other. and invite experimentation and engagement - unlike of many formal and informal meetings between staff. School and city becomes diffi cult. To be in the centre of The campus is an obscured multi-division network, in the anodyne ‘offi ce environment’ studios space which Across the road, Drudenfuss is predominantly visited Aarhus is to be in an architecture school, and visa versa. short a great place to hide. can be found in many architecture schools today. Every by students and also provides a form of income for stu- student at the school has their own space which they dents’ who sometimes work there. Around the corner, This level of integration means that the transforma- The Canteen occupy for the full academic year, reinforcing the curric- Le Coq is literally two venues in one – a cheap bar for tion underway at the school will have signifi cance be- The canteen is heart of the school - as it is with any ulum which remains incredibly studio-centred and plac- students located side by side with a up-market restau- yond the immediate impact on school structure and ed- Danish workplace where staff still eat together at the es the student in the studio as the centre of their edu- rant where staff regularly host invited guests. ucation practices. For, any changes in the school will same time each day. The canteen space straddles three cational experience. As students’ progress through the also be changes in the city. The opportunity exists for adjacent conditions which form a courtyard space school from year to year, each of these studio spaces is These three venues extend the school to the epicentre the school to be a catalyst for a new phase of confi dence which functions as a suntrap, enabling outdoor dining enjoyed in turn until, by fi nal year, students have com- of the Aarhus city as defi ned by the church and town and growth in the city given its potential as a laborato- well into autumn. The interior of the canteen is a typ- pleted something of a city tour. square. The resulting network of campuses’ and associat- ry for the renewal of Aarhus in both physical and cul- ically Danish blonde timber room where everything is ed connections takes in the full northern quarter of the tural terms. understated but of high quality. Seating is communal as This combination of robust physical environment and old town. The school is the city, the city is the school. it is in most Danish workplaces, which in this context the allocation of a space to each individual student re- THE SCHOOL IN THE CITY means that staff and students eat together. Thus the in- sults in two key outcomes in terms of the educational ENDNOTES The Aarhus School is located in the centre of the city formality of the Danish education system in regard to experience. Firstly, it is not diffi cult to encourage each 1. Miljøministeriets Landsplanredegørelse, 2006. 2. The Aarhus Cluster of Architects: A (short?) story of Competitive - at the point where the old city centre and the har- the teacher-student contract is manifest here where it student to effectively live and work in the studio, con- Comradery. Presentation by Tine Nørgaard, 24.03.10. In the 1990s a bour assemble around the major artery of Nørreport – is not uncommon to see the Rector eating their lunch fi rming the centring of their education on the place in new breed of architects who had trained in Aarhus in the 1980s effec- the school has spread over the years from an initial site alongside a group of fi rst-year students. which they occupy. In contrast to many other schools tively took over the Danish profession in terms of practice size and of two or three buildings to acquire a major part of the worldwide where students attend a ‘studio’ for a single volume of work done. Key among these are Schmidt Hammar Lassen, northern quarter of the old town centre. The result is Beyond the connectivity between staff and students the day per week to present their work, students in Aarhus 3XNielsen and CUBO. 3. For an example of this, refer to the major article in Danish daily a genuine city campus model, but in this case one that canteen also serves to represent the entire school to it- are visited by their teachers at their desk, sometimes on newspaper Politiken in its weekend edition on May 8 titled “Kunst- has gone positively viral. The School spreads through self on a daily basis. Subsequently the Aarhus School of a daily basis. This leads to the second outcome - teach- direktør: ‘Århus har storhedsvanvid’”. existing building stock and adjacent courtyard spaces, Architecture is very aware of itself, what it looks like, ers are regularly faced with the full output of each stu- 4. In 1931 CF Møller in collaboration with Kay Fisker and Povl Steg- accepting the conditions of the city as given. There is who is involved and what they do. This daily registra- dent and are thus able to assess their progress with a mann won the master plan competition for the new Aarhus Univer- very little adjustment to the buildings occupied by the tion of the collective identity of the school nurtures full grasp of the material being produced. In this for- sity. school even though a range of functions from offi ce, a sense of this collective in cultural terms. To not at- mat, tutors are able to bring to a student’s attention studio, library and workshop occupy similar spaces. The tend the canteen for two weeks is to lose touch with the certain aspects of their work that may not have been auditorium is the only major new building in the entire school and what is going on within it. considered important and would not have even made

212 - Context 2 Context 2 - 213 214 -- Context 2 Context 2 -- 215 216 - Context 2 Context 2 - 217 218 -- AarhusContext Refl 2 ection InermezzoContext 2 -- 219 220 -- Context 2 Context 2 -- 221 Part Three

AUSTRALIA

222 - Aarhus Refl ection 3.1 “While other comparable professions between the academy and practice ty of Tasmania. My role as the third work as a research activity. to see how design can in fact be re- have historically embraced research to fi nd a starting point. Director is to straddle these two search. Therefore, when invited to A PRACTITIONER IN THE and have prospered in line with the worlds, working on both the design TERROIR Director Richard Blythe the Aarhus School of Architecture, ACADEMY reputations of their schools, architec- A TRI-POLAR PRACTICE and construction of buildings while subsequently became Head of it was somewhat remarkable to ob- ture has tended to lack credibility in Michael Ostwald’s above quote – re- also being engaged with the acade- School at the RMIT School of Archi- serve that this contest is however Gerard Reinmuth the academy precisely because it has garding the dilemma of practice en- my in the roles of Professor in Prac- tecture and Design where his cur- largely absent there. Founded as it been seen as overly focussed on the gagement in the academy - is a core tice4 at the University of Technolo- rent focus is in further elaborating was with a mandate to increase the needs of industry.”1 subject in the architectural offi ce gy in Sydney and the appointment upon van Schaik’s substantial work size of the profession in Denmark, I co-founded with Richard Blythe as Visiting Professor at the Aarhus on research-by-design. Blythe de- the school has never seen the acad- Being invited to the Aarhus School and Scott Balmforth in 1999, TER- School of Architecture. scribes research by design as fol- emy and practice as being in con- of Architecture as a Guest Profes- ROIR2. At the time, the split be- lows: fl ict despite the art-based training sor posed a challenge precisely be- tween the academy and practice in This structure represents a serious at the school. The centrality of the cause I was not invited to partici- Australian schools had reached the attempt to address the conundrum “Design research operates on the design studio in the school – as dis- pate in the Masters program. A role point where the two fi elds were in around practice-academy engage- premise that the very act of design- cussed elsewhere in this book – em- in this program would be famil- considerable confl ict. Michael Ost- ment and collaboration and repre- ing results in new knowledge, in oth- beds this free engagement between iar and a typical arrangement for wald explains this as follows: sents a substantive investment in er words, that design is not simply an theory and practice at the centre of an overseas Visiting Professor, as doing so. It also positions us very application of knowledge gained else- the education. Head of Research at one can rely on the questions cur- “In the early 2000s practitioners and clearly with a respect for the com- where but rather through the action of the Aarhus School of Architecture, rently being asked in practice as a the profession demanded that architec- plementary forms of knowledge designing we come to know the world Claus Peder Pedersen, describes the basis for teaching students in this tural education develop in one direc- held between in the two arenas. in ways that we did not know it prior situation as follows: context. This model can be seen in tion, while the requirements of univer- Given this respect, we argue that to designing.”6 Masters Programs is most universi- sities and the wider community were the value of bringing a practitioner “Academic research at the school is ties from the Architecture Associa- gradually pulling it in another. Fran- into the academy will not be found This distinction – that through the trying to contribute to and enter into tion to the Harvard University GSD, cis Duffy argues that “this situation in attempts to simulate practice act of designing we come to know dialogue with design practices and at where Visiting Professors run stu- is inevitable; ‘both the teaching and such as the preparation of construc- the world in new ways, is central to least respect the kind of knowledge be- dios as an extension of practice or the practice of architecture are fi rm- tion drawings, having a simulated Blythe’s position. He understands ing produced through this approach, in the case of younger architects, in ly embedded in society and, when so- client situation or via the construc- designing a projective activity – as while the approach to design is one of preparation for it. However, by ask- ciety changes, both must follow.’ The tion of small projects – that is, by opposed to the non-projective way trying to incorporate academic knowl- ing a practitioner such as myself to end result of this situation is that the compensating for a perceived gap in which the canon is addressed in edge without perceiving it as scientifi c engage in fi rst year, Torben Niels- fabric of architectural education had in what happens at the academy. other forms of research.7 Research- corrective to intuitive rummages.”9 en and his team extended the par- become stretched taut between the Rather, we see the value of bring- by-design can then be understood adigm they had established where- confl icting desires and commercial re- ing a practitioner into the academy as research based on the generation Having established that a level of by the PhD-level research agendas alities of its stakeholders.”3 is the potential to engage with crit- of new knowledge: synchronicity existed between TER- of Toft and Gammelgaard Niels- ically with practice-based problems, ROIR and that of the Aarhus School en would now be complemented We responded to this impasse most particularly by engaging in de- “Design research is that kind of design of Architecture in regard to the by a practitioner’s research agenda with a tripartite practice structure sign as a research activity. that is motivated by a question(ing) academy-practitioner divide, the which also had to be understood in which straddled the spectrum from rather than focused primarily on pro- question turned to how one might terms that enabled its deployment the academy to practice in precise DESIGN AS RESEARCH viding solutions to defi ned problems. fi nd gaps between the two ap- in a fi rst year education context. terms. Firstly, Richard Blythe - al- Given the schism that existed be- Design research is in this sense ventur- proaches to provide a productive though an owner and co-Director tween the academy and practice ous because it seeks to move beyond site for engagement. Being asked to engage with fi rst of the practice – is a full-time aca- when we commenced TERROIR, we that which is currently understood – year students subsequently required demic. Richard’s contribution is in were inevitably attracted to the one it moves boundaries, both of practice VISITING PROFESSOR a different level of preparation – the form of a critical perspective institution where this engagement and also of the tangential and asso- This gap was found in the dispar- both intellectually and in the terms on the design of the practice itself between the two appeared to be ciated fi elds in which design becomes ity that existed between TERROIR of the content I would contribute – and the way it designs individual most productive – at the RMIT Uni- entangled.”8 and what I observed at the School that might have occurred for an ap- projects. The second Director, Scott versity of Technology and Design in terms of dealing with the disci- pointment to a Masters program. Balmforth, is fully engaged with the (RMIT)5. For over twenty years, In- Yet, the very concept of research- pline itself. Rather than introduce students to a practice and the act of bringing the novation Professor Leon van Schaik by-design remains highly contested, program based on current research buildings into being (through de- has developed a program at RMIT particularly by some career academ- Just as a craftsperson approaches a questions that have engaged our signing, documentation and con- which has effectively bought Aus- ics who, with little or no actual de- material with a particular type of practice, I was forced to reconsider struction) while also holding a role tralia’s leading practitioners into sign experience and locked into ex- knowledge common to those en- the more fundamental relationship as Adjunct Professor at the Universi- the academy to refl ect on their isting research paradigms, struggle gaged in that craft but unavailable

