Architecture + Philosophy research seminar, ResArc, Sweden: Dr Hélène Frichot, Critical Studies in Architecture, KTH Stockholm

Month: February, 2018

a Storey

by suhahasan

Material from the newspaper archives found at Isa Cultural Center in Manama, Bahrain


[Caption Translation]
The traditional wind towers that Bahraini Architects have developed since early times. In this building is a manifestation of the civilisation of these people and their culture.
[Caption Translation]
These high-rise buildings reflect the new architecture leap that is evidence of the development of the country that is in line with the era of modernisation.


by erikasofiahenriksson

Erika Henriksson is a swedish architect and researcher. Her work emanate from her close interaction with people, places and built environment. She is educated at KTH School of architecture (Stockholm, Sweden), Rural Studios (Alabama, US) and Umeå School of architecture (Umeå, Sweden).
She works with architectural projects, spatial installation, video and photography. She is occupied with architecture as a cultural and metaphysical manifestation, and work in processes of building as a way to see and understand the world. Erika is currently a PhD-candidate in practice-based research at NTNU, Trondheim, Norway.

Erik Sandelin

by notallergictocatsanymore

As a PhD candidate at the interdisciplinary programme Art, Technology and Design – a joint initiative of the Royal Institute of Technology (KTH) and Konstfack University of Arts, Crafts and Design in Stockholm – I work in the messy intersections of codesign, posthuman theory, biotechnology and critical animal studies, under the project heading Living Things: Design beyond Human Exceptionalism.

My research interests center on designerly interventions in the intimate entanglements of human and nonhuman lives mediated through digital, biological, and other technologies. How can we design with, and for, nonhuman subjects? How can designers prototype, make tangible, posthuman everyday life? What could a non-anthropocentric design practice be like?

I have an MA in Interaction Design from Malmö University. Before returning to academia I co-founded and ran interaction design and innovation studio Unsworn Industries for almost ten years. We crafted beautiful action spaces, from children’s libraries to mountain megaphones and gluten E.T. barbecues.

by notallergictocatsanymore

Meandering/encircling like this:

Experiential probotyping like this:

Andreea Blaga

by andreeacblaga

My name is Andreea Blaga and I was educated as an architect at the “Ion Mincu” University of Architecture and Urban Planning, Bucharest. During my fourth year I had an Erasmus exchange at the Swedish School of Planning, Blekinge Tekniska Högskola, Karlskrona, where I had followed a master programme with majoring in sustainable urban planning.

Currently I am part of a bigger research project called ‘urbanHist’ which is a multidisciplinary research and training program whose aim is to develop a joint understanding of the history of urban planning in the 20th century from a European perspective. My research project “Planning for Growth and Social Welfare” is aiming to address the Swedish welfare model and to place it beyond the national frontiers, in a broader European context, while considering the interstate knowledge diffusion and transfer that occurred during the postwar period between architects and planners.

Annie Locke Scherer

by Annie Locke Scherer


Annie Locke Scherer is a researcher in the architectural technologies department at KTH School of Architecture. She has a Master of Architecture from the University of Michigan and a M.S. in Digital Fabrication from Uni Stuttgart’s ITECH Master programme. Her PhD research at KTH in Stockholm focuses on the intersection and integration of computational design with fabric formwork, parametric smocking, and concrete; a short summary can be found here:


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Traditionally, in the realm of computational design and digital fabrication, the final form is envisioned, and then a material is chosen to best suit its construction needs. Concrete has been used for centuries in traditional construction projects, often with laborious and costly form work. Most conventional construction techniques aim at constraining the material’s inherent qualities, doing their best to minimize the hydrostatic forces and slumping of concrete.



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This project investigates patterns and methods to formally manipulate flat sheets of fabric. Concrete Form[ing]work examines traditional smocking, an embroidery technique of gathering fabric that has been used since the Middle Ages, and questions how this technique can be applied in novel means. Smocking refers to the gathering and stitching together of fabric in a wide variety of patterns, a technique that has commonly been used in clothing for cuffs, necklines, and waistlines in the absence of elastic. Smocking reduces the size of the fabric to roughly one third of its original size, and can be applied to architectural elements to specify varying areas of elasticity as well as differentiate global geometry. The integration of such methods opens up a new possibility of design research and fabrication techniques in regards to what can be achieved with fabric form work. It also speculates on additional research that could introduce an industrial robot arm and sensors to explore issues of repeatability, scale, and economy.

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Concrete Form[ing] work explores the integration of parametric patterning and cast concrete to investigate novel techniques for creating architectural elements. While traditional form work for custom or sinuous concrete structures is often costly or impossible to fabricate, this research looks at a myriad of techniques to custom-tailor fabric for casting. These include traditional hand smocking as well as more recent research into custom knit structures that can react and transform in response to heat, water, or electrical currents.