portfolio by krut zetterlund

portfolio krut zetterlund

email: [email protected]: +46738486312

adress: östra kyrkogatan 111 903 46 umeå

Hej!

My name is krut, i study architecture at UMA - Umeå school of architecture. I’m currently in my sixth semester, and loving it. I’m 28 years old and be-fore coming to UMA, I studied journalism, art history, photography, sociology and psychology. I find that architecture embraces all of these disciplines, and more, and that makes me want to practice it. However much i like the studies, im very eager for an intership, to learn more and hopefully to con-tribute on real projects.

digital skills: photoshop sketchup revit indesign illustrator powrpoint

5-8dance project to dance in duende

13movement work-shop ...with mr freud.

14theory workshopliminal dwelling

17market projectmapping umeå15-16

trästockfestival project&kittelfjäll project

18climateresponsiveworkshop &sketches

9 - 12market projectde-malling of saluhall

1-4research indharavi, indiaanatomy of maidans

19last words

i

home facing the maidanfamily of four

a-a 1:100

4,8 meters

5 meters

5,5 meters

b-b 1:100

“if theres enoguh space to play cricket, its a maidan”

plan

a-a b-b

c-c

c-c 1:100 section

the socio-spatial breath - typology and anatomy of the maidan

Study trip to Dharavi, Mumbai. Mapping informal settlements.

termin 5

dhor walla neighbourhood with neighbourhood courtyards

These maidans (squares) are spaces of light within a network of shade. They form a rare exterior within a spatiality that upheaves the dictonomy of inside-outside. Its the only places from where one can glimpse an uninterrupted peice of sky. Without them, dhor walla would be a very different place. Once you’ve stumbled upon one of them, you know you’ve arrived some-where.

Dharavi is a huge informal settlement in the heart of Mumbai. It is home to approxomitely a million people. The extreme density creates tightly knit communities that centers around communal spaces.

My investigaten looked into typologies and anatomys of these spaces. Their spatial makeup, socio-cultural significance and function - their socio-spatial breath

Dharavi, Mumbai area IV, Dharavi Dhor Walla, Dharavi

food?

cinema?

stage

maidan

workshop?ngo?

nagars religious institutions main roads commercial

nagars, religious institutions, main roads, commercial space

1:1000

1:200020 meters

NGO

NGO interface

Doctor

Dharavi stockmarket

Maidan

Nagar Counsel

afterschoolspace

public computor / internet access

playground

if kids from the school nerby has a sanctioned outside-of-community safe place to go to, they can meet kids from other communities.

space for local actors to rent. to complement the program.

popular across com-munities and at present missing in Dharavi

space for an NGO work-ing with women

a stage for festivals, as the site already is a location for festivals during season. place for performences from nearby shcools.

a place to reach out with information and cam-paigns.

for the existing pre-pri-mary school on site

a place to further inter-community buisnessesperhaps a showcase and noticeboard and place for events or lectures.

“formal-informal” rep-resentation. a place for representatives of differ-ent nagars to meetand discuss common interests and conflicts

everyone goes to the doctor. or should.

relations within program

approximation ofgendered acccess to program and space

Investigation the layout and placement of an inter-community interface and multifunctional center as away of bridging the communities of Dharavi.

NGO

NGO interface

Doctor

Dharavi stockmarket

Maidan

Nagar Counsel

afterschoolspace


playground













NGO

NGO interface

Doctor

Dharavi stockmarket

Maidan

Nagar Counsel

afterschoolspace


playground













MAPPING INFORMALITIES - bachelor project in processStudy trip to Dharavi, Mumbai. Mapping informal settlements.

NGO:s

doctor / health center

plug in-space

afterschool space

(computors, study-space etc.)

outdorrs cinema

stage area

seating

NGO information

dharavi stock market

150 - 300 m2

300 m2

50 m2

50 m2

50 m2

30 m2

70 m2

dharavi consel?

