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LIVING IN THE ROOF WRAPABUilDING
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1 1SUMUER
"
" NORDIC TALKING
"
41;2 Years in Studio with KJETIL THORSEN
InstituteforExperimentalArchitecture.HOCHBAU
Editedby Kjetil Thorsen
I
Ursula Ender Petra Cernusca
SpringerWienNewYork
NORDIC TALKING
INTRODUCTION
NordicTalkingprovidesaninsightintoprojectwork-creativespaces-01thevariousdepartmentalresearch
goals,suchasscale1:1projects,diplomaprojects,architecturaldesign,advancedbuildingtechnologiesand
competitionstakingplaceintheyears2004to2008underthesupervision01KjetilThorsenattheinstitutelor
experimentalarchitecture.Hochbauwiththeoreticaltexts,generalstatementsandproject-relatedcommentaries
-creativecriticism-providedbynon-alliliatedguests,whoregularlyreviewedtheprojects,heldlectures,and
werethereloreinapositiontocommentandreUectcriticallyonthecurriculumandcontent01thispublication.
For four and ahalf years Kjetil Thorsen (Architectural Office, quentlyhasamarkedinfluenceonthelivesofindividuals.Inthese
Sn0hella,Oslo)sharedthetaskofheadingtheinstitutefarexperi onlyseeminglypredeterminedandconfinedrealmsofdesignthe
mentalarchilecture.HachbauinInnsbruckwithPatrikSchumacher studentcandevelophis/hercreativity-newarchitecturalideasin
ofZahaHadidArchitects. Afurther8mentors, 10assistantsand socialspace-anidearesourceforcontemporarythinking.
externallecturerswithdifferentresearchinterestsandprofessional
orientationssupportedtheteachingandtrainingofthestudentsin AdvancedBuildingTechnologies
constructionanddesign.Departmentaltuitionisconstantlycom TheteachingandresearchonAdvancedBuildingTechnologyex
plementedbygeneralandproject-relatedinputprovidedbyinvited periencesadiversityofrealizationshere, reachingfrommaterials
criticsandlecturers.Ourguestscomefromallovertheworld,have researchtotheuseofnewtechnologies.Visionsandcreativefree
differing professional backgrounds, come from differentwalks of dommergewithadvancedtechnologiesandrapidprototyping.Ad
lifeandcan drawonavarietyofprofessionalexperiences.These vancedBuildingTechnologyistobeextendedintoeverypossible
fieldsofactivitycrossandmeetinInnsbruckandarefoundonthe application and field of thought, when the students themselves
globalmapattheendofthebook. definetheirconstruction topicsand takeon theresponsibilityfor
theirprojectsfromdesignanddefinition,preparationtorealization
Scale1:1 stage. The most recent technologiesand methods presented in
Next to experimental research in the field of design and con teachingandbusinesspartnerships,arerealizedand3Dprintsof
structionthepracticalcombinationofthesetwodisciplinesbased thedesignscreated.Thelargeproportionofexternallecturersen
on immediateexperienceoftherealityoftranslating design into suresavarietyofapproachestoarchitecture.Thisbroadspectrum
realityprovideafocusofourdepartment.Followingthecreationof enables the student to define his/her position relative to these.
an individualprovisional design/ designsketch thearchitectural Poetryandcreativethoughtcombinewithinnovativetechnologies
studentsdevelopajointdesignplanandareresponsible forthe andmanufacturingprinciplesandhelpovercomethelimitationsof
projectuptoitsfinal1:1 realization.Thusthestudentsareprovided theconventionalproduct.Primaryemphasisisplacedoncreative
withthe opportunitynotonlyto conceiveand plan experimental designofspaceandthelureoftheexperimentalapproach.
architecturesbuttorealizethesewithalltheconstruction,organi The individual projectdescriptionsthusreflectthestudents' dif
zationalandassemblyaspectsinvolved. ferentandvariedapproachestothetopicsandarebasedontheir
write-upsoftheconceptionandexecutionoftherespectiveproject
ArchitecturalDesign seenthroughtheireyesandrelatedintheirownwords.
Architectureasadesigndisciplineisseenbothasanartisticanda
scientificsubjectinwhichresearchtakestheformofastructured, IdonotbelievethatKjetilThorsenwillleaveavoid.Iamconvinced
creativeappliedprocess.Architecturalinnovationmustincludethe hehasdefinedahithertounknownandunprecedentedpositionat
exploration ofspatial constructsand speculationaboutpossible thisUniversityboth interms ofhumanrelationshipsandcontent
social usesofthe constructs. This iswhythe designtopics fre perspectivewhichwill continuetoprovideacreativestimulusto
quentlycontainanelementofsocial criticismorcriticism ofthe usforyearstocome.
system, whichraisesthequestionregarding thespacesinwhich
architecture is obliged to take place. Architecture mustbe seen InthenameofallparticipantsIwouldliketothankKjetilThorsenforhispersonality,
asasocialactwhichonlyoccasionallyhasasubtlebutmorefre- creativity and his willingness to share with us his workat Innsbruck University.
