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

Category: WHO ARE WE?

Ola Svenle

by olasvenle


Ola Svenle obtained his Master of Architecture at LTH, Lund in 2009. His master thesis was a historic survey of the Swedish academic architectural education and the role played by the Italian study trip in 19th century. He has been working at the Swedish Museum of Architecture and National Museum in Stockholm, mainly curating architecture drawings. 2012-2013 he was the architecture scholar of the Swedish Cultural Institute of Rome. He is currently a PhD student at the department of history and theory at KTH Architecture school. The PhD project deals with the initiation of the polytechnic architectural training, with 19th century architectural theory and thought, with realisms and romanticisms, rationalisms and functionalisms.

Jasmin Matzakow

by jasminmatzakow

Photo-Mikael Bergman, objects-masterstudents of Adellab


I’m a 33 year old German-Greek jewellery artist, living in Stockholm, and auditing this course. I’m curious to learn more about ways of making the implicit actions in the art jewellery scene explicit not only through objects but also through verbal language.

I apprenticed to a goldsmith for one year before attending the jewellery of Burg Giebichenstein Kunsthochschule Halle, where I received my Diploma of Arts in 2010. In 2008, I co-founded Schmuckkantine, a platform that organized workshops, exhibitions and catalogues. In 2013, I moved to Stockholm to pursue studies in the Ädellab department at Konstfack University College of Arts, Crafts and Design, from which I graduated 2015 with an MFA. During my studies, I co-founded The Pack, a team of two artists and one designer researching the meaning of craft in our society in a philosophical context.

The focus of my latest body of work lies on the function of jewellery as a wearable reminder of healing and the responsibility for taking care of ourselves. Jewellery is a good medium for being a reminder as we carry it with us in an intimate, yet visible way, and we enjoy it. I circled around the question of how the reminding can take place by looking at different sociological and philosophical theories on how and why we engage with objects, in particular from Deleuze and Guattari. I researched tattooing and scarification traditions that humans created for protective reasons on physical and magical levels. Tattoos and scarifications create pain and small injuries in a controlled and ritualised setting, and I am interested in how this connects to healing: the painful experience is supposed to have transforming powers.
I chose wood as my base material because it has similarities to the human body. Trees have joints and a skin-like bark which can become scarred. I have applied my findings to wood that I cut, burned, sliced and tattooed. My work process is ritualised, disciplined and repetitive. The transformation the pieces undergo is aggressive, yet resolved to a point that exposes a beauty inherent to the process and to the outcome. This beauty is important to me: It is here that one can be reminded of the possibility of healing after a painful experience.

by evagheysen


by hannesfrykholmuma


Helena Westerlind

by helenawesterlind


My research is concerned with the material culture of architecture in which materials condition what we can do, and technology condition how we think about materials. The project investigates a newfound relationship between concrete and form with the introduction of 3D printing technology and explores the shifting role of concrete, from that of a passive material, to an active material with inherent morphogenetic tendencies. In the evolution of concrete as an architectural medium formwork pre-exists its very existence, and its dominating role in the built environment gives cause to reflect on the implications of pursuing concrete solely as a receptacle of form. The question is, what was lost in the process? 3D printing marks a fundamental shift in the handling and application of concrete that, not only, that requires us to fundamentally reconsider its materiality in terms of its composition, its physics, and logistics, but also to re-examine its function across the social, cultural and economical territories that make up our modern world.

I joined the KTH School of Architecture in September 2014 and returned to my hometown Stockholm after living many years in Madrid and London. Since graduating from the Architectural Association in 2011 I have been working with the independent art studio Factum Arte, based in Madrid, where I have been engaged in artistic research and exhibition development. Factum Arte consists of a multi-disciplinary team dedicated to the merging of digital technologies and craft in the realisation and preservation of cultural heritage and projects included the exhibition Diversi Maniere: Piranesi, Fantasy & Excess and the long running research project into the polyhedral fantasies of Wenzel Jamnitzer in Perspectiva Corporum Regularium. Previously I have been working in architectural practices in Berlin and New Delhi.

Hannes Frykholm

by hannesfrykholmuma


Hannes Frykholm (born 1982) – I was trained as an architect at the LTH School of Architecture in Lund and the CED at UC Berkeley, following degrees in History and Sociology from Umeå University. After graduating in 2012 I worked on a number of housing projects and urban plans in Stockholm, Nacka and Solna, parallel to doing competitions and various theoretical-visual projects. I have published projects and texts in Nordic Journal of Architecture, Arkitektur, Future Arquitecturas, Concept and Soiled.