224 - Part Three Introduction - 225 outside that discipline, a practising years is highly problematic. It has rectly experienced the building. Sec- its own right, the potential exist- group of Danish students, not least value of embedding serious archi- architect has a specifi c type of rela- literally been a case of going from ondly, the strain and stress of work- ed for Danish students to actually of which is the sheer length of the tectural research agendas in the fi rst tionship with buildings. This rela- one extreme to another. ing in another country, with other work in a different context. There- journey required to get there. Once moments of education of a prospec- tionship is based on the constant collaborators12 and in another cul- fore, The Aarhus School of Archi- in the desert, the question was how tive architect. use of buildings as a resource in the In an attempt to question this sit- tural context, was considered the tecture engaged with the Universi- to engage students with this land- design process and thus might in- uation, The Aarhus School of Ar- most direct means of exploding stu- ty of Technology (UTS) in Sydney scape beyond the superfi cial gaze ENDNOTES clude knowledge about canonical chitecture therefore chose to com- dent reliance on their (now famil- in the form of a workshop hosted of the tourist, and how to apply 1. Ostwald. M. & & Williams. A., 2008, ‘Un- derstanding Architectural Education in Aus- works such as construction, plan- mence my Visiting Professorship iar) studio environment. By forcing by UTS where two Aarhus students the recently acquired skills of look- tralasia: Results and Recommendations’, ning, detailing, scale, light or treat- in fi rst year and at the start of their a direct engagement with another were joined with two UTS students, ing daily at a specifi c built context Australian Learning and Teaching Council, ment of services and structure. second semester – after the students culture and another place, the stu- resulting in a two hundred and for- (previously the Opera House) un- Vol.2, p. 24. Thus, a practising architect may had been introduced to basic draw- dents would have to re-think the ty students working together for til its potential to infl uence an in- 2. For a fuller account of TERROIR, its struc- not know the full theoretical frame ing, model-making and introducto- knowledge and working methods ten days. situ project could be understood? In ture and its activities refer to http://www. terroir.com.au/. within which a building sits as es- ry studio exercises, but well before they had gained in the fi rst semes- addition to this form of contextual 3. Ostwald.M & & Williams. A.2008, Op.Cit. tablished by the academy. However, they had been introduced to build- ter and consider how these might The result was a workshop focused engagement, we sensed that the ab- p. 9. via direct contact with and detailed ings in any form beyond some in- be deployed or need to be adjusted, solely on the Sydney Opera House stract nature of the desert had the 4. From 2005 Gerard Reinmuth was an Ad- knowledge of the work, they may troductory lectures on architectur- in a new context. Finally, Australia and the potential to use the build- potential to stimulate innovation in junct Professor at The University of Tech- be able to bring it into the design al history. simply presents in physical terms a ing as a tool in research by design. terms of tools, logistics and collab- nology, Sydney, and became the inaugural Professor in Practice in February 2011. process as a live design tool. profound contrast with the Danish This workshop is outlined in more oration. Subsequently, a workshop 5. This program was commenced by Leon We can now reiterate the question. landscape, climate, and understand- detail in the next section. was designed to stimulate a multi- van Schaik (who still runs the program to The Aarhus School is aware of the How can a practitioner make a sub- ing of culture and landscape. layered engagement with this place, this day) and has since developed the course advantages of their studio-cen- stantive contribution in a school Part Three: Sprawl and Desert the results of which are outlined in to become an internationally leading ex- tred approach which involves a that sees little schism between the The study trip was therefore de- Whereas the Sydney Opera House the next section. ponent of research by design. The RMIT School of Architecture and Design which high emphasis on problem solv- academy and practice? The answer signed in three parts. workshop involved a stationary hosts the program is now run by TERROIR 10 ing. However, as I have noted was found in a single “event” that group of students visiting a single CONCLUSION Director Richard Blythe in his capacity as elsewhere11, there are some disad- coincided with the duration of the Part One: The Sydney Opera project every day for ten days, the The two assignments outlined on Head of School. vantages given the way that this Visiting Professorship and which is House fi nal part of the study trip involved the following pages - on The Opera 6. Blythe, Richard. Notes on Research by studio-based education is not lo- a traditional part of a young archi- The engagement of students with transporting the one hundred and House and Broken Hill respectively Practice provided to Research group at the Aarhus School of Architecture for a seminar cated within a broader education tect’s training – the study trip and The Sydney Opera House started in twenty Aarhus students and their – constitute a form of engagement in April 2010. These notes have been com- about the discipline. The result is a in this case, one focused on a single Denmark, one month before the ten teachers to the far west Austra- between the academy and prac- pleted as preliminary work for a forthcom- defi nition of practice which is nar- iconic work. tour. After I had delivered an initial lian outback of Broken Hill , a one tice that attempts to address gaps ing book on practice-based design research. rowly defi ned to the studio activity suite of six lectures13 a symposium thousand two hundred fi fty kilome- in the education of which the stu- 7. Blythe notes ‘Other kinds of research mis- takenly claim to be design research. For ex- rather than as an endeavour which AUSTRALIA was organised which featured addi- tres from Sydney. dents’ had received to date prior to ample, some kinds of research deal with encompasses a full engagement In collaboration with Nielsen, Toft tional perspectives on the project. the commenced study tour. In both the social circumstance of designers as they with the discipline and with the is- and Gammelgaard Nielsen, a study These were provided by the Director This journey occurred in two parts. cases, a form of research by design design, a kind of observational model in sues and constraints which guide trip to Australia was proposed that of the Utzon Centre, Adrian Carter, The fi rst was a tour from the cen- has driven the projects, opening the which designing as a subject is observed, the development of an architectural had the potential to address the academic Michael Asgaard Anders- tre of Sydney to the Blue Moun- students to the potential which lies refl ected upon and speculated about. Al- work in practice. questions raised above by structur- en and Jan Utzon (son of Jørn Ut- tains, via some of western Sydney’s in the canon and alternately in a though relevant in its own right, this is not design research since the researcher spends ing the trip around three key com- zon) who continues the Utzon con- most engaging suburbs. The Dan- specifi c place to inform projective most of the research effort in activities oth- These structural issues impact most ponents. First, by making the Syd- nection with ongoing renovations ish students were able to experience architectural explorations. er than design. The work proceeds by means signifi cantly in fi rst year, where stu- ney Opera House a focus of the to The Opera House. a series of multi-cultural environ- other than designing. dents start working on architectur- study trip the students would en- ments, McMansions, older suburbs The concept of embedding a major Research that deals with histories of design al problems without any detailed gage with a project that is famil- The purpose of these introductory and natural landscape. The second study tour into the fi rst year pro- is a second example of a kind of research that is sometimes mistakenly represented as knowledge about the history of ar- iar to Danish students. This famil- lectures and symposia was to open part of the journey was a twelve gram at Aarhus is now fi rmly estab- design research. In this case design is con- chitecture or its practice. Engage- iarity is expressed both through its up the students to the potential for hour train odyssey from Sydney to lished. It provides a future venue textualized within a history of design and ment with practice has historical- documentation but also through new readings of the Opera House, Broken Hill, passing through the for the academy and practice to en- research proceeds on the basis of histori- ly commenced in second year, but a number of distinctly “Danish” as a result of their direct experience Blue Mountains and western New gage at the very commencement of cal excavation, reinterpretation and descrip- via an attempt to “simulate” prac- motifs and details used through- of it once in Sydney. South Wales before terminating in an architecture degree, thus giving tion. Again it may be of interest to designers . . . but it is not a primary concern of design tice via a studio assignment such as out the project that can be regu- the desert. students an awareness of the poten- research. Usefulness or productivity of re- a house project which is then ad- larly found in work of that era in Part Two: Workshop tial of both arenas to contribute to a search for design is NOT evidence that the dressed in a level of detail said to Denmark with which the students While the opportunity to engage The Australian desert is an icon- rich architectural education. Finally, research is design research. engage with the world of practice. would be acquainted with - even with The Sydney Opera House ic landscape with characteristics these study tours have the potential A fi nal example is theory. All research, in- The disjunction between the two though many had never actually di- could be considered substantial in that are extremely unfamiliar to a to provide the ultimate proof of the deed most human activity, involves a level

226 - Part Three Introduction - 227 of theorization. We develop reasons for the nature of things as part of our daily busi- ness. Design research also engages in this kind of theorizing of its own position but robust theories of design research arise from the practice and close observation of design- ing. Design theory does not proceed from other forms of critical theory to fi nd appli- cation in design. Theory that proceeds in this way is design theory and may well be legitimate research, but it is not design re- search. Rather design research begins in de- signing, in the close observation and rec- ognition of key points that result in an informed thinking that extends what has been observed.’ Blythe, Richard. Notes on Research by Practice provided to Research group at the Aarhus School of Architecture for a seminar in April 2010. These notes have been completed as preliminary work for a forthcoming book on practice-based design research. 8. Blythe, Richard. Notes on Research by Practice provided to Research group at the Aarhus School of Architecture for a seminar in April 2010. These notes have been com- pleted as preliminary work for a forthcom- ing book on practice-based design research. 9. Pedersen, Claus Peder. Email discussion with the author. Nov 13, 2010. 10. Reinmuth.G., 2010, ‘Context 1: Archi- tectural Education in Denmark’ , Article in 3.2 THE OPERA IN THREE ACTS this book, p.24. 11. As articulated in authors article ‘Con- text 1: Architectural Education in Denmark’ that identifi es the marginalisation of theo- ry and history studies that are dominated by the role of the design studio at the Aarhus school, p.24. 12. The students from the Aarhus School of Architecture worked alongside students from the University of Technology (UTS), Sydney, where I have been Adjunct Pro- fessor since 2005 and Professor of Practice from 2011. 13. See the next chapter of this book, ‘The Opera in Three Acts’, pp. 230.