UrsulaEnder
UrEn353
006 IMPRESSIONS preamble
KjetifThorsen KiTh366
Theparalleldependenciesofeducationasexpansionofknowledge,the
development ofindividualdecisionmakingandpersonalmaturingof
youngpeople'srelationshiptocontemporaryrealitiesisawell-known
fact. Thiscomplexand interdependentdevelopmentof each student
mightbeparticularyvisibleineducational situations, wheredefacto
results mayonlybeseenorexperienced quitesometimeaNerfinal
exams.Withinarchitecturaleducationstudentshaveatendencytore-
placethislackofimplementationinreal lifewithexistentialquestions
mimickingreality.Andhere,betweenlayersofartandfuturearchitec-
turalstructures, liesagreateducationaldemandforpersonalorigina-
lityandinventiveness,eigenart,whilstthetimegivenforyoungtalent
todevelopacertainamountofsell-confidenceisnotatalladequate.
Workingwithstudentsundersuchconditionsisthereforemoreabout
makingstudentsindividuallyawareofthesecomplexities,makingthe
tasklookassimpleaspossible,butneversimpler.
Architectureisaslowprofessionand everyresult, beitadrawing,a
modelorabuilding,whichinthemselvesareindependentresults,will
neverpointinadirectionofaresultdescribinganall-encompassing
finalpiece.Thereisnosuchthingasthefinalcreation.Thatiswhythe
architectural developmentofasocietytoalargeextentstayswithin
theacademicrealm,althoughthedifferentarchitecturalresultsremain
the responsibility of the same collective society. The architectural
achievements, however, tend toberegarded ashavingan individual
character.
Myfirst interest, teachingattheinstitute01experimentalarchitecture
attheUniversityofInnsbruck,hasbeentoinvestigatetheintersections
betweencomplexityandsimplicity,aswellasbetweencollectivityand
individualitytogetherwith the students.The collective decisions by
groupsofstudentsrelated toprocesseswithin differentdesigntasks
asabstractas"Chernobyl+" or"UrbanCamouflage",aswell, asfor
realisable1:1 projectssuchas"StadlinKematen"or"Universiade"in
Innsbruck,werestilldrivenbyindividualresearchand individualper
formances.Thesedesignthemesonly
describe relevant frameworks to be Inrealitythesediscoveriesrelateasmuchtocontextualreadingoflandscapes
defined within the collective groups as intersecting with each otheraswell as for intersectionsof contemporary
ofstudents,where-astheintellectual conflictswithin differentsocieties. Working with the students has confirmed
contentistobeinterpreted individu andstrengthenedmyviewontheseissues.Mypersonaldevelopmentrelieson
ally.Similartothedevelopmentof the theinspirationofthesecomplexintersectionsandfurtherdicoveryofthenew.
"singularintheplural" methodology Secondly,Ihavetriedtointroducephysicalconditionsforthestudents,todi
in the practice ofSn0hella, the stu rectwaysofthinking,forthemtodevelopindividuallyfeltcuriosity.Thiscurio
dents in Innsbruck have investigated sitymayleadtosituationswherestudentssurprisethemselves,("DidIthinkof
different intersections of this relati this?"),whichagainmightleadtofurtherdiscoveries.Longconversationswith
onship, leading to the discovery of the studentsestablished common groundsfor howto interpretand partially
newbordersandthresholds. alsolivethethemesgiven.
Thegeneral ideaistocreatereal situationsand todefinechallengessointi
matelythatthepressureofcuriosityandthedesireformoreinformationbeco
mesunbareableforeachstudent.
Thisdrivingforcegeneratesa"need"foradeeperunderstandingofthe Thismethodofgeneratingcreativitywasmainlytestedwiththemaster
theme,aninterpretationofthisunderstandingandfinallyahypothesis studentson their final project. Byintroducing groupcriticism itwas
onhowitmightbedesigned.Whentestingthedifferentconditions,we possibleforeachstudenttochallengeanother,astowhentogenerate
wouldgeneratedirectconfrontationswhenchallengingrealorassumed ahypothesis.Itwasinterestingtonotethatthisdidnotdevelopdesign
preconceptionsandnormalitiessuchas: similaritiesbetweenthedifferentprojects,butrathertheopposite:wi
delydifferentresultswithahighdegreeofindividuality.
·Ifyouliketogetupearlyinthemorningtrygettinguplate.
