Sensitive and precise perception of built works and projects is a great basis for learning, understanding and imagining architecture. The physical reality of architecture is not just storage of its material knowledge, but a rich repository of imagination and creativity that condition our word as architects. “The material world of architecture determines its immaterial world or, to put it differently, the immaterial world is an invention of the material world. This invention is more: it is a means of guaranteeing the survival and continuing existence of the material world of architecture.” 1) Sverre Fehn was a sensitive and precise observer of the world. Within the crevices of his penetrating perception he created fantastic narratives that helped him to establish his own pattern of work where his architecture and his psychology came very close. In his buildings we could experience how along a strong physical, material presence of his architecture he carries through his thoughts, fragile emotions, spatial atmospheres and melancholic states. “Each material has its own shadow”, he used to say. “The shadow of stone is not the same as that of brittle autumn leaf. The shadow penetrates material and radiates its message.”2) The studies of Sverre Fehn by the students of AHO master studio “Learning from Sverre Fehn”in the autumn 2014 brought an amazing series of questions and turned them into variety of individual projects, encouraged to create an original approach to Fehn’s architecture. How to establish a connection to the world and the intimacy at the same time?How a building could be an autonomous body and at the same time a continuing part of a larger composition in time and space?How to create a strong architectural order, but also a freedom from it, at the same time? How to make a building direct and strong, but its spaces calm and generous, something so complex and so comfortable at the same time?How to imagine many spaces that always give so strong feeling of one space?How are private and public spaces made within this one-room-continuity?How to create a light center within a deep plan?How to make structure spatial, where a beam could be a hanging wall, a light louver, a skylight and a wall could be a beam…or many other things?How to work with multiple relationships, with small and big, with coexisting thoughts and ideas in the same project? How to make an architecture that is free from time, which is old and new at the same time, always fresh and interesting? The projects showed that the sensitive and precise perception of Sverre Fehn’s architecture could become a key to the immaterial world of new thoughts and images, that it’s material world could be a stuff of which the dreams of new architecture could be made.







Neven Mikac Fuchs

Go Hasegawa

Chris Engh

Jonas Lippestad

Kai Reaver

Merethe Skjellvik

Torunn Stensheim

Julie Aars

Liviu Vasiu






Truls Johansen Aastebøl

Martin Brandsdal

Young Eun Choi

Laura Cristea

Jonas Østhagen Hamar

Mari Hellum

Pedro Henriques

Maia Hodne

Stefan James Hurrell

Anniken Høgset

Joakim Wassum Imset

Frida Johansen

Shohreh Kheirati

Torbjørn Kvåle Kolbeinsen

Niklas Lenander

Annette Katherine Mohr

Liv Mari Oppebøen

Haris Ramic

Ingrid Dobloug Roede

Gisle Simonsen

Gustav Mattias Jitzhak Tellqvist

Haakon Walderhaug

Sigbjørn Cornelius Willemsen

Xian Wu