228 - Part Three THE SYDNEY OPERA HOUSE lective bout of schadenfreude upon The Sydney Opera House is, for dif- his dismissal. ferent reasons, a vexed project in both the Danish and Australian In Sydney, the situation is no less context. In Denmark, the problem problematic. While our practice en- with the Sydney Opera House ap- gages passionately with Utzon’s pears to lie in its exceptionality. It work as an informant to our design is not unreasonable to say that the thinking on a range of projects, we project – while deeply informed by have given a wide berth to the ‘Ut- a Danish sensibility – is uncharac- zon industry’ in Australia. Utzon re- teristic when considered in respect mains either a subject of worship to the Danish architectural can- among his followers and one of in- on. The expressiveness and daring trigue by those trying to piece to- nature of the design is complete- gether the ‘whodunit’ around his the way in which he would contin- edge to inform one’s own work and ly out of step with an architectur- failure to maintain control of the ually open up further possibilities at can thus make a very specifi c con- al tradition that, until recently, re- project and ultimate dismissal. We each and every stage of a project. tribution to the education of an ar- sisted overt expression. Most of the have found neither of these per- Simultaneously, Utzon would re- chitect. Secondly, the potential ex- key works over the previous century spectives particularly fruitful nor solve a project down to a 1:1 detail isted to understand that the lectures in Denmark rely on simple geomet- relevant in practice. while expanding on the potential might fi ll a gap in Utzon scholar- ric fi gures and tight detailing, with of the project in the same moment, ship, for surprisingly little has been this austerity balanced by a pre- I did not wish to present the Syd- letting each piece of information written about Utzon’s design pro- dominant use of brickwork to pro- ney Opera House as a magical suggest new directions. cess in a projective manner beyond vide texture and colour to what are achievement divorced from the the signifi cant contributions of often extremely large unbroken sur- contexts of its making and the poli- The expansive and suggestive na- Weston,3 Frampton4 and Mukami.5 faces. Jan Utzon has described the tics around its development during ture of Utzon’s design process has gap between this tradition and his the 1950s and 1960s. However, our led to the development of a number Via a series of lectures which father’s work in a typically short- practice’s interest in Utzon’s work of strands within TERROIR’s work showed Utzon’s work ‘in use’, it was hand manner, referring to the fact - and the design process which un- that have emerged through the util- hoped that opportunities we had that his father would often come derpinned it – is not in these details isation of his work as a tool in the seen in both the fi nal realisation of second or third in Danish competi- but in the expansive nature of his design of our own projects. That is, the Sydney Opera House and his tions, while the winner was always design process. we have developed our own means other projects - including the aban- a ‘boring box.’1 of addressing Utzon’s work via di- doned investigations from the jour- Numerous possibilities, opportuni- rect observation resulting in our ney toward realising his built work This aesthetic rupture was in my ties and suggestions are resident in own speculations rather than limit- - would be made accessible to stu- view a central but rarely acknowl- each of his projects, built and un- ing our engagement with his work dents. By creating this environment edged ingredient in Jørn Utzon’s os- built. Thus the great pedagogic val- to the accounts of a few scholars. of raw accessibility - as opposed to tracisation2 upon his return to De- ue in studying Utzon’s approach is These means of activating Utzon’s the awe with which Utzon’s work is mark in the late 1960s and his work in many of our own projects often presented - I hoped to provide subsequently minimal involvement provided a series of frames through a portal through which they too in teaching or practice there for the which to structure a series of intro- might feel comfortable in approach- remainder of his life. While Utzon’s ductory lectures on the Sydney Op- ing the project as a tool that could diffi culties in Denmark have often era House and related Utzon proj- be deployed unsentimentally and been explained as a response to his ects to fi rst year students at the productively in the design studio. actions in Sydney which had some- Aarhus school. how let down other Danish archi- tects working internationally - and The ambitions behind this approach the image of Danish architects gen- were two-fold. First and foremost erally - it might be closer to the was the intention to illustrate how truth to simply say that conceiving TERROIR use the iconic building on of a project so radically exceptional a daily basis in practice to encourage was in itself reason for punishment the idea that detailed observation by a profession experiencing a col- of a built work can provide knowl-

230 - Part Three The Opera in Three Acts - 231 Introduction Defamiliarisation Importation Mimesis Inner-Outer Design Process

SIX LECTURES dents. The project could then be terms with the context of the proj- lock potential within it which may Mimesis other which defi nes the building’s The series of six lectures were devel- discussed on its own terms. This in- ect. My suggestion is that Utzon’s not be possible otherwise. Wheth- ‘Mimesis’ was the subject of the architectural presence.11 Some of oped from a keynote presentation I troductory lecture relied on a num- remoteness from Australia enabled er it was Mayan Temples (Sydney fourth lecture. This can be a diffi - Utzon’s key projects create a sense gave at the second International Ut- ber of sources but two in particular a productive defamiliarisation9 with Opera House), coastal navigation cult subject in architectural schol- of wonder from the act of pass- zon Symposium at the Utzon Cen- deserve credit. A series of conversa- that place which in turn allowed markers (Svaneke water tower), Ha- arship and particularly so for fi rst ing from the outer to an (unantic- tre in Aalborg in 20086 where I fi rst tions with Richard Johnson7 were him to ‘see’ patterns and quali- waiian clouds (Bagsvaerd Church) year students who struggle to draw a ipated) inner condition, a wonder articulated the frames via which we important, in particular for the per- ties within the Sydney harbour and or Chinese mountain dwellings line between the imitation and rep- which serves to engage us with each used Utzon’s work in practice. On spective provided, that while the surrounding landscape that were (Silkeborg Museum) Utzon pos- resentation of natural phenomena other and, where relevant, the sur- this occasion, and faced with illus- Sydney Opera House has had a mas- missed by locals who entered the sessed an extraordinary ability to and the operative processes or for- rounding context. trious co-presenters including Rich- sive impact on the Australian cul- competition. This idea of using de- draw from travels and research into mal logic of the phenomena being ard Weston and William J.R. Curtis, tural landscape, it has also been the familiarisation as a critical strategy other architectural traditions as he studied. Utzon’s work is particular- The series concluded with a discus- the strategy of presenting Utzon’s source of many later issues relating in the conception of remote projects developed a specifi c project. Utzon’s ly useful in that it contains numer- sion of Utzon’s design process in work as a tool in practice emerged to the politics around architecture promises a great deal in the contem- reliance on what can only be called ous exemplars of how observations general terms and in particular this as a way of staking out ground for and building procurement in that porary context where architectur- artistic judgement provides a coun- of natural processes have fuelled ar- observation of its expansive quali- the perspective of the practitioner as country. Another valuable source al services are exported globally but terpoint to the neat conceptual de- chitectural thinking at a variety of ty as an inspiration for students fi rst a complementary fi eld of knowledge was Alan Murray’s book, ‘The Saga a disappointingly low proportion of velopment diagrams which hyp- scales. Relevant projects include the contemplating how to develop a de- and perspectives in parallel to analy- of the Sydney Opera House’8 which, this work exhibits a successful en- notise contemporary students with interior of Bagsvaerd Church, in- sign while fi rst engaging with a ca- sis provided through the lens of the by painting an unsentimental pic- gagement with contexts that are for- their reductive explanation of com- spired by clouds in Hawaii, and the nonical architectural work. eminent speakers also attending. ture of Utzon in practice using pri- eign and/or rarely visited. Yet even plex projects, reducing architec- design for Utzon’s own house in mary source material to structure without Google Earth, Utzon’s re- tural strategy to an entirely logical Sydney where a roofi ng system was By presenting Utzon’s work to stu- The lecture series started with an his argument as an important tool liance on naval maps and his own outcome of brief analysis, a simpli- developed on the basis of the effect dents in this way I hoped to em- introductory presentation outlin- for creating a space between the sailing journeys around Kronborg fi cation of the contextual issues and of light coming through gum leaves. phasize the productivity that can be ing the project in general terms prevailing debates on Utzon as dis- Castle enabled him to construct an the instrumentalisation of relevant gained from engaging with his work and addressing the procurement is- cussed at the start of this chapter. awareness of key issues with its for- fi nancial and development pres- Inner-Outer and/or the evidence which exists sues that plagued it throughout eign harbour site. sures. Since this lecture, the publi- The penultimate lecture dealt with of his design process. Also, by pre- its realisation and has subsequent- Defamiliarisation cation of Additive Architecture10, the use of the ‘inner-outer’ condi- senting four insights12 which have ly marked its legacy. The idea in The second lecture, titled ‘Defamil- Importation authored by former Utzon collab- tion in architecture. In particular, emerged from my own practice’s re- starting with these issues was to get iarisation’, used Utzon’s use of sail- The third lecture, titled ‘Importa- orator Mogens Prip Buus has fi lled we are interested in the tension be- search into Utzon’s projects, the this material ‘off the table’ provid- ing charts and actual sailing excur- tion’ addressed Utzon’s constant an important space in Utzon schol- tween the inner and outer not as students were given permission to ing a clean slate to the following sions around Kroneborg Castle in use of objects, artefacts, or land- arship by collecting Utzon’s archive indifferent surfaces or conditions make their own speculations and/ fi ve lectures presented to the stu- Helsingor as a means of coming to scapes from outside a project to un- of key references in a single volume. but rather exist in a relation to one or projections in regard to the work

