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CV: CURRICULUM VITAE MOTIVATION LETTER ARCHITECTURE MANIFESTO
ACADEMIC WORKS:
URBAN STUDIOS: A SECOND HOME
MASTER STUDIO: SAUNA CONTEST
CITY PLANNING: BOLIG OG BÅND
PRACTICAL WORKS: TRESTYKKER TRIKKESTALLEN
Hi, my name is Amund Olsen Jølle. I’m 23 years old and from northern Norway. For the past few years, I have been studying architecture at NTNU in Trondheim. This collection showcases work from both studio projects and personal endeavors. I have selected projects that best represent my values, process, and methods.
Most of the photos were taken by me, either with an analog or digital camera. Exceptions are credited accordingly.
Curriculum Vitae
Address: Sandgata 73, 7012, Trondheim.
Email: Amundoj@icloud.com
Phone/Mobile: +47 95057614
Date of birth: 13.07.2001
WORK EXPERIENCE:
12.2015 – 06.2016
07.2019 – 08.2020
02.2022 – 02.2023
06.2022 - 08.2022
08.2022 - 06.2023
01.202407.2024
08.2024 -
EDUCATION:
08.2017 – 06.2020
08.2020 - 06.2021
08.2021 - 06.2026
10.2022
RELEVANT COMPETENCE:
Tromsø Gymnastics Association, Tromsø Gymnastics Coach. UNN Hospital, Tromsø Supply Department. Student Society, Trondheim, Volunteering and DJ-ing. Restaurant Louise, Oslo, Waiter and Barista. NTNU, Trondheim, Student Assistant for 1st Year Architecture. Trikkestallen Skatepark, Trondheim, Volunteering as skatepark designer.
TRESTYKKER, Nordkapp, Volunteering as builder and architect. NTNU, Trondheim, Student Assistant for 3rd Year Architecture.
Tromsdalen High School, Gymnastics with Science. OsloFjord Folk High School, Music Production. NTNU, Master’s Degree in Architecture. NTNU, LAOS-Course.
I have extensive experience with a wide range of digital programs. Since middle school, I have worked with most of the Adobe suite, and I am particularly skilled in Illustrator, Photoshop, InDesign, Lightroom, Bridge, and Premiere Pro. In addition, I am proficient in digital design software like Rhino, Blender, and Archicad.
I have experience in building, both from my studies and from my spare time. I also enjoy working with laser cutters and woodworking machinery, as well as developing and processing analog film.
REFERENCE:
Paul Andreas Grøntvedt Gjertsen: Associate professor Department of Architecture and Technology
Former supervisor and architecture tutor.
Email: paul.andreas.g.gjertsen@ntnu.no
About: https://www.ntnu.no/ansatte/paul.andreas.g.gjertsen
My name is Amund Olsen Jølle, and I am excited about applying for exchange studies at Aalto School of Arts, Design and Architecture. I was recommended this school by one of my tutors due to my interest in materials and circular building processes.
As a Sámi, I care deeply about nature, Sámi architecture, and philosophy. For me, architecture should reflect a holistic understanding of nature, recognizing that humans and the built environment are part of it, not above it. We need to realize that the building processes, from material extraction to assembly, is one large system—one that should give back to nature as much as it takes.
That is why I want to learn more about current materials supply chains and urban design problems. Therefore, I am interested in the Studio Spring and Industrial Wood Construction D courses. Studio spring offers interesting and different “streams” which resonate with my design values. I am especially excited about the Sustainable construction, Housing Design and Humanitarian Architecture lectures. The Industrial Wood Construction course aligns with my interests in materials, supply chains and how we should prepare ourself for post-carbon future.
Additionally, I applied for the Exhibition Design course to explore new ways of communicating architecture. I care a lot about how we communicate and express architecture and I believe this course will give me powerful tools to work with when I am writing my master.
In conclusion, I am excited about the opportunity to immerse myself in Aalto’s innovative environment. Aalto’s range of courses offered align with my ambitions of merging traditional knowledge, such as Sámi techniques, materials and values, with modern practices. I believe that by gaining a more comprehensive understanding of materials, processes, and design communication, I can contribute to a more sustainable and balanced built environment in the future.
Thank you for considering my application. I am confident that studying at Aalto will equip me with the knowledge and skills necessary to make meaningful contributions to the field of architecture, and I am eager to bring my passion and unique perspective to your institution.
Best regards, Amund Olsen Jølle.
-How do we address the fact that modern buildings are torn down after just 20-40 years?
The growing disconnects from nature, combined with the relentless pursuit of profit, has turned Norway into a build-and-demolish society. Buildings in Norway have dramatically short life spans compared to the rest of the EU.