·Ifyouliketogetuplatetrytogetupearly. Thirdly, Iwas concerned with finding adequate tools and represen
·Ifyouliketoplayfootballgoforaswim. tations which could forcefully explain the content of complexities
·Ifyouliketoskitrysunbathing. within each project.The different ideasand hypotheses of an early
·Ifyoudon'tliketoreadreadalot. stageprojectwouldgiveindicationsofhowtochosethemostrelevant
·Ifyouliketoreadtryjustthinking. tools.Thesetoolswerenot limited,andmediaspanningfromverbal
·Ifyoulikebeingonyourownseekbigpartiesor, explanationsandperformancestofilms,storyboards,physicalorma
·ifyougotopartiesallthetimestayathomeor thematicalexperiments,rapidprototypingofmodels,large-scalecast
simplytrytoscreamagainstwindandweather. orbuiltmodels,programming ofnewsoftware, photographs, music,
1:1 constructions,oramixoftwoorseveral,wereused.Thisfreedom
Personalsituationsofacertainextremitymayoccuronmanylevelsand ofchoiceaddedanotherlayerofcomplexitytothedesignprocesses,
Ibelieveyouhavetounderstandboththephysicalbordersofyourbody butfinalexperienceswereoftentransferredtolaterthemes,wherethe
aswellasyourmentalborderstobeabletodesignwell.Thesedifferent masteringofthisfreedombecameessential.
conditionshavetobetested.Onlythenmaytheunderstandingofwhen
andhowyourconcentration isatitsbestbedevelopedand theshort These processes, the developmentofpersonalcapabilitiesasboth individualdesigner
timeframeformakingintuitivedesigndecisionsberecognised.Aline andteamworker,theconditionsusedtoamplifyself-confidenceandthemasteringofdiffe
ofthoughtsofalreadyexistingknowledgeandexperiencewillintersect renttools,generatedslowdynamics,whereallparticipants,me,thementorsandstudents
withthesemomentsofconcentrationandideallygeneratenewideas. coulddeveloptogether,althoughindifferentdirectionsofinterest.
INAUGURAL LECTURE
KJETILTHOOSEN I PATRIKSCHUMACHER
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010 EDUCATION archlteeulTaifacrJryotinnsbtuck
MariaSchneider
KjelilToorsenhasbecomeindistJensal>Jetothe
FacultyofAtth!tectufeoftheUnNefsityof/nns
brock,AsanirJleffllllionalt{SlJCcesshlarclitec1
hehasbroug/tabrealh01fresh iffandnew
inpuisesforOIIdiJ/t{wort , ,
HiSkatChafactef, tis open-miooe<Jnessam
.his ~eneroSilf have COrtliruled to his being
area/JeMieramontheotherhamahight{
ArnoldKlotz
roolHaled lecturer. He has also distinguished
JqelilTtr;rsen'sreputaliOnasmearctiteetoftheUbtatyofAJexaoori;J
himsellIhroughhishIJfrJlineinecof1JmittNl
pteee<ledhim,rotonfjtoVienna. I~IJqelilTtr:>rsenpersonallyat tefS. hisextrlJOfdinatycrealHty. amhissocial
/!IecloSiflJeYertoftheUniverSiiIJe2005,atlerheand/lisS/uderts
ski's. Hehasclfwlyaeroonslratedlhalheisa
haddesignedandrealisedtheerea/Neinstallationhrthisinlematio
hight{qualifiedarcliteCl, alwayshappf10dis
nalwRersportscOlTfJelitionin!ntlsbrlxkandSeefeld. Dlnhg l!is
cuss mallets with ol/lets andmediate where
corwersalionIW2SnalilallyverjirrfJressedbyhisknowledgeofthe
necessay,
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b hishaJUimeleachingassigrmertinInnsbruckhe wasnotalways Hying01110!af-iWaylands. Hisstalemertsdu
p-lrfS,itally{JIesert.buthewas-SlfJpotIe<JbyhisaSSiStaTts-corti
firq meelirqshavealsomade uslaughmore
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personiJ.5tyamhiSl£ademiCamsocialcof/l)tterr:e. WIlltegiWto lhanorce. DearKjetll,wewillmissyou. Wesincerelyhopetosee)Vu
/helocusofhisptilosopt7jasateacherleImeqlJOlehimin!isown asoftenaspossible,andhopethatyouwlUstayasyouMe.
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andattlitectulalissues. againleadilVtonewaiStOveliesofiCeas.
conceptsamIorms.•
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with!isacademitcolleagues.havestrorqlytxxIstedtheinJJottart:eof
theFa:ultyofA!chlectureoflheUdietsilyol/nrrstnlCkalsoasalsoan
edlJC~ionalimtilulionfromanAustridnandirAem~ionalpoirtofv.ew
ilthelas!yelJls.ThemanyInnsbfIJCkrecipiertsofprizesinirAem~io
filiisludertcorrpetliorrstNybemertione<jasanillusltalion.
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w/sh)VUcont/nulnggreatsucceuwiththereal/ut/onof)VUT
w(}{ldWfdeprojects. Th(}{1eJ/andtheFacultyofArchllecture
sma'
willremainIncontactInthefuture,A signof'jOIJf~eneriJ/
..:ceplarceallheUnNefsitfwasyoU!iare"'dcereroonyi1July2Q()l,
whithmneOllhetellthefSamstooetVswanted10miss.