232 - Part Three The Opera in Three Acts - 233 and start to think how they might cases the same stories surround- strategies not only from an engi Endnotes deploy these speculations in their ing the making of the building) re- neer’s perspective but that of the 1. Jan Utzon 2010, lecture to fi rst year stu- dents at the Aarhus School of Architecture, own projects. It was repeatedly em- told again and again from different very practice, Ove Arup that col February 4th. phasised that each of these four in- viewpoints. laborated with him on the project 2. This is widely understood although rarely sights is rarely or never discussed for over a decade. documented. However, Jan Utzon will open- in association with Utzon, thus The symposium was held at the ly speaks of this in public lectures such as his participation in the Utzon Symposium at placing an importance in the Syd- Aarhus School of Architecture be- WORKSHOP: THE OPERA IN THREE the Aarhus School of Architecture on Febru- ney workshop on moving between fore the students left for Sydney. ACTS ary 4th, 2010. scholarly research and direct obser- The event consisted of a series of In March 2010, one hundred and 3. Weston R., 2002, Inspiration - Vision - Archi- vations. By showing how we use Ut- lectures and a panel discussion fea- twenty students and ten teachers tecture, Edition Bløndal, Denmark. zon’s work as a tool, in practice, I turing the following speakers: from the Aarhus School of Archi- 4. Frampton K., 1995, Studies in Tectonic Cul- hoped to instil in these students – - Adrian Carter, Director and tecture travelled to Sydney to en- ture: the poetics of construction in nineteenth and twentieth century architecture, MIT Press who had worked for a semester in a Founder of the Utzon Centre in gage in a ten day workshop in col- Cambridge. program which deliberately exclud- Aalborg, Denmark and perhaps laboration with an equal number of 5. Mikami Y., 2001, Utzon’s sphere, Sydney Op- ed the canon from the preliminary the main fi gure at the centre of teachers and students at the Univer- main areas as follows: was given to how various represen- era House: how it was designed and built, To- studies13 - a sense of how and why any discussion of Utzon and his sity of Technology (UTS)14, Sydney, Spatial strategies tation techniques and media infl u- kyo: Shokokuska. a detailed knowledge of the disci- work; resulting in a two hundred and for- - Context ence the result of the procedures 6. Reinmuth, G. 2008, Second International Utzon Symposium, Utzon Centre, Aalborg. pline is so liberating when in the - Michael Asgaard Andersen, ty student strong group working on - Space and readings in the process, thus 7. Richard Johnson was Utzon’s Australian - Staging addressing the relationship between act of design. Academic and author of ‘Danish The Sydney Opera House. collaborator on the development of a se- Architects Write’ who presented Organisational Strategies representation and representative ries of “Guiding Principles” for future work ALTERNATE PERSPECTIVES a particular perspective on Utzon’s Against the backdrop of the condi- - Movement tools, therefore there was a strong that would take place on the Sydney Opera One of the undercurrents of the siting strategies; tioning given to students over the - People dialogue between presentation and House after Utzon’s death. In numerous con- versations with the author from 1998 until lecture series was the ability to see - Jan Utzon, son of Jørn Utzon and previous three weeks in terms of the - The Opera House as a Machine representation. present, Johnson has recounted his perspec- Material and Construction multiple potential in a project or collaborator with both his father lectures and the symposium, the tive on Utzon’s engagement and dismiss- even in a single element of a proj- and Richard Johnson (see below) emphasis of the workshop was on Strategies Work was assessed not just on the al from the multiple perspectives of being a ect. It was therefore important to on the Opera House redevelop the students’ own refl ections and - Base and Shells basis of the quality of what was student at the time and his present collabo- ment works over the past 10 years; the development of strategies to - Light mapped or what phenomena was ration with Utzon at the time the conversa- tions took place. - Myself (Gerard Reinmuth), as communicate these. Students were - Materials been observed, but also on the in- 8. Murray, P. 2004 ,The Saga of Sydney Opera telligence brought to the selection Chair of the Panel Discussion. asked to analyse and communicate House,Taylor & Francis, New York. aspects of the different strategies in The two hundred and forty students of appropriate mapping techniques 9. The concept of using defamiliarisation is a In Sydney, two additional lectures detail, via an iterative process which were divided into eighty groups and representation methods to best productive way of ‘seeing’ a context was fi rst were held which allowed students progressed from observation, nota- of four (two from each universi- illuminate the aspects of the build- introduced to our practice by Zeynep Men- nem at a presentation given by Scott Balm- to compare and contrast the views tion and refl ection and back again. ty), and rotated every three days be- ing and/or its use which are under forth and myself at RMIT in June 2008. tween a total of nine different as- observation. of the architect who worked with Thus, students were introduced 10. Prip-Buss, M. 2009, Additive Architecture: signments. The result was a total Utzon for the last 10 years of his to methods of strategic drawing Vol. 5 of Jørn Utzon logbook, Edition Bløndal. life on the Opera House, and an en- and representation (as interpreta- of two hundred and forty separate EXHIBITION 11. For our understanding of these issues we balance my view with others, who, gineer from Ove Arup who worked tion, not yet moving into deploy- submissions, each critiqued on the The project concluded with a pop- owe much to Andrew Benjamin and his pa- per titled Surface effects: Borromini, Semper, by talking about the same topic but with Utzon on the project and after ing these for design) and were then three day cycle. The workshop end- up exhibition in the space where Loos, published in: , ed with an exhibition of student students had worked for the past The Journal of Architecture from a different perspective, would he departed, continuing to work on asked to question how these ab- Vol. 11, Issue 1 ,February 2006, pp. 1 - 36. indicate to students the breadth of the project to this day: stract representations of space might work and a party. Thus, every stu- ten days. This exhibition gave a 12. Four examined insights previously dis- scholarship possible about a sin- - Richard Johnson – Director of infl uence design thinking. dent dealt with only three assign- public face to the collaboration and cussed by author are ‘Defamiliarisation’, ‘Im- gle work and the cross section of Johnson Pilton Walker was the ments however gained design vari- engaged a number of academic and portation’, ’Mimesis’ and the ‘Inner-Outer’. 13. As articulated in authors article ‘Con- perspectives which exist even in a collaborator with Jørn Utzon and THE ASSIGNMENT ation in at least one project from practitioners from Sydney with the text 1: Architectural Education in Denmark’ each grouping therefore giving a project and the work completed by closely knit group. his son for over more than a de The Opera House encapsulates vari- that identifi es the marginalisation of theo- cade on the development of the ous spatial and organisational strat- broad appreciation of the building students in this short but intensive ry and history studies that are dominated by The symposium and lecture content “Guiding Principles” documents egies which are evident in its reali- and its’ potential. period. the role of the design studio at the Aarhus is not covered in detail here. How- which sets down a framework for sation. To frame this, In a workshop school, p. 24. 14. Special Thanks to the support of the Uni- ever, the exposure of students to future adjustments to the Opera with year coordinators Anne Elisa- PIN-UPS versity of Technology, Sydney’s architectur- As discussed pin ups were held ev- fi ve additional points of view meant House; beth Toft and Anders Gammelgaard al facility in particular The Rector, Desley that over a three-week period and - Richard Hough – engineer and Nielsen, generated a total of nine ery three days, at which the map- Luscombe, Head of School Anthony Burke in two countries students heard Director of Arup who gave an strategies that were selected and pings, methods and process used and The Second Year Coordinator, Joanne the same building (and in some account of Utzon and his design subsequently grouped into three were critiqued. In particular, focus Jakovich.

234 - Part Three The Opera in Three Acts - 235 236 - Part Three The Opera in Three Acts - 237 Group a21 ACT 1 – SPATIAL STRATEGIES XIAO XIAN WENG, THOMAS JUUL JENSEN, 1.1 Context JULIA DE LOS SANTOS Much has been written of Utzon’s strategies for placing the Opera House in context. In particular, we can re- “We decided on a mapping technique main astounded that Utzon did not even visit the site until well after the competition, yet the building fi ts so and then used this to register our indi- perfectly in context, even when considered from a variety of perspectives and scales. vidual impressions of the building in context as we walked a route around Students were asked consider the various strategies used by Utzon and to make maps and diagrams of the Op- the Opera House. We then scanned and era House in situ to measure how and why these strategies work. They were also invited to refl ect on later de- overlaid our drawings to see what cor- velopment adjacent to the Opera House and how this has altered the way we experience the building in con- relations existed between our individual text. maps. The resulting diagram describes

Contextual strategies were tested at different scales, from that of the shells in the harbour, to the detailed way the relationship between our individu- in which the podium links back into Macquarie Street, or how material selections have been used to make po- al maps and thus measures the overlap etic connections between the building and its context. in different impressions of the building in context” 1.2 Space Thomas Juul Jensen The Opera House is often understood as an exterior. Further, we know that the current internal spatial quali- ties of the Opera House are not as Utzon intended, beyond that contained by the concrete shells and the wide expanse of the podium.

The result of this assignment was a series of spatial studies which respond to the Opera House as built rath- er than imagining what Utzon intended. Students were then able to refl ect on where these spaces are success- ful and unsuccessful and develop a critical position in regard to the changes made to the building during con- struction.

Rather than exploring Utzon’s spatial resolution as drawn, students were asked to map the spaces of the build- ing in situ as they are, paying particular attention to the in-between spaces. These spaces include that be- tween the glazed envelope and the shells, the theatres and the shells, between the theatres and the glazing and between the shells themselves.

1.3 Staging Utzon was very precise in understanding the possibilities of staging not only within the theatres but across the podium itself – as can be seen in his original competition drawings. However, the purity of these original ideas about staging of visitors against the building and the city have been modifi ed – both by changes made to the building and impacts of operational and security issues (to cope with far more theatres than was origi- nally intended). The result is a series of staging moments throughout the building, many of which vary con- siderably along a single pedestrian route (from the carpark to the theatre for example).

Students were asked to consider and map the expected and unexpected moments of staging that occur inside, inside/outside and outside the Opera House. Questions were asked - who/what is staging and who/what is be- ing staged? Who is watching who? Further, students were invited to consider the different typologies of stag- ing in relation to scale. This could be understood very broadly, from the scale of the whole of Australia as a context, to the scale of the building staging and being staged in Sydney to the scale of an individual standing atop the podium.

238 - Part Three The Opera in Three Acts - 239 Group b8 CHRISTIAN SALLY JUNG JENSEN, ANNE NØRBJERG MADSEN, KERIM KEDICIOGLU, CATHERINE ZHUANG “The windows of the building change in character throughout the day and thus stage people differently as light levels change. In the daytime, windows func- tion as mirrors, unifying the external sur- face so that the building reads as a solid sculpture which people move around. In the evening, the building opens up as in- ternal lights are turned on to reveal those occupying the building.” Christian Sally Jung Jensen

240 - Part Three The Opera in Three Acts - 241 Group a17 ACT 2 – ORGANISATION STRATEGIES LISBETH PREUSS,

2.1 Movement MAJA KOLD NIELSEN, Jan Utzon noted that above all his father was perhaps best at ”moving people around” a public space or build- GARY BUTTERS, ing and at making spaces where people can gather for different rituals, ranging from individual refl ection to DANIEL PUTILIN major ceremonies. Utzon’s skill was in understanding how people in these different modes could be accom- “My group decided to follow and inter- modated within a single building element which incorporated by poetic and tectonic concerns. view visitors to different shows in the Opera House, to make a map of their There are numerous occupation patterns one can observe and map on the site of the Sydney Opera House. This assignment requires study of movement and circulation in and around the Opera House by starting with route to and in the Opera House. We some questions - what do you experience, how do people occupy the space and do you think they occupy it chose two different shows, “La Travi- the way that Utzon intended? ata” on Friday evening and a Richard Dawkins lecture on Sunday afternoon. These questions can be addressed by selecting a part of the Opera House, observing movement and circulation Through this map, we were able to there and then mapping the results. Speculations could then be made about how this movement reinforces see that the difference in peoples route or works against the way the Opera House was conceived. in and around the Opera House. Lo- 2.2 People (a day I the life of) cals often only came for the show and As has been noted by Kenneth Frampton and others, the impact of the Opera House goes well beyond the moved away from the Opera House af- immediate activities which takes place in the building itself. The breadth of this impact is one reason why terwards while tourists came for the changes to the Opera House have been so contentious - any decision has numerous follow on effects which whole experience.” include spatial, cultural and economic impacts. Maja Kold Nielsen

The Opera House is not just one house; it is many houses depending on who uses it - whether tourists, staff or audience members. The maps made by the lives of these groups – in and beyond the house itself – are maps of the city of Sydney. We can then understand the House not as an isolated object but as something which has surprising effects and impacts on the city.

