kth-a 2015 2016: 'new school

KTH ROYAL INSTITUTE OF TECHNOLOGY

new schoolkth-a 2015-2016:

The coming academic year at the KTH School of Architecture

www.arch.kth.se

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KTH Royal Institute of Technology School of ArchitectureOsquars backe 5, Stockholm

Designed and edited by Björn Ehrlemark, copy edit by Helen RuntingPrinted by Edita Bobergs AB in August 2015

ANDERS JOHANSSONis the Head of the KTH School of Architecture since 2013. He is a co-founder of the architecture practice Testbedstudio, and President of Europan Sweden. He studied architecture at the KTH-A and the Archi-tectural Association in London, and has a PhD from KTH.

The start of this academic year marks a decisive step in the evolution of the KTH School of Archi-tecture. By the time this text goes to print, we will have completed our move into a brand new build-ing, designed by the architecture office of KTH alumni Bolle Tham and Martin Videgård.

As architects, we take an active part in shaping the physical envrionment. But in turn, the envi-ronment shapes our lives and our actions, just as it does all of society. Given this, our new building will inevitably shape our relations, both within the school and with external parties, developing them in new ways.

During the process of settling in and making it our new home, we will likely learn much about ourselves as an institution. Many such moments will come as surprises, while others can be an-ticipated and welcomed. The school and its new spatial configuration will provide opportunities for closer links between students at Basic and Ad-vanced Level, as groups at different years in the education will share the same studio floor, work-ing more closely together in the same space. Both researchers and studio teachers will be able to in-teract more fluidly as we now have our workspace in the same room. Located at the very centre of the KTH Campus, the new school is also more accessible, facilitating interaction with other dis-ciplines of the university and extending connec-tions to the public-at-large.

A common commitment will now be to ac-knowledge these potentialities and turn them into actions. Even if we cannot predict the exact

INtRODUCtION: welcome to a new school of architecture

outcome, it is clear that how we act at this turning point will be significant for the future develop-ment of our school. To fathom this and act accord-ingly constitutes a great, and shared, task for the year to come. By continuing to work with vitality and intensity, by continuing to be curious, we can move towards this end, with knowledge and art as our companions.

With all of this in mind, the current moment seemed a good occasion to also let the catalogue of ‘Studio Themes’ evolve. In past years it has pri-marily been produced at the start of each academ-ic year as an introduction to Advanced Level stud-ies, aiding fourth- and fifth-year students in their selection of studio. We now take the opportunity to include and present more of the activities tak-ing place at the school in the year to come: in the architectural education at Basic and Advanced Levels, preparatory and professional courses, as well as in research and research education.

Our ambition is that as a student of architecture at KTH, you are presented with the possibility to navigate and critically assess the many possible paths which traverse this dynamic academic land-scape. Your journey might lead you to venture far off in a specific direction, to assemble your own archipelago of ideas, or to explore previously un-chartered territories. Each path, in its own way, offers ample opportunity to immerse yourself in architectural knowledge: producing it, analysing it, and putting it to use.

Welcome to a new academic year and a new School of Architecture!

Wishing you my very best,

ANDERS JOHANSSONHead of the KTH School of Architecture

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ORIeNtatION COURses IN aRChI- teCtURe aND URBaN PLaNNING:kth-a in tenstaELSA UGGLASTEFAN PETERSSONERIK STENBERG

BasIC LeveL:first-Year stuDiosWERONICA RONNEFALK

BasIC LeveL:seconD-Year stuDiosPER ELDE

BasIC LeveL:thirD-Year stuDiosERIK WINGQUIST

aDvaNCeD LeveL:fourth- anD fifth-Year stuDiosPER FRANSONFRIDA ROSENBERG

stUDIO 1: full scaleANDERS BERENSSONEBBA HALLINJOHAN PAJUMALIN åBERG WENNERHOLM

stUDIO 2: workplace, labour anD everYDaY life TOR LINDSTRANDKARIN MATzANDERS WILHELMSSON

stUDIO 3: ‘lagom’ JOHAN CELSINGJOSEF EDER CARMEN IzQUIERDO

stUDIO 4: architecture for eXtreme conDitions CHARLIE GULLSTRöMPABLO MARIANDA CORRANzAORI MEROM

stUDIO 5: fictionsULRIKA KARLSSONCECILIA LUNDBÄCKEINAR RODHEVERONICA SKEPPECLAES SöRSTEDT

stUDIO 6: searching for ma LEIF BRODERSENTERES SELBERGHELENA PAVER NJIRIC

stUDIO 7: unnameables ELIzABETH HATzPETER LYNCH

stUDIO 8: a common urbanitY SARA GRAHNRUMI KUBOKAWAMAx zINNECKER

stUDIO 9: architectural infrastructureJULIEN DE SMEDT KAYROKH MOATTARJONAS RUNBERGERELSA WIFSTRAND

stUDIO 10: global connections ALExIS PONTVIKINGRID SVENKVIST

INteRDIsCIPLINaRY MasteR’s PROGRaMMe:sustainable urban planning anD DesignMEIKE SCHALK

PhD PROGRaMMe: research eDucation at kth-aHÉLÈNE FRICHOTCATHARINA GABRIELSSONDANIEL KOCH

ReseaRCh: architecture in effect anD in the making HELENA MATTSSON

PUBLIC PROGRaMMe:events, eXhibitions anD publicationsBJöRN EHRLEMARK

INDePeNDeNt COURses:continueD eDucation at kth-a

CONteNts:

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ORIeNtatION COURses IN aRChIteCtURe aND URBaN PLaNNING:kth-a in tensta

kth-a in tenstaThe School of Architecture in Tensta and its prepa-tory education in architecture and urban planning was founded in 2009. Its purpose is providing stu-dents with the possibility to develop knowledge and skills within the field, and guide them towards admission to higher education programmes in ar-chitecture and the build environment.

The school operates out of its premises at the Ross Tensta gymnasium upper secondary school in Tensta in north-western Stockholm. In addition to the preparatory orientation course in architec-ture and urban planning, activities at KTH in Tens-ta also include: collaborations with the secondary school, courses for Advanced Level students at the KTH School of Architecture engaging with the lo-cal community, research, exhibitions, seminars, and lectures. The ambition is to both reach into the local context of Tensta, and beyond that con-text into other spheres.

long-term visionThe purpose with establishing KTH in Tensta is

to diversify today’s homogeneity in the architec-ture programme. Investment made in the School of Architecture in Tensta has perhaps been mar-ginal in economic terms, but the returns can be seen in social, cultural, and political effects com-ing from an institutional actor such as KTH work-ing in a long-term manner with architecture and urban processes. In the long run, the hope is that the school contributes to positive shifts in the built environment profession, not least diversify-ing the backgrounds of those who decide to study architecture and urban planning.

In 2011, the KTH-A’s “pioneering” work in estab-lishing and running the school of architecture in Tensta was rewarded with the annual Stockholm Association of Architects’ Award.

an introDuction to architectural thinking anD DoingKTH in Tensta offers two orientation courses in architecture and urban planning, one in the Au-tumn and one in the Spring. The courses provide preparatory and introductory studies for students interested in architecture, urban development, and construction. Students’ diverse backgrounds, levels of knowledge and ages is met with variation in learning activities. Cross-disciplinary teaching element are frequent within the built environ-ment field, and this is mirrored in the courses. Cre-ating openings for reflection and a joy of learning is an important component in the pedagogy.

the orientation coursesIn the first semester, the course is divided into distinct segments and is thereby mostly a way of introducing the different disciplines in the archi-tecture and urban planning sector. The Spring se-mester is infused with a higher degree of design exercises and is more clearly aimed at preparing students for admission tests to enter schools of architecture and urban planning.

The courses give equal importance to preparing student for higher education within the field and to trying on independent studies. An ambition is to point out similarities and shared knowledge between the disciplines of architecture, planning, and construction engineering, but also to differ-entiate and point out distinctive traits.

Exercises relating to each discipline are geared towards being characterised by pedagogical ac-tivities most commonly occurring in higher ed-ucation learning in that department. Typically, each course element is introduced with a lecture, followed by several practice-based exercises. The idea is to spark progression of learning in each such exercise. The courses concludes with pro-jects that are set up to reach a learning situation of higher complexity, synthesising previously achieved knowledge and skills.

ELSA UGGLA is an architect and Guest Teacher at the KTH School of Architecture, running the orientation course in Tensta in 2015-2016. She studied at KTH-A and the Tokyo Insti-tute of Technology, graduating in 2008. She worked for Nivå Landskapsarkitektur for five years, before co-founding the office HORN.UGGLA in 2013 with the aim of exploring architectural projects in collabora-tion with people of all ages.

STEFAN PETERSSONis an architect with his own practice (spad), a teacher at the KTH-A, and director of KTH in Tensta since 2008. He studied at Chalmers and UdK in Berlin, graduating in 2002. He is a member of ARKiS, a working group raising awareness, particularly in schools, about the impact of the built environment.

ERIK STENERGis an architect and teacher at the KTH School of Architecture, and initiator of KTH in Tensta. He was Head of Department in 2006-2013 and has been teaching studio and courses since 1999, with a special affinity for the foundation level. He received his B.Arch. in 1995 from the College of Architec-ture and Urban Studies at Virginia Tech.

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Left: Students’ study models from a workshop on structural construction principles.

Below left: Workshop on place and identity – students working with one thousand photos of Tensta.

Above: ‘Tensta Museum: Reports from New Sweden’, where KTH in Tensta projects was shown, 2014.

Below: Students at work with school kids, re-interpreting Frederick Kiesler for a Tensta Konsthall exhibit, 2015.

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BasIC LeveL:first-Year stuDios

the first Year at kth-aThe First Year is divided into 5 studios, each of which comprises of 20 students and 3 teachers (2 architects and 1 artist). Each studio operates in ac-cordance with its own distinct pedagogical frame-work, which is developed in concert with the gen-eral study plan for the year and objectives which are shared across the studios.

To produce architecture is to imagine and to describe that which does not yet exist, and to respond to a range of (often conflicting) aims in doing so. It is through the precision accorded to such descriptions of the ‘not-yet’ that architects are able to make the merely fabulous real – and to make it fantastically so. Conceiving of the ‘new’ in this way demands that we step outside of precon-ceptions and habits of mind, developing broader and deeper points of entry into the realities and contexts that we are immersed within. Through such shifts in our thinking, fantastic architec-tural projects become possible – projects which, through their own inner logic, specificity, and complexity are in turn able to affect the complex realities of the contemporary moment.

2015-2015 theme: the fantastic, conteXts, precision In the First Year the coming acadmic year, stu-dents will gain an entry into the terminology, methodology, and tools of architecture through projects addressing ‘space’ and ‘expression’. They will produce a body of work which spans three focus areas: The Fantastic, Context and Precision.

stuDio projectsStudents starting their architectural education at KTH School of Architecture work with three studio project during their first year. ‘Assemblies, Geom-etries, Scales’ commences the Autumn semester in September and October. It is followed by ‘Land-scapes, Structures, Movements’ at the second half of the semester. Starting in early 2016, the studi-os then take on the third project, with the theme ‘Living, Working, Climates’.

artistic methoDs anD toolsIn addition to the studio projects the students also engages in week-long workshops, exploring artistic methods and tools to develop the stu-dents’ architectural thinking and skills. Each stu-dio has a designated artist-teacher who develops these courses with their own specific themes. The workshops are usually run at the start of the academic year, and are followed up with similar courses during the second year.

architectural representation, technologY, anD historY-theorYDuring the first year, students also take introduc-tory courses in History and Theory of Architec-ture, Architectural Representation and Architec-tural Technology. These courses often combine lectures and reading seminars with group as-signments and individual work, with theoretical and practical learning elements set up to com-plement eachother.

WERONICA RONNEFALKis an architect and Lecturer at KTH School of Architecture. She is Head of First Year since 2014.

ANDREAS HELGES-SON GONzAGAMONIKA LENKMANTOBIAS BERNSTRUP(Studio 1:1)

ELIN STRAND RUINKARIN SALERCHRISTIN SVENSSON(Studio 1:2)

ULRIKA GYNNERSTEDTBJöRN ANDERSSONEBBA MATz(Studio 1:3)

RICKARD RIESENFELD RUTGER SJöGRIMBIRGITTA BURLING(Studio 1:4)

ERIK STENBERGMALIN HEYMANMIA VENDEL(Studio 1:5)

LEIF BRODERSENSARA GRAHN(Introduction to the Discipline of Architecture)

MIA VENDEL(Artistic Methods and Tools)

ERIK STENBERG (Representation) NAIA LANDADAVID WETTERGREN(Architectural Tecnhology)

ANDERS BERGSTRöM (History and Theory of Architecture)

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Below: First year stud-ents presenting their student housing pro-jects for the Swedish Minister of Housing after inviting him to their exhibition.

Rest of page: Student work from all three project courses in the first year, as well as workshops in artistic methods and tools.