If we are to build sustainably, we must change our view of nature and our building practices. In this regard, we have much to learn from Sami architecture.
The goahti as a model:
1. Local materials provide a closeness to nature.
2. A goahti reflects a holistic view of the supply chain
3. How can this be applied to our design logic?
A goahti is constructed from materials in the immediate vicinity of the structure. As a result, the goahti feels like an extension of nature and the place it is built on. The materials are already suited to the climate it is built in. In addition, it is easy to see what each natural element has contributed to. In modern buildings, however, this is not as apparent.
Gypsum boards and linoleum floors don’t feel like products that come from nature in the same way that the wooden logs in a goahti do. I have no idea about either the process or the environmental impact that led to the paneling on my walls. My brain hardly registers it as a product that
once came from nature. This distance between nature and product is one of the reasons why we allow ourselves to view trees, animals, and plants as resources we can take for our own use.
The goahti, on the other hand, represents a holistic view of nature. The lifespan of a goahti is around 50 years before it decays. It is designed so that when it rots, it leaves as little trace as possible. The tree becomes the log for the goahti, the goahti rots and becomes nourishment for the tree. The goal is to live in harmony and as part of nature, rather than elevating oneself above it. In other words, one should not harvest more than one can afford to give back.
3. How can this be applied to today’s architecture?
We must learn from Sami architecture. We must reintroduce the values we once knew. Shortening and making a circular supply chain by using local materials will help us recognize their value. It will make us plan for how we are going to extract without destroying. It will make us give back what we take.
In Sami design, the strength of the local materials shapes the building. For example, in Sami goahtis, the roots of trees are used for the main load bearing structure because of their exceptional strength. The shape of the goathi is determined by the natural form of the roots. We should learn from this on-site designing and using materials for their inherent qualities.
In this context, form doesn’t follow function—it follows the local materials.
We also need to design for disassembly. As we traditionally were nomadic people, a lot of our architecture are made up of parts that are easy move, repair and change out. This design-principle accepts and welcome changes. We should accept that a building is never finished, it’s a constant act of repairing and changing out.
Future architects should take inspiration from the goahti and sami values, designing with the understanding that we are part of a symbiotic relationship with nature, not above it.
AAR4466
Architecture 6, Large Buildings
An activity house in a planned urban context:
The bachelor project was a group effort that lasted half a year. I worked alongside Randi Bye and Sigrid Oledal in a team of three. Our task was to design an activity house within a planned urban environment. The site we were assigned already featured two interesting buildings: a bus workshop and an office space. We decided to transform these existing structures, as we believe in preserving the quality and character of spaces whenever possible.
For the new building, we prioritized using environmentally friendly construction techniques. The facade, for instance, is made of reused windows from a nearby building slated for demolition. The core of the structure consists of locally sourced rammed earth, while the CLT (crosslaminated timber) slabs extend outward to support the glass facade.
This is project is quite big and i will not explain everything here so for more information and detailed drawings of this project, please visit:
https://sites.google.com/view/arkitektur6/prosjektarkiv/2024tempe-sorgenfri-tidsspekulasjoner
Everyone in the group contributed to the drawings and photos.
WITH: Randi Bye and Sigrid Oledal
We are located in Sorgenfri/Tempe, in Trondheim, just below the middle of Norway. It’s an area that today is characterized by industry, transportation, and commerce. It’s a place people pass through, not a destination. Holtermannsvei divides the area in two and acts as a clear barrier. The typology is varied, and the terrain is flat.
A survey conducted by the municipality of Trondheim shows that the average size of homes in Sorgenfri/Tempe is much smaller than in the rest of Trondheim. This means that many children don’t have the opportunity to invite friends over. Children in Tempe have to commute to school and to see friends, and many report not having a strong sense of belonging to the area. Additionally, the analysis indicates that the average household income is lower, which deprives many children of the opportunity to participate in extracurricular activities.
Sorgenfri Activity House is working to change this.
Sorgenfri Activity House is a vibrant gathering spot for all ages. Whether you want to run and play in the garden, hang out with friends in the cozy living room, game in peace, craft gifts, or land your first kickflip, it’s a place that feels like a second home. With private areas for small groups and open spaces to meet new people, there’s room for everyone. Large parts of the facility extend into the urban square, making it the bar for entry low. Whether joining in or simply watching, you’ll always feel welcome here.
SKETCH SITE: BEFORE
SKETCH SITE: AFTER
Skatepark
AXONOMETRY: CONSTRUCTION EXISTING BUILDINGS
A key theme of this project was to create a seamless transition between indoor and outdoor spaces by utilizing the qualities of the existing buildings, while focusing on establishing distinct climate zones within the new structure.
