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


by erikasofiahenriksson

1 part clay

3 parts sand

1/3 part sawdust

water, according to the consistency of the clay

The list is a pick-up list, or a map of places to find. It calls for knowledge about our planet, about it’s materiality, about slow processes of creation and of geographic changes. It is further an invitation to the body to wander, to experience and to explore.


In order to find good clay one must move back in time, roughly 13.500 years back. The clay started out on its journey of creation during the deglaciation of the nordic ice sheet. Now it rests a meter or so down in the ground in coastal areas and along riverbanks. Digging too close to the river is no good, the clay will be thoroughly mixed up with decomposing organic material; you have to try a couple of hundreds of meters from the riverbank, where the old seafloor has been dried up and formed plains of clay.


As you mix the ingredients you will get a mortar strong enough to hold together a wall of bricks or cordwood. It binds together all the pieces and move along with them as they move.

The Thing

by erikasofiahenriksson

It stands in middle of a field, watching passersby with an easy and happy appearance. A piece of the metal has been torn down by the wind but it doesn’t seem to concern it. It has probably never been the overanxious type.

This thing is one of many in a series of almost hundred that I have documented over the course of three years. It all began when I found a lion staring at me, jaws wide open in astonishment. It took quite some time before the second one approached me; a count waiting for some sort of notification that could be either of good or bad. I didn’t wait  long enough to find out which. When I took his picture, that’s when I decided to make it a series. After that moment, they came to me much more often. It’s almost as if they go out of their way to find me, begging me to take their picture. I have entered a new world of reoccurring characters; the timid and surprised, the shocked, the presumptuous. And every time I think I’ve seen them all, a brand new type of character pops up and surprises me.

Sometimes I wonder wether the people who put them together really saw them; are they consciously made or creations of chance? I don’t know if it really matters.

Once in a while I get a quick chat with a human living in or around one of them. At first they are generally suspicious of my, somewhat intrusive, behavior. But as I explain the reason as to why I’m so awfully close to their property their suspicion, and the slightly threatening atmosphere, vanishes. I ask them about the characters they inhabit and they answer that all they have ever seen is a house. Then suddenly, simply because I’ve told them about the characters, they too can see them. I think this is part of my fascination with the characters, they are pedagogical, you can so easily begin to see them in all their “expressiveness”. And once you’ve seen them, it doesn’t take long before you can hear them talk. And they tell us that attention comes prior to caring; that the ability to see, listen and think with our surroundings is the foundation for all forms of well-being on the planet.


Models and Shoes

by massimois

As my research concerns with architectural pedagogies my objects have been selected accordingly. What are the things that are fundamental in architectural education?













Architectural pedagogies are armed with things that are considered essential in the education of an architect: books, drawings, pens, chairs, tables, maps, and models.

Model’s making is a method of enquiry, research, experimentation and a primary medium to communicate our design’s decisions and consequently our project. Yet models are not architecture, but a mere representation, often biased and unreal. The architectural model represents the thing that I have selected. It is what in my opinion captures the essence of architectural education: laborious, intense, demanding, onerous, lengthy, self-indulgent, and even narcissistic. The  model becomes the thing conceived and created by us, our baby, our Frankenstein, our dream of how the world should be. Yet the model limits us. Its materiality has the limit of representing social relations, engagement, and care with our society and nature. Very seldom models are actually used to represent the destructive impact of a new construction, they are on the other hand used to validate our intentions. The model becomes the thing that allows us to make sense of the world both the real one and the imagined one, but at the same time we have to be aware that model making and drawings are not architecture, and the image that is consequently created cannot be confused with architecture.



These are my shoes. 1,000 km were walked with these things in 6 weeks. Walking is way to explore the world and to become part of our environment. Shoes are also an architectural thing.

Thing- plywood floor

by lenastinaandersson


The thing I have chosen for this task of is a piece of plywood. It is also an agent in the transformation process in one of my case studies, serving as a protective layer to keep the new floors from wear and tear as construction workers are walking and moving heavy equipment over them. The protective layer is a temporal ingredient in the process of alteration with a short lifespan, starting when new floors have been installed and gradually being removed as the construction phase is coming to an end. Most of the plywood covering is laid out unprocessed, but in some cases they have been cut, arranged and adjusted to accommodate a particular use, such as described in the image. The cut-out suggest the need for the possibility to close the doors, but when the image was taken in summer 2017, the cut out part was nailed back, adapting to new needs and securing the doors in an open position. This plywood sheet has now been discarded as obsolete, possibly re-used or reprocessed. Used for a few months up to half a year, the floor underneath has an estimated life expectancy of 50 years. The environment-worlds that these things are participating in are changing as the process of the construction project evolves. New constellations are formed and the relationships are altered and dissolved. But, in a short period of time, this thing comes into power, forcefully keeping the new oak doors in place, establishing a passageway, protecting the floor and directing the construction workers and whoever has access to the site.


by andreeacblaga


Screen Shot 2018-03-22 at 16.30.04.png


things andreea

the other side of the welfare state:

  1. drawing table
  2. metallic ruler
  3. ink liners
  4. transparent paper
  5. prefabricated living units

Two lists

by lenastinaandersson

things 5_Sida_1List 1

1. Pillar, brick and plaster, during renovation, 1960s

2. Floor, stone, Before 1960

3. Scrap material, wood and chipboard, during renovation, 1960s

4. Ventilation pipe, unknown material, late 1960s

5. Plant, ormbunke/ fern, late 1960s

6. Cigarette, 1960s

7. Wooden covering/protection, fir-tree, 2017



things 5_Sida_2List 2

1. Window, during renovation, 1960s

2. Pillar/column, cararra marble, 2017

3. Woman drinking from cup, late 1960s

4. Scrap material, planks of wood, during renovation, 1960s

5. Lamp, brass and glass, 2013


Vasily Sitnikov

by vasilysitnikov

IMG_9637_crop.jpgVasily Sitnikov (*1989, Moscow), is an active Marie-Curie Researcher at the KTH School of Architecture. He is interested in enriching the space of digital design and fabrication with new material concepts and design strategies, attempting to foster a shift in architectural design through a drastic intervention in the realm of building technologies, through design experimenting with unforeseen combinations of technological solutions and materials.

Vasily has gained his expertise in the material science of concrete while working in a private concrete laboratory, SISTROM Technologies, in Moscow. In 2014, he was graduated from Staedelschule Architecture Class, Frankfurt am Main, in Architectural Performative Design. Before undertaking the current research, Sitnikov was working with the Berlin-based artist and architect Tomas Saraceno.

Sharing- Thing- Environment-World

by shydes