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the seconD Year at kth-aIn the Second Year, students at KTH-A deepen their studies in architecture through their intro-duction to processes of “articulation”. Over the course of the year, they examine the core pro-cesses and complexity of the field of architec-ture, with an emphasis placed on building tech-nology and sustainability.

During the first semester, students focus on acquiring greater knowledge and understand-ing of the basic principles of architectural design and construction, by exploring concepts such as ‘structure’, ‘location’, and ‘activity’.

Design exercises, which build on the concepts and techniques introduced during the first year, encourage students to explore various approach-es (methods) in response to a series of design pa-rameters – including social, historical, political, environmental, and gendered contexts of archi-tecture – and to develop and maintain a system-atic process resulting in a finished design.

The second semester addresses the more com-plex concepts and principles of ‘tectonics’, ‘orna-ment’, ‘transformation’, as well as the problem-atisation of lifecycle perspectives, via a project that focuses on the conversion of an existing structure. These investigations are then further deepened via a consideration of materials and details. All architectural projects require the pro-duction of both physical models and digital tech-niques in their design and fabrication.

In addition, students also take courses in Archi-tectural Representation, Artistic Methods and Tools, History and Theory of Architecture, and Architectural Technology. Collaboration between courses and between projects is emphasized, and knowledge, methods, and techniques acquired in courses and workshops are implemented in design projects.

2015-2015 theme: sustainabilitY in architectureThe overall focus of the Second Year architecture project is ‘sustainability’, a theme which is linked to the research conducted by Sara Grahn, Profes-sor at the KTH School of Architecture and Part-ner at the practice White Architects. Work in the Second Year is also linked to partnerships with relevant actors within the strong research envi-ronments at KTH.

The academic year culminates in an exhibition of the student’s physical wooden models at a scale of 1:50 during Diploma Days in early June.

structure, place, activitY The first architectural project of the Second Year constitutes an examination of the role of the performing arts with particular reference to the opportunities they offer for the production of public space(s). Designing a complex building (renovation, extension, or new construction), stu-dents examine the relationship between ‘struc-tural depth’ and ‘surface’, studying and problem-atizing these concepts at a range of scales and in relation to various locations and activities.

tectonics, ornament, transformationFollowing this first project, students then at-tempt a smaller re-modelling project, wherein they test lifecycle thinking in relation to structur-al material and system selection. The concepts of ‘time’, ‘tectonics’, ‘ornament’, and ‘transfor-mation’ are advanced as central to the design of the various parts of the building and the way in which those parts meet. A lifecycle approach is also adopted in relation to the construction, al-teration, and demolition of the structure.

material, space, DetailThe third project focuses on ‘housing’ and ‘work’. Through a small project examining the rela-tionship between material, space, and detail, students address the specificities of wood as a building material, exploring its material prop-erties and sensory qualities. Climatic conditions are also addressed, and their relation to architec-tural qualities, spatial context, and spatial effects are studied at a range of scales and in dialogue with the development of a clear rationale for the composition.

PER ELDE is an architect educated at KTH and The Royal Institute of Art. He is a Lecturer at KTH and Head of Second Year since 2014.

STEFAN PETERSSONVICTOR EDMANEBBA MATz(Studio 2:1 )

NINA TAGHAVIPELLE BACKMANTOBIAS BERNSTRUP(Studio 2:2)

LINDA HöGBERG ANDERSSON ANDY NETTLETONBIRGITTA BURLING(Studio 2:3)

PåL RöJGåRDMIKAEL BERGQUISTMIA VENDEL(Studio 2:4)

ERIK STENBERGMALIN HEYMANMIA VENDEL(Studio 2:5)

LEIF BRODERSENSARA GRAHN(Introduction to the Architectural Practice)

MIA VENDEL(Artistic Methods and Tools)

CECILIA LUNDBÄCKVERONICA SKEPPE (Architectural Representation) MARKUS AERNI(Architectural Tecnhology)

CHRISTINA PECH (History and Theory of Architecture)

BasIC LeveL:seconD-Year stuDios

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Above: Proposal for art intervention on Blasieholstorg, by Malin Rosvall, Freya Tiger- schiöld, Emelie Frisk, and Lida Neishabourian, 2014.

Left: A student assembling laser-cut components in the KTH-A model workshop (photo by Tove Freiij).

Far left: Model studies of technical detailing.

Below: Exhibition of models from Second Year students’ summer house project, on display in May 2014.

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BasIC LeveL:thirD-Year stuDios

the seconD Year at kth-a anD the bachelor’s Degree projectDuring the Basic Level’s third year, which starts with an introduction to urban theory and ends with the Bachelor Degree project, students devel-op their knowledge of the processes that shape the urban landscape, producing projects that re-late to contemporary urban conditions.

Various aspects of urban planning are present-ed and discussed through a series of courses, and students are encouraged to work in a collabo-rative manner and test various urban strategies through their studio work. Using a wide range of techniques, ranging from fieldwork to GIS map-ping, the aim of the Third Year is to stimulate an open-ended and diverse discussion about what type of built environment we need, long for, dream about, and fear.

In the final degree project, the students are re-quired to respond to a defined brief and to relate their work to specific site conditions. The course focuses on developing and presenting a thorough-ly designed, complex building.

2015-2016 theme: ring, Donut, eDge, or belt The city of Stockholm is surrounded by ten munic-ipalities: Ekerö, Jakobsberg, Sollentuna, Danderyd, Solna, Sundbyberg, Lidingö, Nacka, Tyresö, and Huddinge. Together, they form a political geogra-phy that is both constructed with legislative tools and a product of natural borders. Lidingö and Ek-erö are islands, both politically and geographical-ly. The area comprises of a variety of urban situa-tions, ranging from 19th-century perimeter blocks to rural agricultural land, commercial big-box re-tail areas, and holiday homes in the archipelago. In order to understand and operate in such a di-verse urban context, different types of strategies and proposals are required. As such, students are required to develop specific projects based on lo-cal conditions.

The whole region of Stockholm is suffering from a decades-long housing shortage, and whilst there is mounting pressure to find ways to produce new residential areas, the accumulated wealth of the “urban” ring of the city acts as both a catalyst and an obstacle to meeting this challenge. At the same time, a clear shift can be observed away from large-scale urban schemes funded by public bodies to specific urban developments targeting a identified group and funded by private capital. The work conducted in the studios will respond to these challenges.

urban Design The objective of this design project is to intro-duce students to the theory and practice of the discipline of urban planning through a larger pro-ject at a comprehensive scale. The course applies fundamental practical and theoretical knowledge of urban design and its spatial, social, ecological, technical, and economic aspects. It gives a par-ticular insight into municipal service systems and their environmental consequences. Intermediate assignments draw attention to topography, con-text, typology, morphology, and other aspects of the city. Exercises/studies/comparisons with international urban development examples are juxtaposed with the planning process in Sweden.

Studio Project 1 Course A31P1A

urban spaces anD lanDscapes This course devotes particular attention to the city’s in-between spaces and landscapes, in ad-vance of the concrete building-design work of the Bachelor Degree project. The course gives stu-dents historical, theoretical, and practical knowl-edge about both natural and man-made land-scape spaces—from farms to parks, urban green space, and roof vegetation.

The design project deals with urban environ-ments. The course shows how important land-scape architecture is to contemporary urban de-velopment.

Studio Project 2 Course A31P2D

bachelor’s Degree projectBuilding on previous urban projects at various scales, this course focuses on the task of develop-ing and presenting a thoroughly designed, com-plex building project.

The assignment asks for interpretation of the potential of the building program and develop-ment of its functional organization into an archi-tecturally designed whole. Students can choose between three parallel themes.

Bachelor’s Degree Project in Architecture A31KAX

ERIK WINGQUIST is and architect educated at the KTH School of Architec-ture, Paris La-VIllette, and Lund School of Architecture, and afounding partner of Testbedstudio. He is a University Lecturer at KTH-A and Head of Third Year since 2014.

MARTIN öHMANKONRAD KRUPINSKI(Studio 3:1 )

ANIA zDUNEKMåNS THAM(Studio 3:2)

MARIA PAPAFIGOU ORI MEROM HANNA ERIxON(Studio 3:3)

LISA DEURELL STEFAN RAAM(Studio 3:4) ALExIS PONTVIK(Urban Theory)

CLAES SöRSTEDT (Architectural Representation) NAIA LANDA ANN LEGEBYDAVID WETTERGREN(Architectural Tecnhology)

JOHAN öRN(History and Theory of Architecture)

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Top left: The belt of munici-palities neighboring the city of Stockholm.

Above left: ‘Lyckliga Gatan’, urban design project by Anders Johnsson, Maria Öhman, Hans Tang and Elina Åberg.

Below left: ‘I Väntan’, 2015 Bach-elor’s Degree Project by Daniel Backlund.

Top right: ‘Farsta Matstad’, urbandesign project by Marcus Göhle, Sofia Lindelöf, Magnus Persson, Elin Sundvall. Above right: ‘ Muren’, urban design project by Caroline Günther, Carl Wal-lin, Ingrid Westermark, Axel Jogefalk.

Right: ‘Circular Knowledge’, student project by Nils Pyk.

Below right: ‘Filtret’, 2015 Bachelor’s Degree Project by Helena Andersson.

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aDvaNCeD LeveL: fourth- anD fifth-Year stuDios

stuDYing at aDvanceD levelStudents entering their final two years of stud-ies in architecture at the KTH School of Architec-ture are faced with a wide array of possible study paths and design projects.

Overall, the KTH-Aaims to offer its students an education that encompasses the many different tasks that they can expect to encounter as archi-tects – both today and in future, uncharted set-tings. The purpose of our studio teaching model is to ensure learning progression and an individ-ual deepening of knowledge, skill, and judgment within architecture and related fields.

While undertaking studies in architecture at the Advanced Level, students are expected to complete six design courses, or “studio projects”, each of which provides an opportunity to apply and develop a range of analytical and design skills, as well as the tools needed to reflect on the learning process itself. At this level, one should demonstrate the ability (using adequate meth-ods) to critically and independently evaluate and design an architectural project to completion.Along the way, students are continuously sup-ported by the pedagogical commitment of their studio teachers. Those teachers are briefly intro-duced in coming pages (alongside their respec-tive studios), and are further introduced at the studio presentation event on August 31, launch-ing the new academic year.

the aDvanceD level stuDios The teaching at Advanced Level at KTH-A is struc-tured around a studio system, meaning that groups of students join up with tight-knit teams of teachers to embark on their studies as a shared undertaking throughout the academic year. Students develop a theme or research interest through group work as well as through individual projects. Each studio is structured around distinct pedagogical approaches, addressing their own specific topic of interest. As you can see on the following pages, KTH School of Architecture cur-rently offers 10 different Advanced Level studios. In addition, the KTH-A is a partner in the interdis-ciplinary Master’s program in Sustainable Urban Planning and Design (SUPD).

Although representing a diverse set of possible directions, all of the studios conform to a shared framework. Each term in the studio is structured around two studio projects (12 credits apiece), complemented by one orientation course (3 cred-its) and one elective seminar course (3 credits). During their two years at the Advanced Level, stu-dents complete six studio projects, followed by the Degree Project (30 credits).

PER FRANSON(Head of Advanced Level, Autumn 2015) is Vice Head of Department at the KTH School of Architecture., and teaches at the school since 2013. He is an architect and studied at the Parsons School of Design in New York City and at the Royal Institute of Art in Stockholm, where he graduated in 1998. In 2001 he co-founded the architecture office Franson Wreland, and since 2012 runs the practice as sole principal.

FRIDA ROSENBERG(Spring 2016) is Head of Advanced LevelStudies at the KTHSchool of Architecture.She is a practicingarchitect, educator,and researcher, withMaster’s degrees fromChalmers and Yale Schoolof Architecture. She is currently completing her PhD in History and Theory of Architecture at KTH, entitled ‘The Construction of Con-struction – making steel-building possible in postwar Sweden’.

Degree project anD graDuationThe student’s full final semester at Advaced Level is dedicated to the Degree Project, which tackles one specific design problem and is carried out inde-pendently but housed within a studio, with a stu-dio teacher as supervisor. After completing the De-gree Project, students may be awarded the Degree of Master of Architecture or the Degree of Master of Science (120 credits) with a Major in Architec-ture, depending on whether they are enrolled in the 5-year Degree Programme in Architecture or the 2-year Master’s Programme in Architecture.

In preparation for work on the final project, a synopsis outlining the Degree Project is prepared in the preceding term – the “thesis booklet.”

Diploma DaYs The yearly Diploma Days at the KTH School of Architecture is where the next generation of ar-chitects exhibit and present their work. During an intense few days at the end of the academic year, Degree Project students are given the op-portunity to demonstrate their academic and professional skills. Their Degree Projects are ex-hibited and presented in sessions open to the public. Whether you are friends and family of the examinees, a current student at the school, or an interested member of the public, this is an opportunity to appreciate, discuss, and celebrate the production of architectural knowledge at the KTH School of Architecture.

