Visuell Struktur Bas Finale Mars 2010

Portfolie BAS Master courses BAS Cross courses By Gaute Aas BAS: Bergen School of Architecture, Norway, 2008 - 2010

BAS Master course 1. Autumn 2008 Name: BAS X - Open form By Gaute Aas Visual structure Bergen School of Architecture, Norway, Autumn 2008

BAS VISUELL STRUKTUR Autoum 2008 Here are some examples from the teaching process: Teachers; SVEIN HATLØY OG MONA STEINSLAND visual structure–drawing: Oskar Hansen, Architect and artist, professor at the Art Akademi in Warsaw It could be useful to work on a drawing over a longer period – to learn to see. As one (ASP) gave name to the theory ”Open Form” in 1959 on the TEAM X-congress of the traces this is row of practicing, from simple expressions of a few elements in a in Otterlo, Nederland. Oskar Hansen has worked directly from this scheme on closed space, to complex expressions in open form with various objects. the different projects him and his wife Zofia Hansen has developed. He evolved and clarified the visual language through his didactic work, and through his visual structure–“form of space”: engagement at the sculptural classes by the Art Akademy in Warszawa. He has advanced the subject visual structure and worked in order to make a dialog in As professor Oskar Hansen taught it – Looking and Seeing, this is training the ability between and to incorporate together the different subjects -space/ landscape/ and of seeing. As with most of the practices in visual structure, this refers to a situation sculpture. Oskar Hansen had introduced the topic, visual structure and taught the already given, or which is created during the process. Looking and seeing – what subject Visual structure at BAS. makes you choose what you do? Show it! Here at our school we are operating with a term called DAV (Den Andre Verden time–space: = the other World) – DAV is the key to visual understanding. “Visual Structure” is included under this umbrella. Visual Structure is built upon the teaching of It is important to create a reflected and controlled relationship between person and form, at the artist academy in Warsaw, by the professor Oskar Hansen*. object, seeing the object walking around it. BAS normaly teach visual structure as an introduction to the 1st year students, visual structure–contrasts: and then more advanced courses throughout the 2nd and 3rd year and as group courses in our 2. Part the 4th class students. Professor Svein Hatløy who teaches Concrete qualities of form characteristics–different types of contrasts between objects. is in collaboration with the other teachers. Of size, of shape, of heavy and light, all presented visually. visual structure–the concept of pressure and tension Bas X was a master course for a mixed group of people coming from other architect schools from different parts of the world. Alle students had a minimum visual structure–open form, dynamic expression, continuity and simultaneity. of 3 years of architect studies before they came to BAS. In one semester we had to go trough every task BAS-students normally takes from the first to the visual structure–by the great number of elements: third year at BAS. But on the basis of our earlier architect studies we already understood the traditional language of architecture. It was an very interesting Making a great number of identical elements legible by adding more elements in a and challenging learning curve understanding the philosophy and thoughts of visual structure, not taking away existing elements. open form and visual structure. The richness in this expression lies both in the number of elements and in their Below follows the different task we were given through the semester. individual identity. To make this comprehensible more elements are added artistically. The readability lies in an expanding order by a visual structuring. The quality of all the forms, as well as the richness of the whole, would get lost if we take away elements to make it readable. An open form as this will loose its qualities if the elements were restructured into a geometrical order.

MY BACK GROUND in MEZZO SCALE: Mezzo scale is the community scale. The task: To present my personal background, as I grown up, every day going to school (junior high), or/and going to work. This means: My community at this stage of age is enlarged from my childhood. The task: from my memory draw a map of my spatial, physical background, supplied with free hand drawings. This is a reflected presentation from my memory, now drawn as an architect: Which architectural and other physical elements constituted my community, including my home/place of stay and communication.

First week at BAS. Visual structure are being teached by Svein Hatløy Visual Structure 1 DYNAMIC: To find a connection, thing or an element which can ex- press a dynamic system. This task is a visual training how to develop existing situations by adding new elements of visual significance and architectural meaning. It is about participating in an existing situation and creatively prepare visually for the next special addition . in this case to find stops in the system that is created by the participant. 2 CONTINUITY: How to continue the stops in the installation that gives the condition of space to invite for the next step. The context is to make your eyes move and see the possibility for the next movement to continue the installation. 3 RHYTHM AND REGION: The existing multiplicity of forms after continuity is to find a rhythm. By rhythm means any measured flow or movement in the variation of the length and accentuation of a series. The most important is to make a changing by the continuity so it will not repeat itself but make a changing in movement while the rhythm is maintained. 4 STATIC AND CONTRAST: Add another element to make the installation more dynamic in static system and to find a contrast to make the static system even more clear and understandable.