With the increasing demand for sustainable and energy-efficient solutions, we believe it is crucial to challenge conventional temperature standards.
This is why we organized the different activities based on temperature requirements. For example, the old bus workshop, which was poorly insulated, has been repurposed as a skate park, where lower temperatures are suitable for the activity. Following this approach, we divided the building into four distinct climate zones:
• Outdoor
• Outdoor under roof
• +15°C zone
• +25°C zone
The ”Outdoor under roof” area serves as the building’s main communication hub. Beyond that, the building’s glass-shell provides shelter from wind and weather, creating a transitional layer between the exterior and interior that maintains a minimum of +15°C. This zone is intended for activities that do not require higher temperatures, for example wood working.
The rammed earth walls further insulate the interior spaces, with additional heat supplied through underfloor heating. The thermal inertia of the rammed earth helps to regulate the temperature in the semi-insulated space between the glassshell and the rammed earth, ensuring a balanced indoor climate.
Outdoor Outdoor under roof
+15°C zone
+25°C zone
MODEL 1:200: RAMMED EARTH
MODEL 1:200: WOOD CONSTRUCTION
MODEL 1:200: REUSED GLASS
MODEL 1:200: OUTSIDE STAIRS AND PLAYGROUND
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28MM X 120MM DECKING BOARDS
49MM X 98MM TWO-BY-FOUR
DRAINAGE LAYER GREEN ROOF
360MM INSULATION
180MM CLT-SLAB
CLAY PLASTER 100MM RAMMED EARTH
20MM SOUND PROOFING 180MM CLT-SLAB WARMING PIPES
SKETCH MODELS: 1:50_VERTICAL PLAYGROUND
SKETCH MODELS: 1:50_FACADE LAYERS
Throughout the process, we spent a lot of time sketching, creating digital collages, and engaging in discussions. While valuable, this approach sometimes slowed us down. Given the building’s complexity, it was easy to get stuck in the planning phase. If I were to revisit this project, I would prioritize starting earlier with physical models. The turning point for the project came when we began working with sketch models. Working across different scales, from 1:1 (see video in project folder) to 1:500, helped us avoid getting bogged down in details and gave us a clearer understanding of the overall design.
Not only was this process a lot of fun, providing a refreshing break from floor plans, but it also significantly improved our spatial awareness and deepened our understanding of the project’s context and morphology. It’s a method I had underestimated, but one I will definitely continue using.
SKETCH MODELS: 1:200_HOW TO CONNECT THE TWO BUILDINGS
AAR4680 Conservation and transformation
A 1:1 scale relocation and transformation of timber-log building in a rural part of Norway:
The site is located in Brekstad, Ørland, near Trondheim, where a noise issue has arisen due to the local military airport’s introduction of new F35 jets. The jets produce such high levels of noise that many nearby homes are now considered unsafe for habitation. As a result, numerous traditional wooden houses around the airport have been abandoned.
We are working with the municipality to relocate these houses. This project is exciting because reusing these old wooden structures offers a sustainable way to preserve local traditions while promoting circular building practices. If proven energy-efficient, this approach could be applied across other regions of Norway, where abandoned wooden houses are common.
Historically, many Norwegian buildings were designed to be easily moved by boat or horse. In a way, this project continues that long-standing tradition of relocating structures.
I did the facade collages and the photoshop work on the plans and the hand drawn section is by my fellow student: Henrik Størksen.
WITH:
Ole Martin Hamran, Guro S. Sæbø, Henrik Thingstad Størksen, and Anne Kristin Brattebø.
In this project, we focused on relocating a traditional storehouse. The first step was dismantling the log and timber frame structure, marking each piece, and transporting it to a new site. This hands-on process gave us valuable insights into the building’s construction. Afterward, we held a studio competition to determine how to reassemble it, with only two days to develop a new design.
For the timber framework, we used an uncommon Norwegian technique called ”brakevegg,” where juniper bushes are woven into a wind-resistant wall. This provided an alternative to traditional paneling and created a clear division between the light, airy changing room and the dark, warm sauna. As you enter the sauna, you pass by the firewood, and the lowered ceiling gives the feeling of entering a cave. The sauna serves as a communal gathering point for the small municipality of Brekstad.
Using local and ecological materials is important to me, and I was pleased that we devised a design requiring only local resources. We kept the original log structure intact and introduced a cold roof system with natural insulation—moss and wool— between the loft and the sauna. This approach preserved the silhouette of the storehouse while insulating the sauna.
