Treasurer, the committee for Equal Architects at Chalmers
[2019-12-01 - now ]
Shop assistant, Hemköp
[summers 2016, 2017, 2018]
Camp leader, Azalea BK summer soccer
[2018-07-30 - 2018-08-17]
Activity Assistant, Gråberget Senior Centre
Education
Bachelor of Science in Architecture and Engineering (Pursuing)
Chalmers University of Technology, Gothenburg, Sweden
180 ECTS credits
Expected Graduation: 2025
Course: German in Berlin Linnaeus University, Sweden 30 ECTS credits
Completed: 06/2023
High School Diploma, Natural Science Program Donnergymnasiet, Sweden
Skills
Design and modelling: Rhino, Grasshopper, SketchUp
CAD software: AutoCad
Graphic design: Illustrator, Photoshop, Indesign
Programming: Matlab
Hello!
My name is Edith Kadefors, and I am a 22-year-old student from Gothenburg. I spend much of my time listening to podcasts, attending concerts, reading contemporary literature, and contemplating the future—both my own and the world’s. One thought that has remained constant for me is that the most important goal in terms of my education and career is to acquire the knowledge and skills necessary to make a meaningful difference in tackling climate challenges.
The path to achieving this goal has never been entirely clear to me, as there is no single answer to how it should be done. This uncertainty has led me to embrace an interdisciplinary approach and a creative mindset. For almost three years, I have been pursuing the program in Architecture and Engineering, which is rooted in interdisciplinary principles. Through this, I have developed strong problem-solving skills and the ability to manage large-scale projects, from start to finish, while ensuring that ideas are communicated as clearly as possible so that everyone can understand.
I consider myself fortunate to have received such a broad and interdisciplinary education. It has been an incredible experience to learn from inspiring lecturers, participate in study visits, and collaborate with my peers. However, I am now eager to take action. I want to apply my skills and gain insights from professionals working outside the academic world.
As mentioned earlier, my primary goal is to contribute to addressing environmental challenges. More specifically, I aspire to work on climate adaptation in urban settings—whether it involves buildings, infrastructure, or policy development at a financial level. I am eager to learn as much as I can before pursuing further academic studies in a master’s program.
Sincerely,
Edith Kadefors
Categorization
A significant part of the Architecture and Engineering program has been the privilege of participating in numerous study trips. These experiences have been incredibly educational and inspiring. Three trips, in particular, have left a profound impression on me and have together shaped my academic interests during the program—Venice, London, and Wales.
In Venice, a city whose greatest adversary is the encroaching saltwater that increasingly threatens its built environment, yet whose very existence depends on its close relationship with the sea, I developed a deep interest in how the built environment can address the challenges of rising sea levels and extreme rainfall. In recent years, Venice has constructed a significant barrier system, “MOSE,” to hold back the water during weather warnings.
In London, I experienced for the first time the meaning of the term “metropolis” and was nearly overwhelmed by how densely packed buildings and landscapes of skyscrapers can stretch on for kilometers. I was deeply impressed by how the urban organism of a megacity operates, with millions of individual components—each playing its role. The endless array of functions that must coexist—infrastructure, public transport, lighting, waste management, sound—sparked an interest in exploring the concept of urbanity more deeply.
In Wales’ mountainous, green landscapes, I was struck by how beautifully nature persists alongside the urban. We visited structures such as the Waterloo Bridge and Pontcysyllte Aqueduct, along with other infrastructure that adapts to the unpredictable shapes of the natural world.
These experiences distill into three concepts that I have used to categorize my projects for clarity: Water, Urban, Nature. Each of these is represented by a photo I took during these journeys.
Contents
Majnabbe City Plan
Urban Town houses
La Guida Bagnata
MAJNABBE CITY PLAN
Course: ARK325 Urban Planning
Year: 2024
Examinator: Mikael Ekegren
This project transforms Majnabbe from an isolated ferry terminal into a vibrant waterfront district, reconnecting Gothenburg with its maritime heritage. Key interventions, including the conversion of Oscarsleden into a waterfront boulevard, create seamless access between the city and the sea.
