| 1. |
- Frichot, Hélène, et al.
(författare)
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Infrastructural Love : A Support System for Critical Feminist Design Tools
- 2019
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Konferensbidrag (refereegranskat)abstract
- At the nexus of the architectural and environmental humanities issues of decolonization have extended into a consideration of human and more-than-human ecological relations. Given the entanglement of today’s social and environmental crises, we need to decolonise our imaginaries as much as our western European enlightenment predilections when it comes to our architectural habits and habitats. In this co-written paper we ask: How do we explore relational architectural ecologies (Rawes 2016) and engage in creative ecologies (Frichot 2018) from the midst of our pedagogical practices? This team of teacher-researchers presents work undertaken in the design studio context within Critical Studies in Architecture, School of Architecture KTH Stockholm, a division well known for its emphasis on feminist and intersectional theories and practices. Our project, Infrastructural Love, looks to infrastructural systems that support human and more-than-human actors with the aim of rethinking the majoritarian tendencies too often expressed in architecture. We propose to share our developing feminist design (power) tool kit, which aims to challenge the norms of architectural representation so as to re-orientate our points of views on the worlds we daily share with diverse peoples and vibrant things.
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| 2. |
- Frykholm, Hannes, 1982-
(författare)
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Blasphemous Special Economic Zone
- 2014
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Ingår i: Architecture and Writing. - Istanbul. - 9786055120900
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Konferensbidrag (refereegranskat)
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| 3. |
- Frykholm, Hannes, 1982-
(författare)
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Building the city from the inside : architecture and urban transformation in Los Angeles, Porto, and Las Vegas
- 2020
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Positioned in the research field of “interior urbanism” (Rice, 2016), this thesis considers entrance situations that occur between buildings and cities in order to develop new ways of investigating the relationship between architecture and urban transformation. From the main research question—How does architecture mediate urban transformation?—the thesis focuses on experience-driven narratives about the city (Pine & Gilmore, 2011). Looking at the means by which architecture situates the subject in an urban experience, the thesis asks how the experience contributes to a particular attention to the city. This approach intends to shed light on architecture’s role in both mediating and challenging neoliberal urbanism (Peck, Theodore, & Brenner, 2009; Fraser, 2019). The thesis argues for analyzing large-scale processes of urban transformation by placing a sharpened empirical focus on the built environment. This is tested by a transversal research method (Frichot, Gabrielsson, Havik, & Jobst, forthcoming) that intersects multiple investigative techniques. The three cases that are addressed—the Westin Bonaventure Hotel in Los Angeles, the Casa da Música in Porto, and Wynn Casino in Las Vegas—each epitomize a particular discourse about architecture and urbanization. Through observations and the analysis of the three cases, the thesis unpacks three dimensions of architectural experience of the city: first, by highlighting the spatial logic of a stretched threshold; second, by considering temporality and ways of waiting; and third, by observing the labor that is necessary to keep the interior environment intact. A recurring narrative in these buildings lies in the suggestion that the process of urban redevelopment never ends. Together, the cases point to an oft-overlooked parallel between the refurbishment of building interiors and exterior urban transformations, adding empirical nuances to what has been labelled the “architecture of neoliberalism” (Spencer, 2016). The threshold between building and city is shown to be a fragile and unstable territory, which is under continuous negotiation and where the claims of multiple actors, conditions, and events come together. The thesis attempts to make a contribution in three ways: by developing transversal methods, by considering the threshold as knowledge device, and by exploring micro-scale investigations of urban transformation. The project points to how the stretched threshold of these projects speak of a transforming relationship between architecture and capitalism, where the city is reconfigured through the stretching of interiors out to adjacent sidewalks and squares. If the city is built from the expanding insides of architecture, the city is by definition an unfinished project. To think of the instability of architecture not as a shortcoming but as a virtue opens up for a continuous engagement with the city as the unfinished construction site of a democratic project.
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| 4. |
- Frykholm, Hannes, 1982-, et al.
(författare)
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D3 Housing Tomorrow Competition : Woolopolis
- 2013
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Annan publikation (populärvet., debatt m.m.)abstract
- New Zealand’s Manawatu district is a fertile agricultural region in the lower North Island. One of the traditional centres of New Zealand’s wool production, sheep population, and vernacular culture, the Manawatu is now characterised by colossal windfarms and bleeding-edge agricultural science, a situation that demands new architectures catering to a rapidly changing landscape. Our project, Woolopolis, aims to consolidate the various functions and programs of New Zealand’s wool production into one dynamic community. Woolopolis takes the form of a complex network of programs - processing facilities at ground level, housing units lofted above, with the market functioning as the communal centre of the complex and mediating between the two.
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| 5. |
- Frykholm, Hannes, 1982-, et al.
(författare)
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Infrastructural Love
- 2017. - 1
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Ingår i: Architecture and Feminisms. - London : Routledge. - 9780203729717 ; , s. 1-5
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Bokkapitel (refereegranskat)abstract
- In this project we will formulate a feminist critique of Sylvia Lavin’s concept of “kissing architecture” (Lavin, 2011) for the purpose of developing a discussion on the politics of infrastructure and affect. We begin by noticing some of the potential risks in Lavin’s reading of the architectural kiss, such as the dichotomy between femininity/masculinity still haunting her definition, as well as the institutional character of many of the considered projects. As useful as the concept of kissing can be to describe transgressions between different worlds, it needs to be better situated in everyday life, outside museums and art galleries. Trying to expand on Lavin’s concept we argue that the political dimension of kissing can be explored in the repeated production of affect outside the traditional love affair and outside the traditional institutions for such love.
