TYPE OF ACTIVITY: Ekstern kalender

The exhibition Urban Anomalies – Learning from Siena will be open from Friday, August 16th to Friday, September 13th at Didakteket.

Reception

Tuesday, September 3rd, at 15:30, there will be a reception where Assistant Professor Nuria Casais, Architect Jens Christian Pasgaard, and Research Assistant Ida Bølling Kongsted will talk about the project.

The exhibition is an artistic research work that calls into question the way we currently think of cities in Denmark. In short, we want to inspire key actors such as architects, municipalities, foundations, and urban developers.

The project

Read more about the research project Urban Anomalies.

Heidi Merrild defends her PhD thesis, Reversible Tectonics.

The research grows out of an embeddedness, not only in the actual place of life and living beings but also in the mindset of an explorer, and is based in the hope of finding insights and possible ways of dealing with the new climate regime. The research involves an exploration within the soil and plants: an exploration of plants and their anchorage (roots) in the soil and connections with the fluid nature (climate and atmosphere) that unfolds material life cycles and networks. This has led to investigations ranging from planting seeds in the soil to cultivating mosaic fields, observing the weaving of ruined landscapes for diversity, and harvesting wood in the forest.

A similar approach – with a discovery mindset – is applied to premodern architecture, and tectonics are explored through their situatedness: a material relatedness with the Terrestrial. The research involves an empirical exploration of pre–modern tectonics and its materials, from the outer skin to the inner tectonic core and surface, or reversed. From the smallest detail within the material form, engendering, and craftsmanship, I have been seeking an understanding of how architecture and its tectonic nature is connected with the Terrestrial.

The research uncovers the knowledge embedded in pre-modern tectonics, its anchoring in the ground through natural forces such as gravity and density, as well as an inherent understanding of a uniqueness in materials and their point of origin. It is an investigation that reveals a resonance between objects and their point of origin, demonstrating a possible immersion in the fluid nature as an embeddedness in the world. The study presents a detailed analysis of connections with Reversible Tectonics in the past. This is demonstrated through woven wooden logs as a composition and through the connections of materials, based on life cycles and layers, that allow for decay as well as an inherent potential for transformation and change within the tectonic system. This constitutes a way of thinking and a perspective that appears to have been lost in our Western modern thinking and globalisation.

More about the project.

The defense will take place in Didakteket, with an exhibition in the adjacent library.

Program

13:00 Welcome / Claus Peder Pedersen, Head of PhD School
13:10 Lecture / Heidi Sørensen Merrild, PhD Fellow, MA in Energy and Green Architecture, Aarhus School of Architecture
13:55 Examination / Matthias Graf von Ballestrem, Professor, Technische Universität Dortmund
14:25 Break
14:35 Examination / Henrik Oxvig, Associate Professor, Royal Danish Academy
15:05 Examination / Elizabeth Donovan, Associate Professor – chair, Aarhus School of Architecture
15:35 Contributions from the auditorium
15:50 Closing / Claus Peder Pedersen, Head of PhD School – afterwards, drinks and snacks

Participation in person or via Zoom.

Arkitektskolen Aarhus inviterer årligt indenfor til den internationale arkitekturfestival OPEN.

I år finder festivalen sted fredag d. 20. september med titlen The Ocean In Which We All Swim.

Mere information om program, hovednavne og udstillinger følger – læs mere om festivalen her.

This poetic exhibition and talk with Associate Professor Katrina Wiberg is part of the international architecture festival OPEN24.

MARE INCOGNITUM

Under the blue surface, in the dark depths of the oceans composed of water, salt and dissolving plastics, with unknown species and intricate ecosystems still to be rendered, lies the wish of unhindered extraction not to be seen by the terrestrial eye, the Mare Incognitum.

Mare Incognitum forms the fluid space covering the ocean bed with its deep structures of plains and abysses. The ocean bed provides an undersea land prone to depleting valuable resources without being seen with the land-based eyes of humans. The secret depths of monsters and unknowns are turning into secrets of techno-centric monsters and unhindered monetary gain.

The ocean has been the connector between dry lands, with abundant life-sustaining terrestrial living, accommodating transportation, communication, and trade. Also, it has formed mythologies, narratives or experiences of sunken cities, sea monsters, and giant rogue waves – unfolding a myriad of mappings and tales of the unseen and the unforeseen.

The understanding of the ocean floors was disputed for centuries. However, new understandings of these hidden landscapes and Earth’s moving crust emerged with Marie Tharpe’s intricate and precise mappings of the ocean floor. Echo sound measures, drawn up by Tharpe’s hand and open-minded, imaginative interpretations, lead to the recognition of the tectonic places.