Task
Gothenburg has long been defined by its maritime heritage, thriving on its strategic location where the Göta River meets the Kattegat. The city’s harbor facilitated global trade and seafaring exploration, while fishing played a vital role in shaping its cultural identity. Over time, these industries influenced the development of the waterfront, filling it with ferry terminals, harbor structures, military facilities, and fish warehouses. However, as modern advancements reshaped industry, much of Gothenburg’s maritime activity declined, leaving behind underutilized infrastructure. Today, warehouses, abandoned ferry terminals, and a major highway separate the city from its waterfront, limiting public access to the sea. Majnabbe, once an active ferry terminal, represents one such disconnected area. This project aims to transform it into a dynamic waterfront district, reestablishing Gothenburg’s link to the water. By reclaiming and reimagining this space, the development seeks to create a vibrant, accessible urban environment that reconnects the city and its people with their maritime roots.
Reflection and Result
In developing Majnabbe, my focus was on reconnecting Gothenburg with its waterfront by creating natural routes through the new district. Through an in-depth study of traffic and street networks, I ensured seamless urban integration, resulting in a vibrant, centrally located area with strong connections to the city, public spaces, and new housing. A key element of my design was the transformation of Oscarsleden into a waterfront boulevard, improving accessibility and shaping the district’s distinctive curved form. This bold approach has been widely praised for its innovative vision by peers and critics, successfully blending the urban landscape with the water and strengthening Gothenburg’s relationship with its maritime heritage.
Perspective 1. Illustration of the quay promenade in the area. In the background, Oscarsboulevarden is visible, running along the water as a pedestrian and cyclist-friendly boulevard.
The project concept originates from a site analysis centered on three main aspects: the geographical context, traffic patterns, and green infrastructure. The findings from this analysis led to the objective of expanding the two central hubs in Majorna—Stigbergstorget and Mariaplan—into a third focal point, thereby connecting them more seamlessly. The design emphasizes three key themes: “The Third Square,” “The Axes,” and “Eliminating the Barrier,” all aimed at creating a cohesive and unified space.
“The
Third Square”
A natural consequence of a third central space connecting the two other squares is that Majnabben will also have its own square, with opportunities for various activities such as restaurants and retail.
“The
Axes”
From Stigbergstorget and Mariaplan, as well as from other directions, people move by public transport, car, bicycle, and on foot. After analyzing these flows, great emphasis is placed on ensuring that sightlines and natural transport routes from both directions align with people’s movement patterns. Two clear axes emerge: one from Stigbergstorget and one from Mariaplan. If the routes originate from these points, broad sightlines and flows are created throughout Majnabben toward the waterfront. The analysis also reveals that the route from Kustens torg, through the central green area to what could become “Majnabbetorget,” has the potential to develop into a much-needed pedestrian park loop.
“Eliminating
the Barrier”
An unavoidable part of the analysis of the Majnabben area is the noisy Oscarsleden, which currently acts as a barrier between the city and the waterfront. Most importantly, and central to this project, it separates the two central locations, Stigbergstorget/Mariaplan and Majnabben. From this analysis emerges an idea to explore the possibility of reducing the distance between the city and the sea by transforming the road into a boulevard along the water.
The illustrative maps for the site analysis depict the context of the project, as well as the traffic patterns that form the basis for the new street networks.
Final Project Proposal
To the left, a bird’s-eye view showcases the final design. The former road barrier, identified in the site analysis, has been transformed into a green boulevard along the waterfront. The axes are also clearly visible, with long sightlines through the area defined by the built structures.
Stigbergstorget Mariaplan Project area
In the final project plan, the development primarily consists of perimeter block buildings, similar to the adjacent area of Majorna. On the elevated terrain where Oscarsleden is currently located, high-rise buildings are proposed, allowing for a greater proportion of greenery to be preserved in the surrounding area. Office buildings are situated close to a tram stop to ensure good connectivity. By the waterfront, a building designated for commercial activities is planned, with the possibility of incorporating an outdoor swimming facility.
The building structure clearly reveals the axes that define the layout of the area. Sightlines originating from the direction of Stigbergstorget/City Center (blue) and those from Mariaplan (red) are marked on the plan.
The new Streets of Majnabbe
URBAN TOWN HOUSES
Course: ARK207 Building and Climate
Year: 2024
Examinator:
Kaj Granath
In this course, I designed townhouses in Gothenburg’s Johanneberg district, focusing on accessibility, various housing sizes, and passive house standards. The project involved creating two townhouse types with an atrium, considering energy performance, and learning from surrounding architectural styles for context.