Utsira Abstract. Bas x going to Utsira on an excursion. The trip started with one week in the schools old military tent. to find a place to stay; concerning the sun, wind and earth. The group worked with different tasks in the landscape. The tasks were mainly about learning how to read landscape and the relation between nature and community. To see and analyse in tree different scales; micro- mezzo - macro. The group presented there work by drawings and 1:1 scale sketches, called visual structure. In the second week the group moved to an old boat house placed in the local community. analyzing the micro climate. To see and read how the coast climate influence the way of constructing architecture and how materials age and seasone by time.

1:1 sketch. Visual structure. About finding qualities of the site. By showing the different elements in the landscape. And by adding something, showing and strengthen it.

Mapping the site. About analyzing and understanding the site. mapping the landscapes visible and unvisible elements. Analyzing Topography, Ground, Air, wind, Wetness and dryness. In the tree scales : micro - mezzo - macro. The work was organized in two groups; in the North and in the south.

5. Looking and seeing. Microclimate. To analyse how the coast climate effects on the architecture. By observing the microclimate of an local barn. By looking and seeing how the wind and water affects the materials by time. On both the outside and inside.

Showing the landscape. To find a personal place somewhere in the landscape. And to make quick drawings. In different moments.

Showing the landscape. To find a personal silent place somewhere in the landscape. and to make quick drawings. In different moments.

Arne Concept model, not bigger than a matchbox Drawings of climate and protections you need when living out in the landscape of Utsira. After coming home from Utsira we were given the task to make an architectural answer for survival in the hard wether conditions at Ut- sira. Utsira is an irland out in the nordic sea, where rain, wind and fast climate changes are very present. “ARNE” is a house which is not a house, - a tent which is not a tent. It is a concrete aim to help me getting familiar with my situation, physically and visually, when I am living in it.

Sleeping positions in the camp Model 1:25 Arne

abstract: Havråtunet - Osterøy “TUN” means many houses together in a Visiting Havråtun*. A small and dense society with houses put togehter common form. The history og “the tun” or into a cluster. Experienicing the public and private space. the farm yard of the western norwegian landscape goes way back to the bronze *Tun = Town age. The norwegian word “tun” has the same root as the Englich “town”. In Scot- land the word is pronounced simular to 1. the Norwegian pronunciation og “tun”. Action in space . Bas x lived at havråtunet for several 2. days. Working and understanding the situation Individual 1:1 sketch and traditions by using the body, drawing and making visual structure, 3. New public use 1 : 1 sketches 4. A museum

Action in space. How our bodies relate to the landscape. Performance Havråtunet Performance

Individual 1:1 sketch. To show a house by adding elements. And showing the surounding houses in connection with the landscape; without dominating.

Havråtunet - culture in the landscape Where the landscape is above you and below you to the same time. drawings at site, light and passages New public use. To give an old house in the tun a new public use. Remaking but keeping the existing qualities.

The inner structure of the museum. Inner landscape, a reflection of Havråtunet. 1 : 25 A museum.

Museum in the landscape. Results of the interpretations in the landscape, dramatically character, in 1:1 sketch. facade images 1:25

LEMSTOVA - VIK sogn og fjordane Being out in the field, living in the farmhouse. Studying the different parts of the building, the climate, the topographical situations. Making suggestions of a new use of the longhouse for my self as an srchittect of tomorrow.. Visual structure 1 : 1 SKETCH Larsen huset Reading the climate

Facade 1 northeast 1:25 Facade 1 northwest 1:25 Lemstova - a part of our building history. Design project. Lemstova part of the community (mezzo-scale) Historically, a result of the climate of western Norway (macro scale)

LEMSTOVA - using/designing in a new way, taking the long traditions into consideration, but as an architect of today. The traditional farm house ( a longhouse). Untill now the last step in a conti- nous development of the longhouse as the farmhouse. An open form - open- ness toward cultural and technological change and development. Model pictures 1, 2 and 3

LEMSTOVA - using/designing in a new way, taking the long traditions into consideration, but as an architect of today.

