CHALMERS UNIVERSITY OF TECHNOLOGY DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER’S PROGRAMME OF ARCHITECTURE AND URBAN DESIGN (MPARC) SUPERVISOR: BJÖRN GROSS EXAMINER: MIKAEL EKEGREN Miska Laine Aedificum - Or how i learned to stop worrying and love the box 2 3 AEDIFICUM 2022 MISKA LAINE CHALMERS UNIVERSITY OF TECHNOLOGY DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING MASTER’S PROGRAMME OF ARCHITECTURE AND URBAN DESIGN SUPERVISOR: BJÖRN GROSS EXAMINER: MIKAEL EKEGREN Abstract Urbanisation is one of the growing trends of the 21st century, and seems to be picking up speed again post-pandemic. It has its downsides, with the death of the countryside cited as one of the worst case scenarios, but it comes with significant upsides too. Dense population centers decrease travel distances which decreases fuel consumption. Even with the advent of the affordable electric car upon us, the stock of vehicles on our roads is still decades away from being sustainable. The sustainable course of action seems to be em- bracing urbanisation, and seek solutions within the urban fabric. To continue building our cities responsibly and sustainably, experts in planning the built environment are in growing demand. This ex- pertise, while not limited to, is most often found in architects. Architects are needed to both maximize the benefits of urbanisation as well as to mitigate the negative impacts. In Finland employment rate of architects is 99% with a larger number set to retire in the coming years that are being graduated from the three active schools across the country. This highlights a necessity to increase education of new archi- tects. Turku is Finlands third largest university city (by number of students), but has so far no pro- gram for architecture. In fact only as recently as of 2019 has there been a technical sci- ence board as a collaboration between Turku University and Åbo Akademi. And there are plans to expand the technical science educa- tion by adding more programs. This makes the campus uniquely suitable for a new school of architecture. This master thesis explores contemporality and the ideological and philosofical basis for building our environment. It examines current architecture education facilities, and other sim- ilar buildings and attempts to create a proposal for a building that offers the foundation for the future education of this complex subject. A building that houses all the necessary locales and inspires the future generation of Finlands architects. Keywords: Metamodernism, education, mini- malism, finnish design, zeitgeist 4 5 Table of contents Student background Introduction Abstract 3 Table of contents 4 Student background 5 Aim, Thesis question, Method, Delimitations 6 II Discourse Metamodernism 8 Metamodernism in architecture 10 III Design Site selection 14 Site visit 16 Site analysis 18 Program references 20 Evolution of project 24 Lecture hall design 34 Images 35 IV Building Site plan 39 Floor plans 40 Sections 44 Details 47 V Conclusion Conclusion 50 Reference list 51 Miska Laine Bachelor of architecture: Chalmers university of technology 2017-2020 Master of architecture: Chalmers university of technology 2020-2022 Master studios: Architecture and Urban space design Nordic Architecture The Hybrid Practice of Architecture: Uniting Arts, Crafts and Technology Matter Space Structure 2 Matter Space Structure 3 6 7 AIM The aim is to design a building for a future architecture program in the city of Turku. The thesis examines the nature and needs of architectural edu- cation based on my own experience. It strives to create a building that not only fulfills the needs the program, but is respectful to and enriches its context. The result being a building that brings architecture closer to the citizens of Turku. THESIS QUESTION How should a metamodernist school of architecture function and be construct- ed? METHOD The method used is an iterative design process based on observations and information gathered on site and on the iterations themselves, in true metamod- ernist fashion. I will create and analyze many variations on the same themes to find which elements make a difference both in functionality and in the expres- sion of the built space. DELIMITATIONS In this thesis work I have not calculated the validity of the structure, but I have used table-values available in Swed- ish Trä, and overdimensioned the load bearing structures. DISCOURSE II 8 9 Metamodernism The term metamodernism was adapted to its current meaning over a decade ago in an essay “Notes on metamod- ernism” by Dutch cultural theorists Tim- otheus Vermeulen and