Task
In this course, the task was to design townhouses for the Johanneberg district in Gothenburg, an urban setting traditionally not associated with this housing type. The site was strategically located near the city center, universities, and green spaces, emphasizing the need for thoughtful design to maximize accessibility and accommodate diverse housing sizes. The project was shaped by the surrounding architecture, including large brick buildings from the 1920s, functionalist structures from the 1930s-1940s, and a low-density villa area. The design focused on creating two variations of townhouses: one for a single dwelling and another for two apartments. The houses were required to feature an atrium and meet passive house standards, with calculations on energy performance conducted in a parallel building physics course. The project not only considered architectural harmony with the existing surroundings but also aimed to provide flexible, sustainable housing that would be energy-efficient and accessible. The final designs included thoughtful integration of outdoor spaces, particularly through the atrium and garden.
Reflection and Result
Designing these townhouses was a learning process centered around creating user-focused, adaptable homes. The project drew inspiration from various housing typologies and prioritized a natural connection to the outdoor garden through an atrium. The final design avoided a parking space, focusing on the central location with strong public transport links. The design included two townhouse types, offering flexibility for different living arrangements, with façades and materials in harmony with the surroundings. The project also involved performance calculations, which provided valuable insights into energy efficiency and moisture control, offering lessons for future design work.
Creative process
The design concept is built on a few key ideas distilled into a cohesive whole: a brick facade that aligns with the surrounding buildings, a metal roof referencing Gothenburg’s many structures where metal is a distinctive element, and the atrium seen as a removed volume projected onto another part of the site.
Early in the process, I created this concept sketch exploring the relationship between brick and metal. It illustrated the idea of “patching with metal”—treating the atrium as a subtracted volume and cladding the exposed facades in metal. While the final result did not follow this concept exactly, it played a significant role in shaping the project’s material choices.
Garden Plan
In this illustration of the site, the atrium and garden of one housing type are visible. The other housing type has a slightly different design, but the concept remains the same—the brick-paved patio at the top acts as an extension of the atrium, using the same material and a similar size. The idea is that it represents a removed volume from the house, projected onto another part of the site. Notably, the design is functional both with and without a car.
House A - Facts
GFA - 139 m2
NIA - 110 m2
Full house, 4 Bedrooms
Fits good for
The Social Collective: A home that balances private bedrooms with a spacious social area on the ground floor.
The Family with a Teenager: Ideal for a family with a teenager seeking more privacy, with a bedroom on the ground floor. It’s also perfect for individuals who struggle with stairs.
The Working-from-Home Couple: A great choice for a couple who works from home, using the downstairs bedroom as a dedicated office space.
The one seeking for Rental Potential: Although the home doesn’t have a separate entrance, it’s easy to add one to the ground-floor bedroom. This could create an independent living space, perfect for renting out or accommodating a relative.
Facade north
Facade south
House B - Facts
GFA - 180 m2
NIA - 69 m2 (1st f) 72 m2 (2nd f)
A one-bedroom apartment (1st f)
A two-bedroom apartment (2nd f)
Fits good for ( two bedroom)
Small families: Great for a small family, such as parents with one child, who need extra space without the burden of a larger home.
Roommates or shared living: For individuals who want to share an apartment but still have their own private bedrooms.
Friends or young couples: Ideal for friends living together or young couples who need more space than a one-bedroom apartment offers.
Fits good for ( one bedroom)
Singles or couples: A person or couple who wants their own private living space without needing a large home.
Students: Perfect for students looking for an affordable, compact living space close to university.
Business travelers or temporary residents: Ideal for those needing short-term accommodation, such as commuters or project workers.
Facade north
Facade south
Masonry
Ventilation gap
Windproof membrane
External insulation
Thermal insulation
Internal insulation
Vapor barrier
Interior gypsum board
Calculations on the Moisture Protection
A check was made of the construction with regard to moisture safety by calculating the moisture content through the walls and foundation slab. Above is the calculated moisture content through the outer wall in relation to the wettest period of the year. This shows that the moisture safety with regard to penetrating moisture is good, as the critical moisture content for cellular plastic is well below the threshold. Unfortunately, the critical moisture content for wooden construction parts has a somewhat smaller margin, which means it is important to take measures to further moisture-proof these elements.