This particular assignment asks students to consider a day in the life of a random person at the Opera House. By observing and notating how this person uses the house something will be learnt of the different pro- grammes in it. Some of these are intentional and were anticipated by Utzon while others seem to be uninten- tional while others seem to be hybrids or programmes that have slowly transformed or mutated over time.

2.3 (The Opera House as) A MACHINE While much has been written on Utzon’s two-part diagram of base and shell little has been written or doc- umented about the inner workings - the machinery - of the Opera House required to support that clear dia- gram. This assignment suggests that practising architecture requires strategic decisions as to what to show and what to conceal or camoufl age.

This assignment asked students to consider the Opera House as a complex machine, which, like a human body, has a skin or surface which is the outer-layer upon a complex system of inner workings which keep the body op- erative. As with a body, a building may reveal on its outer skin something of what is happening underneath.

A part of the Opera House will be studied on a functional level. These studies can be developed in the context of the fl awless image of the building and how Utzon wanted the building to appear – for The Opera House contains a complex labyrinth of hidden carparks, lifts, security access and off-site set construction halls - all required to support the vision of the Opera House as three shells elegantly set atop a podium. The task here then was to reveal how this gap between systems can reveal something about the Opera House and the strate- gic decisions taken to realise it originally - and to keep it working now.

242 - Part Three The Opera in Three Acts - 243 Group c13 MATHIAS MOURITSEN, KRISTIAN BOYE THOMSEN, JENS HOEKLIE ARNOLDSEN, BIANCA NGUYEN “These models compared the secondary circulation in the Opera House as de- signed and as the building is now.” Kristian Boye Thomsen

244 - Part Three The Opera in Three Acts - 245 ACT 3 – CONSTRUCTION AND MATERIAL STRATEGIES Group a15 SARA EMILIE NILSSON, 3.1 Base and Shell THOMAS DALSGAARD CLAUSEN, The Opera House demonstrates two fundamental concepts in regard to the creation of space. One of hol- TRISTAN BALOGH, MAGNUS lowing out space through the subtraction of mass such as the main podium – and another of creating space OVERBY through the assembly of a series of structural components such as the shells. “This mapping shows a comparison of

However, as is always the case with the Opera House, the reality is more complex and reveals more possibili- the only interiors by Utzon (the Utzon ties than the two-part vision understood in simple terms. For example, due to time pressures during the ac- Room and entrance hall) and interiors tual construction of the building the two tectonic strategies were procured on separate time frames leading to by others who worked on the Sydney some challenging junctions between the two. We can ask, is the resolution of these relationships what Utzon Opera House after Utzon’s departure intended? in 1966.” Thomas Dalsgaard This assignment asks what we can learn from a close observation of the point of connection between these two systems.

3.2 Light There are few visions more splendid than the sight of the Opera House sparkling in the Australian sun. In these conditions the building is almost dematerialised, existing as pure idea. The fact that the Opera House works so well with this context is surprising given that Utzon had previously worked in Nordic light condi- tions. Yet not only did Utzon exhibit an understanding of the Australian light, it could be said that he used this specifi c light as a material in the design of the Opera house.

Students and asked to make suites of the Opera House in light, ranging from macro scale – such as daylight on the Opera house shells and base - to the micro scale such as observation of daylight on specifi c details or fi nishes. At the same time the light source should be considered – either sunlight, fi ltered light from the sky or refl ected light from other objects and surfaces.

The light and the building rendered in that light changes throughout the day and year. Within this broad fi eld students are to observe something specifi c about how light works on the materials and form of the Op- era House, contributing to our collective understanding of the building as a tectonic construct and as an at- mosphere.

3.3 Materials Jan Utzon and others have spoken of the way that Utzon shifted from poetic explorations at the conceptual stage of a project to pragmatic studies during the development of the design and construction of the building. In particular, Utzon is well known for choosing materials to reinforce a poetic idea and then letting the capac- ity and constraints of the material he has selected contribute to the detailed resolution of the idea. However some surprises also exist, such as the materiality of the podium and its resolution.

Materials used in the Sydney Opera House are to be considered from two perspectives. One is the use of mate- rials as a response to structural demands. The other is the use of materials in response to the conceptual strat- egies in play during the design of the Opera House. In this case, how do the aesthetic qualities of the materi- als emphasize the overall architectural idea?

The study can be initialized by the mapping of the materials in regard to their structural, textural, and colour properties. These and other observations shed light on the way in which Utzon’s materials palette makes an essential contribution to the Opera House but might suggest how other materials would have allowed the building to develop in different ways.

Utzon's textures Utzon's colours Textures by others Colours by others

246 - Part Three The Opera in Three Acts - 247 The Opera in three Acts Assignment 3

Group b10 SIMONE FALBORG JØRGENSEN, KRISTIN NASSVIK, YE YINT KYAW, DAVID MACALYK Light registrations at the Sydney Opera House. “Images were taken at 1 minute inter- vals over a 160 minute period in the middle of the day. The motive of this study was to explore the movement of light across the combination of shiny and matt tiles on the Opera House Shells. This series of images shows how the tiles refl ect different qualities of light in different ways. We could also observe the light moving across the shells during the day.” Kristin Nassvik

248 - Part Three The Opera in Three Acts - 249 3.3 BROKEN HILL 3.3 herently constructed around this site that takes the site as its point of of Kronborg from the vantage point such as, physical landmarks, water- The workshop was structured into a quality of the unfamiliar and took departure. It is also about giving the of sea. Utzon gained a sense of Ben- holes, and other natural phenome- set of thematic phases lasting from BROKEN HILL WORKSHOP on a different character from the pe- students a sense of awareness to the nelong Point to create a framework na. This informs the Aboriginal peo- one to two days in order to ensure Rasmus Grønbæk Hansen & riod in Sydney. The Opera House hidden qualities of a place. In this of understanding for his own proj- ple that they are on the right track. the above mentioned progress: workshop was an intense and tightly instance it is done by placing the ect. The Broken Hill workshop relies This technique of mapping the land- - Experience/ sensing/registration/ Stefan Rask Nors controlled event driven by clear and students in a learning environment also on drawn experiences of simi- scape is interesting as it captures proposals/amalgamation, defi ned research agendas. The work- in which the disclosed qualities are lar situations allowing the study trip time and temporality demonstrat- - Intervention/ proposals/amalga shop in Broken Hill was built around intensifi ed and therefore instantly to develop around these contextu- ing something very specifi c and dif- mation, student autonomy and a (necessari- accessible. al parallels. In doing so, we could de- ferent in relation to traditional car- - Planning/logistics/assignment of ly) open approach to the site. termine a general direction without tography. tasks, Collaboration allows two units of affecting the student’s autonomy in - Execution/ realisation/documenta A comparative, cross-section of both fi rst year student’s to collective- shaping the project. The reference points discussed tion (process), workshops reveals distinct variation ly work together to employ individ- formed the initial point for discus- - Documentation (work)/restoration/ in output. The workshop in Sydney ual differences as a basis for shared In our search for other known par- sions about the reading of the land- clearing up. produced a large quantity of rep- learning to transpire in an informal allel situations, images of Land Art scape, notation and charting, the ex- resentative material that, involved environment. projects from the late sixties contin- ecution of the project as well as, the In addition to the overall themes, In March 2010, a seven day inten- registering and analysing the Op- ually surfaced as reference points. fi nal documentation of the complet- the structure contains a model for sive workshop was performed in the era House landmark. In opposition, The potential of mass refers to the Works by Robert Smithson, Mi- ed work. the development of the student’s far west Australian outback of New the Broken Hill workshop generat- large work-related potential that chael Heizer, Nancy Holt and Chris- collaboration that enables one hun- South Wales in Broken Hill. ed works of authenticity liberated lies in a group of one hundred and to & Jeanne Claude suggested a way In order to ensure that there was a dred and twenty individually creat-

from debates regarding representa- twenty students. The value is ob- in which we could relate to the lim- high level of impact from the place ed perceptions to be assembled into One hundred and twenty fi rst year tive qualities. tained in learning how far you can itless vastness of the outback land- itself, it was a challenge to defi ne a fi nal single expression. This part students from the Aarhus School of get when everyone works together scape. In this context the works of the framework of the workshop in is called ‘amalgamation’ and sets Architecture participated in the proj- It is important to understand the re- through the creation of a communi- Robert Smithson acquired ever in- such a way as to leave space to incor- up a series of fi xed points in time. ect creating a solitary extensive site- ciprocal relationship between the ty experience. creasing signifi cance. The relation- porate the unforeseen or neglected The students are forced to present specifi c work in the Australian out- two workshops, the structure and ship between what was often an ac- considerations in the planning stage. their ideas and communally to point back. The Broken Hill workshop was conception of the Australian tour Autonomy and ownership were the ademic investigation of natural The overall course structure also had out qualities selecting one common a component of the fi ve week course form the signifi cant pedagogical po- cornerstones in the enterprise of get- history, and a geological basis in the to ensure progress in the project as a project to continue to work on. This that formed the study trip for the sition. The disparity between the ur- ting a group of this size to work to- artworks combined, with the ex- whole that was in accordance with nominated project might be one of fi rst year students in 2010. ban and rural sites, altering academ- gether under conditions that were treme physical interaction with the the overall timeframe of the work- the projects presented or a combina- ic considerations and the physical predicted to be diffi cult. Only site created clear comparable experi- shop. The balance between progress tion of qualities from various proj- The Broken Hill workshop was car- tour de force were essential factors in through a high level of ownership ences whose dialectic was also pres- and autonomy was maintained by ects. ried out in concurrence with the composing the overall research trip. of the project was it possible to mo- ent in the workshop. means of a set of deadlines allowing ‘The Opera House in Three Acts’ The teaching program was further tivate all participants. This sense of for the decision-making process re- It might be said that this is a model workshop held in Sydney. intensifi ed by the specifi c develop- accountability was generated by cre- Another familiar parallel was aborig- siding solely with the students. The that is widely known in group work, ment of the Broken Hill assignment. ating high levels of autonomy and inal culture and its relationship to structure set up a framework which but in this case it is taken a step fur- In comparison, the research project ownership, whereby all crucial deci- the landscape, represented through informed the students to make es- ther. The students are fi rst divid- conducted in Sydney was an intel- THE WORKSHOP sions were made by the students. the phenomenon of song-lines, the sential decisions at a particular mo- ed into twenty groups of six. These lectual exercise in discovering hith- In conjunction with the planning ritual of peregrination, and the walk- ment in time but made no demands twenty groups are amalgamated af- erto hidden phenomena of the Op- and programming of the workshop PLANNING about, that signals the transition as to what that decision should ter one and half days of project work era House whilst, the workshop at a generated list of topics were ap- The distance of the trip became the from child to adult. By using songs, be. The educator’s role in this de- into fi ve new groups through one of Broken Hill was based on the direct praised. The topics were subsequent- fi rst challenge to planning. To ar- known as song-lines, Australia’s In- cision-making process was to act as the above mentioned presentation physical experience of place. In Syd- ly placed unequivocally with a range range a carefully orchestrated and digenous People over the ages have a facilitator. The result of the stu- and selection processes. The fi ve se- ney it was a matter of conducting an of practical and pedagogical chal- site-specifi c workshop at a site, locat- defi ned and continue to chart the dent’s work was to refl ect their ex- lected or amalgamated projects are extended study of a well-known sub- lenges that formed the fi nal struc- ed sixteen thousand kilometers away landscape and nature with which perience of the place, not the teach- now developed for a further one and ject, the focus resided on discovering ture of the assignment: and whose, phenomenological char- they lived in such close symbiosis. ers. This meant that the assignment half days during which the students new knowledge that had previous- - Site-specifi city acteristics were unfamiliar required a The songs are used to fi nd their way was written with a considerable de- become accustomed to working ly been bypassed by the traditional - Collaboration unique approach. and to defi ne the territories of indi- gree of faith with the understanding, in larger groups that now contain approach of architectural history. In - The potential of mass vidual tribes. By means of a contin- that one hundred and twenty stu- twenty four people. The amalgama- contrast, the Broken Hill site was a - Autonomy and ownership Jørn Utzon’s competition proposal uous narrative song about the spe- dents would be able to contribute far tion process culminates on day four completely unknown entity. Site-specifi city is not solely about for the opera house was founded on cifi c landscape navigated through, more originality, than we as educa- with a presentation and selection of The Broken Hill workshop was in- creating something for a defi nitive the architect’s personal experience certain characteristics are recognised tors would provide. the project as a group consensus. Se-