Robin van den Akker (2010). They defined it as an os- cillation between modernist fanaticism and postmodernist irony. And while metamodernism is still very much ironic in nature and action, they posit that the metamodern irony is anchored in desire in contrast to postmodern apathy. That it is permeated by a yearning for mean- ing that was the goal of modernism, while also having the cynicism of post- modernism that attaining a utopia is a folly. Metamodernism is thus built out of contradiction and paradox. A quote from a 2005 movie “Star wars: Return of the Sith” works to illustrate the fundamental differences between meta-, post- and modernism. In a scene towards the end of the movie Anakin Skywalker, now known as Darth Vader confronts his mentor Obi-Wan. Anakin tries to convince Obi-Wan of his cause, but his language convinces Obi-Wan that he has become an evil Sith. Anakin: “Don’t make me kill you.” Obi-Wan: “Anakin, my allegience is to the Republic, to democracy!” Anakin: “If you’re not with me, then you’re my enemy!” Obi-Wan: “Only a Sith deals in abso- lutes.” Death of postmodernism Kirby (2006) claims that postmodern- ism has been dead or dying for a while now. In the same text he coins the term “pseudo-modernism” as a pejo- rative term to define what he sees as a “vapid” culture where “A triteness, a shallowness dominates all” as the successor for postmodernism. I agree with his conclusions about the reasons the age of postmodernism should be considered over, but I have to say he paints a rather dystopic picture of our present and future. With the benefit of hindsight, hav- ing experienced these past 16 years (since he wrote his text) and seen the cultural evolution I can confidently say that his hasty conclusions about the emptiness of contemporary culture are misguided to say the least. Aggres- sively and intentionally misunderstood to be a bit more blunt about it. He has since taken a more moderate stance too, and published a book in 2009 where he too had changed the term to digimodernism. Far from being the only one to call time of death on postmodernism, Kirbys text is referenced often. And while a con- sensus seems to have been reached that the curtain has fallen on postmod- ernisms time in the limelight, it doesn´t seem to extend on what the torch is being passed unto. The reason I use this scene to illustrate the differences between the ideologies is the paradoxical reply of Obi-Wan. “Only a Sith deals in absolutes.” is in itself an absolute statement. Which in modernist tradition would be construed to mean Obi-Wan must also be a Sith, making the end of the movie a fight for supremacy between two Siths. Post- modernists would say that as no abso- lute truth exists, it is inherently pointless to try to make any kind of absolute statements, and thus neither Anakin nor Obi-Wan can be proven to be anything. Metamodernism is the way to see the movie as (probably) intended: Obi-Wan makes an absolute statement that is true, since Anakin is a Sith, while also being not true, since he himself is not. I think the comparison evoked between the different ideologies is apt, while also acknowledging the absurdity of making comparisons based on the absolute logical extremes of the ideologies. Lene Andersen (2019) divides our future paths broadly to metamodernity and hypermodernity, in quite a naivistic way, perhaps to pander to a broader public. In her text, hypermodernity is a sort of catch-all that represents every- thing that can go wrong in our future (and the path it seems humanity is on), and metamodernity is the panacea to all of the problems facing us now and in the future. To further illustrate the point, I gathered just a few of the proposed terms for the postpostmodern era. (the ones readily available on Wikipedia): “... Raoul Esh- elman (performatism), Gilles Lipovetsky (hypermodernity) and Nicolas Bourri- aud (altermodern). (...) Nina Müller- Schwarze offers neostructuralism as a possible direction. “ I personally believe that the reason no clear successor for postmodernism hasn´t entered the zeitgeist can be partly attributed to the all-permeating cynicism of said movement. If the core tenet of the previous philosophy is “nothing is real, there is no truth” it is extremely hard to gather larger support for a system that wants to believe in something specific again. A fragmented society built on deconstruction is diffi- cult to glue back together again. Nevertheless, I think that a way out from the apathy of meaninglessness that is the postmodern condition can be found by doubling down on it. Question- ing “the universality and truthfulness