Following each presentation, the projects are assessed and discussed by an invited jury, con-sisting of prominent architectural practitioners and scholars. They bring to the discussion their own specific insights, contextualizing the stu-dents’ work in relation to contemporary practice as well as relevant academic discourse.

For thourough presentations of KTH-A’s Advanced Level Studio Themes for 2015-2016, please see the following pages.

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Above: ‘Whatever happened to the Queens of PoMo?’ – Spring 2014 (re)orientations course, led by Critical Studies in Architec-ture and Svensk Standard.

Top right: At work in Studio 6 (photo by Tove Freiij).

Right: Studio 8 at Bo Bardi’s SESC Pompéia, São Paulo, 2015.

Below right: Student and teach-er discussing a project, Studio 2.

Bottom: Assembling a CNC-milled wall, Spring 2015 semi-nar course (photo by Tove Freiij).

Below left: Staffan Svensson’s 2014 Degree Project model un-der construction in the KTH-A workshop (photo by Tove Freiij).

Left: Petter Jysky presenting his Degree Project to the 2015 Diploma Days jury.

Above Left: Diploma Days examination ceremony, June 5 2015 (photo by Tove Freiij).

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Above: The workspace that the studio designed and constructed on the KTH Campus last year, named Friggatto. It consists of two non-permit building types, an “Attefallshus” and a “frigge-bod”, where the latter can slide on railway tracks to form one large or two seperate volumes.

Far left: Students welding the frame of ‘1 to 1 Mobile’, a foldable classroom on wheels pro-duced for HEM, a local NGO working with the EU migrant community. Left: Charring of facace boards for the Frigatto, using a traditional japanese chimney technique.

Below: ‘Micromobile’, a small home moveable by bicycle, 2015 Degree project by Adils Runkvist.

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stUDIO 1: full scale

worlD recorD villeWhat makes a house? To find out, the studio will realise a couple of case study projects for allot-ment gardens, following an architectural idea through to realised construction. The projects will have real clients and must meet real needs and de-sires. Three teams will be working in different the-matic directions with the goal set to world record in each field.

The theme runs over Project Courses 1 and 2 with a focus on research and planning in the former and construction work in the later. The main part of the study is collaborative and all students will try different responsibilities within a smaller team. The design process will be linked to comfort, tim-ing, and economy in a very practical sense. Experi-encing tools and methods of on-site construction work is central. During the first course, we will visit different manufacturing industries in our search for the “world class” and visit professionals and ex-perts in each theme. The semester will give an in-sight into building components and material pro-duction, building lifecycles and general recycling principles, economy and logistics at construction sites of different scales, prefabrication, traditional craft, and the art of architectural building physics.

Studio Project 1, Course A42A13/A52A13Studio Project 2, Course A42B13/A52B13

full scale act (part i)The built environment is drawn through bound-aries, regulations, and conventions. To better un-derstand this context, Project 3 addresses the po-litical management and planning structures that set the standards for building processes. Which agreements and rules are relevant, and who gets to make that decision? Which boundaries are ac-tual and which are possible to change? Through concrete cases, the course aims to map rights and responsibilities within building processes, to pro-pose new models for immediate improvement, and new visions for public space.

Studio Project 3, Course A42C14/A52A13

full scale act (part ii)Using previous investigations to build a pro-gramme, Project 4 asks students to create an in-tervention in public space, and to study spatial performance by making full-scale installations. The course is an opportunity to process a struc-ture for public use, and to improve common spac-es. As in preceding projects, the issue is to relate architectural design to production, and students are encouraged to work in teams to realise a full-scale, real-time architectural masterpiece that has relevance in the built environment of today.

Studio Project 4, Course A42D14/A52B13

ANDERS BERENSSON is an architect (MSA) and a Lecturer at the KTH School ofArchitecture. He is the founder of Anders Berensson Architects, a co-founder of Visiondivision, and a member of Svensk Standard.

EBBA HALLIN is an architect (MSA) and a Lecturer at the KTH School ofArchitecture. She is a co-founder of Him-melfahrtskommando.

JOHAN PAJU(Co-teacher) is a landscape architect (MSA) and a Lecturer at the KTH School of Architecture. He is co-founder of N.O.D. and Paju Architecture and Landscape, and Studio Manager of Landscape at Fojab Arkitekter.

MALIN åBERG WENNERHOLM is an architect (MSA) and Program Direc-tor at the KTH School of Architecture. She is also building houses and working with developing the peda-gogy at KTH-A.

stuDio themeThe primary focus of Studio 1 is to test new ways to approach and create architecture. We believe that there are many unexplored parts of our profession and that the most beautiful, functional, afforda-ble, fair, breath-taking, godlike, sustainable, and amazing buildings have not yet been built.

Studio 1 attempts to reach higher through a straightforward and fairly unexplored method: to design and build. To design something and then just do it, to continue designing while doing it, and to constantly make improvements through-out the whole process, going beyond representa-tions and simulations. To make material perform in ways it never knew it could, to play architecture just like a guitar or like football. Studio 1 is a study in making, an investigation of building processes.

By jumping right into the game, we feel and see all factors directly, we meet actors and review cus-toms, we encounter allies and opponents, and we gain an understanding of the field. We come to know when and why we need drawings and ren-derings, and we to try every muscle that is needed to make buildings. In this, we experience the po-tential of and barriers to making the architectural masterpieces of tomorrow.

The studio’s aim is not to adapt to the current conventions, but to investigate and improve con-temporary building practices, from material use to politics, for the sake of architecture. Being part of an academic context, we have a great amount of freedom to do so, and a liberating lack of mon-ey, which keeps us focused and inventive.

teaching methoDologYBy taking an active part in building processes at various scales, students will gain personal expe-rience and a better knowledge of the production chain, encountering constructions in real-time, rather than through simulated cases. Structural durability, materiality, and detailing become una-voidable topics early on, rather than last-minute additions. Relations between resources, site, archi-tecture, craft, and mass-production are exposed, feeding back into a critical approach and ultimate-ly generating a more confident conceptual focus. The idea is to be a player before becoming a coach.

During the year, students learn about architec-ture with their eyes, ears, and hands. Design tools will be tested in real time, at 1:1. We believe that working in groups makes students reach fur-ther, learn more, and be braver. Projects will be analysed by actually being in them and testing them for real. Studio 1 is a collaborative ongoing research project. We will meet last year’s students and visit their projects, discussing intention in re-lation to outcome, use, and durability.

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Top left: Studio 2 on walking tour in Northern Botkyrka with architecture collective Stalker from Rome, Italy.

Above: Civic Centre student project.

Below left: ‘Scan, Cut, Unfold’, 2015 Degree Project by Stella Reijo.

Top right: Guest lecture by Nooshi Dadgostar.

Right: ‘The Vegetable Program’ at the Multi-cultural Centre in Fittja.

Below right: ‘Remem-ber the Future,’ 2014 Degree Project by Nils Sandström, Jakob Wiklander (photo by Tove Freiij)

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stUDIO 2: workplace, labour anD everYDaY life

stuDio themeIf the contemporary city can increasingly be seen as an integrated extension of an overarching mar-ketisation of society and a shift from politics to economics, then neighbourhoods like Fittja, Alby, Hallunda, and Norsborg stand as physical remind-ers of a different society.

Since the spring of 2013, the studio is working in collaboration with Botkyrka municipality on a se-ries of projects in the neighbourhoods of northern Botkyrka. These residential areas were all primar-ily constructed as part of the Million Program and have, since their completion in the mid-seven-ties, been heavily criticised in mainstream media. Late-modernist architecture and planning marked a paradigm shift in the history of Swedish architecture, which remains a reoccurring topic in al-most every discussion about architecture and planning today. This year, the studio will concentrate on projects related to ‘work’. In the 1967 Gen-eral Plan for these neighbourhoods, over 10,000 workplaces was envisioned, however these failed to materialize and today most people commute over long distances to get to work. Together with the municipality of Botkyrka, Botkyrka art centre, local organisations, and other art and architectur-al education institutions, we will map the current forms of the workplace and labour in order to make architecture and planning proposals that address the lack of job opportunities within the area and at the same time imagine how work can be organised in the future.

Whilst the projects are down-to-earth and straightforward, the overall theme engages with difficult questions regarding the future of late- modernist communities, politics, the organisation of everyday life, and the role that architecture can play in counteracting a segregated city.

teaching methoDologYStudio 2 focuses on the social dimension in archi-tecture. We are less about what architecture looks like and more oriented towards what architecture does, what it performs.

A design process is not merely about finding a method to create an object, but about engaging in the complex and contradictory field of relation-ships that inform our making and understanding of the built environment. It is about introducing questions and uncertainties right before consen-sus is established: about what we architects do and how we do it. Rather than a collection of tools, methods, vantage points, and positions, the aim of a design process is to question and reflect upon the fundamental conditions of what constitutes a contemporary architecture practice – to unravel the very ground on which we stand.

fittja centreMany neighborhood centers from the Million Program era are struggling economically. In Fittja in northern Botkyrka, the owners Fittja Centrum Fastigheter AB together with the municipality are currently developing plans for extensive re-furbishment, new housing and civic and com-mercial services.

The assignment will be to respond to the cur-rent plans, developing alternative proposals.

Studio Project 1, Course A42A13/A52A13

local communitY organisationsFittja has en impressive number of local cultur-al organisations active in all kinds of activities – from sport and culture to religion and youth clubs. This small-scale project aims to engage with local community life. The task will be to map these organisations, identify needs and develop concepts for how architecture can help them becoming even more successful.

Studio Project 2, Course A42B13/A52B13

motorwaY office spaceIn the 1960’s when northern Botkyrka was planned, the E4 highway was designed as a City Motorway. Driving past the neighbourhoods to-day these ambitions are hard to detect. Instead the motorway is working as a barrier between neighbourhoods and the surrounding urban fab-ric. The assignment is to make proposals for what a city motorway could be in the 21st century.


northern botkYrka bookThis assignment will be to collectively make a publication about the work the studio have done in Northern Botkyrka so far. Together the studio will gather information, create content and de-sign a book that will be presented at Botkyrka Art Centres upcoming Art and Architecture biennale in the fall of 2016.


TOR LINDSTRAND is an architect and assistant professor at the KTH School of Architecture. He is a co-owner of the office of Larsson, Lindstrand and Palme and cur-rently working in the collaborative research project on ‘Power, Space and Ideology’ at KTH-A and Söder-törn University. He is also the co-founder of International Festival and Economy.

KARIN MATz is an architect work-ing at Vera Arkitekter and running her own office Karin Matz Arkitekt. Karin is a member of the Swedish Architecture collective Svensk Standard and has had her work published in numerous interna-tional magazines.

ANDERS WILHELMSON is an architect and professor at the KTH School of Architecture, and has for ten years been professor at The Royal University Collage of Fine Arts in Stockholm. He is run-ning his own practice, Wilhelmson architects AB. In 2006 he found-ed Peepoople AB, a company engaged in delivering hygiene and sanitation to the world’s urban slums, refugee camps and emergencies.

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Top left: Facade detail, Domkyrkoforum, Lund, by Carmen Izquierdo Arkitektkontor

Top right: Model photo of Ravinen Cultural center, proposal for Norrviken gardens, Båstad, by Johan Celsing Arkitektkontor

Above: Interior view of Domkyrkoforum, Lund, by Carmen Izquierdo Arkitektkontor

Below left: View of garden pavilion on the Philoppa-pou Hill, Athens, Greece, by Dimitris Pikionis

Below right: Handrail detail, Malmö Östra kyrkogården Chapel, by Sigurd Lewerentz

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stUDIO 3: ‘lagom’ – the essential within the munDane

stuDio themeThe studio work in the 2015-2016 academic year will be framed by the concept “lagom”. This term, or position, is often spoken of with irony in Swe-den. Lagom, it seems, is ridiculed as a position lacking radicalism or a vigorous spirit. In fact, this concept denotes profound philosophical issues central to the intellectual and moral history of the western world. Decorum is a related concept elaborated on by, among others, Aristotle in the 4th century BC. “The appropriate” is a contempo-rary term for this concept.

As we know, what is appropriate to a certain aim, or to a certain context may be erroneus in another. However, what is crucial is how the pro-ject fulfils its aims, and relates to its physical or circumstantial context. Thus, we expect student projects to range from the elementary to the fan-tastic.

The shape and conditions of ‘the public’ and ‘the private’ are subject to constant redefinition and adaption as society evolves. The redefinition of our ways of living affects, and is materialized in, architecture. The challenge of giving shape to our surroundings in this state of flux calls for a thorough understanding of the tools of architec-ture and of the forms of the past to be able to imagine the buildings of tomorrow.

teaching methoDologYThe aim is that students forge architectural solu-tions ranging from the detail to the whole. To keep the visual appearance of buildings (so dear in our contemporary culture) at a distance, the initial assignments will focus on the parts, the details, as protagonists in the architectural de-signs.

