Portfolie

BAS Master courses BAS Cross courses

BAS: Bergen School of Architecture, Norway, 2008 - 2010

By Gaute Aas

BAS Master course 1. Autumn 2008Name: BAS X - Open form

By Gaute Aas

Bergen School of Architecture, Norway, Autumn 2008

Visual structure

Oskar Hansen, Architect and artist, professor at the Art Akademi in Warsaw (ASP) gave name to the theory ”Open Form” in 1959 on the TEAM X-congress in Otterlo, Nederland. Oskar Hansen has worked directly from this scheme on the different projects him and his wife Zofia Hansen has developed. He evolved and clarified the visual language through his didactic work, and through his engagement at the sculptural classes by the Art Akademy in Warszawa. He has advanced the subject visual structure and worked in order to make a dialog in between and to incorporate together the different subjects -space/ landscape/ and sculpture. Oskar Hansen had introduced the topic, visual structure and taught the subject Visual structure at BAS.

Here at our school we are operating with a term called DAV (Den Andre Verden = the other World) – DAV is the key to visual understanding. “Visual Structure” is included under this umbrella. Visual Structure is built upon the teaching of form, at the artist academy in Warsaw, by the professor Oskar Hansen*. BAS normaly teach visual structure as an introduction to the 1st year students, and then more advanced courses throughout the 2nd and 3rd year and as group courses in our 2. Part the 4th class students. Professor Svein Hatløy who teaches is in collaboration with the other teachers.

Bas X was a master course for a mixed group of people coming from other architect schools from different parts of the world. Alle students had a minimum of 3 years of architect studies before they came to BAS. In one semester we had to go trough every task BAS-students normally takes from the first to the third year at BAS. But on the basis of our earlier architect studies we already understood the traditional language of architecture. It was an very interesting and challenging learning curve understanding the philosophy and thoughts of open form and visual structure.

Below follows the different task we were given through the semester.

Here are some examples from the teaching process: visual structure–drawing: It could be useful to work on a drawing over a longer period – to learn to see. As one of the traces this is row of practicing, from simple expressions of a few elements in a closed space, to complex expressions in open form with various objects. visual structure–“form of space”: As professor Oskar Hansen taught it – Looking and Seeing, this is training the ability of seeing. As with most of the practices in visual structure, this refers to a situation already given, or which is created during the process. Looking and seeing – what makes you choose what you do? Show it! time–space: It is important to create a reflected and controlled relationship between person and object, seeing the object walking around it. visual structure–contrasts: Concrete qualities of form characteristics–different types of contrasts between objects. Of size, of shape, of heavy and light, all presented visually. visual structure–the concept of pressure and tension visual structure–open form, dynamic expression, continuity and simultaneity. visual structure–by the great number of elements: Making a great number of identical elements legible by adding more elements in a visual structure, not taking away existing elements. The richness in this expression lies both in the number of elements and in their individual identity. To make this comprehensible more elements are added artistically. The readability lies in an expanding order by a visual structuring. The quality of all the forms, as well as the richness of the whole, would get lost if we take away elements to make it readable. An open form as this will loose its qualities if the elements were restructured into a geometrical order.

BAS VISUELL STRUKTUR Autoum 2008

Teachers; SVEIN HATLØY OG MONA STEINSLAND

MY BACK GROUND in MEZZO SCALE: Mezzo scale is the community scale.The task: To present my personal background, as I grown up, every day going to school (junior high), or/and going to work. This means: My community at this stage of age is enlarged from my childhood. The task: from my memory draw a map of my spatial, physical background, supplied with free hand drawings. This is a reflected presentation from my memory, now drawn as an architect: Which architectural and other physical elements constituted my community, including my home/place of stay and communication.

Visual Structure

1 DYNAMIC: To find a connection, thing or an element which can ex-press a dynamic system.This task is a visual training how to develop existing situations by add-ing new elements of visual significance and architectural meaning. It is about participating in an existing situation and creatively prepare visu-ally for the next special addition . in this case to find stops in the system that is created by the participant.2 CONTINUITY: How to continue the stops in the installation that gives the condition of space to invite for the next step.The context is to make your eyes move and see the possibility for the next movement to continue the installation.3 RHYTHM AND REGION: The existing multiplicity of forms after conti-nuity is to find a rhythm. By rhythm means any measured flow or move-ment in the variation of the length and accentuation of a series. The most important is to make a changing by the continuity so it will not repeat itself but make a changing inmovement while the rhythm is maintained.4 STATIC AND CONTRAST: Add another element to make the instal-lation more dynamic in static system and to find a contrast to make the static system even more clear and understandable.

