Vampyr er litt spøk

How far can I go from the original painting and it still being recognizable? Is converting the way the painter painted into architecture possible? Can the brushstrokes and textures on the canvas become an inhabitable structure? How close to the original painting can the architecture become? Vampire is one of Munch’s most iconic works. It revolves around themes such as love, lust, mortality and loneliness. The painting is not only a depiction of the vampire as a mythical being, but also a psychological and emotional reflection on human conditions. VAMPIRE BY EDVARD MUNCH Vampire shows an intimate moment between a man and a woman. The woman is depicted in a position reminiscent of a vampire, with her face close to the man’s neck, as if she is about to bite him. Her face is calm, while his expression is more marked by suffering or discomfort. The colors in the painting are typical of Munch’s style, strong, contrasting shades that emphasize the emotional undertones. The dark background and deep red tones of the women’s hair evoke a sense of danger. His face looks pale, almost lifeless. Their bodies seemingly merge. Vampire and victim become one. Munch also uses a distinct symbolic language. The vampire in the painting is not just a mythical creature, but a symbol of destructive forces in human relationships, where love and lust can be exhausting. The vampire literally sucks the life force out of the man, which can be interpreted as an allegory of emotional exhaustion and the destructive power love in some cases can have over the individual. It seems like love wasn’t a source of happiness for Edvard Munch, but rather a source of conflict.submittedVersio

fac[ad]ing the future; an alternative ending for 80s facades

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I, the Designer

‘I, the Designer’ is a design research project in which I explore the first-person perspective of the designer. The main ambition is to explore possibilities through which designers are enabled to respond sensibly to the design context while integrating their first-person perspective. In doing so, designers can test out their biases, making them intentionally part of the design process and creating space for subjectiveness. The project focus is on the dynamics between the designer and the design context, specifically while engaging in participatory and co-design practices. To explore this topic, I adopted a research through design approach and was guided by design research programs and auto-ethnographic research. In total I performed eight design experiments, categorised into four themes: - ‘How do you enact self-reflection?’ - ‘How can we express subjective experiences through material?’ - ‘What are subjective materials?’ - ‘How can we rehearse to design otherwise?’ To give you an example, the experiment shown in the pictures below revolves around the question: “How can we discover materials that hold meaning to us?” As experiment I created a material selection exercise, in which designers were asked to select samples of matter based on a personal memory. Based on my research, I proposed a methodological and practical contribution to auto-ethnographic design. It encourages designers to make their subjectiveness explicit during interaction with others, not only in words but through material. The outcome of this project is a workshop in which designers can practice to make their assumptions explicit, through noticing exercises, embodiment practices, and interaction with materials; in doing so designers can train their muscle memory to respond from their first-person perspective.submittedVersio

Dojo Architecture for Ritualistic Movement

There are 180 different martial art styles in the world. Some more known than others, a large variety of style forms can be found practiced in Norway. The diversity resulting in a multitude of smaller clubs with specific requirements. As many have little means to invest in proper venues, they turn to unsuitable spaces for practice. Martial arts are deeply embedded in rituals, that unfortunately are losing their meaning through the use of ill-adapted dojos. It is therefore a great need for dedicated spaces for martial arts, where the significance of the rituals are kept through adapted architecture.submittedVersio

DogMatch - An Ethical Platform for Buying and Selling Dogs

DogMatch is a platform designed to help you find a dog that suits you, or facilitate the responsible sale of your dog. The platform helps you find a match by giving you detailed information about your needs vs. the dogs needs. The platform is delivered by Finn.no. Throughout history, dogs and humans have lived together. Today, there are approximately 585 000 dogs living in Norway(Kjæledyrrapporten 2023). Even though many dogs and humans live happy lives together, many people still take thoughtless choices when it comes to dogs. This can be to buy a dog on impulse, or not do sufficient research to be able to understand if you are fit to own a dog, and what dog type you are fit to own. As a consequence, dogs have to be re-homed or live lives where they don’t get some of their needs fully covered. Today, one of the biggest platforms for selling dogs are Finn. no. Unfortunately the platform has done little to ensure that dogs are sold to suitable homes. In my diploma I have designed a new platform, delivered by Finn.no, for ethical sale of dogs. In the platform, buyers will be answering questions about themselves and their requirements for a dog. Sellers will fill out detailed information about the dog they are selling. Based on this information, DogMatch will be able to give buyers a score of how good they match with different dog ads on the platform, and recommend the best matches to buyers. Based on the information given about potential buyers, sellers will on their side be able to asses if they want to discuss further purchase with them. By giving buyers match score and detailed information about each dog, buyers will hopefully be able to take more informed choices when requiring a dog, which leads to more dogs living their entire lifespan with owners that fullfill all their needs.submittedVersio