of old modernism and the fragmentation and skepticism of postmodernism“ as Yousef (2017) claims metamodernism does. Metamodernism 10 11 Visual context Aesthetics Figure 3. “Non-referential phenomenological anarchy” or Metamodern architecture Technical context Sustainability Bioclimatic architecture Cultural context Tradition Vernacular architecture Organic architecture The evolution of my theory of architecture As illustrated in figure 2, initially my thoughts were to find architectural directions or styles to find inspiration and to anchor myself to an architectural tradition. The problem was, I couldn´t find a single existing theory I could stand for or believe in, and in a rejection of postmodernism, I didn´t want to only define myself in opposition of something. So I chose several different styles that together might encapsu- late my idea of successful architecture. As claiming to combine three different architectural theo- ries only creates confusion, I thought of representing the theories in terms of the context they most respond to. This representation, while being more descriptive of my thought- process, sadly only gives a foundation for one, instead of a complete comprehensive theory. The validity of any one of these contexts in a given project is also determined by many factors, and they cannot encompass any kind of gen- erality in architecture. A result of my research in the MSS - studios was an under- standing that the relative success of a project is measured individually, akin to Nietzsches theory of perspectivism. My ingress to the research was to find some commonality in how success is measured, but my conclusion was that it is relative to the aim, and thus purely subjective. The value of a project is determined by criteria specific to all of its contexts, not limited to, and not always even including the ones taken into account by the architect. The contexts the building is evaluated in are informed by contemporary societal standards and personal bias. Therefore there is no inherent value in creating “Bioclimatic architecture”, but the perceived value is created by coinciding with societal value norms. And since these values need to be vague to gain wide acceptance in our culture, the meaning is diluted to the point that anything can mean anything. For example: aesthetics as a value is generally appreciated, but what it means to any individual is so subjective, it cannot really be used to inform any kind of design choices. Non-referential phenomenological anarchy In summation an architectural golden standard can´t exist, as there are too many variables. What seems to be the deciding factor between a good and a bad project is the architects ability to understand the context and respond to it appropriately. But even here exceptions exist. For example the infamous (or fa- mous) Eiffel tower in Paris, that was seen as an eyesore (a bad project) when built has been morphed into an icon of the entire country of France (excellent project) So even an understanding (read: guess) of a future context can lead to a success. In figure 3 the different colors represent different values, and the squares different ways to relate to a project. The success of a project is measured by the overlap of each individual placing their own square in the abstract field by encircling their personal values. It follows then that the “winning strategy” is making your square as big as possible in what I call a “Non-referential phe- nomenological anarchy” as an homage to both Olgiati and Nor- berg-Schulz. Olgiati posits in a true postmodernist fashion a need for archi- tecture to not rely on ideologies and philosophies outside the scope of the craft itself (the rejection of metanarratives). In other words architecture should only reference itself. Norberg-Schulz talks about a place being experienced rather than just existing. Which also means everyone brings their own cultural bias and life experience into it, making a place something unique existing differently in everyones perceptions. While sounding postmodern in the departure from an absolute experience, it still assumes a semi-rigid “genius loci”, that can be gleaned as a sort of amalga- mation or median of the observations. Which brings us to anarchy, the key piece in my theory of meta- modernist architecture. By anarchy in this context i mean the oscillation that differentiates and defines metamodernism. I believe that the way to unite modern fanaticism and postmodern criticism is the sincere irony of metamodernism. Metamodernism in architecture Figure 2. Illustration of the evolution of my theory “Conceptual