Sporthalle Charlottenburg

Designed by architect Ludwig Leo, in Sömmeringstraße, Berlin (1960–1965), the Sports Hall is largely as it was when built in the 60s. I visited on a Sunday morning in very cold November, kids were playing hockey and the sun was shining through onto the concrete. Every photograph is unedited, it's design as photogenic as any flashy modern building, but beautiful in the pure essence of what it is - a community sports hall in the centre of Berlin's Charlottenburg district.

Public Street


Play Area

Players Hallway


Concrete Structure





Sports Field


Indoor Sports Hall

Elevated Landscape



Rest in Peace?

If I should die offer my ashes to the sky, let the wind free my body and spread me across the earth. My soul will become a part of the earth, in every tree and flower, stone and water. 

Remember me as a part of the spring, summer, autumn and winter, as the leaves turn orange and float from the trees, as the waves crash against the shore and as the sunset burns across the sky. 

Live with my heart in yours, and my arms around your waist. Remember me as I was.



Time and memory

It is not about the past, but the past in the present


The next step

Amelia Eiriksson TRP



Higher Love

I could light up the night with my soul on fire
I could make the sun shine from pure desire



Life is not measured by every breath you take, but by every moment that takes your breath away



Sleight of hand,
Jump off the end.
Into a clear lake
No one around.

Just dragonflies
Flying to the side.
No one gets hurt,
You're doing nothing wrong.

Slide your hand,
Jump off the end.
The water's clear and innocent.
The water's clear and innocent.

Where are the people?


Half way to Scunthorpe

Timber end-grain. Stand on it. The building is crafted around you.


A short Statement of Architectural Intent

Architecture is primarily an envelope and a background for the life that goes on in and around it, both humanly and physically.

Firstly, my intention is to create a meaningful dialogue with the existing situation, allowing the building to be rooted in the past, but have a respect for the process of aging and remembering. As time passes the materiality of the place must change and adapt, filtering the actions upon it and building up a residue of the life that has gone on. It must accept the sun, wind and rain, the turn of the earth and the affect of light. It in itself will start to teach the place something as well as being taught by it.

A truly sustainable building is somewhere that allows people to inherently know how to use it. Socially, if it is delightful it will survive. A building that is crafted has an inherent locality, something that is understood on a human level. This makes it more grounded; it allows everyday life to carry on. A project cannot change how people act if there is no history for this, it must accept the every day and make it more delightful, and more natural.

I imagine how a space would be used, the sense of exposure or enclosure, the affect of light, of the materials used, the functionality, and the threshold with the surroundings. The details of this establish a formal rhythm and a scale, all together creating an understanding of the whole. This records and enriches the life inside and around it; this is what moves us.


Nothing happens by the river

This place allows for reflection, it embraces the day.


Architectural Manifesto

So, I have to write a short manifesto on how I approach architecture. At the moment it is still a bullet point list, however this image sums up everything that seems important to me.

There is an inherent understanding of the place and the building in the setting due to the use of materials and the positioning of the church. It seems as though it has always been there, looking out into the mountains and the houses, the timber shingles weathering on the side most exposed to the elements. The weathering seems like it was supposed to happen, greying down the building and grounding it more and more within the site. The entrance threshold elevates the visitor from the ground, enclosing them as they enter, inviting you in and protecting you before the full internal building is encountered. There is a performance in the act of entering and exiting, you are fully engaged with the site both culturally and physically.

This is how I approach my projects.