In addition to the calculations, part of the design for moisture protection involved providing detailed instructions for the construction of critical connection details. On the right, a detailed drawing of a window construction is shown.
Backing rod Window reveal
Window flashing
Drip flashing Insulation
In the project, calculations were made to check the heat demand of the building according to the requirements of Miljöbyggnad certification. Miljöbyggnad is a certification used by companies in the construction industry to ensure that their buildings are energyefficient and sustainable, and these requirements are part of reducing environmental impact. According to these requirements, the heat demand must be less than or equal to 13.5 W/m2 to achieve Gold level. After performing the calculations, it was found that the building’s heat demand was 12.1 W/m2, meaning it meets the requirements for Miljöbyggnad Gold.
Calculations on the Heat Load
In the project, the solar heat load was calculated for a critical room with regard to solar radiation during the summer months. The requirement for Miljöbyggnad certification is that the solar heat load must be below a certain level depending on the certification level.
To achieve the bronze rating, the solar heat load must be less than or equal to 38 W/m2 of floor area.
To achieve the silver rating, the solar heat load must be less than or equal to 29 W/m2 of floor area.
To achieve the gold rating, the solar heat load must be less than or equal to 18 W/m2 of floor area.
After performing the calculations, the result showed a solar heat load of 23.3 W/m2 for the critical room, which means it meets the requirements for the silver level according to Miljöbyggnad guidelines.
Calculations on the Energy Consumption
In the project, calculations were made to determine the building’s annual energy consumption according to the energy requirements set by BBR (Swedish Building Regulations, 2011). For this project, the energy requirements for a small house between 90 and 130 m² were chosen, an area that corresponds to the typical size of townhouses.
The requirements to achieve Miljöbyggnad certification are that the building’s annual energy consumption in kWh/m² must not exceed the following levels:
To achieve the bronze rating, the building’s annual energy consumption must be less than or equal to 95 kWh/m².
To achieve the silver rating, the building’s annual energy consumption must be less than or equal to 76 kWh/m² (80% of BBR’s energy requirement).
To achieve the gold rating, the building’s annual energy consumption must be less than or equal to 66.5 kWh/ m² (70% of BBR’s energy requirement).
LA GUIDA BAGNATA
Course:
ARK203 History of Architecture and Technology
Year: 2024
Examinator: Johan Linton
(group - project)
As part of a course on Architecture and Technical History, I helped create La Guida Bagnata, a guidebook for a study trip to Venice. This experience deepened my understanding of collaborative design, Venice’s relationship with water, and urban climate adaptation.
Task
A study trip to Venice in the second year was part of a course called Architecture and Technical History, which explored the development of construction techniques and their influence on architecture. Venice, a city ahead of its time, serves as a perfect example of both architectural innovation and cultural heritage. Visiting such a unique place was a rare opportunity, especially under the guidance of professors specializing in architectural history, building physics, archiving, and carpentry. To maximize the learning experience, a voluntary editorial group was formed to create a guidebook for the trip. This guidebook compiled essential information about the study sites assigned to the class in preparation for the excursion. The whole class had already gathered material, and those of us who volunteered to assemble the guidebook were responsible for organizing this content into a practical and user-friendly resource to be used throughout the trip.
Reflection and Result
Creating La Guida Bagnata and participating in the Venice study trip were pivotal experiences in my studies. The project offered invaluable lessons in collaboration, creative problem-solving, and project management. Despite being a beginner, the challenge of assembling a comprehensive guidebook in a short time deepened my appreciation for graphic design and group creativity.
The trip also deepened my understanding of Venice’s complex relationship with water, especially regarding flood prevention and extreme weather. The city’s MOSE barrier system sparked my interest in urban water management and climate adaptation for cities, particularly in coastal areas.
La Guida Bagnata became more than a guidebook; it symbolized Venice’s ongoing struggle with water, reflecting both its cultural heritage and the challenges it faces. This project strengthened my understanding of how water shapes cities and the importance of sustainable urban planning.
Picture of the guidebook in its final form. Around 70 copies were printed.
Significant effort was devoted to the book’s cover and overall appearance. A blue color was chosen primarily for its strong association with Venice’s connection to water. Additionally, a high-gloss lamination was applied to further emphasize this connection and to make the book more durable. After all, the book is titled “The Wet Guide,” and the glossy finish serves as a playful nod to this theme.