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| 6. |
- Frykholm, Hannes, 1982-
(författare)
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Inside the Backside : On labour and infrastructure of the casino lobby
- 2019. - 1
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Ingår i: Civic spaces and desire. - London : Routledge. - 9780815395263 ; , s. 53-67
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Bokkapitel (refereegranskat)abstract
- Using Jean Baudrillard’s early writings on atmosphere, the chapter points to how the production of harmony in the casino entrance is the result of a complex system of labour and logistics (Baudrillard, 1996). By hiding the necessary labour and tools in inconspicuous architectural details, in the hours of the early morning, in backstage spaces, and in remote sites of production, the atmosphere takes the appearance of a natural order. The continuous work of maintenance serves to construct an interior where the time of the outside is forgotten, and where money can be spent neglecting the consequences. What is produced in the backside of the casino lobby, is therefore not only desire, but also the invisibility of the resources needed to support such experience.
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| 7. |
- Frykholm, Hannes, 1982-
(författare)
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Reflector : Towards a Material Semiotic of the (Black) Mirror
- 2015
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Konferensbidrag (refereegranskat)abstract
- This paper begins with the slightly tinted reflections of an urban landscape, seen through the vertical windows outside of an elevator shaft. Moving down, a reflected city is revealed – narrow and high, skewed and dreamy, fragmented pieces of an American cliché, freeway, lawn, stop sign, high-rise, car, sidewalk – a city of distanced otherness, generated by rays of light bouncing of the cylinder shaped envelope of glass. It could be the opening scene of Michelangelo Antonioni’s “La Notte”, a safe-haven for cineastes and architects, but it is in fact the Westin Bonaventure Hotel (Architect: John Portman & Associates) in downtown Los Angeles, a canonical love-to-hate project for the theorists of postmodernity in the 1980’s.Acknowledging but steering away from Fredric Jameson’s critique of this project as a “placeless disassociation”, the paper instead follows the trajectory of Norman Klein, embracing the reflective elements in John Portman’s work as scripted spaces of special effects. Just like the staircase, the railing and the furniture, the paper argues, the reflections from the elevator shafts, the empty office windows and the water pools contribute to the production of affect in this foyer.Following this the paper asks what a material semiotics for the mirror entails, and what the reflector does in relation to other agents of the foyer space – such as humans, stairs, landings, columns and doors? How can the reflector be seen as an operator in the scripted spaces of the hotel foyer? What are the potential strategies for using the reflector of these spaces for the introduction of incompatible perspectives and purposes?The paper then intentionally sidetracks into a discussion on the Camera Lucida and the Black Mirror (Claude Glass) as mechanical operators for the physical act of looking into a condition of otherness. Instead of addressing the unavoidable loss of meaning in the process of transcribing the object to a projected image, the paper takes great interest in the performativity of the image in itself, especially in relation to the foyer. Following this historical excursion, the paper returns to Portman’s hotel, applying the perspectival instruments of the past onto the spaces of the foyer and speculates on how the black mirror can be used to produce reflections of otherness in this luxurious time-space. The paper ends with a note on Jacques Rancière’s work on the aesthetic sensibility, and a discussion on ways for the reflector to become an operative instrument for the introduction of a previously unseen sensorium in the space of the foyer.
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| 8. |
- Frykholm, Hannes, 1982-
(författare)
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Smooth Montage
- 2018. - 1
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Ingår i: After Effects. - Barcelona : ACTAR. - 9781940291994 ; , s. 236-251
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Bokkapitel (refereegranskat)
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| 9. |
- Frykholm, Hannes, 1982-
(författare)
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Staging the Intermission
- 2017
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Ingår i: Journal of Space Syntax. - London. - 2044-7507. ; 7:2, s. 165-178
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Tidskriftsartikel (refereegranskat)
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| 10. |
- Frykholm, Hannes, 1982-
(författare)
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Woolopolis : International Competition Winner
- 2012
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Annan publikation (populärvet., debatt m.m.)abstract
- Our project, Woolopolis, aims to consolidate the various functions and programs of New Zealand’s wool production into one dynamic community. Traditionally the programs associated with New Zealand’s wool economy - pasture, housing, shearing, production facilities and markets have been separated by both geography and context. This separation is no longer effective in a globalised world, so we turn to cohesion as a means of improving performance. Thus, Woolopolis takes the form of a complex network of programs - processing facilties at ground level, housing units lofted above, with the market functioning as the communal centre of the complex and mediating between the two. The architecture functions as a machine in which sheep can be fed, shorn, the wool processed and sold, all the while housing a diverse community of farm and factory workers, shearing hands, agricultural scientists, designers and investors integral to the wool economy.Housing units in the complex are adjusted for optimal living conditions - north facing to make the most of daylight hours, and turned against predominantly westerly winds. The whole complex functions as a singular machine - solar panels on the housing units help to power production facilities, rainwater catchment areas release the architecture from dependence on the existing grid and help to mediate the considerable water-usage associated with agriculture. The entire complex is lofted above the ground to make storage space for hay during harsh winters.Woolopolis is New Zealand’s traditional rural vernacular at hyperspeed - archetypal building forms, rugged local materials, constructed by local contractors and future dwellers. Woolopolis grows without the help of architects, and as it expands it does so on the condition and pace of the local context. Consolidating all functions of the wool production process into a singular eco-friendly complex, Woolopolis is a sustainable response to the motto, ‘think global, act local’.
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