The detail as necessityThe detail as an invisible but tactile realityThe detail as a creator of atmospheresThe detail as a sign of an attitudeThe detail as part of a family of tectonic solutions

To deepen our understanding of the nuances of buildings, of the role of the parts in the whole, we will make a measuring survey of an extraordi-nary 20th-century building. To provide the design task with an overview, we will make case studies of a selection of related buildings. The design work will elaborate the contemporary issues that pertain to the chosen sites and programs.

a space for contemplation, a chapel – smallAt a strategic location between the domestic and the bustling city, at a site overlooking the water-ways, a pavilion will be inserted next to existing structures. Protected in its location, it has a wide view of Stockholm. The atmosphere for a calm and reflective environment is to be developed in both the interior and the exterior yard or terrace.


a public space for learning – meDium (part i)We will design a primary school in a yet-to-be-designed urban area. The municipality’s aims for this facility include multi-purpose use through-out long days. In Project 2, the focus will be the exploratory programming of this public insti-tution related to pedagogics, the forthcoming physical and social context, as well as developing its overall shape within the (future) built fabric.


a public space for learning – meDium (part ii)Building on the proposal in Part 1, this stage will involve studies of particular spaces as well as spatial sequences within the school. Materials and details will be elaborated and exploratory models will be built to challenge and test the layouts. Highly articulated drawings of complex spaces and elevations are expected.


‘stora rum’, a public multi-purpose hall – largeA facility for an expanding city, the Hall serves the public for meetings, sports, or logistics. The scale calls for technical and architectural solutions not needed in the previous projects. The leap from the initial small project over to this structurally demanding building will widen the perception of the scope of our discipline.


JOHAN CELSINGis a Professor at the KTH School of Architecture and Prin-cipal of Johan Celsing arkitektkontor in Stockholm. His work has been awarded the Kasper Salin Prize in 1999 and 2014 and has been shortlisted for the Mies van der Rohe Award. Celsing has acted as guest critic and lecturer at universities in Europe and overseas.

JOSEF EDERis a guest teacher at KTH-A and co-founder of General Archi-tecture, Stockholm. Among his work are Headquarters for Skel-lefteå Kraft and de-sign for massive wood buildings. He has been a jury member in architectural competi-tions and his work has been awarded and published in Sweden and internationally.

CARMEN IzQUIERDO is a guest teacher at KTH-A and Principal of Carmen Izquierdo Arkitektkontor. She has designed the building Domkyrkofo-rum in Lund, awarded with the Kasper Salin Prize in 2012. As an employee at Tham & Videgård Arkitekter she acted as Project Architect for the new KTH School of Archi-tecture 2007-2015. Her work has been published in Sweden and internationally.

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Above: ‘Unfolded Relief’, 2015 Degree Project by Dženis Džihić. A folded system for temporary rescue centres, based on an exploration of new materials.

Far left: Axel Zedell presenting ‘Mycelium Connection’ at Diploma Days Jury in June 2015. The studio encourages Degree Students to a process-oriented app-roach in order to make the most of their final semester.

Left: The exhibition ‘Another Earth’, prod-uced by the students in Studio 4, will inaug- urate the Dome of Visions on KTH Campus in September 2015. The winning pavilion from the ‘Inspired-by-space competition’, by Ste-fania Dinea, has been erected inside the dome.

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stUDIO 4: architecture for eXtreme conDitions – from sami to ostuni

stuDio themeStudio 4 seeks to push the boundaries of what architecture is, by exploring what architecture can be. We will continue developing the theme that we initiated last year, however with a slightly different approach. We begin the year by design-ing a Nature Experience Centre (“Naturrum”) for Sami culture in the vast and beautiful landscape of the far north in Sweden. Then we move from north to south (and from rural to urban) in order to design a small public building in Sicily, Italy. Here, we will be challenged by a completely dif-ferent setting, an extreme environment shaped by geology and a hot climate, with a long history as a battlefield for migrating cultures.

As per previous years, we remain interested in the concept of materiality in architecture. As a basis, we approach this from a Bauhaus perspec-tive, asking students to use their eyes and hands to see and represent an architectural experience. To meet the challenges of global warming and our planet’s limited resources, we are also interested in what researchers from different fields are devel-oping in terms of new materials and technologies. These innovations can be applied to architectural design and we therefore ask students to try them out. What are their qualities and how do they compare to traditional materials in architectural design, such as stone, wood, glass, and steel? In short, the studio explores new materials that are applicable to extreme living conditions in order to make this planet a better place.

teaching methoDologYAt Advanced Level, students already have an in-dividual approach to their design thinking. Our view is that although architectural training has equipped them with various design tools and methodologies, they still need to sharpen their personal artistic voices. It is our job in the studio to help our students mature, step by step, by scru-tinising design intentions in a way that allows students to position themselves in a broader con-text—always facing the challenges of our future society. We want to ensure that the Degree Pro-ject becomes a personal landmark and a spring-board for students’ future careers as architects. For this reason, we sometimes make slight adap-tations of the course design, allowing our 5th-year students to work in preparation for their Diploma Degree Project.

At the Diploma Days in June 2014, Studio 4 was awarded the Jury’s Mention in recognition of our teaching methodologies and the way we coach our students to take risks (even in the last term), encouraging them to formulate design problems outside the conventions of architecture.

nature eXperience centre for sami cultureHälsingland in northern Sweden needs a Nature Experience Centre and our students will design it. Students will meet representatives from the Sami culture and there will be a given site and a programme for the building. They will be asked to study a building material of their choice, to explore it and push it way beyond its conventional usage, by modelling and testing. At which point does it change character? How can its qualities and lim-itations be described and represented? Students will produce a thorough account of the potential of the material, through physical, artistic expression. Studio Project 1, Course A42A13/A52A13

public space transformation in apulia, southern italYLike many Mediterranean shores, southern Italy has been exposed to cultural clashes since the be-ginning of our civilisation. Addressing these con- trasts, the studio will explore Ostuni, in the Valle d’Itria in Apulia, a region of great historic and architectural interest where pearls of ancient cultures are packed within framing city walls. The Apulian dilemma is how to also develop society outside the walls. The studio will collaborate with an Italian architect to make proposals for a sustainable ur-ban future and revitalized cultural development. Studio Project 2, Course A42B13/A52B13

smart spaces anD responsive environmentsOur interest in new materiality includes digital technologies and interactive media components that make it possible for people to interact al-though they are in different parts of the world, and thus perhaps to travel less and thereby reduce their environmental impact on our planet. Studio Project 3 will explore how shared mediated spaces can be created from combining real space with vir-tual space, an area of research that is called pres-ence design. Students will design a mixed-reality space by integrating live media streams to the physical environment, combined with software components and tools that empower users to ac-tively control features in local end remote spaces (embedded actuators, sensors, iBeacons, etc.).


a competitive eDgeAs in previous years, the students of Studio 4 will participate in an architectural competition. We will coach them through the adventures of devel-oping a winning project, in a national or an inter-national competition.


CHARLIE GULLSTRöMis an architect and a University Lecturer at the KTH School of Architecture. She has a PhD in Architecture and combines teach-ing with design-driven research in architec-ture and interactive media. Her research group, KTH Smart Spaces, works in in EU-funded projects relating to presence design and the future of connected media.

PABLO MARIANDA CORRANzAIs an architect who traded his drafting board for a text editor and compiler 16 years ago, and has since been program-ming architecture rather than drawing it. His work and research includes generative processes, simulation, and analysis, as well as interaction and phys-ical computing. He is currently a researcher and PhD Candidate at the KTH School of Architecture.

ORI MEROMis an architect with an extensive architectural practice, Merom Architects, and is an expert advisor on design management strate-gies. He is a University Lecturer at the KTH School of Architecture.

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Left: ‘Descendants of Ancestors’, 2015 Degree Project by Aron Fidjeland.

Below left: ‘Misunder-standings,’ 2014 Degree Project by Gerda Persson.

Below right: Five-axis robot at Konstfack, (photo by Einar Rodhe). Bottom left: Studio 5 student project by Axel Bodros Wolgers.

Bottom middle: ‘How can a process that form the site also form architecture?’, 2015 Degree Project by Love Liljeqvist.

Bottom right: Historical example of “spolia” in Athens, Greece (photo by Einar Rodhe).

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stUDIO 5: fictions

material fictionsThe notion of ‘spolia’ refers to an adaptive reuse of old and often symbolically charged building elements in new build structures. In the first pro-ject, studies of historical examples of spolia will be coupled with an introduction to contempo-rary design and fabrication techniques including 3D-scanning and the use of a 5-axis robot. Each team of students will develop their own tools for robotic fabrication as well as an aesthetic re-sponse to adaptive reuse in architecture, result-ing in a parti study or maquette.


local fictionsThe second project searches for ways of materi-alising stories – real and fictive – that relate to a specific location in the surroundings of Stock-holm. Students will trace fragments, narratives, or events from the site and explore ways of trans-lating them to a site-specific spatial intervention. In the project, the fifth-year students are encour-aged to explore methods and design techniques that relate to their individual diploma projects.


architectural fictions For the spring, the studio shifts scale and per-spective. Through precedent studies and text seminars, the studio will research future soci-etal changes and speculate on what architec-ture might be after an extensive automation or a radical ecological turn. Each team of students will write their own scenario that includes a pro-gram for their design. At the end of the semester, each team will present their project in an exhi-bition format with large models and vedutas3

showing how the scenario has been translated to an explicit spatial and tectonic architectural fiction. During the project the students will be supported in formulating their own architectur-al position in relation to architectural culture and contemporary architectural discourse.

Studio Project 3, Course A42C14/A52A13Studio Project 4, Course A42D14/A52B13

1: Borges, Jorge Luis, ‘Pierre Menard, Author of Don Quixote’, 1939, translation Irby, James E. 1962 2: Ibid.3: Veduta (Italian for “view”; plural “vedute”) is a highly detailed, usually large-scale painting or, actually, more often a print, of a cityscape or some other vista.

ULRIKA KARLSSON is a partner at the research and design studio Servo Stock-holm. She is a Profes-sor at the KTH School of Architecture, as well as a Professor at Konstfack.

CECILIA LUNDBÄCKis an architect at sandellsandberg arkitekter, Stockholm, and has collaborated with Ulrika Karlsson and Veronica Skeppe in various projects since 2014.

EINAR RODHE is a partner at the Stockholm-based studio Norell/Rodhe and a Lecturer at KTH School of Architecture.

VERONICA SKEPPEis an architect and Lecturer at KTH School of Architecture and has collaborated with Ulrika Karlsson and Cecilia Lundbäck in various projects since 2014.

CLAES SöRSTEDTis an architect, occasional writer for Arkitektur (the Swedish Review of Architecture) and a Lecturer at KTH School of Architecture.

COLLABORATIONSKonstfack University College of Arts, Crafts & Design: Interior Architecture & Furniture Design, and Industrial Design.

stuDio theme

…truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future’s counselor. 1

The author Menard, according to the narrator of the story, defines history not as an inquiry into reality, but as the source of reality. “Historical truth, for him, is not what has happened; it is what we judge to have happened.” 2

This year, Studio 5 will further last year’s theme, translations, and engage in fictions – architec-tural fictions. Fictions imply the fabrication or construction of histories or narratives. The stu-dio will explore different connections between translations and fictions; modes and technolo-gies for their fabrication; and their relationships to history, architectural history, time, the pres-ent, and to future projections. Through the se-quence of projects material fictions, local fictions and architectural fictions the studio will involve processes of architectural documentation, reuse and scenario-making.

Throughout the year, we will work with robots in architecture, both as tool for fabrication (Project 1 & 2) and in relation to automation and its im-pact on our society (Project 3 & 4). Fictions will be addressed from various perspectives: materi-alised in an architectural design or methodolog-ically as a way of imagining future scenarios or retelling fictions of the past.

teaching methoDologYHow we work affects what we produce. Studio 5 will continue its interest in the development of rigorous design research, and will establish new ways of thinking about the negotiation be-tween digital and material processes for design and fabrication, theory and history, professional practice, teamwork and the cultural impact of contemporary architecture. Through iterations of drawings, models, and 1:1 scale prototypes, students will develop design techniques and sensibilities, enabling the design of innovative architectural proposals. Contrary to a linear de-sign approach where technological processes are applied in the interest of optimisation, this stu-dio adopts a bi-directional approach where tech-nological processes are incorporated as drivers of design innovation. Through design, the students’ work will contribute to contemporary architec-tural discourse and its dialog with society, art, and aesthetic theory.

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Above:’The Moral Institute of Higher Fiction”, 2014 Degree project by Olga Tengvall (co-supervised with Hélène Frichot, Critical Studies in Architecture).

Top right: Step notification, an investigations of sound and space.

Second from top, right: Aerial view of Stari Grad Plains on the Island of Hvar.

Above right: ‘House for the Last Man on Earth’, Studio 6 student project by Adam Bergendal.