1:500

main vehicle enterances main community enterances

between community connections acoustic and traffic situation

community spaces nearby site corner activities and traffic

between baksida

inter-community interfacea multifunctioning center of centers bridging communities of Dharavi mixed use / overlapping programmed space +

lossely programmed

theres around 6600 tenements in the nagars adjecent to temple square. that means about 50.000 - 60.000 people

concept of multifunctional center

NGO

NGO interface

Doctor

Dharavi stockmarket

Maidan

Nagar Counsel

afterschoolspace


playground













NGO

NGO interface

Doctor

Dharavi stockmarket

Maidan

Nagar Counsel

afterschoolspace


playground













a spatial sequence in four parts. 1.descent 2. illusion 3. katharsis 4.

to dance in duende“the edge, the wound, /.../ places where forms fuse in yearning beyond visible expression”. federico garcia lorca

making a dance space

tenor duende - having soul. a heightened state of emotion, expression and authenticity, at the core of flamenco-dancing. duende, as defined by garcia lorca, is a quality inherent in all art forms, but especially when the human body is somehow involved. since architecture is the greater corups of the body, this project investigates duende and architecture. can duende be conceived spatially? what would be the elements of such a space?

termin 2

a spatial sequence in four parts. 1.descent 2. illusion 3. katharsis 4.

enterance / vertigohard cuts in the ground.

tunnel / lightinside view.

katharsis

he finds having tha sensation that the ground has literally given out under his feet. he plunges into the dark depths. (...) once his eyes adjusts he begins to see some details in the near darkness. before him is an enterance to a cave, (...) at the other end of the cave he sees, on a projecting rock, a glowing red crystal. - carl gustaf jung on his expeditions into his own psyche and the collective unconscious

underground passage / illusionmovement through a tunnel in the shape of a twisted parallellogram. creating the illusion that one is turning, when infact walking straight.

when a void occurs, the space between two solids is passive. when it occurs as a subtraction, from a solid, the void is active. penetration of space can be regarded as empty space entering into solid form. penetration is a deep incursion of space into mass. - isamu noguchi

it must struggle on the one hand with death, which can destroy it, and on the other with geometry, measure, the funda-mental basis of the festival. - garcia lorca

the junk poetry of the underpass bridge became the organizing principle of the marketplace. the spatiality converging on a anonymous spot in this neglected and overlooked place.

within the site there is an interesting meet between the brutalist bridge, the now dissapeared fishingcabins and the grand representional build-ings of the 1800s.

deconstructing a saluhall and using it to activate umeås most poetic junk-space - the underpass of the oversized churchbridge.

the site is located between the commercial and cultural center of umeå and the educational hub of the newly established arts cap-mus. by plugging in to this via cultura also bridging this gap in the texture of the city.

market project: the de-malling of saluhall and the cathedral of the automobiletermin 4

the junk poetry of the underpass bridge became the organizing principle of the marketplace. the spatiality converging on a anonymous spot in this neglected and overlooked place.

sightlines angleled columns makes the marketstalls open up towards a single viewpoint under the bridge. the former junk is the one place of clarity.

the freestanding marketstalls allow for direct access for the customers threby resisting the logic of the mall.

market project : sketches in process

the junkspace of the underpass becomes the organizing principle of the market. activiting the space around, thereby negotiating the junk whilst re-taining the poetry.

market project : plans and elevations

1:200 plan

eastfacing

southfacing

open air market concrete slabs

boardwalk

main hall

viewpoint

marketcabins

eastfacing

southfacing

eastfacing

market projecta market, a throughfare, a public square. deconstructing the logic of the mall and creating a boardwalk-market with en emphasis on inbetweens, of undead-ends

westfacing

Using Freud to elaborate on two differnt movement qualitites. One earthbound, chaotic, agressive. The other ephem-eral, elevated and controlled. One hidden, the other visible.

The question became: how does the Id and Superego dwell?