In 2014 I enrolled as a PhD student at Umeå School of Architecture, with Roemer van Toorn as my supervisor. My thesis project, entitled “Staging the Threshold: Foyerness and the Aesthetics of Entering”, considers the commercial foyer as a stage for new and temporary subjectivities. Investigating how the architectural elements and aesthetics of the entrance operate to produce a specific sensorium, the project speculates on an architectural practice that appropriates these mechanisms for the purpose of engendering new political subjectivities. Through a microscopic anatomy of the entrance, the project compares five different foyers of commercial architecture, in order to consider to what extent these allow for an immersion into an interior landscape of fantasy. What can architecture learn from the spatial practices often located outside of our discipline but inside the contemporary experience economy? In drawings and texts presented as intermissions between the anatomical case studies, the thesis suggests a set of design instruments to promote a foyer that triggers desire and fantasy beyond consumption.

Eva Gheysen

by evagheysen


My name is Eva Gheysen, I am 25 years old and grew up in Leuven, Belgium. I studied Architecture at Sint-Lucas Brussels and graduated in the Master trajectory REAL (Research, Exploration, Architecture, Laboratory) in June 2013 with the thesis project ‘In Space of Wonder’, that was nominated for the Meesterproef Vlaamse Bouwmeester. After my studies I was a member of the artistic studio M Atelier, I did several collaborations with artists and exhibited my work in artistic venues in Belgium. For the moment I am fully engaged in a design-based research at the university of Brussels (Sint-Lucas, KU Leuven University) and the university of Göteborg (Chalmers University).

The research project carries the working title “Disruption as a tactic for sense making in architecture” and can be situated in the field between Architecture and Arts and between reality and imagination. The main body of the research consists of an oeuvre of collages, scale models and installations on scale 1:1 that develop simultaneously with and are an inherent part of the research.

As an architect, I am interested in how our perception and experience of the environment is formed. How do we make sense of our surroundings and which conceptions lie at the base of this understanding? Through designing I explore the models we use for conceptualising architecture and investigate how these models influence perception and experience. Design tactics that were at play during the conception of the designs are extracted from the design production and provide insight in how disruptions in conceptual frames influence sense making processes.

Janek Oźmin

by janekozmin

Janek Ozmin

Janek Oźmin

Janek Oźmin born 1975, Dublin, Ireland is an Architect, Visual Artist and Researcher based at Umeå School of Architecture, Sweden. He graduated with a Diploma in Architecture from Cambridge University in 2001 receiving a Silver Medal commendation from the RIBA for his thesis project “Barking and Dagenham a New Industrial Culture”. Following graduation he has worked in both the United Kingdom and Ireland before establishing his own practice in 2007. From 2006 he was an assistant lecturer in Dublin Institute of Technology and Queens University Belfast where he has carried out a series of research based urban and building projects including NAMAlab 2011. NAMAlab investigated the conditions of Dublin’s collapsed real-estate market following the financial crisis of 2009 and was recognised by the RIBA as a World Class Project in 2012. In 2011 his project proposal for a Genocide Memorial in Atlantic City co-authored with the architect Donal Hickey was exhibited as part of the Royal Hibernian Academies first exhibition on emerging Irish Architectural practices. The memorial project also formed part of a solo invited exhibition at the Irish Architectural Archive and has since been included in its permanent collection. After moving to Sweden in 2012 he has produced a series of public spatial installations dealing with hybrid conditions formed between a combination of the Body, Landscape and Nature. Most recently he has exhibited a tryptic fabric sculpture titled “Domestic Still Life” in Hohenems, Austria dealing with migrating centres of production and space as product co-authored with the visual artist Swetlana Heger. He has contributed to several architectural publications on Illustration Techniques, Architectural Theory and Visual Arts practice. His PhD research is being carried out at Umeå School of Architecture within the Relational Architecture program with a focus on Relational Architectural Technology. The UMA PhD school is directed by Proffesor Roemer van Toorn and consists of PhD students Sepideh Karami, Katja Hogenboom and Hannes Frykholm and Janek Oźmin.

The Garden of Crisis PhD project Umeå School of Architecture.

The world of home is becoming an increasingly complex space where boundaries between the individual and society are blurring and forming a new context for emerging subjectivities. My interest is in how Architecture and Visual Arts can communicate through visual and spatial material productions the emerging image of the contemporary home.

The research project The Garden of Crisis argues that Architectural practice must engage with a variety of spatial and aesthetic practices in order to come to terms with a rapidly developing forms of domesticity.

