Sudden coherence and sense after one-year confusion.




The first year at AAA – and I guess every other school of architecture – is almost literally a mind-blowing experience. You as a student have to gain specific techniques, strategies and methods through the year. I must admit, I thought my brain was out of memory more than once. The architectural world was still quite new and much bigger than my immediate impression. I found it difficult to encourage the little brain-soldiers of mine to keep thinking inventive, different and most important of all constructive.

In June 2014 in the very end of the first year as a student at Aarhus School of Architecture, I experienced that maybe, somewhere, in the mixture of new knowledge, theory and drawing techniques, there are things that make sense. I discovered the coherence of architecture.


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While walking inside the summerhouse of Gunnar Asplund at the countryside in Sweden I started wondering. When closing my eyes, moving around, touching the white painted panels on the walls, I felt some sort of Deja vous. The fact was I had never been in this area before. I had never in my life walked 50 km from Stockholm. Still, something about the house and the atmosphere in- and outside of it reminded me of something. I started analyzing the house. Looked at the landscape, tried to search through the catalogue inside my brain. Did I know any house similarly placed in the landscape? Any structures simply continuing the mountainside reaching towards the lake? Any architects who had chosen to rotate the southern part of the house seven degrees in the matter of getting a view toward the lake from more than one room. My answer was no. But still – as I walked inside the house and around it I felt some sort of homesickness.





Asplund build his summerhouse in 1940. He was fond of using local materials and labor. What was more important to him was the house following the topography and giving the people inside the house the opportunity to see the lake from every spot in the house. He wanted the summerhouse to be a relaxing zone – far away from the noisy capital. In order to accomplish the feeling of being home and relaxed at the same time as ensuring the functionality of the house Asplund has not only designed the house itself. He has drawn and designed almost every single furniture inside the house. And this reminded me of something.

I knew I had discovered another architect who had done some work quite similar to Asplund. In Charlottenlund just outside Copenhagen there is a house drawn by a famous Danish designer and architect. The house of Finn Juhl. The house of his was similarly to Asplunds placed more or less in the landscape instead of upon. The house and the elevated floors inside the house were all playing with the topography. It was important to both Juhl and Asplund to feel connected to the outside when staying inside. The furniture of Finn Juhl is designed to the house, and he has used his house as an observatory. Using the light as an important matter. The white panels inside the houses, suddenly playing with warm colours and small hidden corners around the house giving you the opportunity to hide and relax.



It is difficult to know whether this will make sense to any other person than myself. But the fact that architects inspire one another encourages me to borrow tiny parts from other projects. It has given me an understanding of coherence and the time aspect inside the world of architecture. And I am sure we will end with better results in the future, if we applause the experience of others. In a short time perspective the projects will increase and in a longer perspective young architects, as myself, will understand how natural it is to inspire and most importantly that one structure is not standing alone. Every time you start investigating a building more deeply you discover the fact that it reminds you of something else. Architecture is a world of coherence but at the same time – this is where the word unique is spelled in a new way over and over again.

- Katrine Ernst

Aarhus Festival 2015


Studio MAD has the last weeks been working on suggestions for Aarhus Festival 2015, some of the proposal can been seen here. They have been presented to the leadership of the Festival and they are now awaiting to hear which projects that will be realized on next years Festival.     



Projekt 1: Waterfall

Waterfall is a project located where Blegdammen meets Aaboulevarden, where a small plateau is reaching into the stream.
We want to create a visual connection between the two sides of the stream, and also to create an event for the site. We will do this by building a waterfall, running from the opposite side of Blegdammen and into the stream.
When sitting at the bench you can sit and enjoy the running water, while having the traffic on the other side framed by the skeleton of the waterfall construction. A simple and rough construction to help create a visually thin, and almost transparent object, thus putting an emphasis on the water itself.
Projekt 2: Stack It
Stack It is a highly additive system that focuses on creating attractive installations intended for Aarhus Festugen. Intended to be based beside the new DOKK1 complex, the stackable system will invite the public to program their city based upon their wishes. This system is centered on a steel cube that features one transparent coloured acrylic panel, which will reflect light and create colour combinations that will highlight the otherwise raw environment. The hope is that the public will visit the area often to experience the different installations and assist in creating new spaces within their city. 


