The Re-Store teaching unit offers new perspectives on the preservation, reuse and transformation of architectural heritage from the recent past, with a special focus on the provenance of building systems, components and materials. Taking an Experimental Preservation approach, the unit responds to the challenges of the climate crisis by renegotiating the way we understand, evaluate, and transform the built environment. Through MA studios and seminars, the unit aims to reinvigorate the discipline by challenging the prevailing ideas of authorship, origins and the integrity of the architectural monument. Engaged in a wide range of practices counting archival studies, value assessment methods, restoration techniques, survey practices, model building, drawing, writing and dissemination, the students are trained to participate in the contemporary discourse with a critical mindset and high design skills. Recent studios have focused on concrete, building systems, prefabrication, building components, petroleum and weather. Re-Store publications include the 

Former Re-Store faculty: Andreas Angelidakis, Thordis Arrhenius, Bård Helland, Amandine Kastler, Jorge Otero-Pailos, Andrea Pinochet, Kim Pløhn, Alena Rieger, Bryony Roberts, Ingrid Dobloug Roede, Erlend Skjeseth, Jørgen Tandberg, Kjetil Sæterdal, Léa-Catherine Szacka, Helle Bendixen Trier, Espen Vatn.

Re-Store

Re-Store: Prefab is about prefabricated and mass-produced architecture: its history, cultural value, spread and popularity, technological properties and spatial potential.

Erik Langdalen is a practicing architect and a professor of architecture at the Oslo School of Architecture and Design. 

 is an award-winning office specialized on the preservation and transformation of historic buildings, including the Eero Saarinen designed US Embassy in Oslo (2023), the Magnus Poulsson designed Dombås Church (2023), and the soon to be opened Karl Norum-designed Posten Moderne Museum of Contemporary Art in Trondheim, as well as a number of heritage sites across Norway. His teaching and research focus on the recent past, specializing on concrete architecture, buildings systems and components. Erik is in charge of the Re-Store course portfolio, investigating how architectural education needs to respond to the climate crises through the reuse, preservation and transformation of what is already built. Since 2021, his teaching has engaged the concept of provenance in a number of master studios and seminars. His books include 

Sverre Fehn, Nordic Pavilion, Venice. Voices from the Archive

 (2021). He is the owner of the cultural center 

. Erik holds a Diploma of Architecture from AHO and a M.ARCH AAD from Columbia University GSAPP.

Erik Fenstad Langdalen

Ingrid Dobloug Roede is currently a PhD fellow at the Oslo School of Architecture and Design (AHO). Her professional experience includes design practice (most recently at Transborder Studio), historical research, editorial work, and cultural programming. She holds a Master of Science in History, Theory and Criticism of Art and Architecture from the Massachusetts Institute of Technology (MIT) and Master in Architecture from AHO. At MIT, she was a Fulbright Grantee, Aker Scholar, and recipient of the MIT SA+P SMArchS 2019 Prize for Thesis. Roede has previously been Teaching Assistant at MIT and Assistant Professor at AHO, teaching courses on urban theory and representation, the history and philosophy of preservation, and reuse. Her current research concentrates on transnational exchange, discursive networks, and the mediation of architectural imagery between Norway and the USSR in the 1930–40s.

Ingrid Dobloug Roede

Åshild Wangensteen

Noora Khezri

Re-Store: Prefab

Labratoriebygget L6, Phase 6: 

Ringbygget, Phase 6

The relationship between architecture and photography seen through the lens of the Kodak building

The Kodak building by Geir Grung was completed in 1978, and was Kodak Norge AS’s headquarter until they closed down in 2004. This project is a research on
the building’s rich, but hidden history – and a study on the relationship between architecture and photography.

What made this building not just a regular office building, but a building that was specially designed for Kodak – as they had asked for in the competition? What made it so challenging to fit a new program into the building, after the company had to close its doors in 2004? And could I find any hidden references to photography in the architecture itself?