The front cover features an image of a flooded St. Mark’s Square during high tide—Venice’s most central location, and one of the lowest points in the city, heavily affected by the phenomenon. On the spine of the book, an emblem is displayed, representing the street pattern surrounding St. Mark’s Square.
Cover and Spine
Basilica di San Marco
Spreads from the Book
The graphic design of the book’s interior has a strong and cohesive character, seamlessly tying together the different sections of the book and the Typography and composition were carefully chosen to honor the cultural and historical significance of Venice, ensuring that the design feels both fitting and respectful.
In the middle of the book, we included a chapter that followed the buildings along the “Canal Grande.” One could take a public transport line that runs the length of the canal while reading about several historic buildings featured in the guidebook.
OSSERVATORIO ACQUA ALTA
Course: ARK297 Architecture and optimized structures
Year: 2024
Examinator: Peter Christensson
(group - project)
Acqua Alta, Venice’s high tide phenomenon, occurs due to astronomical cycles, atmospheric pressure, and winds. While historically a part of Venice’s culture, climate change has intensified it, threatening the city’s heritage. This project explores this phenomenon through an immersive observatory experience.
Project
Acqua Alta, or “high water,” is a significant phenomenon in Venice, where tidal cycles cause water levels to rise and fall, often by as much as 140 centimeters during extreme events. Venice, a city built on wooden piles in the wetlands of the Venetian Lagoon, experiences these tides with heightened intensity compared to other locations. While Acqua Alta is a natural occurrence, it can flood several central areas of the city, including St. Mark’s Square and the Rialto Bridge, though it typically subsides within hours. The causes of Acqua Alta are multifaceted: the astronomical tidal cycles, atmospheric pressure, and winds, especially the scirocco winds from the Mediterranean, contribute to the rising water levels.
Although these forces are natural, the frequency and severity of Acqua Alta have increased in recent decades, largely due to climate change. Rising sea levels and changing weather patterns, driven by human activities like greenhouse gas emissions, have made Venice more vulnerable to these extreme tidal events. The city has already seen a 26-centimeter rise in water levels over the past century, with projections indicating that water levels could rise by 20-40 cm by 2100 under moderate scenarios, or even by 40-80 cm under more severe predictions.
The impact of Acqua Alta and rising sea levels is not just environmental; it poses substantial economic risks and threatens Venice’s cultural heritage. Historic floods, such as those in 1966, 2018, and 2019, have had lasting effects on the city. To raise awareness and deepen understanding, an observatory has been designed to explore and experience Acqua Alta and its connection to rising sea levels. This project is both educational and immersive, aiming to humanize the scientific data and make the experience of the phenomenon more relatable, inspired by a study trip to Venice.
S. Marco
Salute
Plan Above Water.
Patches of sediment floating above the water alternate with areas submerged beneath the surface. When visitors first arrive (1), only a single path is accessible, leading them down the ramp (2). On the other side, the final part of the observatory (3) unfolds—a water garden surrounded by a wooden deck. In contrast to the chaotic, water-covered landscape, this enclosed space offers a sense of harmony and tranquility.
Plan Below Water
The ramp leads down to the “observatory room” (4).
Upon arrival, visitors step onto a floating structure where the ground feels uncertain and ever-changing. Just like in Venice—where the land is sometimes dry and stable but can suddenly be submerged—the boundary between land and water is blurred here. Humans naturally seek security and solidity, yet this space presents a chaotic first impression: small dry patches break up the water-covered surface, leading visitors further into uncertainty. These dry areas reference Venice’s early history, when wetlands dominated the lagoon landscape, while also serving as a reminder that the unstable ground has always been, and remains, a threat. The floating structure becomes a dynamic interaction between humans and nature.
3. Enclosed - Observations from Below
Along the passage, a faint opening appears to the left, leading into a room. The space is entirely enclosed—a place where the outside world is shut out, leaving only silence behind. Without windows or any connection to the surroundings, a sense of isolation emerges, cutting off all ties to what lies beyond.
A dimly lit room where the water’s surface forms the ceiling. Soft, diffused light filters through, its movements bending and reflecting into gentle, dancing patterns on the walls. These subtle shifts create a striking contrast between the solidity of the architecture and the fleeting, ever-changing nature of the water. Here, it feels as though one is immersed within the water itself, enveloped by its presence and constant transformation.