Meanwhile, the depletion of resources on land fostered a new gaze under the surface; The Mare Incognitum presents a landscape of valuable resources prone to deep-sea harvest justified by green transition. A treasure hunt has started.

Illustrations and Models

The Mare Incognitum consists of four models forming a circle for dialogue and exploration. Each model shows a sub-surface ocean landscape presenting reserved and claimed areas for extracting valuable metals. The models are presented at Open 24, offering a gaze into the hidden landscapes and unseen demarcations of the oceans. Drawing upon Marie Tharpe’s mappings, the ocean floors are interpreted as section models hidden inside the blue gaze of plastic and water, seeking to render terrestrial and aquatic extraction practices.

The illustrations show a section of the Clarion-Clipperton Zone close to Hawaii and some reserved extraction areas.

Credits

Research, concept, graphics and narrative: Katrina Wiberg, Associate Professor, PhD, Center for Emerging Landscapes, AAA, teacher at Studio 1F
Digital drawing, concept and visualisations: Nikolaj Knudsen, Architect, PhD
Exhibition design: Karen Kjaergaard, curator Aarhus School of Architecture​

Nyt landart-værk indvies på OPEN24

Arkitektskolen Aarhus ønsker at udvide den kunstneriske ´okkupation´ af det offentlige område – den grønne kile – som løber langs de gamle togskinner mellem skolen, skolens galleri, Institut for X og Godsbanen.

Til den internationale arkitekturfestival fredag d. 20. september indvier vi det permanente landart-værk, Another Crack In The Wall – en 22 meter lang væg i ´uperfekt´, norsk, kasseret marmor, som gennem tektonik og arkitektur forbinder fauna, flora, insekter og de mange mennesker, der dagligt passerer området. Værket vil indfinde sig permanent i sine nye omgivelser, når en intervention skaber et kæmpe CRACK. Vær med kl. 13.00 – alle er velkomne.

Stenbrudets økologi og æstetik

Forskningsprojektet, Ecologies of Stone, som står bag forskning i stenbrud har til formål at etablere tværfaglige projektcases, historier og forskningsgrupper indenfor naturvidenskab og humaniora for i samarbejde med partnere inden for stenbrudspraksis og byggeteknik at sikre en mere bæredygtig og ansvarlig udvikling for fremtidigt byggeri med sten. Målet er at se på stenudvinding som en cyklisk proces, fra stenbrud, til bygningsdesign og tilbage til stenbrudsrehabilitering, så vi i stedet for den intensive brydning og den høje kassationsprocent, vi oplever i dag, at undersøge naturstenens æstetiske værdi i relation til arkitektur. Som en økologi, der tager lige så meget hensyn til det, der udtages, som det, der efterlades.

Biodiversiteten tilbage til Den Grønne Kile

Arkitektskolens udearealer er allerede under landskabelig bearbejdning gennem forskningsprojektet LAARCH, som blev påbegyndt i 2022 med en større performance, hvor 100 studerende med 100 trillebøre flyttede jord fra det yderste af den grønne kile til området foran skolen for at bringe biodiversiten og insektlivet tilbage til området. Her, blandt spirende fauna og flora, ønsker vi at opføre en ny ´vært´ for diversitet, som ikke bare favner insekter, fauna og flora men også rummer de skæve eksistenser, os, mennesket.

Another Crack In The Wall er et stedsspecifikt værk, som relaterer sig til landskabet og skolens naboer (LIDL og Godsbanen, kollegier, boliger og Institut for X) og de mange mennesker, som dagligt passerer forbi, og som er en del af fællesskabet i Aarhus K. Området oversvømmes med jævne mellemrum, hvilket vil få værket til at stå som en fælles ´redningsplanke´.

Idé og koncept

Koncept og ide: Karen Kjaergaard
Arkitekt og formgiver: Jonathan Foote
Research Group: Ecologies of Stone
Leverandør: Fauske Marble

Another A Crack In The Wall er støttet af Nykredits Fond

At OPEN24, we proudly present an exhibition with newly graduated architects and their graduate projects from the summer 2024.
Drop by Project Room 5, 3th Floor – and explore their diverse and imaginative architectural works.
More info about the OPEN24 programme – find info here.

Graduate projects by:

Aske Hartje Jakobsen & Oliver Skovdal Danielsen

Frida Tøraasen Nordvik & Toya Causse

Agnes Krokene Jarmund

Ida Houmann Johansen & Clara Troldborg Ohmann

Anna-Lena Mueller

David Sime

En performance for planetarisk solidaritet

I forbindelse med OPEN24 opføres en performance med titlen Sea of Love, hvor deltagerne inviteres til at modtage en ’nadver for havet’. Projektet udforsker havet og det kystnære landskabs mangfoldighed som både smagsgiver og byggekomponent. De to duo´er, Schwesterbrau og Rex/Nielsen brygger og tilbereder havets urter og tang og serverer dem på konstruktioner lavet af tang, alger og muslingeskaller – alt hentet direkte fra havets skatkammer.