252 - Broken Hill Introduction - 253 lection takes place through an elec- fi rst time in ten years transformed about clefts that branched out across tion process in which only the stu- the otherwise barren desert to a rel- the area. In some places these were OUT-BACK– BACK IN dents have a vote. atively green and fertile landscape. crevices a meter deep, while in oth- “The mud fell from their thighs, like placenta from a baby. Then, like the baby’s fi rst cry, each Ancestor opened his mouth and called The blossoming of the desert was the ers they ramifi ed into deltas. out “I AM!. (…) And this fi rst cry “I am!” this primordial act of naming, was held, then and, as the most sacred and secret couplet of Over the following days the project fi rst upset in our expectations of the the Ancestor’s song. Each of the Ancients. (…) put his left foot forward and called out a second name. He put his right foot forward and is realised by all the students. The as- landscape we were to encounter and The underlying idea of the project called out a third name. He named the waterhole, the reedbeds, the gum trees – calling to right and left, calling all things into being and signment of tasks and the logistics created a set of circumstances that was to combine the resultant phe- weaving their names into verses. The Ancients sang their way all over the world in a web of song; and at last, when the Earth was sung, are controlled by a group of students were to have decisive signifi cance for nomena’s. Filling the tracks left by they felt tired. (…) Some sank into the ground where they stood. Some crawled into caves. Some crept away to their “Eternal Homes, to consisting of a representative from the student’s work. the water with quartz indicated a the ancestral waterholes that bore them. All of them went “back in”. BRUCE CHATWIN, The Songlines, Viking, New York, 1987 each of the fi ve projects that were specifi c landscape situation that had voted on to ensure students from Alongside work on the project, fi lms been present at this particular point In the previous weeks, the study tour focused on the iconic building of the Opera House, Sydney. non selected projects are given equal were shown in the evening that re- in time, in other words a specifi c Already before the fi rst meeting, most of us had formed a more or less detailed picture of the architecture through drawings, responsibility. The documentation lated to the Land Art theme. The constellation of time and place. photos and texts. This knowledge helped us in our understanding and reading of the Opera House – or did it? of the project is carried out in paral- fi lms were selected in accordance Potentially our previous knowledge could become an obstacle to our immediate experience of the work. The danger is that we lel to it’s execution by a small group with the staging of the project. Prec- Over the days that followed stones are not able to see with fresh eyes and as a consequence we had to fi ght our own prejudices to obtain a clear sensory percep- of students. edent fi lms included Robert Smith- were collected in large numbers and, tion of the building. son’s Mono Lake1 (registration/ following an internal principle of ro- In contrast to the Opera House, none of us have been to the far west Australian outback of New South Wales, Broken Hill. As EXECUTION sensing) and Spiral Jetty2 (concept/ tation, work teams were organised a collective we know very little or nothing about the place. This is the point of departure of the second workshop on our trip. As described in the assignment text, execution/documentation), Francis in turn to collect stone, lay stone or it was important for the students to Alÿs When Faith Moves3 Mountains take well earned breaks in the shade “While in the settler’s eyes nomadic spaces are empty, for nomads these voids are full of invisible traces: every little dissimilarity is an make use of the open window of ex- (collaboration) and Christo & Jeanne of the pavilions that had been erect- event, a useful landmark for the construction of a mental map composed of points (particular places), lines (paths) and surfaces (homo- perience to create for themselves an Claude’s Running Fence4 (execution/ ed for the purpose of the project. geneous territories) that are transformed over time.” unfi ltered impression of place. The logistics). In the course of the following two FRANCESCO CARERI, Walkscapes: Walking as an Aesthetic Practice, Editorial Gustavo Gili, Barcelona 2002. workshop commenced with an ex- days the project attained a scale that cursion through the landscape, a After three days of intense work with far exceeded the wildest imagina- Aim: miniature walkabout from the ho- repeated development and amalga- tion of everyone involved. The sub- To develop the ability to relate in a specifi c manner to a context and subsequently through intervention emphasise the spe- tel in Broken Hill towards Silver- mation of the projects, fi nal presen- stantial communal effort resulted in cial characteristics of a place. ton, twenty fi ve kilometers to the tations of the fi ve fi nal projects were leaving a mark of an extremely poet- - To create an understanding of the elements of a project and their interdependence. north-west. The students were giv- made on the fourth day of the work- ic and site-specifi c project. - To obtain knowledge of the cultural layers attached specifi cally to the Australian outback. en no destination, only pointed in a shop and were followed by a vote. A fl yover occurred at four o’clock - To introduce the concept of Land Art and differentiate our understanding through fi rst-hand experiences. singular direction. Cameras, mobile Each student had three voting cards on the 22nd of March in conjunc- - To specifi cally explore notions of context and place. phones and other instruments that with one, three and fi ve points re- tion with an aerial photograph of could capture the landscape in pic- spectively, and these had to be dis- the work marking the conclusion of Description: tures could not be used. The main tributed over three projects, which the project. The landscape surrounding Broken Hill is as remote as it can get from what we are accustomed to. intention was to experience through meant that the risk of an absolutely The owner of the borrowed work- For a little while, the confrontation with the new or different gives an intensifi ed frame of reference and can instead in this the action of walking without know- even distribution of votes was min- shop site decided that the project time span be sensed without fi lter. The smells, the visual impressions, the temperature and all the other layers of which the ing a particular destination. The imised. should remain in place after its com- place consists, will affect our experience of an environment. In time, this sensitivity decreases, and we will forever have lost walk ended up being seventeen ki- pletion. The site-specifi c project can the ability to experience this place for the fi rst time. lometers long before we were col- The chosen project worked with two still be seen at Broken Hill, New We will take advantage of the open sensory window of this fi rst visit to create a project in the landscape. lected by buses, which drove us back overall phenomena, both of which South Wales, Australia. The opportunity of one hundred and twenty students understood as a collective creates the potential for generating a unifi ed to Broken Hill for cold drinks and a were powerfully present in the area. project mutually read through the shared experience of a place for the fi rst time. well-deserved rest. The fi rst was the presence of quartz. ENDNOTES When the sensitivity to the immediate fi rst-hand sensory perception disappears, it is succeeded by a relative or experienced 1. Holt M. & Smithson R., 1968-2004. Mono These white stones varied in size and sensory perception; a sensory perception affected by knowledge, relations and culture. This relative sensory perception is Lake, 19:54 min, colour, sound. After this fi rst experience of the lay spread over large areas of the site. 2. Smithson R., 1970, Spiral Jetty, 35 min, based on experience and built on previous experiences – from day to day and from generation to generation. landscape, the students were intro- In some places there could be said to colour, sound. In Australian culture, the early Indigenous Aboriginal’s recognised natural phenomena as navigational routes through the duced that same afternoon to the be concentrated deposits with quan- 3. Alÿs F. & Ortega R. & Medina C., 2002, landscapes that have been registered and maintained through the tradition of Song-lines. Content and rhythm bear witness specifi c site, an area about three tities of exposed bedrock. The sec- When Faith Moves Mountains, ‘A Project for to specifi c places experienced through a walk and changes over time, something absent in traditional cartography. Geological Displacement’,< http://geocities. square kilometers located north-east ond phenomenon was the result of In the project, we will seize the opportunity to gain insight into the different ways of reading and mapping the landscape; a com/francisalys/lima.htm>, Three-channel of town whereupon the project was the large quantities of rainfall. Due video installation with sound. method that is deeply instilled in the Australian Aboriginal culture and has been identifi ed as site-specifi c. We will let this set in motion. to the heavy rainfall the dry earth 4. Christo and Jeanne-Claude, 1972-76, Run- way of registering the landscape inspire and infl uence our own studio’s approach to the project. Heavy rains during the period lead- had not been able to absorb the wa- ning Fence, Sonoma and Marin Counties, Cal- ing up to the workshop had for the ter, as a result erosion had brought ifornia.

254 - Broken Hill Introduction - 255 A well-known way of experiencing a place or a landscape is by the means of cartography where through a distant and abstract Tuesday 21 Wednesday look, you put your trust in someone else’s notations and notes. Thursday22 23 Utzon successfully achieved this in his competition project for the Sydney Opera House where his experience and ability to read the notations of nautical charts and relate them to his own experiences from other similar situations allowed an under- standing of a foreign place. As a medium, the cartographic notation has also played a signifi cant role in the Land Art movement of the sixties and seven- ties when the map’s almost divine comprehensive view of the spacious areas or landscape formations in interaction with the C personal experience of the place were the basis of interventions of more or less extensive character. The map has also played an important role in the documentation of Land Art, either in the form of presentation and speci- fi cation of a specifi c but inaccessible work or as part of the so-called non-site works where elements from a specifi c place are transferred to another context whereby a new contextual sensory perception is obtained.