First week at BAS. Visual structure are being teached by Svein Hatløy

UtsiraAbstract.Bas x going to Utsira on an excursion.The trip started with one week in the schools old military tent. to find a place to stay; concerning the sun, wind and earth. The group worked with different tasks in the landscape. The tasks were mainly about learning how to read landscape and the relation between nature and community. To see and analyse in tree different scales; micro- mezzo - macro. The group presented there work by drawings and 1:1 scale sketches, called visual structure.In the second week the group moved to an old boat house placed in the local community. analyzing the micro climate. To see and read how the coast climate influence theway of constructing architecture and how materials age and seasone by time.

1:1 sketch. Visual structure.

About finding qualities of the site. By showing the different elementsin the landscape. And by adding something, showing and strengthen it.

Mapping the site.About analyzing and understanding the site. mapping the landscapes visible and unvisible elements.Analyzing Topography, Ground, Air, wind, Wetness and dryness. In the tree scales :micro - mezzo - macro. The work was organized in two groups; in the North and in the south.

5. Looking and seeing.Microclimate.To analyse how the coast climate effects on thearchitecture. By observing the microclimateof an local barn. By looking and seeing how thewind and water affects the materials by time.On both the outside and inside.

Showing the landscape.To find a personal place somewhere in the landscape.And to make quick drawings. In different moments.

Showing the landscape.To find a personal silent place somewhere in the landscape.and to make quick drawings. In different moments.

Arne

After coming home from Utsira we were given the task to make an architectural answer for survival in the hard wether conditions at Ut-sira. Utsira is an irland out in the nordic sea, where rain, wind and fast climate changes are very present. “ARNE” is a house which is not a house, - a tent which is not a tent. It is a concrete aim to help me getting familiar with my situation, physically and visually, when I am living in it.

Drawings of climate and protections you need when living out in the landscape of Utsira.

Concept model, not bigger than a matchbox

ArneModel 1:25

Sleeping positions in the camp

abstract:

Visiting Havråtun*. A small and dense society with houses put togehter into a cluster. Experienicing the public and private space.

*Tun = Town

1. Action in space .

2. Individual 1:1 sketch

3. New public use

4. A museum

Havråtunet - Osterøy

“TUN” means many houses together in a common form. The history og “the tun” or the farm yard of the western norwegian landscape goes way back to the bronze age. The norwegian word “tun” has the same root as the Englich “town”. In Scot-land the word is pronounced simular to the Norwegian pronunciation og “tun”.

Bas x lived at havråtunet for several days.Working and understanding the situation and traditions by using the body, drawing and making visual structure, 1 : 1 sketches

Action in space.How our bodies relate to the landscape.

Performance

Havråtunet

Performance

Individual 1:1 sketch.To show a house by adding elements.

And showing the surounding houses in connection with the landscape;

without dominating.

New public use.

To give an old house in the tun a new public use. Remaking but keeping the existing qualities.

Havråtunet - culture in the landscape

Where the landscape is above you and below you to the same time.

drawings at site, light and passages

A museum.

The inner structure of the museum. Inner landscape, a reflection of Havråtunet.

1 : 25

facade images 1:25

Museum in the landscape.Results of the interpretationsin the landscape, dramaticallycharacter, in 1:1 sketch.

Visual structure

1 : 1 SKETCHLarsen huset

Reading the climate

LEMSTOVA - VIK sogn og fjordaneBeing out in the field, living in the farmhouse. Studying the different partsof the building, the climate, the topographical situations. Making suggestions of a new use of the longhouse for my self as an srchittect of tomorrow..

Lemstova - a part of ourbuilding history.

Design project. Lemstovapart of the community(mezzo-scale) Historically, a result of the climate of western Norway (macro scale)

Facade 1 northwest 1:25Facade 1 northeast 1:25

Model pictures 1, 2 and 3

LEMSTOVA - using/designing in a new way, taking the long traditions into con-sideration, but as an architect of today.

The traditional farm house ( a longhouse). Untill now the last step in a conti-nous development of the longhouse as the farmhouse. An open form - open-ness toward cultural and technological change anddevelopment.

LEMSTOVA - using/designing in a new way, taking the long traditions into consideration, but as an architect of today.