Tunnel Vision

The metro is a vital part of urban Oslo, connecting neighborhoods, reducing traffic, and curbing emissions. With Oslo’s population projected to grow significantly, the metro needs expansion within 2040. However, the central tunnel is at full capacity. In 2015, KVU-Oslo Navet, concluded with a new tunnel running parallel to the existing one. This project proposes an alternative; a tunnel running north of the “city centre”, connecting Bislett, St. Hanshaugen and Grunerløkka with the existing metro network. This project aims to investigate how a metro station can be “surgically” inserted into the existing city, minimizing disruptions to cultural heritage while maximizing architectural qualities like natural light, surface connectivity, and public safety. By strategically selecting sites and carefully integrating the stations, we aim to demonstrate that this line could be a viable future for public transport in Oslo. In our proposal we positioned the stations close to ground level to enhance connectivity with the surface, carefully considering factors such as minimum turning radius, maximum allowable slopes, nearby foundations, and other site-specific obstacles. The stations rely primarily on escalators for vertical circulation, as they provide travelers with a clear overview of the station. Escalators also offer a stronger visual and spatial connection between the street and the station, making the stations feel like an extension of the city rather than isolated spaces. Open, visible layouts also enhance safety by reducing narrow corridors and sharp turns. It improves flow and reduces the need for signage. Another important factor in the design is the incorporation of natural daylight. Many metro stations are dimly lit, relying on artificial lighting. Our designs prioritized natural daylight to improve the atmosphere and create inviting spaces. Daylight not only transforms the environment, making it more welcoming, but also strengthens the connection between the station and the surrounding urban landscape. All the chosen sites have issues regarding leftover spaces or unoccupied park areas in need of an upgrade. Constructing the stations gives an opportunity for improving the current situation on street level. Ultimately letting the addition of underground space raise the quality above ground.submittedVersio

GROUNDWORK FOR THE FUTURE Multidisciplinary fieldwork as the foundation for resilient design?

Can multidisciplinary explorations guide architects towards more resilient design? Groundwork This diploma investigates an approach for laying down the groundwork to guide architects towards resilient design. In this context, the more figurative definition of the word ‘groundwork’ is used and refers to the foundational principles behind the design process itself. The work of preparing for work that will be done later. For this diploma project we explore how multidisciplinary fieldwork and collaboration can form the foundation for architectural design, using tourism development in Vardø as a case study. Vardø, like many small communities along the northern coast of Norway, is currently going through yet another economic recession. With further predictions of depopulation and loss of employment opportunities, Vardø is looking towards tourism as a possible sector of growth. Invited by the research group ‘Area under press in Varanger’ we joined a diverse group of experts to explore the complex interplay of natural, cultural, and economic forces shaping this region. Through fieldwork and dialogue, we identified critical questions that guided further explorations. These explorations formed the basis for two distinct architectural responses: a revised regulatory plan for the Svartnes/Smelror area, aimed at developing the land for tourism, and a smaller-scale intervention—the adaptive reuse of an old farmhouse as a recreational rental. Rooted in the concept of resilience, our approach explores how development can balance ecological preservation with economic growth. We view architects as mediators between gained knowledge and physical form, uniquely positioned to address challenges such as climate change, land-use conflicts, and evolving local industries. Viewing the entire process as a case study, the architectural responses serve as a framework for exploring and testing these insights in practice. Through reflection, we aim to understand the benefits and challenges of attempting to perceive the world through the lens of other disciplines.submittedVersio

Bjørndal hele livet Bjørndal Forever

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Love Letter From a Farm: Visions of landscape care and co-creation in the Carse* of Stirling

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Lost and found: reimagining the architecture of in-between spaces in Oslo

This project is an investigation of leftover spaces in Oslo. Through an analysis of their past and present, and a speculation for their future, the aim is to shed light on these often overlooked spaces and look at them through a different lens – one that utilizes architecture to contribute to a more public and non-commercial Oslo. Through small-scale architectural interventions, the project focuses on seven “in-between spaces” — pockets of the city that are frequently passed through but not so often thought about. They are points of transition — edges, corners, voids, and pauses. Like the scattered kiosks of Oslo’s past, these spaces follow the same logic as the kiosks: they are not destinations, never the end goal, but somewhere that invite momentary interaction. This project explores the in-between spaces of Oslo as sites for these moments. The backbone of the project is the attempt to combine the needs of the citizens (animals as well) with the public space. Looking at what already exists in the space; structures, urban objects, trees, plants, surfaces and infrastructures, and working with the objects of interest in these sites, as well as three different strategies; maintaining, transforming, and curating: Lost and found is about looking in forgotten corners and pockets of the city, and finding these small gestures that invite momentary interaction. All public spaces need not to be destinations or end-goals.submittedVersio