We ended up winning the competition, and part of the studio team is now working onsite in Brekstad to bring the project to life. As of this portfolio, the sauna is still under construction, so I don’t yet have images of the completed building.
The photos from this section are credited to my fellow student: Laurianne Harvus.
SECTION: A
FACADE: SEEN FROM SOUTH
AAR4366 Architecture 5, City and Town Planning
A plan and strategy for how to desinfy urban single family residential areas:
“Bolig og Bånd” (”Housing and Relations”) was our final project for the urban planning semester. The task was quite open-ended—we were given the site and a three-week deadline. Our group’s project explores how to densify an existing single-family residential area in a way that fosters community, while adding more value to the neighborhood than it takes away. It seeks to strike a balance between creating high-density, space-efficient central developments and maintaining good living conditions and vibrant neighborhoods.
Both plan drawings were done by me, and the section was created by my fellow student, Eirin Delerud.
WITH:
Eirik Aga Bergesen, Eirin Delerud and Tonje J. Tollhaug.
Existing buildings
New buildings
Comunity houses
Green houses
Steel framework
PLAN: FOCUS AREA
Norway has high living space per person, largely due to the prevalence of singlefamily homes. This type of planning creates problems by increasing car dependency, being space and energy inefficient, and limiting social interaction, leading to more isolated neighborhoods.
Stephen Wheeler suggests sustainable urban planning should reduce car use through compact, mixed-use developments. We agree and have explored ways to make single-family home areas more socially and environmentally sustainable.
Our design focuses on creating valuable social spaces that encourage spontaneous interactions. Shared spaces provide essential functions within close reach, ensuring equal access for all residents in each group.
Community and collaboration are key to fostering a sense of belonging. For example, residents contribute to Tonje’s bakery on Sundays, promoting connection and care for the neighborhood. Over time, each cluster will develop unique skills and knowledge, improving cohesion.
Each cluster, housing about 80 people, features greenhouses, cultivated land, community house, and shared outdoor spaces under a steel framework with an adjustable roof. This structure supports hammocks, plants, and swings while providing rain shelter. Clusters are interconnected by greenhouses, creating a unified community that extends throughout the entire neighborhood.
PLAN: THREE CLUSTERS, WEST 1:200
Building a green house and sauna in a ruin from the second world war:
This summer, I participated in the annual Trestykker project, a collaborative initiative among architecture schools across Norway. Designed by students for students, Trestykker offers practical experience in design, logistics, and construction. This year, we gathered in Nordkapp, Finnmark, where our site was an old foundation from a house that burned down during the war.
During the two weeks of building, I gained invaluable experience—ranging from mixing and pouring concrete to restoring 100-year-old windows. However, the most memorable part was working on the façade modules. Nora Samset (featured in the photo) and I were as-signed to design the cladding on these modules, but with no budget or materials left, we had to think out-side the box.
We explored our surroundings and discovered old driftwood, metal plates from the garage, and even gathered and dried seaweed, which we twined into an old fishnet to create the façade cladding. The result was a collage of local materials, making this my favorite part of the project.
For more details about Trestykker and this year’s project, follow this link: https://www.instagram.com/trestykker/?hl=en
SPECIAL THANKS TO:
Nora Samset
Drawing the new design for my local skatepark:
Trikkestallen is Trondheim’s indoor skate park. I’ve been skating for the past seven years, and I use the park regularly. This year, the park is set to undergo a major renovation, and I was given the opportunity to design the new layout of the park.
Designing skate parks presents unique challenges, especially since I was not accustomed to designing around movement. To address this, we kicked off the project by assembling a group of skaters to test various distances and heights, finding what feels best to skate and what elements people were missing in the current park. This approach has been incredibly inspiring and is something I plan to carry forward in future projects.
With a small budget, we’ve planed to handle most of the demolition and construction ourselves. To keep labor and costs down, we designed the park to accommodate standard plywood sheet sizes and reused materials we already had.
I made the renderings shown here to the initial construction meeting, where the goal was to provide a broad overview of the renovation plans. The plan was devided into four areas so that construction could coincide with use of the park. Since then, we’ve completed about half of the rebuild, with the rest currently underway.
All the drawings are by me, but i got a lot of help in the design process by friends and local skaters.
SPECIAL THANKS TO:
Elias Eggen, Haavard Lund, Martin Auranaune and all of the people building the park!
2_1. BUILD A NEW PLANE WITH BANKS AND INRAIL
2_2. REBUILD QUARTER PIPE TO STAIRS
2_3. PULL THE BANK BACK, TO CREATE JUMPBOX
2_4. REBUILD CORNER
Axonometric drawing: From first building meeting
Thanks for the concideration!