project” Small square focused on a single value Chance of academic success A project with no or bad architect Square covering a part of one value Small chance of success A project by a great architect/team Large square covering many values - High chance of success 12 13 III DESIGN 14 15 Figure 5 Detail plan of my chosen site https://opaskartta.turku.fi/ims/ Figure 4 Satellite image of the site https://www.google.com/maps/@60.4589198,22.2880317,806m/data=!3m1!1e3 Site selection 16 17 Site visit Northern facades of buildings around my site Eastern and southern facades of buildings around my site (facing the square) The room between the existing buildings 18 19 Program references Aalto university of technology Aalto university of technology Appropriation study “Väre”-building of Aalto university Building area 26800m2 Program: Wood workshop Light/photography studio Computer labs Lecture halls Group work spaces Classrooms Offices Café Dining area WC Storage Building as-is Building fitted into site Building on site, divided to two volumes Building on site, divided to three volumes 20 21 “A-House” of Chalmers university Building area 18150m2 Program: Workshop Ateljé Computer labs Library Group work spaces Drawing rooms Offices Café Dining area WC Storage Chalmers university of technology Chalmers university of technology Program references Appropriation study Building as-is Building fitted into site Building on site, divided to two volumes Building on site, divided to three volumes 22 23 Iterations of floor plans during the process Scale 1:3158 (A3) 4.5 3.5 2.5 2 1 4 3 2 2.5 2 1 2.5 2 1 2.5 2 4 4.5 4.25 8x11 88 9x14 126 11x14 154 14x18 252 Evolution of the project 24 25 A school of architecture consists of three main functions: Education, Creation and exhibition. I further divided so that education consists of a library and lecture halls. Creation consists of drawing rooms, ateljé for art and light related studies and a workshop for model work. Exhibition takes place in a large open hall, that has an own entrance. Coexistence of all of these different func- tions with differing spatial needs results in a complex program, and my early de- signs reflect that. Studying both Chalmers and Aalto-university gives two opposite answers to the question of dividing the volume. Aalto university has divided the building into small volumes spread out over a large area where each function can have its own little box. Chalmers has a single volume where the functions are gathered around a central motive, the ljusgården (and V-gården for lecture halls). From early on I attempted to fuse these opposite ideas into a hybrid form, with the help of two main ideas: “The staircase” and “The pyramid”. Early iterations The staircase transformed into the central light shaft after the first iteration, and soon thereafter into a “valley”, with cascading balconies flowing towards the middle of the atrium. (See Jacob und Wilhelm Grimm Zentrum in Berlin) Also after the first iteration the volume on the left was cut loose from the school of architecture, and it will become something else as vol- ume studies revealed the excess space that I couldn´t take advantage of within the confinfes of the program. 26 27 The “Dome period” After the experimentation with the juxta- position of the “Valley” and the “Pyramid” I felt the project was getting a bit too much like a box, and i felt it needed some round elements introduced, which felt to the appropriation of the dome structure for the exhibition hall. By studying domes around the globe, I arrived to the conclusion that the point of it is to give the unique experi- ence of having the same distance to the walls and ceiling around you. Normally people experience space very two-di- mensionally, so I thought this was a very appropriate and inspiring space especially for a school of architecture. After eight iterations i couldn´t find a way to integrate it with the “valley” in any meaningful way, which led me to finally abandon the idea. The integration attempts led also to a much more streamlined outline, as I at- tempted to shift the focus from the outside to the inside. 