A SECRET PLACE BREAKING THE BORDERS

DAV (Den Andre Verden = the other World) – DAV is the key to visual understanding.

Teacher: Trudi Jaeger

The task was to experience and ex-plore a place of free choice. To find a place I found interesting. A person-al magic point. And to visit this place several times, and spend 2-3 hours every time. Working with the place, both physical and by drawings.

A SECRET PLACE BREAKING THE BORDERS

A SECRET PLACE BREAKING THE BORDERS

A SECRET PLACE BREAKING THE BORDERS

A SECRET PLACE BREAKING THE BORDERS

DAY 1 AND 2 - Drawing

VISUAL STRUCTUREDrawing and printingTeacher: May Elin B

DAY 1 / Universite in Bergen - 1:1 drawings - Blow outDAY 2 / Bryggen Museum - How light affects the bigger volumes

DAY 3 AND 4 - Printing

DAY 3 / Bergen architecht school - PrintingDAY 4 / Bergen architecht school - Printing - Rehearsal

FAT AND ASHES / Cube - Dark and light ----- take in and take of light.We used a 120 cm roll paper(white) for each student and taped it in double pieces to 240cm x 240cm. We used two kinds of materials - charcoal and white paint.Every student was given different thicknesses of charcoal to make darkness.Everyone was free to interprent it the way they wanted.After a half day with black on the paper we were adding white painting to bring back whiteness and light on the picture.

FAT AND ASHES / CUBE

Process

FAT AND ASHES / CUBE

Cube - Sculpture of light and dark

We were given plaster and candels as material to build a cube 20cm x 20cmTo make the form we took 5 plates of wood and cut it. One as the foundation and the 4 others as the walls. Then we made the form of soft materials to put inside so it would be easier to scrape it out from the plaster afterwards.

FAT AND ASHES / CUBE

Cube - Sculpture of light and dark

The exercise was ti make different pas-sageways for the light.We had to draw our model first to better see different opportunities.Then we put the form in the model and fastened it very good before we added the plaster..We could choose how much plaster we could bring in to the model.When the plaster had curdle, we added stearin on top of that again.

Action 1:

We used charcoal to draw on paper sticking on the wall and floor. Followed my movements and the actions which happens in the space. Used my hand, foot, finger, arm, leg to draw. Then being more aware the way i draw.Finding situations, movements, rhythm in the drawing process. Focus, investigate, study in depht motives I an selecting. Being conscious and concentrated the way I an drawing. Repeating and makes variation of the motive.

BODY

BODY

Action 2:

Choosing motives I get attracted to and find interesting to work futher with in 3D form.Working out associations related to the materials and the construc-tions. For example: Heavy, light, transparent, which size and so on, the motive could be on 3D.I chose to work with many different materials; wire, plastic, paper, tree, stone, things and rubbish from the containers.Working in relation to my body. Being present and aware, but now acting in the space. Working with water association, time stands still, no movement. Frosen silence.

Visual structure

Looking and seeing. This is training the ability of seeing.

Contrast: Heavy - Light

Rest - Unrest. . Given two dark grey slabs or plates, and four similar dark cubes, two for each plate. The idea is to add or to form.

Continuity: To let the structure on the cube lead your eyes round the box

Scale: using the same elements but in other positions on the plate. Creating different scales.

Time - Space: Cutting, Working with the cube. To create a relation be-tween the object and the person who walks around it. This by sculptur-ing the cube.

1 : 1 Sketch

Working with corners. Backing up the corner.Makes you se a new situation.

Warszawa Game: Open form

Open form: is about interaction between elements, providing a background in which life is to take place. I will only be goodwhen you are good as well. I win if WE win. To be the backgroud for the others and each others, to make the other one be better.Directions: Players take turns in adding elements to a setting, always keeping into account the relation with the previously added objects, but also providing new spaces and backgrounds for actions to take place.You win in this game when you make the next player better. This is a game to teach your eyes to always see the next stepp.

Closed form: Is all about itself. Born as a dead object which, in the best of cases, can only be treated distantly. Its ambitions is dominate, to stand on top of the hill as a watchtower. closed form avoids dialogue and prefers subjugation. It is more important to win than to participate, and as you can see from the image, all objects are competing for a place on top, almost like a Babel tower.Directions: Each player adds an element to try to stand out from the crowd, to try to get as much attention as possible from the viewer and should not take into account any existing items, because itself is an object that does not depend on others to exist and grow. The goal of this game is to win, regardless of the rest of the participants.