En nadver for havet

Nadverritualet markerer både ydmyghed og samhørighed med havet og minder os om, at vore kroppe består af vand og er en del af et større, sammenhængende kredsløb af grundvand, regnvand og havvand. Vand er flydende og dynamisk, og det skal vores formidling afspejle. Med et fokus på krop og smag inviterer vi derfor til en sanselig undersøgelse af relationer mellem hav, mennesker, kroppe og vand.

Værket starter med en kollektiv performance udenfor Galleri ONSITE kl. 12.00 – 13.00 og kan efterfølgende opleves som udstilling inde i galleriet.
Performancen vil indeholde den rituelle udskænkning af øl i håndlavede kopper, glaseret i øl og uddeling af havsnack. Nadveren er åben for festivalens gæster samt alle, der kommer forbi.

Den særlige øl, OCEAN sælges efterfølgende fra ONSITE.
Efter Nadveren bliver “efterladenskaberne” fra ritualet udstillet på det lange muslingealter i ONSITE Gallery, hvor du også kan opleve billeder fra processen.

Udstilling & Koncept

Koncept & Idé: Karen Kjaergaard

Koncept / Opskrift / produktion: Schwesterbrau – bryggerduo v/ Amalie Lykke Baadsgaard og Ida Marie Lykke Baadsgaard

Snack / Koncept / Opskrift / Display: Matilda Rex og Adam Marcel Nielsen

Sea of Love er støttet af Aarhus Kommunes Kulturarrangementspulje.

Connectivity in Cultural Environments is the first seminar held by The Nordic Cultural Environment Research Network. The seminar explores the complex interrelationships and cultural significances between entirety, scales, forms, understandings, legislation, management, practices, processes, dynamics, and methods to ensure the future preservation and caretaking of cultural environments in synergy with other pressing societal agendas. The heritage category of cultural environments encompasses landscapes, built structures, buildings, usage patterns, and historical layers. Cultural environments consist of the physical environment around us; they are dynamic milieus in constant flux comprising numerous material and immaterial elements, connections, and interrelationships across scales extending beyond the specific cultural environment.

Cultural environments are the framework for daily life and perceived values such as atmosphere, belonging, place identity, and communities. These experiences emerge from the interaction between people and the physical environment. Through this interaction between lived life and physical place, a temporal continuity is created, connecting people and places across generations, ensuring that the past remains a living part of the present and future. Rodney Harrison uses the notion of “connectivity ontologies” to describe this aspect of cultural heritage:

– modalities of becoming in which life and place combine to bind time and living beings into genera- tions of continuities that work collaboratively to keep the past alive in the present and for the future.

The dynamic interconnection between past, present, and future is created through cultural and social practices rooted in the physical environment, which preserves and sustains the cultural environment.Through the concept of cultural environment, we can obtain a broader under- standing of what architectural cultural heritage is, its mechanisms, potentials, and challenges, and how cultural heritage impacts people within the built environment.
​

Connectivity in Cultural Environments is the first seminar held by The Nordic Cultural Environment Research Network. The seminar explores the complex interrelationships and cultural significances between entirety, scales, forms, understandings, legislation, management, practices, processes, dynamics, and methods to ensure the future preservation and caretaking of cultural environments in synergy with other pressing societal agendas. The heritage category of cultural environments encompasses landscapes, built structures, buildings, usage patterns, and historical layers. Cultural environments consist of the physical environment around us; they are dynamic milieus in constant flux comprising numerous material and immaterial elements, connections, and interrelationships across scales extending beyond the specific cultural environment.

Cultural environments are the framework for daily life and perceived values such as atmosphere, belonging, place identity, and communities. These experiences emerge from the interaction between people and the physical environment. Through this interaction between lived life and physical place, a temporal continuity is created, connecting people and places across generations, ensuring that the past remains a living part of the present and future. Rodney Harrison uses the notion of “connectivity ontologies” to describe this aspect of cultural heritage:

– modalities of becoming in which life and place combine to bind time and living beings into genera- tions of continuities that work collaboratively to keep the past alive in the present and for the future.

The dynamic interconnection between past, present, and future is created through cultural and social practices rooted in the physical environment, which preserves and sustains the cultural environment.Through the concept of cultural environment, we can obtain a broader under- standing of what architectural cultural heritage is, its mechanisms, potentials, and challenges, and how cultural heritage impacts people within the built environment.
​