The only path from the entrance leads downward, into the unknown. Visitors are left in uncertainty about their destination, and the cryptic passage appears as a mysterious corridor disappearing beneath the water’s surface. The dramatic rise of the water makes the surface tension increasingly palpable, where each step forward challenges the fear that the water might suddenly break in and flood the path.
Along the way, the experience of instability is heightened as the walkway narrows in relation to its height. The passage is long and dim, with diffuse light offering few clues about what lies ahead. The uncertain endpoint creates a sense of being caught in an unrelenting forward motion, forcing visitors to confront both the limitations of their surroundings and the looming threat of rising water. Here, the space becomes a living force—enclosing, pressing, and challenging.
4. The Dead End - Contemplation
After leaving the underwater observations and stepping back into the dim passage, the path continues upward in a rising spiral. Eventually, it opens into the fresh air, shifting the visitor’s perspective—the observation is no longer from below. Instead, they are met with a tranquil and harmonious water garden, surrounded by a secure and stable pier. Here, one can sit on a bench and let the serenity settle the mind.
Now, observation happens through reflection—a moment to process the past experiences: the chaos, the ascent, and the feeling of entrapment. The journey has taken the phenomenon of rising water levels to its extreme, bordering on the absurd, yet evoking thought. Beyond the chaos, the fragile Venice emerges—a reminder of what is at stake.
To return to the ferry and the world beyond, the visitor must face the chaotic landscape they first encountered. A reverse journey through the observatory is inevitable—a reminder of Aqua Alta, which always returns. And so must these observations, to be relived once again.
3. Observatory Room.
Course:
ARK093 Digital Tools
Year: 2023
Examinator:
Stefano Delia
In my second semester, I learned digital tools like Adobe, SketchUp, and AutoCAD, applying them to design an Attefallshus. The project focused on creating efficient layouts within space limitations, refining drawings, and using Photoshop to convey atmosphere and materiality, enhancing communication.
Task
At the beginning of the second semester of my studies, I was introduced to digital tools for the first time. In this course, I received a quick overview of Adobe programs, SketchUp, and AutoCAD. This led to an assignment where I had to design an Attefallshus to apply the knowledge I had gained. The assignment tested both professional drawing skills, presentation techniques, and modeling.
The second part of the assignment focused on the Attefallshus, small structures that can be built without a building permit. It can be no larger than 30 square meters and must be placed at least 4.5 meters from the property boundary. It is also important that the Attefallshus complies with the applicable detailed development plan and cannot be used for permanent residency unless approved by the municipality. From these regulations, the main challenge arises: designing an efficient layout despite the limited space.
Reflection and Result
During the process, I learned a lot both in terms of handling the digital tools and practicing creating an efficient floor plan. The biggest lesson was how impactful it can be for a project’s outcome to refine the drawings carefully. When a strong emphasis was placed on producing high-quality drawings, I focused a lot on ensuring they all came together as one cohesive whole. One example is the facade drawings, which I spent a significant amount of time on, working on them in parallel. This resulted in facades that, in hindsight, have a very unified appearance. This is something I’ve tried to carry over into other projects.
In the presentation of the project, the knowledge gained from the Photoshop course enabled me to convey the atmosphere I wanted to achieve in terms of materiality and its connection to the surroundings. An important aspect of the Attefallshus is its relationship with nature, and having the skills to create a representative image of how it could look strengthens the project’s overall communicative value.
The house features a wellconsidered window arrangement, where each window and door serves an important function both aesthetically and practically. The large glass section allows the interior to flow into the surrounding landscape, while the corner window transforms the landscape into a picture from the bedroom loft.
Facade west
Facade south
Exterior
Interior Spaces
Plan B-C
The sleeping loft, located 1.5 meters and also allows for a basement frees up larger areas on the strictly limited square footage.
Plan B-B
meters high, has a standard ceiling height
basement level with a laundry room, which in turn upper floor. This is important given the
A-A
Internally, the Attefall house features a spacious, airy common area with high ceilings. A continuous brick floor, with a brick wall extending to form the structure of the sleeping loft and a sleek staircase, creates a flow within the room. This flow extends out into nature as the large sliding glass doors open to the brick-paved veranda.