Bottom Right: Kanagawa Institute of Technology Workshop, Kanagawa, Japan, by Junya Ishigami Architects.

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stUDIO 6: searching for ma – investigations of space anD time

space for eXperimental music anD sounD proDuction in stockholmThrough deeper studies in various contemporary artistic disciplines (film, literature, dance, music, art) and their immediate discourses, we will de-velop different artistic interdisciplinary tools and methods to experiment with acoustics, music, and sound as generators within the design pro-cess. With model making as our primary architec-tural communication tool, we will develop indi-vidual architectural projects, designing new kinds of interactive public spaces for experimental mu-sic and sound at Hornstull Strand in Stockholm.


Design strategies for hvar islanDBy re-defining contemporary interpretations of different architectural conceptions, we will seek to revitalize a dynamic but problematic context with huge potential, located on Hvar Island outside the Dalmatian Coast. The site is part of the ancient Greek system of agriculture (the Stari Grad Plain) and a UNESCO World Heritage Site. Linking the present to history, we will work with a mixed-use programme, comprising of local production, small houses, temporary housing, agriculture, educa-tion, and tourism.


house for an eXtremelY unique personHow could the conception of ‘narrativity’ be trans-formed into very specific architectural expressions in a tectonic project? We will study and discuss narrativity through various theories and architec-tural case studies. The students will choose a real or fictive client and develop the client’s needs and personality into an architectural project, making a building (a home) as an expression of that per-son’s character, thus creating a narrative for that specific person. Where is the borderline between the generic and the specific?


film stuDio resiDence in tokYoIn this project we will study Japanese tradition-al and contemporary culture and architecture, including important concepts such as ‘Ma’ and ‘Oku’. The brief has its starting point in the un-derstanding of the diverse urban fabric of Tokyo Metropolitan Area as well as in the concept of film-making (directing, editing, and producing) in relation to architecture and contemporary cul-tural movements. These studies will be applied in the design of a Film Studio Residence within the urban fabric of Tokyo.


LEIF BRODERSENstarted teaching at the KTH School of Architecture in 1996. He is an Associate Professor at the school since 2004 and served as Head of School 2004-2012. He is also a founding partner at the Stockholm-based practice 2BK Arkitekter (formerly A1 Arkitek-ter), established 1999.

TERES SELBERGis an architect, artist, and dancer based in Stockholm. Along with architectural design projects, she also works artistically with video, installa-tion, performance, and painting. She is co-founder of and an active member in ASF – Architectes Without Borders.

HELENA PAVER NJIRIC (affiliated teacher, collaborator in the project ‘House for an Extremely Unique Person) is a Professor in Architecture at the University of Zagreb and TU Graz, as well as founder of Njiric & Njiric Architects and HPN Architects in Zagreb. She has designed several prize winning buildings, housing areas, interi-ors and exhibitions

stuDio themeWe will study how different interdisciplinary artis-tic tools and methods can be transformed into ar-chitectural design processes, creating new kinds of spatial platforms for sound experiments in Stock-holm. Then we will investigate an area of UNESCO heritage in the beautiful but depopulated context of Hvar in Croatia. We will work with a mixed-use programme linking present to past through sustainable typologies and design interventions. Excursion to Split and Hvar are scheduled for Oc-tober 24-31. The third studio project will focus on specificity and narrativity – students will create a story about a real or fictive person as a foundation for the development of a very specific design for a very specific home. The last project investigates what we can learn from the Japanese context, ex-amining diversity, differentiation, metabolism, in-teractivity, flexibility, and conceptions of space and time (at the urban scale as well as in smaller scales). Based on studies of the relation between filmmak-ing and architecture, we will design a Film Stu-dio Residence within the urban fabric of Tokyo. In March-April the studio plans a trip to Tokyo, where we have developed contacts with Atelier Bow-Wow, Tezuka Architects, SANAA, Junya Ishigami, Tetsuo Kondo, and Tokyo Institute of Technology.

teaching methoDologYThis studio investigates different experiences of ar-chitecture and conceptions of space in relation to the synthesizing design process. We explore basic architectural concepts such as gravity, emptiness, speed, light, sound, colour, tactility, etc. We have developed a methodology wherein students and teachers collaborate in a kind of research-by-de-sign structure. The students define and formulate their own projects from a given topic and self-pro-gram their projects to reflect on the problems and possibilities described in the analysis and defini-tion of the context.

The aim is to provide tools and methods in order to give the students an independent, innovative, artistic, professional, ethical, and scientific iden-tity. Every project is specific and independent, but also relates to the general theme. We think it is important to work with different topics, problems, and scales at the same time. Every project starts with a group research phase – collecting relevant theory and information, defining the different op-tions, and understanding the context. Students discuss, evaluate, reflect, and make decisions. We want them to feel involved in a larger overall re-search-by-design movement, where the parts and projects are important but where the research out-come as a whole—and the multitude of different approaches and projects—is the most important.

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Top left: Studio 7 exhibit at the Royal Academy of Fine Arts. Models by Max Lindgren, Arvid Forsberg, Zhengiang Chen and Henrik Sagen.

Left: Cast-plaster model, Palatin vaulting, Frida Körberg Turhagen, for Studio 7 ‘Choisy’ project 2014.

Below left: Cast-plaster model, Miner-va Medica vaulting, Andreas Nyström and Birkir Ingibjartsson, 2014.

Above: staircase for new town hall, Katrineholm by Måns Björnskär, Studio 7 ‘Civic Rooms/Town Hall’ project 2015.

Below: Equirectangular panoramic photo of Roma church, Gotland, by Lennart Möllerström (www.4pisr.se).

Bottom: ”Contraption” at Limerick train station; device for train main-tainance (photo Elizabeth Hatz).

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stUDIO 7: unnameables– fragment anD coherence

stuDio themeArchitecture is a play of regularity and contin-gency, clarity and ambiguity, rationality and in-stinct, freedom and accident. Contingencies of site and program recast and reshape the a-prio-ri intentions of the architect. The search for an architectural solution never begins as a tabula rasa, but rather with a palimpsest of half erased or altered traces. To unravel and re-assess these layers is part of a creative projective process. We take an interest in both established and potential architecture, in deliberate and accidental choic-es, in design as a process of coming-into-being. Our starting point this year will be the region between the rational and irrational: what Irish writer Samuel Beckett calls a zone of semi-con-sciousness, “forms without parallel”. This is a place where study and projective speculation fuse and feed each other. From this starting point students will follow two paths: uncovering an own idea of a particular architectural modus, an own architectural direction; and developing a singular, idiosyncratic, highly contingent work. The world of built rooms, interior and exterior, where we seek our models, is a realm for inter-action, confrontation, and musing. The trip this year is to Ireland and Dublin – where architec-ture and landscape meet literature in a unique way. We will explore remarkable buildings and places and meet Irish architects and architecture programs.

teaching methoDologYAccumulated archive – study and speculation. The studio will build an archive of knowledge and projects in the form of studies, speculations and designs. This collective inventory, organized in ter-ritories of research, will be exhibited and discussed with an extended audience inside and outside the school. The process will draw on seminars and fieldwork. Hand-drawing, physical model-mak-ing, material exploration, and development of craft skills will be paramount concerns.

Students are required to complete 1-2 pages of readings and participate energetically in the discussion each session for fortnightly seminars. The seminar will convene in different locations throughout the city. The first seminar is ‘The Night’, the second ‘Myth of Progress’.

This year we will explore the city of Stockholm through fieldwork—sketching and photograph-ing, uncovering the city’s “forgotten architects”.

At end of each semester, studio work will be presented in a public exhibition. Participation in layout, logistics, installation, and de-installation is part of the course.

aDjusteD tYpologies Working in pairs, students will study selected churches in Sweden – architectural sites of maxi-mum intensity – and make cast-plaster analytical models. These buildings are notable for their ad-ditive and subtractive character. In a single church radically different spatial conceptions are juxta-posed. Details play a decisive, enigmatic role. The emphasis of the analysis is not on formal reduc-tion. The study will resolve in a miniature utilitari-an addition, interior or exterior.


unstable tYpologiesStudents will investigate typologies that are in-herently incomplete and unstable – more like “contraptions” than ideals: Janus facades, corner solutions, terraces, forecourts, stairs… Each nego-tiates a spatial circumstance – rectifying changes of level, misalignments, etc. Each student will re-search one type, document Stockholm examples, and develop a schematic design proposal. All this work will be added to the archive.


tertium quiD (part i)Enclave within Stockholm. On one of three possi-ble sites, chosen for topographic irregularity and historical depth, students will introduce a small, composite program incorporating interior and exterior spaces. We will use the “unstable typol-ogies” researched in the fall as a design starting point, and the “adjusted typologies” as clues to an impure design method. An in-depth survey and exploratory study of the site and its layers is part of the project, as are interventions at a de-tailed scale.


tertium quiD (part ii)Intensive development. This is where each student will refine an architectural signum, both in terms of direction and in terms of formal expression. In other words, this is where the particular becomes architecturally explicit. The power of each arte-fact, model, drawing, will add to the archive and lend itself to reaction and discussion.

We envisage urban plans and models, complete plans and sections, in-depth studies of select in-terior and exterior spaces in detailed models, in-vestigating light, materiality, texture and colour. Key details will be refined in sketches, models and prototypes.


ELIzABETH HATz is a practising archi-tect, art curator and Associate Professor at the KTH School of Architecture. As chairman of the Swedish Association of Architects, she co-founded Färgfab-riken, where she is a board member. She teaches part time at SAUL, Ireland, and has lectured and acted as external examiner at architecture schools throughout Europe. She also leads prac-tice-based research in architecture and writes about architec-ture and art.

PETER LYNCH is a practising archi-tect and co-director of Lynch+Song, with projects in sustainable agriculture and new methods of timber and block construc-tion. He was Head of the architecture program at Cranbook Academy of Art 1996-2005 and Visiting Professor and Chair of Design at Penn State University in 2014-15. He has tught at Har-vard, City College NY, RISD, Columbia, Par-sons, and Dalhousie.

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Top left: ‘Urban Incision São Paulo’, collective site model by Studio 8 students.

Middle left: ‘Vertical Urban Factory’ urban incision by Alexander Fosch and Doris Eckert.

Bottom left: ‘Reinterpretation of Sala kalkbruk’, Degree Project by Pi Hedberg.

Top right: ‘Elevado São Paulo’ , photo-graph by Michal Kotvan.

Middle left: ‘Vertical Urban Factory’, urban incision by Alexander Fosch and Doris Eckert.

Bottom right: ‘Great Northern Warehouse’, 2015 Degree Project by James Britton.

VERT ICAL

URBAN

FACTORY

VERT I CAL

URBAN

FACTORY

PERSPECTIVE STRUCTURE

CONCEPT INCISION

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stUDIO 8: a common urbanitY

stuDio theme

Asserting the value of incomplete form is a political act architects should perform in the public realm. This means asserting not only the beauty of unfinished objects but also their practicality. It is a political act because it confronts the desire for fixity; it asserts, (…) that the public realm is a process. – Richard Sennett

This year, Studio 8 will explore the concept of a common urbanity. At varied speeds cities are in transformation, be it a process of becoming sustainable or the need to sustain itself. A new type of urbanity is forming in cities that may be a result of many tipping points, where social pro-duction responds directly to the various needs of their territories, from the urgency of providing for basic physical needs of housing to the crea-tion of new kinds of cultural and social spaces. The individual has gained unprecedented impor-tance because of their role amongst the many, with their connectedness their most important asset. At the same time, having shifted to the east, modes of production and manufacturing promote greater and greater independence from geographical location. In this context, we would like to re-consider the city and re-invent it as the space of production for the future, of forms of manufacturing products and of the artistic pro-duction of culture that can inform and construct the collective.

teaching methoDologY Studio 8 is supported by three teachers with dif-ferent experience and expertise who offer stu-dents a wide field in which to test and reflect their ideas. We focus on the development of each individual student rather than a specific meth-odology and ask students to formulate their personal design strategies and to position their projects within the contemporary architectural discourse. Students are encouraged to examine the relationship between architectural design and environmental performance, with the op-portunity to go deeper into specific questions within the context of the studio. We will intro-duce components of sustainable design through a series of seminars, providing the critical basis for design research and practice. Research and development is an important part of the studio culture in order to enable each student to for-mulate critical and relevant design questions. Collaboration with a range of experts in the field will help students develop interdisciplinary, inte-grated design strategies in the search for innova-tive sustainable design.

Dissent – space for homeless art Through a study of topography, its manipula-tions and constructions, we will identify sites that can be read as faults or gaps in the urban fabric of central Stockholm, resulting from the city’s processes and historical transformations.