28 29 Embracing the box After the endless battle of synthesizing two diametrically opposing ideologies, I had a breakthrough while reading an article about kin-tsugi, the japanese art of repairing broken pottery vessels with golden seams. The idea that there is even more value in the repaired vessel than there was in the original sparked an inspi- ration. That has barely anything to do with kintsugi, but thats the way of inspiration I guess. My breakthrough was that instead of trying to meld two clashing things into one, I should try to make them work for each other. Instead of the obvious juxta- position in section, go for a more subtle approach. I soon discovered in my exper- iments that the more regular the “basic” structure, the more the smallest things jump out. So instead of making to distinct things, I should go for just one thing with a “knix” for lack of better word. I applied the idea to the facades and was really happy with the result. The four facades became nearly identical, and I differentiated them with only the minute distinctions, which led to the eye being drawn where I want- ed to direct it. I used this effect to empha- size the entrances to make them stand out from the rest of the facade. “Unfortu- nately” the fire codes that require several separate emergency exits prevented me from reaching a level otherwise possible, as the monotony isn´t all-permeating. I use quotes, since the advantages of fire safety far outweigh my artistic sensibili- ties. 30 31 4.5 3.5 2.5 2 1 4 3 2 2.5 2 1 2.5 2 1 2.5 2 4 4.5 4.25 8x11 88 9x14 126 11x14 154 14x18 252 Final iterations CAPULUS A-A CAPULUS B-B The final differences between the final iterations revolve almost exclusively around the shape and function of the “Canyon” and further increasing the monotony of the outside box to make the juxtaposition more tangible. The primary function of the atrium is to bring light in- side the wide volume, as it has been from the start. Secondary functions i experi- mented with were a vertical accessway (stairs) and as a “catcher” for the volumes too large to fit inside the regular structure of the building. But after trying out big swings in the more postmodern direction in the form of curved balconies with an opposing curved staircase I came to the same conclusion as with my facades ear- lier, that the synergy between monotony and the irregularity is strenghtened when the monotony is strenghtened. 32 33 Lecture hall design Images Simple section of the grand lecture hall Scale 1:150 (A4) Interior perspective section Interior perspectives Figure 6 Comparison between guidelines for lecture hall parameters guidelines in Neufert & Neufert (2012) and final design of the project. 34 35 Exterior Wall part illustration 36 37 Site plan 1:1000 (before) Site plan 1:1000 (after) Context illustrations 38 39 IV BUILDING Site plan Scale 1:2000 (A4) 40 41 First floor Scale 1:400 (A4) Second floor Scale 1:400 (A4) 42 43 Third floor Scale 1:400 (A4) Fourth floor Scale 1:400 (A4) 44 45 Section A-A Scale 1:300 (A4) 46 47 Section B-B Scale 1:300 (A4) Facades Scale 1:400 (A4) 48 49 Roof detail Scale 1:20 (A4) Wall detail Scale 1:20 (A4) Horisontail detail Scale 1:20 (A4) 50 51 Conclusions V I would like to start by saying I think my end result turned out great, although I would have made an oscillation toward more postmodern direction on the next iteration, had I been able to continue work on this project indefinitely, and it might have turned out even better. The starting point in what I have under this process started calling metamodern- ism was a source of endless inspiration. I felt a purposefulness in the design work I haven´t felt before, and I believe part of it was because I was laying the ground- work for what my own architectural theory emphasizes and discusses. As a theoretical masters thesis this proj- ect could have tested the ideas I bring up in the discussion part more, but since the goal was to create a prototype for meta- modernist architecture, there was also the need for a time-consuming iterative process. This thesis delivers a building design that embodies the ideas discussed, and acts as a basis for further discussion and ex- amination about the future of architecture. Metamodern architecture is but one of the possible ways the future may shape up, but it is my hope that it will prevail. The Death of Postmodernism And Beyond Alan Kirby (2006) https://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond Modernism, Postmodernism, and Metamodernism: A Critique Tawfiq Yousef (2017) International Journal of Language and Literature June 2017, Vol. 5, No. 1, pp. 33-43 Notes on metamodernism Timotheus Vermeulen and Robin van den Akker (2010) https://www.tandfonline.com/doi/pdf/10.3402/jac.v2i0.5677 Metamodernity: Meaning and hope in a complex world Lene Andersen (2019) Non-referential architecture Markus Breitschmid, Valerio Olgiati (2019) Genius Loci: Towards a Phenomenology of Architecture Christian Norberg-Schulz (1979) What is contemporary architecture? Kristin Hohenadel (2022) https://www.thespruce.com/what-is-contemporary-architecture-4769079 References