“Instead of using a paintbrush to make his art, Robert Morris would like to use a bulldozer” ROBERT SMITHSON, Towards the Development of an Air Terminal Site, 1967 +30

The project will be organised in fi ve phases: 1. Experience/sensory perception/registration/proposal/fusion/ 2. Intervention/proposals/fusion/selection 3. Planning/logistics/division of labour 4. Implementation/realisation/documentation (process)

MENU 5. Documentation (work)/re-establishment/tidying

1. Experience/sensory perception/registration/proposal/fusion (Day One and Two) In the fi rst phase of the project, we will have an initial introduction to the place through pure sensory perception. The senso- ry perception is then followed by the registration of the landscape characteristics, geographical distinctiveness such as specifi c fl ora and fauna etc. The approach to the registration originates in the place and the personal sensory perception. Like cartog- raphy, it is important to be aware of what it is that you want to show/see which may exclude and include certain items.

2. Intervention/proposals/fusion/selection (Day Two and Three) Experiences and registrations are dealt with in small groups and result in a proposal for a landscape intervention. The inter- vention may be large or small in scale but must take its starting point in the potential of the size of the working group and the possible material inherent in the landscape itself. The proposal is made in constant dialogue with the landscape/place and not from a distant cartographic position. The twenty proposals are fused and prepared further into fi ve new proposals. Among the fi ve new proposals, the whole group will choose which proposal will be realised.

3. Planning/logistics/division of labour (Day Four) On the background of the chosen proposal, the project is planned. Challenges are uncovered, sub-assignments are determined, working groups are established, the performance phase is pre- pared. In brief, the logistics and structure of the project is determined.

4. Realisation/realisation/documentation (process) (Day Five and six) We will be working on site. Everybody will participate in the realisation of the collective project as irreplaceable elements to the greater group. The work is documented as an important part of the testimony of the project.

5. Documentation (work)/re-establishment/tidying (Day Seven) The fi nal intervention will be documented through photography, fi lm, material samples, etc. The place is re-established. Tidying insures nothing is to be left in the landscape.

256 - Broken Hill Ingredients - 257 THE CHOSEN PROJECT was to fi ll the tracks left by the water with quartz to indicate a specifi c landscape situation that had been present in a specifi c constellation of time and place.

ARRIVING TO BROKEN HILL after a 14 hour train trip through the Australian Outback.

STONES WERE COLLECTED in large numbers and, following an internal principle of rotation, work teams were organized in turn to collect stone, lay stone or take well-earned breaks in the EXPERIENCING AND INVESTIGATING the hot desert before starting one week of intense shade of the pavillions. workshop begins.

258 - Broken Hill FINAL PRESENTATIONS OF THE FIVE FINAL PROJECTS were made AT THE OPENING, a local press contingent coverted the event. on the fourth day of the workshop and were followed by a vote. “In the course of the two days the project attained a scale that far exceeded the wildest imaginings of every- one involved and ended up leaving behind a mark of an extremely site-specifi c and poetic idea and of a substan- tial communal effort.”

260 -- Broken Hill Project -- 261 A fl yover at 16.00 on the 22nd March in conjunction with an aerial photograph of the work marked the conclusion of the project.

262 -- Broken Hill Project -- 263 A combination of language, the school’s relative isola- in regard to the discipline. A renewal of the staff body Context 3 tion, the presence of infl uence centres focused on key will inevitably accompany this shift as those without a A COLLECTIVE CULTURE long-standing staff members and the structure of the in- strong intellectual position will lose ground while pro- stitution itself have conspired to produce a remarkably spective staff members (whether Danish or internation- Gerard Reinmuth intertwined group who have been responsible for ed- al) will have a clear sense as to how and why they might ucating students at the Aarhus School of Architecture join the school. over the past decades. With the exception of a period in the 1980s when a number of internationals were en- The diagram on the following pages has arisen from gaged – a period which tellingly coincides with a par- my interest in this interconnectivity and the way it will ticularly vibrant period in the history of the city and change over the coming years as the school evolves in the school – staff at the school have tended to be pro- response to the new structure. The diagram has been de- moted from within the system while any new staff have veloped by asking all staff at the Aarhus School of Ar- been engaged on the basis of their existing connections chitecture to fi ll out a questionnaire which posed four to those already within the system. Staff academics tend questions: to engage former students who, with their colleagues, in – Who, among the existing staff body, did you teach? turn then engage a new generation of students such that – Who of your current colleagues have you taught with? at least four or fi ve generations of staff-student interrela- – Who of your current colleagues taught you? tionships can currently be identifi ed within the school. – Who of your current colleagues did you study with?

A benefi t of this interconnectivity is the presence of sig- The answers to these questions formed the basis of nifi cant corporate knowledge within the institution, a script which produced the diagram on the follow- such that the emphasis on tacit knowledge which un- ing page. The script was developed by a student at the derpins the studio environment has become institution- school, Ragnar Zachariasen, in response to discussions alised across the whole school. However, in recent years, with myself and Louise Heebøll about how these ques- a structure which has loosely related to disciplines (Ar- tions should inform a mapping exercise. More connect- chitecture, Landscape and Urbanism, Architectural Her- ed staff members are registered in a scale commensu- itage, Design and Architectural Design) has lacked the rate with their level of connectivity while the relation specifi city to foreground the various knowledge centres of staff members to each other is determined by the var- and their key fi gures. Although the decision to establish ious clusters within which they exist. The scale of each this structure came out of a desire to promote consen- name is a registration of the number of connections and sus building and collaboration among people of similar therefore favours those who studied at the school or interests, the result was instead recourse to tribal modes have taught for many years. of operation that were often founded in social relations rather than a contest between different intellectual or What does this diagram represent? It is not a corpo- pedagogic positions. rate structure, a map of research interests or a diagram of social relations. While it is none of these all possibil- In this context, engagement of new staff from outside ities are in some way represented. The diagram gener- the system of inter-generational promotion has been ates questions regarding the nature of this connectivity, diffi cult as the absence of clearly articulated research its extent, the levels of infl uence held by key individu- clusters leaves no armature for a new person to attach als, the longevity of some staff members and the periph- to. The only solution for internationals has been to ex- eral nature of others. It could be understood as a mirror ist as a satellite, forever preserving an outsider status, held to the school which, if repeated annually, might re- teaching studios which are singular in their existence veal how the constellation of individuals at the school and lack connectivity to the overall ambitions and di- changes over time in response to this new era. rection of the school.

The new structure currently being implemented at the Aarhus School of Architecture will have a profound ef- fect, replacing a generic structure with something that resembles a series of ideological contests. In this new framework, social connectivity will not disperse but will reorganise around a series of publicly stated positions

264 - Context 3 Context 3 - 265 266 - Context 3 Context 3 - 267 UNIT 1a Anne Sophie Fjord Grubbe Lykke Møller UNIT 1b Michelle Møbjerg Houe Bjørn Alstrup Odgaard Glenn Alexander Hansen Sara Emilie Nilsson Thea Christine Høeg Johan Mikkel Schmidt Overlade Teachers: Axel Peter Hermansson Christina Sander Koppel Olsen Teachers: Nina Gry Jacobsen Elisabeth Toft Pedersen Anders Gammelgaard Nielsen Anders Kjærgaard Jensen Katrine Mølgaard Olsen Anne Elisabeth Toft Ditte Bjerregaard Jensen Iben Degn Pedersen Rasmus Grønbæk Hansen Christian Overgaard Jensen Lærke Marie Toftdahl Olsen Lena Kondrup Sørensen Ricco Gylden Jensen Theis Grønkjær Kaustrup Pedersen Lars Holt Christian Sally Jung Jensen Ingrid Brunborg Pay Stefan Rask Nors Sofi e Juul Jensen Ann Petersen Lars Vilsgaard Thomas Juul Jensen Anders Kaare Gottfred Petersen Ove Søndergaard Christensen Thomas Sigsgaard Jensen Aleksander Jul Qvist Louise Heebøll Mads Bjerregaard Jeppesen Sigrid Marie Poulsen Jane Willumsgaard Merete Gadager Jørgensen Magnus Oved Askjær Rasmussen Ole Egholm Pedersen Sanne Kyed Jeppesen Lisbeth Preuss Annette Svaneklink Jacobsen Leila Sophia Keivanlo Stephanie Søndergaard Rodwell Aleksander Johansen Andreas Frej Rasmussen Niels Ove Kildahl Louise Bjørnskov Schmidt Students: Jens Johansen Henrik Ejnar Rasmussen Students: Zuhal Kocan Runa Skeie Maja Egede Andersen Nynne Thit Jæger Julie Josephine Eggers Rohde Christina Schmidt Andersen Tina Niattaaq Gudrun Kuitse Mari Kornberg Skjefl o Nicolai Benjamin Fjeldgaard Simone Falborg Jørgensen Siri Saupstad Nardjes Atia Christina Kjær Larsen Mathias Bank Stigsen Arensbach Steffen Kastrup Emil Scharnweber Øyvind Amundsen Bay Ida Klarskov Larsen Line Marie Stærk Frederikke Sophie Baastrup Simone Kazar Stine Mai Sjøgaard Christian Harald Hommelhoff Brink Louise Laursen Jan Park Sørensen Kresten Basse Andreas Gotthelf Kristensen Maximilian Skaara Casper Østergaard Christensen Camilla Gjern Levin Nicoline Koch Sørensen Janet Sinkamba Bjergfelt Magnus Sølvhøj Kühn Line Skovsen Kasper Kromann Christensen Anne Nørbjerg Madsen Troels Bach Sørensen Nina Bennett Boisen Sofi e Lund Larsen Line Stephansen Monica Skovgaard Christensen Árni Magnússon Kristian Boye Thomsen Jesper Struve Christensen Ning Lin Katrine Sørensen Thomas Dalsgaard Clausen Josefi ne Maurer Helle Vase Morten Breinholt Christensen Helene Bredgaard Garde Lind Karen Lindkvist Thomsen Sine Drengsgaard Anders Damlund Meyer Jesper Vejrum Linea Dannevig Klaaborg Drescher Asbjørn Staunstrup Lund Hjalte Rude Trangbæk Karin Anna Charlotta Edlund Malene Lillelund Michaelsen Ingunn Edvardsen Martin Lynnerup Mathilde Reerslev Villefrance Ariel Eisenberg Simon Mouritsen Dagmar Bernt Ellefsen Laura Græsdal Maajen Maja Bøgh Vindbjerg Trine Vårbo Fanghol Karoline Walther Mørck Kasper Espersen Casper Madsen Felicia Nathalie Elin Warberg Linn Therese Fenes Forren Iben Wenzel Nahmens Aviaaja Magdalene Ezekiassen Katharina Markusdóttir Xiao Xian Weng Henrik Møller Frich Kristin Nassvik Jeppe Fischer Anne Marie Mau Karl Jesper Lasse Östgård Gitte Langborg Hansen Kirstine Skyum Holm Nielsen Line Gram Frøkjær Tine Kjøllmoen Moseng Sofi e Dybdal Hansen Maja Kold Nielsen Jorge Orlando Tapia Gonzalez Mathias Mouritsen Jesper Victor Henriksson Amanda Nygaard Maria-Therese Grant Kasper Munk Helgi Hreinn Hjalmarsson Ane Kirstine Preisler Nørgaard Lise Grosen Ida Fløche Møller Kasper Baarup Holmboe Anja Sønderby Nørgård