Exploring the dichotomy between old and new and the complexity this relationship affords, we will stand in between the physical materiality of place and the transient qualities of light, work-ing for a collision in order to craft a new type of beauty. The project will propose spaces that have a highly precise handling of daylight, and ad-dresses both art and the public in order to house a collection of forgotten artworks owned by the Swedish Worker’s Union.


thermoDYnamics – seawater bathsWe will engage in the ongoing discussion on how to use the main resource of Stockholm, water, for the public, through the design of an adaptive outdoor baths at Djurgården, responding to a rapidly changing urban realm that is under huge public pressure. We will investigate the relation-ship between convection, conduction, radiation, and the human body and how their ephemeral qualities can inform an architecture.

We will work in an iterative collaboration with engineering and project management students from the KTH departments of Building Techno- logy and Construction Management in order to develop conceptual ideas based on analytical calculations to inform the design.


sÃo paulo commons São Paulo, the world’s 12th largest city by popula-tion, has experienced in the last ten years a rise in popular movements for housing, culminating in the occupation of some of the estimated five hundred empty buildings in the city centre. The ocupação is a desperate act by the urban poor as much as it is a new kind of cultural production, an act of resistance that creates self-made, coun-ter geographies in the city. In collaboration with Escola da Cidade, we will expand on previous urban resources research and in spring we will travel to São Paulo to participate in a workshop, exploring ideas and proposals that address the notion of incomplete form and a reformulation of public spaces as commons.

Studio Project 3, Course A42C14/A52A13Studio Project 4, Course A42D14/A52B13

SARA GRAHN studied architecture at Aarhus School of Architecture and graduated from KTH in 1995. She is a Professor at KTH School of Architecture since 2008 and partner at White arkitekter AB.

RUMI KUBOKAWA graduated from the Architectural Association in London in 2001. She has been a Lecturer at KTH School of Architecture since 2012.

MAx zINNECKER graduated from ETH Zurich in 2002. He has been teaching in studio 8 since 2010 and is a practicing architect at White arkitekter AB.

CONTRIBUTORS pecialists within the field of sustainability and architecture will be invited for work-shops and seminars, including researchers Marja Lundgren (PhD Candidate at KTH) and Marie Claude Dubois (Associate Professor in energy and building design at LTH).

COLLABORATIONS The KTH Departments of Building Technolo-gy and Construction Management will collaborate on the Seawater Baths. In the spring term we will continue our collabo-ration with Escola da Cidade in São Paulo.

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Above: ‘Aloftments’, project by Ulf Edgren, Studio 9, *Structures of Temporal Permanence’ 2015.

Below: ‘Buenos Aires Bicentennial Gate’, a proposal for a bridge with an added mixed-use program, by JDS Architects.

Right: ‘FAD (Fabrication Aware Design) for Stadsgårdskajen’, 2015 Degree Project by Petrus Lindström.

Bottom: Full-scale pavilion by Felipe Franco, Giulia Malesani and Francesca Pernigotti, exhibited at Diploma Days, June 2015

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stUDIO 9: architectural infrastructure – aDDressing stockholm’s growth

stuDio themeStockholm faces a drastic challenge in the next 15 years: to house half a million new inhabitants. This condition presents Stockholm with the pos-sibility of overtaking London as the fastest grow-ing city in Europe. It also, however, raises serious questions regarding how our profession will ap-proach this challenge and how we will take part in shaping the future of Stockholm, the largest Scandinavian metropolis.

Addressing large-scale development through a pragmatic and environmental approach, we will propose research and projects that aim to com-bine infrastructural needs with architectural out-comes. We will study and design new ways to con- nect the tremendous efforts (and expense) cur-rently being made in the infrastructural sector with the building sector in an attempt to redefine “urban development”. If infrastructure can literal-ly set the foundation for architecture to occur, we will join our efforts and explore ways to densify the urban geography, in order to create new expe-riences of the city and achieve higher levels of ef-ficiency for society. This approach of Architectural Infrastructure may better balance expenses and new values for society and the environment – and address environmental concerns in a new way.

teaching methoDologYStudio 9 explores the critical integration of plan-ning, design, and computational techniques with-in architectural design practice. This year the stu-dio takes on the question of how architecture can use new potentials in infrastructural situations.

Using diagrammatical mapping techniques, iter-ative model-making, and advanced digital design, simulation and fabrication techniques, the studio will critically investigate how scenarios can be de-veloped into built structures, supported through direct links to digital fabrication technologies, and informed by expertise in other fields.

Design strategies will be based on in-depth re-search. Design proposals will span from the or-ganization of urban life to tactile relations to human interactions. Structure, materiality, fabri-cation, and detailing will relate to scale and con-text. Particular concerns include the new roles of scenarios, design and prototyping techniques and fabrication strategies in architectural practice.

Experienced and 5th year students may define their own agendas within the studio. Previous knowledge in design and modelling software is not compulsory, but preferred – computational design is supported by experienced tutors. Fur-ther support will be provided for structural engi-neering (Tyréns) and urban planning (the Stock-holm Planning Office).

on the tram routeIn Project 1, the planned Kista extension of Tvär-banan, the circle tram line of Stockholm, will pro-vide a selection of sites for urban intervention. Students will select sites ranging from urban to rural, including a new link to Bromma Airport, in the design of small-scale residential development linked with services.

Computational design approaches will include modeling, structural evaluation, and graphic rep-resentation of information.


in the subwaY network Project 2 will take on the Stockholm subway, in-cluding the existing network as well as new ex-tensions. Students will select sites appropriate for densification along the lines, including the planned Blue Line extension to Slakthusområdet (“the Meatpacking District”) and Nacka, combin-ing residential development with small-scale in-dustries and services.

Computational design approaches will include digital fabrication, daylight evaluation and perfor-mance simulation.


on the roaDIn Project 3, selected locations on the road net-work will become sites for new urban environ-ments. This may include turning existing bridges into habitation, or architectural interventions on new planned routes such as Förbifart Stockholm or the Danvikslösen tunnel.

Computational design approaches will include advanced design techniques, advanced fabrica-tion and noise simulation.


into the wiDe open Project 4 provides the option of a novel infra-structural/architectural design project, or the design and development of the yearly full-scale installation. The design project will take on new infrastructural modes in relation to urban devel-opment. The full-scale installation will explore computational design, material performance, and structural capacity in relation to infrastructure, and serve as a showcase of the work of the com-plete studio.


JULIEN DE SMEDT is founder and director of JDS Archi- tects based in Brussels, Copenhagen, Shang-hai, and Stockholm (2016) and co-founder of Makers with Agen- das. He was co-found-er of PLOT and has held visiting profes-sorships at RiceSchool of Architecture and Lexington University.

KAYROKH MOATTAR is an architect and a computational design specialist, running his own practice Hitch-Stan Arkitektur. He has been an assistant teacher in the studio since 2013, and is a co-founder of the Wood Would research project.

JONAS RUNBERGER is a Lecturer and Adjunct Professor at the KTH School of Architecture, and the Director of Dsearch, a digital design envi-ronment within White arkitekter. His interests include collaborative aspects of computa-tional design, and he has previously taught at the Architectural Association and the ETH Zurich.

ELSA WIFSTRAND has been a guest teacher in the studio since 2015 and is an architect at Berg CF Moller Architects. She is a former assistant teacher in digital tools at KTH School of Archi-tecture and studied at ETH Zurich and KTH-A.

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Left: Workshop with students from KTH-A and Cairo University, April 2015.

Below left: French School in Damascus, Syria, Yves Lion, 2008.

Below right: Wind-cathers in the city of Yazd, Iran, from 2007 KTH-A study trip.

Bottom: Plan of Meidan Emam and Esfahan Grand Bazaar, in Esfahan, Iran.

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stUDIO 10: global connections – Dwelling, house, neighbourhooD anD citY

stuDio themeArticle 25 of the Universal Declaration of Hu-man Rights recognises the right to housing as part of the right to an adequate standard of liv-ing. According to the UN Refugee Agency, by the end of 2013, 51.2 million individuals were forcibly displaced worldwide as a result of persecution, conflict, generalised violence, or human rights violations. Today, 783 million people do not have access to clean water and 2.5 billion do not have access to adequate sanitation facilities. Migration and informal settlements are on the increase, not only in developing countries but also as a part of the Swedish landscape. We need to analyse these phenomena, to understand their drivers and struc-ture. We will attempt to identify values and inves-tigate the basic built environment in geographical areas with varying cultures, climates, and building techniques. The Austrian architect Hans Hollein defined architecture as being twofold: both regu-lating body temperature and acting as a sign. The former, which is contained within the notion of a primary “dwelling” which provides mankind with necessary shelter, forms the point of departure in this year’s investigation in Studio 10.

Production techniques and the availability of materials will be studied through group collabora-tions. Informal housing projects will be analysed and the lessons learned from these studies will in-form the studio work. Students will also critically analyse development projects on their merits and develop own sustainable proposals in a variety of scales, from the house to the city.

teaching methoDologYThe practice of the architect is increasingly com-plex and much of it consists of team collaboration rather than single-handed performance. We be-lieve that group collaborations are an interesting method for learning. To live in a more common and shared environment, irrespective of where we find ourselves on our planet, requires that we must maintain an ongoing dialogue with other countries and cultures.

Our studio has been testing collaborations in Is-tanbul, Rabat, and last year in Cairo. Large demo-graphic changes in North Africa and the Middle East are in focus for the EU. Our working method is to be curious, to ask pertinent questions and to avoid preconceived ideas about aesthetics or what the final result may be. We believe decision making in architectural and urban design to be rational. The skills of the architect are dependant on adequate work processes and methods. These methods can be learned and become a central tool in practice.

the basic DwellingThe dwelling, its precise and conscious position in the landscape and its capabilities to provide ade-quate shelter in various extreme climates without relying on advanced technology will be explored. Its construction techniques and materials and its potential as a place to live will be investigated. Our starting point is to study primitive buildings and techniques and gradually develop alternative but informed proposals.


questions about informal housingInformal settlements are growing at an enormous rate worldwide. Over 900 million people live in slums. Which mechanisms are behind these fig-ures? How do they differ and which additive sys-tems allow them to expand? Which strategies have been used in the fight against them? What can we learn from them? Can this knowledge gen-erate alternative design for housing?


compact citiesThe extreme growth of cities worldwide demands discussion and analysis regarding urban form. More than half of the world population live in cit-ies. The third studio project investigates and de-velops sustainable and compact urban city block typologies, and patterns of larger compact urban environments. A limited amount of parameters such as transportation, public space, daylight, urban green, etc., will be introduced and tested in various climates. The project is a collaborative project with teams of students working together.


citY eXtensions We will continue our collaborations around the southern and eastern borders of the EU and work with either a city in the Middle East or North Af-rica. The study trip will give us first-hand expe-rience. The central idea is to test and apply the outcomes of Studio Project 3, Compact Cities, on a site with local topography, culture, climate, and other specific parameters. The study and under-standing of the local conditions will be compared with a few projects undertaken within the local conditions of Sweden.


ALExIS PONTVIKis a practising archi-tect (SAR/MSA AIS RIBA KA) and teacher, who received his pro-fessional education at HBZ, Bern, Staatliche Kunstakademie Düs-seldorf, and at the Architectural Associa-tion, London. He has run an architecture and urban design practice in his own name since 1981 and is Professor of Urban Design at the KTH School of Architecture.

INGRID SVENKVIST is a practising archi-tect (SAR/MSA) and former chairman of Architects Without Borders, Sweden. She received her professional educa-tion at Chalmers in Gothenburg and École Nationale Supérieure d’Architecture de Paris-Belleville, Paris, with a Postgraduate Degree from Me-janArc at the Royal Institute of Art in Stockholm.

COLLABORATIONSUN-Habitat, Archi-tects Without Borders, SIDA – the Swedish International Devel-opment Cooperation Agency – and other governmental agen-cys and NGO’s.

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INteRDIsCIPLINaRY MasteR’s PROGRaMMe:sustainable urban planning anD Design

the supD master’s programmeSUPD is an interdisciplinary Master’s programme, which takes advantage of world-leading inter-departmental competence at the KTH School of Architecture, the KTH Department of Urban and Regional Studies, and the KTH Department for Sustainable Development. Studio pedagogy emphasises task-based learning, whereby each member of the studio, with her/his competen-cy and background, contributes situated knowl-edge to the studio theme.

The SUPD studio works with interdisciplinary, practice-led design research for developing crit-ical as well as projective proposals. Projects in-volve collaborative and individual work support-ed by lectures, seminars, workshops, reviews, and group and individual tutorials with tutors and external consultants. Each term combines research-led investigations and strategic design proposals. In particular, we emphasise research in the field, by design and through participation. Parallel to Project 3, we offer a module in The-ories and Research Methodologies addressing social sciences and design research through lec-tures and seminars.

2015-2016 theme: DiY urbanismDo-It-Yourself (DIY) Urbanism can be seen as a testing ground for social innovation and an op-portunity for social change instigated on grass-roots levels. Much discussed in American cities such as San Francisco, which since the onset of the recession in 2008 have struggled through a period of economic decline and drastically re-duced public resources, DIY Urbanism happens here in form of activating stalled construction sites, building temporary public plazas and parks, and urban farming, etc. Berlin is seen as anoth-er example for successful DIY Urbanism, where the specifically isolated location of the city has furthered diverse economies, an abundance of space, and a spirit of do-it-yourself that has been-tolerated by the authorities since the late 1980s.