The project is based at Umeå School of Architecture and is being carried out as an Artistic based Research projected connected to the Swedish Architecture Research Environment, ResArc and Architecture in the Making. It is the ambition of the project to construct a series of spatial installations and visual documents questioning how the home has developed as a space where the individual connects and negotiates with ecology, infrastructure logistics, production and consumption.


by bojanboric


Bojan Boric (born in Belgrade in 1968), moved to The United States in 1986. Received a Bachelor Degree in Architecture at Irwin S. Chanin School of Architecture, Cooper Union, New York in 1993, and in 1999 a Master’s Degree in Architecture and Urban Design at the GSAPP Columbia University, New York. Since 1993, he has been a practicing architect (Licensed Architect in New York State and Virginia) working on a wide range of projects from interiors to housing, public buildings and urban design projects throughout the New York City metropolitan area, Scandinavia and China. In 1997, together with Jelena Mijanovic, he has founded an office Forma Architecture and Design. In 2004, the office moved to Stockholm. In addition, Bojan has been involved in several exhibitions, collaborative projects and workshops with focus on contemporary urbanity. He has also participated in academic research and teaching in New York and Stockholm where for the past two years he was the Coordinator for the Masters Program in Urban Planning and Design at Royal Institute of Technology, Stockholm. Today, Bojan teaches at the School of Architecture in Stockholm as head of the masters level architecture studio focusing on urban design. Parallel with teaching and practicing, Bojan is currently enrolled in the PhD program working a thesis project titled “The Ghost Boulevard” at KTH School of Architecture in Stockholm.

Thierry Berlemont

by thierry berlemont

TB_fotobooth_27 05 2010

In a previous life I used to be an architect and partner in a Brussels based architectural firm named RAUW. We started in 1998 as a collaborative practice. The name ‘RAUW is both a word and an acronym. RAUW is the Dutch word for ‘raw’, while RAUW also stands for ‘Realisatie van Al Uw Wensen’ (Realisation of All Your Wishes). The name was chosen to be a constant reminder of the task that lay ahead of us when we started. To respond to a duality, a short-term and a long-term view, a problem solving and an explorative approach, a smooth, rational, politically correct side and a rough, ‘uncooked’ spontaneous side…’. Besides our architectural activities we also focused on architectural graphics and drawing. This was an activity that we developed with a certain degree of autonomy from our architectural practice. Some digital traces remain and can be found on the outdated websites and

In 2008 I took a break from architectural practice to be able to focus my attention on aspects of architecture that I could not develop in the context of the office. As a consequence my activities shifted towards architectural education and research. In 2011 I started a PhD at Chalmers. The project I am working on bears the (provisional) title ‘Invisible Things, a journey through organizations of matter in architecture’.

The project focuses on architecture’s built and tangible reality and how to bring that about, i.e. the construction subjects of architecture. It is concerned with the processes and acts of fabricating, assembling and shaping architecture, with understanding matter and the inexhaustible possibilities to transform it into architecture, as well as with getting your hands dirty and going into the action of making architectural things.
In order to be able to construct architecture we need to understand the theories of making as well as the practices of it. Unfortunately, when it comes to learning about making and constructing architecture, we almost automatically and exclusively end up in the realm of technology (and science). However, both fields of knowledge are not well equipped to deal with all facets of making, since they are primarily oriented towards producing certainty, control and prediction and acutely lack sensibility for aspects that are not quantifiable, calculable and certain. Aspects of making that are characterized by doubt, mess, imprecision and ambiguity are absent, avoided or solved.
It is necessary to complement the traditional instrumental and quantitative approaches of architecture’s physical making with qualitative and interpretative one’s. The existing paradigms must be put under critical scrutiny and questioned with regard to their explicit and underlying thoughts, methods, systems, organizations and theories.
An attempt to do this is what the Invisible Thing’s journey is about, at least for an important part. Valuing and dealing with apparently simple though often neglected underlying questions – how to make/construct/materialize architecture? How to understand the richness, complexity and organization of making? How to learn about it and how to teach it? – is another part of the challenge. I will try to create keys to interpret and understand ‘making’ architecture in a more comprehensive and exhaustive manner – one that is complex, interpretative, approximate, sensitive, particular and ambiguous besides being exact and abstract. Hopefully this can lead to a certain degree of (re)-identification, (re)-framing and (re)-formulation of principles, (re)-consideration of theories, (re)-telling of stories, (re)-construction of pedagogy, de-familiarization of familiar approaches and consequently their (re)-discovery.