The house as the Self, containing, controlling and negate the two oppo-sites.

explaining freuds concepts: id: unconscious, uncordinated and instinctual. superego: partly conscious, critical and moralizing.

superego dwelling

ego dwelling

superego dwelling. controlled movements and a heirarchy of functions. projecting towards the surroundings.

movement mapping model sketch sketch plan

id house prototype

plan 2

movement and space with mr. freudworkshoptermin 3

the liminal dwelling

a divorced couple with two kids dwell in one house. one of them has a new partner and two new kids.

using the concepts of MA and liminality to construct an inbetween space for the inbetweeners - the kids.

making a system of separation and privacy, and one of proximity. then merging the two, thus shortcircuiting the system and inhabiting the inbetween, the thirdspace.

theory workshop

theory workshop: a house for a divorced couple + kids + partner

the momentum of ma / the elasticity of liminality / inhabiting the thirdspace

magic realism from the cracks of a nuclear familyfloor plans. limal spaces highlighted:

liminalitya transitional passage between alternate statesan interrelationship between 2 phenomena, rather than their opposition. a thirdspace inbetween

dwelling in liminality:living an inbetween

plan 1 plan 2 plan 3

termin 3

www.trstck.tumblr.com

media:http://www.svt.se/nyheter/regionalt/vasterbottensnytt/i-startgroparna-for-trastockfestivalen http://norran.se/2012/07/skelleftea/har-ar-arkitekternas-spektakulara-portal/

2013

6 friends and 60 old folkhem-doors. designing two enterances and two food areas for the trästock festival in skellefteå. only using recycled/leftover materials and things we could borrow from local shops.

lots of work. and crazy fun. and the festival will keep using the things, because they worked so well.

watch a video here!

http://vimeo.com/46236057

We (five second year students) were asked by hotell kittelfjäll - a ski re-sort on the border between Sweden and Norway to sketch on an 700 m2 extension of the hotel. At present, the project is put on hold while working out the funding of it. But hopefully it will commence soon!

project kittelfjäll2012 retrofitting

sketches:

ski resort at present

d,

mapping umeåfinding the best place for a food market!

termin 4

MAGASINSGATAN

SVEAGATAN

First stage; reading Umeå

Our first approach to our mapping was to reach out and col-lect general information through looking at statistics, maps, social research and through acquiring descriptive data defining different aspects of life, use and movement through Umeå and through our given area of the city. We assembled and printed a generous amount of graphs and diagrams showing different aspects of use of the area within and around our designated spa-ce. We identified bike and car movement, where these came to stop within our space, restaurants, cafes, nightlife, cultural acti-vity, malls and shopping and finally regional and local transport. From these we were able to sort out information that we thought to be important in our decisionmaking later in the mapping.

Second stage; asking questions

As our investigations progressed we identified the need for more specified investigations about peoples ideas of a market place and of why and where this should be located. We formed a question-naire, printed maps and went out to ask if people would shop at permanent market if one existed, where it should be located and why, and complementarily we also asked about age and where the person lived in the city. We positioned ourselves around in different areas within our space in the city and asked a hundred people. From the information we acquired we made density diagrams that made it quite easy to sort our certain areas within our designated space that weren’t mentioned often or not at all as good locations for a market. We were able to identify how opinions varied according to age and to where people lived in the city, but the most important results were those who showed us peoples opinions of where the marketplace should be located and why. From this we identified four different areas that we named based on reasons why people wan-ted a market in these areas. The areas were; ‘unused space’, ‘cen-trally located’, ‘beautiful view’ and ‘expand the central core’. From these four we were able to rule out ‘beautiful view’ since we found it to be the weakest reason to placement and then we conjoined ‘cen-trally located’ and ‘expand the central core’ into one area ending up with two areas within our space that we continued to work with.

Third stage; scaling up and asking new questions

After defining these two areas we compiled a new questionn-aire, printed more maps and went out to ask the public of their opinions and habits more specifically within these areas. Our questions came to be; Which building or space do you use the most within this area? What is your ordinary movement pat-tern through this area? Where would you place a marketplace within this area and why? From the answers we acquired from this second survey we made new density diagrams that clear-ly showed a quite overwhelming unity in both movement and opi-nion of where to place a market. Continuing we now decided on one of the areas based on the diagrams and former information.