Although the context in Stockholm is entirely different, DIY initiatives such as the self-initiated cultural centre Cyklopen, Konsthall C, and the ac-tivities around Slakthusområdet have sprung up in recent years. The city of Stockholm has started to encourage a Swedish form of DIY urbanism, which taps into traditions of social entrepreneur-ship and activism. This year, we will explore the meeting grounds between the bottom-up ap-proach of DIY urbanists and the traditional top-down planning process.

nacka – what is?Our site will be the municipality of Nacka. In re-search groups, we will explore the pilot project under konstruktion in Kvarnholmen, which ap-plies tactical urbanism as city development strat-egy. We will regard disparate power positions of DIY urbanisms and critically inquire, i.e.: who are the actors, creators, drivers, and beneficiaries of DIY urbanism? And: what are DIY urbanism’s long-term effects?

nacka – what if?We will test spatial appropriations and see what new forms of social relations they have generat-ed; search for socio-economic spatial concepts such as the widely discussed commons and de-velop possible contemporary notions of it; we will engage in questions of critical participation and its impact and consider the contribution of diverse economies to urbanities in our design proposals.

Årsta fielD – what is?årsta Field is designated as the site for a new housing area. We will learn about various claims by citizen initiatives and stakeholders in relation to current top-down planning and design pro-cesses. We will study årsta Field in relation to other contested sites such as Tempelhofer Field, Berlin; Buckit Brown Cemetery, Singapore; and Gezi Park, Istanbul.

Årsta fielD – what if?In urban struggles, artifacts such as maps, sto-ries, images, and scenarios play important roles in articulating different understandings and pos-sible futures. Based on our previous mappings and research findings, we will develop afforda-ble housing proposals, rethinking conventional planning instruments and relations between designers, planners, authorities, and citizens through future scenario techniques, alternative masterplan concepts, and different modes of visual representation.

MEIKE SCHALK (SUPD Program Chair)is an architect and Assistant Professor in urban design and urb-an theory at KTH-A.

åSA DROUGGE & GöRAN LINDBERG(Autumn Term) are principals of Nivå Landskapsarkitektur.

MARIA HåKANSSON (Autumn Term) is Associate Professor at KTH Urban & Region-al Studies.

JOHAN PAJU (Autumn Term) is a principal of Paju Architecture and Landscape and Lecturer at KTH-A.

BETTINA SCHWALM (Autumn Term) is an experience designer and researcher at KTH School of Architecture. SOFIA WIBERG (Autumn Term) is a political scientist and PhD Candidate at KTH Urban & Regional Studies.

HANNA ERIxON (Spring Term) is an architect and PhD Candidate at KTH-A.

TOVE WALLSTEN (Spring Term) is an architect at the Swedish Association of Architects.

MARIA ÄRLEMO (Spring Term) is an architect and PhD candidate in Critical Studiesat KTH-A.

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Above: ‘Between two Seas’, 2015 Istanbul study trip tour with Serkan Taykan.

Right: ‘City and Hu-man – Structures for the Co-Created CIty’, 2015 Degree Project by Anders Bergström.

Below: ‘Action Ar-chive’, exhibition and event series at Tensta Konsthall, by Sara Brolund Carvalho, Helena Mattsson and Meike Schalk, 2014. Left: ‘To dwell and grow on Årstafältet’, mapping by Justina Jakubaite.

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PhD PROGRaMMe: research eDucation at kth-a

the sweDish research school in architecture The Swedish research school ResArc is a collabora-tion between the schools of Architecture at KTH, Chalmers, LTH, and Umeå University with the aim of strengthening architectural research, educa-tion and collaborative projects at national and in-ternational levels. ResArc was launched in Febru-ary 2012 and is coordinated and administered by the Department of Architecture and Built Environ-ment at Lund University. ResArc received funding from the Swedish Research council FORMAS 2011 in a total effort that also includes the two strong research environments Architecture in Effect and Architecture in the Making.

resarc: tenDencies, approaches, philosophies, communications Recurrent thematic research courses (7,5 credits each) are offered and arranged by ResArc. These courses are designed to meet and support tem-porary and conditional interests of research and are developed and run in close working relation with the strong research environments Architec-ture in the Making and Architecture in Effect.

The overall format of a thematic ResArc course includes four courses: Tendencies (Lund Universi-ty); Approaches (Chalmers); Philosophies (KTH-A); Communications (Umeå University).

ResArc courses encourage the students to cre-ate their own research agenda. The course cur-riculum is therefore set up like a design process, where the understanding of the field (problem settings, approaches, theories, and methods) are in focus all the way through. Each course in the cycle contributes with different kinds of input but this knowledge is always related to the practice of the researcher as a whole. This means, for ex-ample, that theories and methods are presented in the context of different kinds of inquiries and approaches. The four recurrent courses represent four rounds of successively deeper understanding of the whole of architectural research. They are basic in the meaning that they concentrate on the joint core of the field.

active research stuDentsAs of 2015, KTH-A has 25 active PhD Candidates: Mania Aghaei Meibodi; Adam Bergholm; Luis Ber-rios-negron; Bojan Boric; Anna-Christina Borstedt; Brady Burroughs; Eunyoung Choi; Maja Frögård; Nina Hällgren; Ann-Kristin Kaplan; Behzad Khos-ravi Noori; Marja Lundgren; Anna Lundh; Eva Minoura; Pablo Miranda Carranza; Daniel Norell; Karin Rosberg; Helen Runting; Sara Sardari Sayyar; Erik Sigge; Héléne Svahn Garreau; Ola Svenle; He-lena Westerlind; Jenny Wiklund; Maria Ärlemo.

Doctoral programmes at kth-aThe KTH School of Architecture hosts two Doc-toral Programmes: the Doctoral Programme in Architecture, and the Doctoral Programme in Art, Technology and Design – a co-operation between KTH and Konstfack.

The doctoral programme in architecture at post-graduate level manages, develops, and commu-nicates knowledge of architecture. The subject treats the concepts and theories of architecture and their relationship to planning and design of the built environment. Postgraduate studies in architecture at KTH contain five areas of special-ization: architectural design, architectural tech-nology, critical studies in architecture, history and theory of architecture, and urban design.

A PhD in Architecture consists of four full years of study, within which there is a set of compulsory courses, including one which is tied to the special-ization of choice. Additionally, doctoral students follow a range of elective courses as well as stud-ies at other departments or universities, adapting the studies to the individual project. The course-work part of a PhD consists of roughly one year of studies, leaving three years for research and thesis production. Doctoral students can also be expect-ed to work with other duties, such as teaching within the Bachelors’ or Masters’ programmes.

art, technologY anD DesignThe doctoral programme in Art, Technology and Design is a joint venture between KTH and Kon-stfack (University College of Arts, Crafts and De-sign), launched in 2014 with the aim to strength-en the exchange between artistic and scientific forms of knowledge. Art, Technology and Design is an emerging research area shaped by dynamic encounters between different perspectives with a strong focus on interdisciplinary exchange and concrete materialisations.

Doctoral research and education within the programme may draw on theories and methods from a wide variety of fields – architecture, the fine arts, crafts, design, planning, technology, en-gineering, materials science, etc. – to advance in-novative and critical new approaches towards the many challenges riddling societies in the 21st c. The programme resides in the belief that we need to rethink the relationship between the individu-al, society and the environment in order to create the means for a sustainable future development. The political, social, and philosophical imaginaries inherent to this visionary call constitute the back-bone of the programme, where the practices of making combine with advanced epistemological and methodological perspectives in holistic and process-oriented investigations.

HÉLÈNE FRICHOT is the Director of Research Training at KTH-A. She is is an Associate Professor and Docent in Critical Studies in Architecture. Her research examines the transdisciplinary field between architecture and philosophy, and, while her first disci-pline is architecture, she also holds a PhD in philosophy from the University of Sydney.

CATHARINA GABRIELSSONis Assistant Professor in Urban Theory at the KTH School of Architecture since 2011, and teaches in urban economics theory, architecture history and theory, and research method-ologies. She is Director of the PhD Program Art Technology De-sign, a collaboration between Konstfack and KTH.

DANIEL KOCHis a researcher, teacher, and Deputy Director of Research Training at KTH-A and a practicing architect at Patchwork Archi- tecture Laboratory. His research focuses on relations between spaces as an integral part in architecture, examining borders, boundaries, relations, spaces-within-spaces, disjunction and heterogeneity.

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Left: LO-RES is an international archi-tectural theory jour-nal, publishing essays on architecture that resonate at lower resolutions. Hailing from Sweden, LO-RES is published biannu-ally in English, and is supported by ResArc, the Swedish National School of Architectural Research. Editors of LO-RES are PhD Candidates Helen Runting (KTH-A), Erik Sigge (KTH-A), and Fredrik Torisson (LTH).

Below left: Cover of Ann Legeby’s PhD thesis “Patterns of co-presence – spatial configuration and social segregation”, published in 2013.

Below right: First seminar of the PhD programme Art, Technology and Design, established by KTH School of Architecture and Konstfack in 2014.

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ReseaRCh: architecture in effect anD in the making

architectural research at kth-aResearch within the KTH School of Architecture is currently sustained by five research domains: History and Theory of Architecture; Critical Studies in Architecture; Architectural Technology; Architec-tural Design; and Urban Design.

They provide both investigative breadth and a depth of focus. Research seeks to provide ana-lytical and projective perspectives on the history, development, and future of the built environment and of the architectural profession, in terms of technology, culture, criticism, and aesthetics. In the near furture the five domains will be reogan-ised into three Research Areas composed of sev-eral smaller research units, which will support a diversity of research projects.

historY anD theorY of architecture This domain is responsible for teaching history and theory at Basic and Advanced levels, and for PhD studies in the field. The subject is part of the core curriculum which gives good conditions for integrating research and education. It also gen-erally attracts public interest and thereby ample opportunity for research dissemination through monographs, professional and mainstream press, guide-books, exhibition catalogues, and lectures.

Three main research directions have been devel-oped over the last ten years: Swedish 20th centu-ry architecture; architecture history in the light of globalization; and conservation and heritage preservation (ideologies and practice). The most recent externally funded projects are ‘The Archi-tecture of Stockholm Public Library’ (2008-2010); ‘Architecture of Deregulations’ (2011-2014); and ‘The Swedish Museum of Architecture and Histo-riography of Swedish 20th Century Architecure’.

critical stuDies in architectureCritical Studies in Architecture investigates the theories and practices, histories and discourses of architecture. We believe that architecture is not only a profession and a discipline, but also a form of cultural expression, which can be explored by way of speculative projects and critical fictions in-formed by critical theories and philosophies.

Our research and teaching is concerned with the influence of different ideologies and power rela-tions on architecture and, conversely, how archi-tecture itself can reproduce ideological systems and power structures. Our research methods are interdisciplinary and relate to broader shifts in the humanities, including the emergence of studies in the post-humanities, post-structural and continen-tal philosophies, feminist theories, critical cultural studies, anthropology, as well as artistic methods of investigation.

HELENA MATTSSON is Director of Research and Vice Head of the KTH School of Architecture. She is an architect, researcher and Associate Pro-fessor in History and Theory of Architecture at KTH-A, and a do-cent in Architecture. Mattsson is a member of the Steering Com-mitte for the Strong Research Environment (FORMAS) ‘Architec-ture in Effect’, and an editor for the culture periodical SITE.

architectural technologYThe research domain Architectural Technology investigates the implication and potential of tech-nological development for architectural design and practice. Architectural Technology experi-ments with digital tools, production technology, and interdisciplinary methods in the context of collaboration. Its aim is to create a critical perspec-tive on how building cultures operate.

architectural DesignArchitectural design manages, develops and communicates knowledge in the field of de-sign. Of central interest are research questions about the production of ideas, creativity, visual-ization and quality assessment of architectural projects. Methodologically, architectural design has its main focus in design theory, research-by- design, and innovation. Architectural Design is a key profile in Basic, Advanced Level, and research education, supported by a strategy to recruit excellent faculty that span between research, teaching and practice.

The work of the group contributes to four ma-jor fields of research and development: studies in design process, studies in sustainability, studies in digital methodologies and studies in experi-mental architectural practice and media.

urban DesignAs the development of society establishes new conditions and possibilities to create a meaningful environment for its citizens, cities are subjected to a state of constant change. Today we witness a society and environment in rapid transformation in which cities play an even more important role than before. Hence Urban Design is confronted with a unique challenge that KTH School of Archi-tecture is keen to address, through both research and education.

architecture in effect – rethinking the social in architectureArchitecture in Effect is a strong research environ-ment in Architecture Theory and Methodology funded by The Swedish Research Council FORMAS 2011-2016, hosted at KTH School of Architecture. It accentuates a critical understanding of the built environment and its societal context. It engages faculty, researchers, and students from all four architecture schools in Sweden, and further en-gages strong interdisciplinary and international collaborations in the field.