Success at DANISH Made


Two groups of students from Studio Design, exhibiting at Danish Made in Milan and London gets their chairs in production through WOUD. The successful groups are  Malene Lillelund and Anne Mette Thygesen, which together have designed the chair ” Gækkebrevet”, inspired by the poetic danish tradition cutting “gækkebreve”. Also the design duo Maja Bøgh Vindbjerg and Lærke Bo Poulsen, which have been inspired by the japanese tradition of folding paper, origami, to design the chair “BUK”


01 Photo[2]

About the Chair Designed by Malene Lillelund and Anne Mette Thygesen


The chair is inspired by “gækkebrevet” – a Danish traditional paper art, where love for a dear on is expressed through a cut out letter with a rhyme written inside.

“Gækkebrevet” is signed anonymously with dots instead of letters. Through the design process, this poetic tradition has been analyzed and challenged by a mathematical approach,

in how to generate a pattern which will present the essence of the beautiful tradition. The chair will be launched in 2015.



About BUK – designed by Maja Bøgh Vindbjerg and Lærke Bo Poulsen 


The minimalistic design of BUK is inspired by the japanese art of folding paper, origami. During the design phase experimenting with

folded cardboard and studying the many bends and angels, was an inspiration source as well indicator of the potential and properties of the seat.

The result is a one piece metal seat that naturally encloses the user while seated. Metal is normally perceived as a hard, rigid material, but the BUK chair

highlights the flexible advantage of a thin metal sheet and confronts this perception, while still providing a comfortable seating experience.

The expression of the BUK Chair and the honesty of the material makes it part of the Nordic design traditions. BUK will be launched by WOUD in 2015.

Workshop at CEPT University, Ahmedabad, India

In May 2014, 12 students from Aarhus School of Architecture travelled to India to participate in a workshop at CEPT University, Ahmedabad. The primary objective of this study was to understand the culture, community, settlements and contemporary significance of an ethnic group in Calcutta. When finishing the workshop at CEPT, the students investigated the historical works around Gujarat and Rajasthan, to understand building culture in the extreme climate as well as the Indian lifestyle. The following pictures depict traditions, clothing and architecture, hopefully providing insights into the broader cultural landscape of India.


Cheenapara – the students study of the Old Chinatown in Kolkata can be seen on the CEPT blog :

Photo : Lasse Vejlgaard Kristensen

Photo : Lasse Vejlgaard Kristensen

Photo: Lasse Vejlgaard Kristensen

Photo: Lasse Vejlgaard Kristensen

Photo: Thomas Hilberth

Photo: Thomas Hilberth

Photo: Marie Ramsing

Photo: Marie Ramsing

Photo: Marie Ramsing

Photo: Marie Ramsing

Photo: Thomas Hilberth

Photo: Thomas Hilberth

photo: Lasse Vejlgaard Kristensen

photo: Lasse Vejlgaard Kristensen

Photo: Lasse Vejlgaard Kristensen

Photo: Lasse Vejlgaard Kristensen

Photo: Thomas Hilberth

Photo: Thomas Hilberth

Photo: Thomas Hilberth

Photo: Thomas Hilberth

Iceland collages

Lowlands and mountains

When we went to Iceland on our study trip, our assignment was to document our trip in wathever format we wanted. Some made a short movie, but I decided to take pictures. In my assignement I chose to make two collages with pictures I took on our trip that I thought went well together. In the first collage i wanted to show the almost infinity of the lowlands on Iceland. In the second collage I wanted to show how the lowlands gradually ends in mountains.


2_Johan Oskar Rasmussen Sterner 2a


7_Johan Oskar Rasmussen Sterner 1a

- Johan Oskar Rasmussen Sterner






Studio Design and social innovation are going to London Design Festival on a Study trip  17-20 september.
We are part of the exhibition Danish Made where  new works along with perspectives on future furniture design will be exhibited at Tent, highlighting Danish design and upcoming talents from the Danish furniture scene.
Come and join a drink with us!

Contrasts of Iceland

Last year’s first year students went on various study trips – unit 1A went to Iceland. Iceland is considered a relatively new country, a result of volcanic activity and transform boundaries in the lithospheric plates. Besides that, the country is affected by glaciers that have played, and still play, a very important role in how the landscape is evolving.