268 - List of Unit 1a List of Unit 1b - 269 THE FUTURE INTERNATIONAL NETWORK In future, from the fi rst to the last year of studies, the school must engage itself with important internation- What does the future hold – how radical a break with tradition and what we are familiar with will be neces- al partners in the form of individuals, studios and universities. We must create a network with the best in or- sary? der to promote the most distinguished research, teaching and artistic cross-border development work for the benefi t of students, researchers and the world outside our protective walls and borders. A world that students Much will have to be introduced and acquired when our ambition for the future of our bachelor students is must and can become an important part of. that they must attain the same level as our graduates have today on completion of their studies – with regard

to methodology, the understanding of space and form, artistic capacity and an experimental approach to ar- ENGAGING THROUGH ARCHITECTURE AND DESIGN chitecture. We must dare to ask important, basic questions – with regard to architecture and the way we as humans be- have in the world – and have the ambition and courage to answer these questions, even though answers may INTERDISCIPLINARY EXPERIMENTS be diffi cult to fi nd. We must help to change the future by “ENGAGING through ARCHITECTURE and DE- A new departure is necessary in our attempts to continually heighten the school’s international standard – SIGN”. while honouring all of the excellent results we have already achieved, results that can and must be accommo- dated in a new organisation of research and teaching. An artistic approach is extremely necessary in the development of architecture. Especially in the future, be- cause it makes fundamental questions and challenge the existing and the present - which may always be the It is vital to maintain and further improve the organisational and administrative freedom of our researchers core of architectural approach to the world - and especially in the education. and teaching teams. Interdisciplinary development is necessary in a modern research and teaching environ- ment. By removing or minimising organisational barriers in our ongoing efforts to renew our programmes, we Every time we fi nd an answer, it must be challenged anew and new questions asked. This is the only way we will give interdisciplinary work the greatest possible latitude to make it even easier to experiment. New, inter- as a school can change and challenge the world around us. And this is precisely what we must do with the disciplinary fi elds that will benefi t the entire fi eld of architecture and design will thus arise, not only during help of the trinity represented by architecture: art, science and practice. the course of studies, but from the very beginning. This involves increasing the freedom to choose research and teaching methods by providing the best possible conditions. Example is always the strongest argument, which is why project teaching and the development of projects and project proposals must remain central educational and technical tools and points around which teaching NETWORK SCHOOL revolves. The experiment and new organisation that have now been established during the fi rst year will continue dur- ing the second and third years. This will be done in several ways and from many angles. But the school must The ambition is for Aarhus School of Architecture, throughout the engaged experiment, to offer teaching at fi rst and foremost make its mark as a network school that prioritises international cooperation. We must grasp the highest level. Teaching that, at bachelor and graduate level, produces projects that have decisive, positive potential cooperative relations offered by external partners and must ourselves initiate the development of meaning for the people they involve. new fi elds that can extend our external relations. I am in no doubt that architecture has a certain degree of Torben Nielsen autonomy in its own right, and this has great value. But the greatest benefi t for the course of education, and Rector its relation to and possible infl uence on the world around us, lies in a genuine commitment to the innovative potential of architecture in relation to the challenges of our times. We must commit ourselves to the world around us and to the issues it currently raises.

ART, SCIENCE AND PRACTICE In future, the school must ‘stand on three legs’, which are vital for all schools of architecture: art, science and practice. These ‘three legs’ should be understood as a unity and a unit, but they must also be emphasised and elucidated individually. Only in this way can their individual signifi cance become clear in an education- al context. The artistic and scientifi c foundation must be laid during the fi rst three years, while the graduate programme must focus on the ability to practice. In this way, we will train artistically strong, method-con- scious students through the bachelor’s programme – and architects and designers who are strong on practice through the graduate programme.

This naturally does not mean that practice has no place in the bachelor’s programme and that art and science are excluded from the graduate programme, but that this is not their primary focus. A clear, constructive dis- tinction must be made between the two programmes – without precluding continuity.

270 - Afterword Afterword - 271 CREDITS Joseph Bissel, p. 232 1st column bottom Translations (courtesy of Jørn Utzon Architects) Foreword – Translation by Jette Jansen Julie Josephine Eggers Rohde, p. 100 left, 101 centre right Rethinking the Bachelor Degree Course – Jørn Utzon Architects, p. 232 3rd column 2nd Translation by John Mason row right, 233 2nd column 2nd row (courtesy of Jørn Utzon Architects) Unit 1A: General Approach to the teaching of Material Produced by the First Year Kasper Munk, p. 101 right, 108 lower top, Architecture – Translation by John Mason Students 109, All student work illustrated in Section 2 Lars Holt, p. 258 top left, 258 top right Unit 1B: General Approach to the teaching of and Section 3 has been produced by the Lise Grosen, p. 101 centre left Architecture – Translation by John Mason student(s) named on the same page unless Louise Heebøll, p. 28-29, 32 bottom left, 32 otherwise noted. Similarly, students have bottom right. 33 top, 33 top left, 54 top, 60 The Motor Unit 1A – Translation by John photographed their own work except where bottom, 73, 78 top, 80, 90 top, 91, 92-93, 106 Mason noted in the photography credits below. bottom, 112, 113, 114-115, 117, 132-133, The Motor Unit 1A, handout text – Transla- 134-135, 135 top, 136 top, 136-137, 138-139, tion by Jette Jansen Photos 141, 151 bottom, 156, 166-167, 167 top, 172- Cover image by Trine Vårbo Fanghol 173, 185, 188 top, 188-189, 191 top, 192, 197 Composition and DE-composition Unit 1B – bottom, 200 top left, 202 left, 202-203, 204- Translation by John Mason Aage Lund Jensen, p. 104-105 205, 206-207, 207 right, 208-209, 220 top Composition and DE-composition Unit 1B, Additive Architecture, Edition Blomdahl (p. left, 220 top right, 230, 231, 235, 258 2nd row handout text – Translation by Jette Jansen 288), p. 232 3rd column 2nd row left (courtesy right, 258 3rd row right, 258 4th row left, 259 of Jørn Utzon Architects) 1st row left, Jack in the Box Unit 1A – Translation by John Allan Moe, p. 232 1st column top (courtesy of Mogens Prio-Buus, p. 233 3rd column bottom Mason Jørn Utzon Architects) (courtesy of Jørn Utzon Architects) Jack in the Box Unit 1A, handout text – Ann Pedersen, p. 122 Nicoline Koch Sørensen, p. 133 top, 180 top Translation by Jette Jansen Aleksander Johansen, p. 146 left, 147 Ning Lin, p. 106 top, 108 upper top Anders Gammelgaard Nielsen, p. 32 top left, Ray Joyce, p. 233 2 column bottom right Bridging the Gap Unit 1B – Translation by 53, 54 bottom, 55, 58, 60 top, 61, 62, 62-63, Shannon Mgrath, p. 233 2nd column bot- John Mason 64 top, 66, 67, 69, 70-71, tom left Bridging the Gap Unit 1B, handout text – Anders Kjærgaard, p. 32 top, 95, 100 centre Stefan Rask Nors, p. 124-125, 236-237 Translation by Jette Jansen right, 101 left, 103, 145, Terroir, p. 232 3rd column bottom left Andreas Frej Rasmussen, p. 100 centre and Thomas Juul Jensen, p. 222-223, Earth and Sky Unit 1A – Translation by John right Trine Bernstorff Aagaard, p. 56-57 Mason Anne Elisabeth Toft, p. 32 bottom centre, 259 Troels Heiberg Frandsen, p. 118 upper centre Earth and Sky Unit 1A, handout text – Trans- 3rd row right Zuhal Kocan, p. 234, 258 3rd row left lation by Jette Jansen Aviaaja Magdalena Ezekiassen, p. 67 top right Earth and Sky Unit 1A, handout text – Trans- Christian Sally Jung Jensen, p. 32 top right, Additional Drawings and Diagrams lated by Gerard Reinmuth, Anders Gammel- 146 right, 148-149 Gerard Reinmuth, p. 233 1st column bottom gaard Nielsen & Louise Heebøll Cowi A/S, p. 180 top, 210, Jørn Utzon, p. 233 1st column 1 row left, 233 Emil Schwarnweber, p. 32-33 top, 110, 111 3rd column top (Image held by NSW State Ar- Structure, Seriality and the open Programme Frederikke Sophie Baastrup, p. 59, 64-65, 68, chives, Courtesy of Jørn Utzon Architects) Unit 1B – Translation by John Mason 100 top, 100 bottom, 101 top, 101 bottom Lars Holt, p. 259 Structure, Seriality and the open Programme Felicia Nathalie Elin Warberg, p. 258 2nd row Leila Sophia Keivanlo, p. 126, 127 Unit 1B, handout text – Translation by Jette left, 259 2nd row center, 259 2nd row right Ragnar Zachariasen, p. 266-267 Jansen Gerard Reinmuth, p. 232 2nd column 2nd row Terroir, p. 232 2nd column 2nd row left Structure, Seriality and the open Programme right, 232 2nd column 1st row right, p. 233 1st Unit 1B, caption text – Translated by Anne column 1 row left Elisabeth Toft Glenn Alexander Hansen, p. 33 centre, 251, Thank you to everyone who gave their kind 258 4th row right, permission to reproduce images for this pub- Broken Hill – Translation by John Mason Jesper Henriksson, p. 33 bottom right, 175, lication. Every effort has been made to con- Broken Hill, handout text – Translation by 259 1st row right, 259 2nd row left, 259 3rd row tact the copyright holders of images used in Jette Jansen left, 260-261, 262-263 this book. The publishers would be glad to Jonas Højgaard Andersen, p. 6-7, 11, 32 cen- hear from anyone who considers their work Afterword – Translation by Tjeksproget.dk tre, 214 top, 214-215, 216-217, 217 top, 218 has not been appropriately credited and will top left, 218 top right, 218-219, 220 top cen- ensure that any subsequent additions of this tre, 220-221. 264, 268, 269, 270-271 book will be corrected.