This Strong Research Environment is composed of four specific research areas: Architects in For-mation; Critical Historiography; Critical Projec-tions; and Material Conditions.

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Top left: History and Theory of Architecture – photos of prêt-à-porter house by Erik Friberger, 1932.

Left: Architectural Technol-ogy: – ‘The Cloud,’ full-scale installation by Studio 9 students Laura Eckstein, Maxime Bolieau, Jessica King, Björn Johansson, and Tom Steeg.

PLACE IMAGE(S) HERE

Top right: Architectural Design – ‘Vector Interference’ by Ulrika Karlsson.

Above: Urban Design – ‘Divided City’, research project by Ann Legeby et al.

Below: Critical Studies in Architecture – ‘Moral Institute of Higher Fiction’, 2015 Degree Project by Olga Tengvall.

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PUBLIC PROGRaMMe: events, eXhibitions, anD publications

public programmeAs part of KTH-A’s efforts to ensure that the pro-duction of architectural knowledge has impacts outside of academia, the school cultivates a pro-gramme of public events, exhibitions, and publi-cations. It is one way of opening the school up, and engaging in debates and the exchange of ideas.

This academic year commences with the school moving into its new building. It will pose new questions about how KTH-A interacts with the outside world. The new school is located at the centre of attention on the KTH Campus, and – giv-en that the façade acts much like a glass vitrine – passers-by will have direct a view of what goes on: workshops, lectures, digital fabrication sessions – all the day-to-day ongoings of our school. What we do will, in a new way, be seen and noticed.

Furthermore, the new building will in its own right attract additional attention and media cov-erage. How do we make the most of this oppor-tunity? A new school of architecture implies pro-gress in architectural thinking and doing, teaching and learning. As an institution, in what ways can we live up to that?

The public events at KTH-A will continue to ex-plore an interest in architecture and pedagogy, which started with last year’s series ‘Learning En-vironments’. In 2015-2016 this theme will be devel-oped further. Under the title ‘New School’, insti-tutions founded or recast in the past decade will be invited to present and argue for new models for learning architecture and other spatial practic-es. How can our own “old” school – founded back in 1877 – continue to pursue the advancement of contemporary conditions? The question and many ways of answering it will evolve over the coming year.

thursDaY nights at kth-aThroughout the academic year the KTH School of Architecture is host to a programme of Thurs-day evening events, which are open to the public. Most often they consist of lectures by internation-al guest, but on occasion the school also organises film screenings, book launches, or panel debates. There, our students, faculty, and an architecture audience from outside of the school have the op-portunity to experience and partake in the discus-sions of architectural matters.

Hopefully, new insights and arguments raised here can expand and deepen the discourse al-ready evolving at the school. We also see it as a great way to just meet and talk with friends and collegues. When possible, the Thursday events are accompanied by the student-run bar, where guest are invited to continue the conversation in an in-formal setting.

BJöRN EHRLEMARK directs the pro-gramme of public events, exhibitions and publications at the KTH School of Architecture. He is an architect and editor, and co-founder of Neighbours of Architecture.

WEBSITEAn overview of what is going on at KTH-A, and detailed info on studies and research, is always available atwww.arch.kth.se

TWITTERFor quick updates and reports on the daily life at the school, follow the account @KTH_A on twitter.

FACEBOOKOur FB page is a good source for news and event postings, but also an easy way to intect with the KTH-A community of students, faculty and administrators. It is called ‘KTH Arkitektur’

ISSUUA pdf archive of Studio Themes, DIplo-ma Days catalogues and other publica-tions is available via issuu.com/kth-arkitekturskolan

YOUTUBEMany of the guest lectures and other public events at KTH-A are recorded and published at youtube.com/KTHArkitekturskolan

eXhibitionsWork produced at the school is regularly shown in the form of exhibitions, housed both within our own building and at other venues. The past year, for example, exhibits of KTH-A student projects have been displayed at Tensta Konsthall, the Roy-al Academy of Fine Arts, the National Museums of World Culture, the KTH Library and at the Fit-tja Pavilion at the Venice Architecture Biennale, among other venues.

Please check our website for updates on current and upcoming exhibitions.

publications in print anD onlineThe school also produces and co-sponsor a num-ber of print publications. Be it student projects or scholarly research, the aim is always to show what architectural knowledge can be, how it is produced, and what impact it can have on society at large.

One such publication is the catalogue you are now reading, which presents the themes and pro-jects different groups within the school will de-velop during coming semesters. At the end of the academic year, another important catalogue is published, namely that of the Diploma Days. In it, our graduating Degree students briefly presents their final projects and give an introduction to the exhibits, public presentations and jury sessions of Diploma Days.

Many of the publications are also made available in digital form online. In addition, reports and up-dates from KTH-A is put out through our website and social media outlets, and video recordings of many of our public events are published online.

some special eventsA number of special occasions stand out in the calendar for the year to come. The fall term starts with a presentation of the year’s studio themes, essential for fourth and fifth year students who are about to decide which studio to opt for in their Advanced Level studies (see the second half of this catalogue).

This year, on October 12, the school will also host an inauguration ceremony of our brand new building. An occasion for cutting of ribbons, this event will also include an extensive programme presenting all parts of KTH-A.

The academic calendar concludes with the afore-mentioned Diploma Days, on May 30 through June 3, when work by our students is presented, celebrated, discussed – and put on display for the world to see.

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Above: ‘Haptic Mapping’, large-scale charcoal drawings by first year students on display in the Triangeln exhibition space, autumn 2013.

Right: Laser-cut posters promoting Diploma Days, the KTH-A end-of-year exhibition and graduation event, posted across Stockholm in May 2014.

Below: Beatriz Colomina giving a lecture on ‘Radical Pedagogies’ as part of the public event series ‘Learning Environments’, December 2014.

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contemporarY international architectureThe course is analysing trends within contem-porary international architecture and discusses them in relation to formal aspects, technical and structural solutions, political and social factors and other cultural forms. A series of lectures and seminars deals with different aspects of contemt-prary international architecture. We investigate the roles of critics and icons of architecture and we study the spaces where social and political norms are created or questioned through archi-tecture.

architecture anD genDer: introDuctionThe course aims at providing tools for pursu-ing feminist interpretations of architecture and by extension creating new architecture. In the course we will study contemporary feminist theo-ry and architectural practices and investigate how buildings and other built or arranged structures relate to them. We will pursue a feminist critique of architectural culture and its relation to sexu-ality, ethnicity, class, and as preserving power in relation to ’masculinist’ aesthetics and taste. The course is structured around a series of concepts, such as for example hetero normativity, gender performance, and intersectionality, that are dis-cussed in their relation to architecture.

the moDern built heritageThe main objective of the course is to provide ba-sic knowledge of the modern built heritage and the problems connected to its preservation, with a focus on Sweden and Europe. The modern world heritage sites are included in the scope.

After the course, the participant should have a good overview of the field’s history and theory and be familiar with its key references in the form of buildings, restoration projects, historiography and source texts.

concepts anD tools in spatial mor-phologYThe aim of the course is to introduce and devel-op knowledge about contemporary theory and methodology on analytical urban morphology, especially urban morphology, density analysis and network analysis.

After completing the course the participants shall have a basic knowledge of the field and be able to individually discuss and analyse texts, plans and different types of analytical tools typ-ical for the field. The participants shall also have developed basic skills in some of the analytical tools in the field as well as some basic GIS skills.

qualitY issues in architectureThis course has three overall objectives. Firstly, the student will learn about quality issues and be able to show how quality as a key-concept is used in architecture. Secondly, the student shall develop her/his capability to describe the use of quality criteria and the professional way of judging quali-ty in architecture projects. Thirdly, the student will through an individual work (paper) get a deeper understanding of quality issues in architecture, that are of great importance for both the profes-sion, client and the end-user.

architecture anD genDer: aDvanceD courseThrough offering advanced studies of feminist theory and its applications in the field of archi-tecture the course aims at developing tools for feminist interpretations of architecture and the advancement of alternative architectures. After completing the course students have received a basic orientation in feminist theories, design and writing-practices in the field of architetcure, and have initiated the development of an individual position in relation to feminist practices in the field of architecture and related spatial practices.

architectonic reconstructionsThe objective of the course is to give an overview of the reconstruction as a working method within architecture.

After the course, students shall have a compre-hensive knowledge of the role of reconstruction in old and modern architecture; be able to analyze reconstructions from a theoretical perspective; be able to problematize reconstructions from a cul-tural heritage perspective; and be able to discuss qualitative differences between original and copy.

evaluating architectureThe overall objective is to put forward, discuss and critically examine methods for analysing and evaluating architecture and urban design. After the course the participants shall be able to carry out a systematic evaluations based on theory and methods within the field of architecture.

the architectural competition: theorY anD professional practiceThe overall aim of the course is to provide knowledge of the architectural competition’s theory and professional practice.

After the course, students shall have knowle-dege of the architectural competition, its history and regulations, and be able to point out quali-ties in competition entries and show how these are made visible.

VICTOR EDMAN(The Modern Built Heritage and Archi-tectonic Reconstruc-tions) is a Docent in Architecture at KTH-A.

ANN LEGEBY(Concepts and Tools in Spatial Morphology) is a researcher at KTH-A.

HELEN RUNTING(Architecture and Gender: Introduction; and Architecture and Gender: Advanced course) is a PhD Candidate in Critical Studies in Architecture at KTH-A.

MAGNUS RöNN (Quality Issues in Architecture; Evalu-ating Architecture ; and The Architectural Competition: Theory and Professional Prac-tice) is a teacher and researcher at KTH-A.

SIGRID zENGER(Contemporary Inter-national Architecture) is an architect and teacher at KTH-A.

the COveRThe figure on the cover of this publication is ab-stracted from the building footprint of the new KTH School of Architecture. It is designed by KTH alumni Tham & Videgård Arkitekter and opened for the start of the 2015-2016 academic year.

the sChOOLThe Royal Institute of Tech- nology School of Archi-tecture was founded in Stockholm in 1877 and today offers architectural education at all levels, from a prepatory course in Architecture and Urban Planning in Tensta in northwestern Stockholm, to doctoral studies within the Swedish Research School in Architecture. There are currently around 600 students enrolled in the professional pro-grammes at Basic and Advanced level.

The school has a staff of around 80 teachers, professors and researchers, and 25 administrative and technical employees. It has a well-equipped workshop, a digital fabrication lab and an extensive collec-tion of books and journals in the KTH Library.

ORIeNtatION COURses IN aRChI- teCtURe aND URBaN PLaNNING:kth-a in tenstaELSA UGGLASTEFAN PETERSSONERIK STENBERG

BasIC LeveL:first-Year stuDiosWERONICA RONNEFALK

BasIC LeveL:seconD-Year stuDiosPER ELDE

BasIC LeveL:thirD-Year stuDiosERIK WINGQUIST

aDvaNCeD LeveL:fourth- anD fifth-Year stuDiosPER FRANSONFRIDA ROSENBERG

stUDIO 1: full scaleANDERS BERENSSONEBBA HALLINJOHAN PAJUMALIN åBERG WENNERHOLM

stUDIO 2: workplace, labour anD everYDaY life TOR LINDSTRANDKARIN MATzANDERS WILHELMSSON

stUDIO 3: ‘lagom’ JOHAN CELSINGJOSEF EDERCARMEN IzQUIERDO

stUDIO 4: architecture for eXtreme conDitions CHARLIE GULLSTRöMPABLO MARIANDA CORRANzAORI MEROM

stUDIO 5: fictionsULRIKA KARLSSONCECILIA LUNDBÄCKEINAR RODHEVERONICA SKEPPECLAES SöRSTEDT

stUDIO 6: searching for ma LEIF BRODERSENTERES SELBERGHELENA PAVER NJIRIC

stUDIO 7: unnameables ELIzABETH HATzPETER LYNCH

stUDIO 8: a common urbanitY SARA GRAHNRUMI KUBOKAWAMAx zINNECKER

stUDIO 9: architectural infrastructureJULIEN DE SMEDT KAYROKH MOATTARJONAS RUNBERGERELSA WIFSTRAND

stUDIO 10: global connections ALExIS PONTVIKINGRID SVENKVIST

INteRDIsCIPLINaRY MasteR’s PROGRaMMe:sustainable urban planning anD DesignMEIKE SCHALK

PhD PROGRaMMe: research eDucation at kth-aHÉLÈNE FRICHOTCATHARINA GABRIELSSONDANIEL KOCH

ReseaRCh: architecture in effect anD in the making HELENA MATTSSON

PUBLIC PROGRaMMe:events, eXhibitions anD publicationsBJöRN EHRLEMARK


kth-a 2015 2016: 'new school

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