Section
RAIL REVOLVE LAMP
Course: ARK093 Digital Tools
Year: 2023
Examinator:
Emil Adiels
(group - project)
In this course, I explored the fundamentals of parametric design and digital fabrication through various assignments, culminating in a hands-on project. The final result was a laser-cut lamp, designed in Grasshopper within Rhino, which investigates the balance between computational control and perceived randomness.
task
In this course, I learned the fundamentals of Parametric Design and digital fabrication. Through various individual assignments—such as parametrizing skyscraper floor counts and finite surface load distribution—I developed an understanding of computational design processes. The course culminated in a hands-on project where different properties were parametrized, allowing me to explore the potential of parametric design and its ability to rapidly generate variations and proposals.
Result
The project involved designing a lamp, modeled in Grasshopper within Rhino and cut using a laser cutter. It explores the interplay between controlled parametric design and the perception of randomness and dynamism, challenging the notion of strict computational precision.
The script for the lamp was created from scratch, based on two curves. Since these curves were irregular, it was not possible to assume that the angles between the different planes were perpendicular. This required a manual process in Rhino, where points were placed to scale the sides so they remained perpendicular to the horizontal planes. Additionally, the vertical planes had to be sorted by area, selecting the smallest as a template for the laser cutter to minimize construction issues.
THE ARCH SWIMMING CENTRE
Course: ARK 218 Building and Structure
Year: 2023
Examinator: Kaj Granath
(group - project)
In this Course the task was to design a public bathhouse in Torslanda, Gothenburg, requiring a 30-meter clear span. The result is a wooden structure shaped by the arch’s natural strength, featuring a sedum-covered roof that blends into the landscape and a functional, wellorganized layout.
Task
In this project, the task was to design a public bathhouse in the Torslanda district of Gothenburg. A key challenge was the need for a space with a clear span of approximately 30 meters to accommodate a large swimming pool. This introduced an additional design objective—to integrate the structure as a defining element of the architecture, allowing the two to shape each other.
The primary load-bearing structure was to be made of wood, emphasizing sustainable construction. Another crucial aspect was developing moisture-resistant solutions for the indoor environment. Additionally, when designing a bathhouse, it is essential to establish a well-functioning layout that ensures a clear separation between wet and dry areas.
Reflection and Result
The result is a bathhouse that embraces one of the most fundamental structural principles—the arch. As one of the most inherently strong forms, rooted in ancient construction techniques such as Roman vaults, the entire bathhouse follows this principle as an organic whole. The curved, nature-inspired shape, topped with a sedum roof, emerges seamlessly from the ground, blending almost imperceptibly into its surroundings. Inside, the arch creates an enveloping atmosphere, simultaneously enclosing the space while stretching both near and far. The placement on the site captures movement flows effectively, integrating well with the surrounding traffic and buildings. Finally, the layout is both practical and intuitive, ensuring a logical and seamless experience for all visitors.
Exterior
The curved, arched form of the laminated timber beams evokes a sense of security and calm, further enhanced by the natural expression of the grass roof, which creates a harmonious connection with the surrounding landscape. The design of the arch, combined with the green roofing, emphasizes the building’s connection to nature while offering a modern and functional exterior. By incorporating this form, the building links to the tradition of public baths, which have been vital to the community for centuries, while introducing a contemporary and innovative expression that integrates seamlessly into the modern cityscape of Gothenburg.
Location
Torslandakrysset (1) is currently a well-used but uninviting bus stop and intersection near the Amhult center (2) in Torslanda. The arch has the potential to become the main transportation route for pedestrians and cyclists between the bus stop and Amhult, while also creating a safe and pleasant environment for the nearby preschool. A pedestrian and cycling path runs along the building’s long side, passing under an inviting arcade sheltered by the arch’s beams. No matter which direction you come from, you will pass the swimming hall’s entrance and a picturesque café with a sunny southern exposure, perfect for enjoying a relaxing coffee.
Structure
The primary load-bearing elements consist of 14 glued-laminated timber beams, arranged into two arches—one large and one small. Each arch serves as the main structural support for the front and rear sections of the building, respectively (as seen from the front). These two arches are connected by a third beam, which does not bear any load itself but helps transfer the roof load down into the arches.
The secondary structure consists of the roof, which is stabilized in the horizontal plane by a TP sheet placed on top of the beams. Above the sheet, a sedum roof is installed.