Fourth stage; site investigations and step into 3D

From having decided on an area of 3x4 blocks we now went to the site to make thorough investigations of the different activities and characters you would find within this area. We mapped the first and second floor of all houses and its activities to identify the character of the site and to let this be a platform for our future decision of a specific site for the market. After making a photo elevation collage we collected all our data and made map diagrams to present and to acquire an overall image of our chosen area. From seeing how the area changes as you move vertically we decided to make a site mo-del to enable us to more realistically and generally see and analyze our area simplifying our later decisionmaking of a specific site for the market. Having made the model our perception of the site im-mediately changed to the better and we were able to move and take away buildings to see how space changed. Our following discussions came to be directly connected to the earlier investigations we made of peoples ideas of where to have a market and of where people mo-ved in the city. We identified issues that had been brought up during our process concerning the situation in commercial life and flow through the area and envisioned these in our model. We finally came to agree on a site that would create an ultimate canvas for a market and the additional spaces required in the initial program. program.

Fifth stage; wrap up

Having decided on a site our following work consisted of collecting, refining and completing our former in-vestigations and producing required material more specifically describing our chosen site such as sec-tions, plans and elevations. To finalize we gathered all our material and compiled it into posters and worked on refining our arguments for the final discussion.

VÄSTRA NORRLANDSGATAN

NYGATAN

KUNGSGATAN

SKOLGATAN

GÖTGATAN

RÅDHUSESPLANADEN

Attractions

Buslines Pedestrians

BicyclistsCars

Public Hangouts Activity Zones

Chosen area Chosen site

- What building or place do you use most in this area?- Which is most used rout in this area?- Where in this would you put a foodmarket?- Why?

- If Umeå had a foodmarket would you use it?- Where would you put it?- Why there?- Age?- Where do you live?

MEST BESÖKT

TOTALT Vanligastväg

MEST BESÖKT

TOTALT Vanligastväg

A

AB

B

C

C

C

A - a

B - B

C - C

Centre

CentrePeriphery

Periphery

passive solar design project1:50 sectionmodel of thermal chimney atrium.

floor plans

1

2

3

climate responsive workshopclimate responsive design workshop termin 3

cafe exarchi in athens

alto church, seinijoki

parking house in wasaalto interiorlukas

warzaw facade

sketching people at bromma

house in pireaus, athens

sketches!

There is a quote by Louis Kahn that sums up the essentials as far as I’m concerned. “A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable”.

After three years as a student of architeture, my views on what architecture is and what an architect does has gone through fundamental changes. I notice it primarily when trying to explain my days here at school, to outsiders. They usually become confunded. Then interested. Many believe architects draw houses, and they do. But designing a house turns out to be more complex than one might imagine, at least a well-functioning one. I’ve come to learn that architecture is multidisciplinary. Before coming to architecture, I studied journalism, psychology, art history and sociologi and I’ve noticed I make use of all of these experiences when making a project. Because a good project is, among other things, about thorough research and references, spatialities that engage our senses, about the beauty of material and light and about urban planning, context and communication.

My personal interest is about the joy of merging material and void into spatialities that both function and offers impressions to people exposed to them, to bring foth problems and create solutions that not only solves these, but produces added value. I am intersted in the fact that cities has intrinsic logics. Logics that can be understood, developed and challenged. That fact that public spaces are important, unruly and frail. That it is possible to be creative with small means, and that it matters. Being an architect means working creatively with something that matters. That is what I am going to do. When i review the projects I’ve done over these last three years, mainly three themes emerge. An interest for spatialities and moods - light, shadow and materiality. For concepts that challenge the standard program and for the coreography of the citys flows and functions. To investigate these topics have been rewarding, but I find that the real projects I*ve been involved in has been the most exciting and reward-ing. I want do do more of that. thanks for your time!

Documents

portfolio by krut zetterlund