Contrasts in the nature

The landscape is in fact very varied because of it’s geological history. On the one hand you can find places where the expression is raw and cold, where the vegetation is dry and the streams of lava have carved their way into the backs of the massive mountains and the signs of erosion are obvious. On the other hand you can you can find places where the earth is fertile, the colors of the nature harmonize and create a beautiful, sometimes even elegant view. It is hard to believe, that you can find such different expressions on one place, and yet Iceland is the place for it to happen.


3_Rima Murad 1


9_Rima Murad 2.1



9_Rima Murad 2.0

Nature meets Culture

Extracting the hot water from the geysers and hot springs is a part of the industry in Iceland. That means where ever you go, you will be met with large pipes and factories that compare most unfavorably with the nature. But the nature is used in other ways as well. The phenomenal nature of Iceland has become a huge tourist attraction, and it is interesting to see how these human activities reflect on the nature.


Rima Murad, 1A, 2014



Students create ‘recyclicity’ based on Superuse Studios theories




How do we transform the city to ensure a better use of resources and a higher degree of integration between flows and functions? How can we transform waste into sustainable building materials, and in general ensure a better use of resources?

These questions are central to the work of the studio Architecture and Resources, Aarhus School of Architecture, this semester. The work will be done under supervision from visiting professor Césare Peeren, partner and co-founder of Dutch-based design- and research company Superuse Studios.

The Architecture and Resources studio has established a project site in a suburban area in southern Aarhus. Here the students will be creating elements as well as an overall strategy for transforming the area into a more integrated system based on the methods and theories of Superuse Studios.

The semester will be kicked off with a two-week workshop encouraging the students to create building elements purely from reclaimed materials in order to ensure a better use of the city´s resources.


In our first year main assignment we were all given the site Aarhus Åløb, more specifically I had to work at a spot at Årslev Engsø. A lot of people come out this exact site because there is a parking lot and a public restroom. Mostly you see people running, walking, biking or walking their dogs. There is a path around the lake that is lifted from the lake at one side and the creek on the other side. Consequently people do not differ from the path, because it is difficult to get down to the water on either sides.

Therefore I started to work on a an intervention that would connect the the two watersides and thereby break with the controlled pathway. The area is very open, and the project would therefore have to take up a lot of space, but it also had to integrate in the landscape by adapting to the topography of the landscape. I designed a deck with the intention that people can stay there, sit down, play some ball and enjoy the two different watersides on closer hand – because the two watersides are so different from each other. The creek is more quiet and comfortable with the trees creating a smaller space, where the lakeside is more flat and the space is much more open. The landscape underneath the intervention is integrated by small wholes in the deck that will leave room for the original trees and let the straws grow up through the intervention.

By: Cecilie Siw Christensen, Unit 1B


My final project as a first year student developed around Aarhus Ådal. The site for my intervention was located on the northern shore of Brabrand lake. The project was bound by two pre-given focus points: Rising sea levels and integration or contrast to the surroundings.

I wanted to create an intervention that increased the accessibility from land to water and from water to land. Through a process of sizing and shaping the intervention I became aware, that I not only wanted the intervention to be a link between land and water that people would discover on their way, I also wanted it to be an urban space – a destination point that would provide a space for picnics, kayaking competitions, outdoor concerts, public events ect.

Working with the topography and size of the site it became clear that my intervention would stretch over 100 meters from Brabrand pedestrian path to Brabrand lake with a topographic decrease of 6-7 meters. I created platforms in different levels, that would appear and disappear with the rising sea levels. The texture of the platforms consists of planks arranged in an order inspired by the thought of driftwood on a river, where every vertical decrease between the platforms worked as small symbolic waterfalls.
The area around my intervention was very open and windblown. Therefore I worked with implementing different vegetation from the site in my intervention. Hereby I differentiate a big and open space into smaller sub-spaces that would provide shelter and intimacy in the intervention. Furthermore the trees would give the construction a low opacity, that could arouse peoples curiosity to the unseen, and make them investigate the platforms space by space.

By: Stephen M. S. Jørgensen, Unit 1B