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

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

3. 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.

4. 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.

5. 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 add-
ing new elements of visual significance and architectural meaning. It is
about participating in an existing situation and creatively prepare visu-
ally 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 conti-
nuity is to find a rhythm. By rhythm means any measured flow or move-
ment 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 instal-
lation more dynamic in static system and to find a contrast to make the
static system even more clear and understandable.

6. 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.

7. 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.

8. 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.

9. 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.

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

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

12. 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.

13. Sleeping positions in the camp
Model 1:25
Arne

14. 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

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

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

17. 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.

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

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

20. 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

21. 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)

22. LEMSTOVA - using/designing in a new way, taking the long traditions into con-
sideration, 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

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

24. 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.

25. A SECRET PLACE BREAKING THE BORDERS

26. A SECRET PLACE BREAKING THE BORDERS

27. A SECRET PLACE BREAKING THE BORDERS

28. A SECRET PLACE BREAKING THE BORDERS

29. 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

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

31. 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

32. 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

33. 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

34. 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.

35. 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.

36. 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.

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

38. 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 be-
tween the object and the person who walks around it. This by sculptur-
ing the cube.

39. 1 : 1 Sketch
Working with corners. Backing
up the corner.
Makes you se a new situation.

40. 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.