A SECRET PLACE BREAKING THE BORDERS The task was to experience and ex- plore a place of free choice. To find DAV (Den Andre Verden = the other World) – DAV a place I found interesting. A person- is the key to visual understanding. al magic point. And to visit this place several times, and spend 2-3 hours Teacher: Trudi Jaeger every time. Working with the place, both physical and by drawings.

A SECRET PLACE BREAKING THE BORDERS

VISUAL STRUCTURE Drawing and printing Teacher: May Elin B DAY 1 / Universite in Bergen - 1:1 drawings - Blow out DAY 2 / Bryggen Museum - How light affects the bigger volumes DAY 1 AND 2 - Drawing

DAY 3 / Bergen architecht school - Printing DAY 4 / Bergen architecht school - Printing - Rehearsal DAY 3 AND 4 - Printing

FAT AND ASHES / Cube - Dark and light ----- take in and take of light. We used a 120 cm roll paper(white) for each student and taped it in double pieces to 240cm x 240cm. We used two kinds of materials - charcoal and white paint. Every student was given different thicknesses of charcoal to make darkness. Everyone was free to interprent it the way they wanted. After a half day with black on the paper we were adding white painting to bring back whiteness and light on the picture. FAT AND ASHES / CUBE

Cube - Sculpture of light and dark We were given plaster and candels as material to build a cube 20cm x 20cm To make the form we took 5 plates of wood and cut it. One as the foundation and the 4 others as the walls. Then we made the form of soft materials to put inside so it would be easier to scrape it out from the plaster afterwards. Process FAT AND ASHES / CUBE

Cube - Sculpture of light and dark The exercise was ti make different pas- sageways for the light. We had to draw our model first to better see different opportunities. Then we put the form in the model and fastened it very good before we added the plaster.. We could choose how much plaster we could bring in to the model. When the plaster had curdle, we added stearin on top of that again. FAT AND ASHES / CUBE

BODY Action 1: We used charcoal to draw on paper sticking on the wall and floor. Followed my movements and the actions which happens in the space. Used my hand, foot, finger, arm, leg to draw. Then being more aware the way i draw. Finding situations, movements, rhythm in the drawing process. Focus, investigate, study in depht motives I an selecting. Being conscious and concentrated the way I an drawing. Repeating and makes variation of the motive.

BODY Action 2: Choosing motives I get attracted to and find interesting to work futher with in 3D form. Working out associations related to the materials and the construc- tions. For example: Heavy, light, transparent, which size and so on, the motive could be on 3D. I chose to work with many different materials; wire, plastic, paper, tree, stone, things and rubbish from the containers. Working in relation to my body. Being present and aware, but now acting in the space. Working with water association, time stands still, no movement. Frosen silence.

Visual structure Looking and seeing. This is training the ability of seeing. Contrast: Heavy - Light Rest - Unrest. . Given two dark grey slabs or plates, and four similar dark cubes, two for each plate. The idea is to add or to form.

Continuity: To let the structure on the cube lead your eyes round the box

Scale: using the same elements but in other positions on the plate. Creating different scales. Time - Space: Cutting, Working with the cube. To create a relation between the object and the person who walks around it. This by sculptur- ing the cube.

1 : 1 Sketch Working with corners. Backing up the corner. Makes you se a new situation.

Warszawa Game: Open form Open form: is about interaction between elements, providing a background in which life is to take place. I will only be good when you are good as well. I win if WE win. To be the backgroud for the others and each others, to make the other one be better. Directions: Players take turns in adding elements to a setting, always keeping into account the relation with the previously added objects, but also providing new spaces and backgrounds for actions to take place. You win in this game when you make the next player better. This is a game to teach your eyes to always see the next stepp. Closed form: Is all about itself. Born as a dead object which, in the best of cases, can only be treated distantly. Its ambitions is dominate, to stand on top of the hill as a watchtower. closed form avoids dialogue and prefers subjugation. It is more important to win than to participate, and as you can see from the image, all objects are competing for a place on top, almost like a Babel tower. Directions: Each player adds an element to try to stand out from the crowd, to try to get as much attention as possible from the viewer and should not take into account any existing items, because itself is an object that does not depend on others to exist and grow. The goal of this game is to win, regardless of the rest of the participants.

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Visuell Struktur Bas Finale Mars 2010

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