"The old world is dying, and the new world struggles to be born, and in this interregnum, is the time of monsters." — Antonio Gramsci' 

For decades we have built ourselves out of crises. We have demolished and erected, replaced and forgotten. We have redrawn where something already existed, torn down to start anew. We have cultivated the idea of ​​the finished project, the final composition, the monumental work and the architect as genius. The architecture became a promise of control - an attempt to shape the world according to a notion of wholeness, permanence and order. But the world today cannot be controlled. The architecture is in dissolution and resurrection at the same time. The buildings age, crumble, change use, take on new forms of life and new functions. The new city has neither a physical nor a meaningful centre. We stand in the middle of a gap - an interregnum between the ideals of the past and the necessity of the future. 

Antonio Gramscis believed that in this "interregnum", monsters arise. It opens up a new reading of our own architectural contemporary. Between ruin and building, between waste and resource, between man and material, new hybrids arise. The monsters are the unpleasant, the unpredictable forms that do not fit into the established categories. They are the result of architecture trying to find meaning in the chaos, of taking in what was previously pushed away. When the former ideals no longer apply, and no new ones have taken shape, a space for experiment and resistance arises - unresolved forms, hybrid existences, structures that do not know who they are. In this semester, I want to investigate this space of possibility - where collisions, the unfinished transitions and interference can become part of the language of architecture. A place where architecture gropes for new connections. The project does not propose a ready-made project, but rather a framework for change.

Vævergadekareen was built in the 1970s as part of the large wave of public housing in Nørrebro. The Vævergade alley contains layers of life, voices and tracks. Newly arrived families meet here, languages, religions and rhythms intersect here. The project is based on these interferences - in the friction between what was and what continues to be. The buildings are robust but monotonous: they follow a rational logic of repetition and efficiency. They consist of a simple sandwich construction with prefabricated concrete elements, and a shell wall. Over time, they have lost their flexibility, and many of the common areas have been underutilized.

The intention of the project is to reintroduce the original ideals that lay behind public housing - community, accessibility and the belief that architecture can form the basis for social justice. Vævergadeallee becomes a laboratory to investigate how an existing housing structure can be revitalized without losing its social anchoring. The project proposes an architecture that accepts incompleteness as a quality - an "unfinished monument" that can change with time, adapt to new needs and accommodate different forms of life. It is not about creating a new symbol of modernity, but about rediscovering public housing as a living, unfinished joint project. I do not want to show a final image, but rather a process in motion – a space for interference between the planned and the spontaneous, between structure and use. The project wants to work with the unfinished, the open and the changeable. Rather than the pure solution, I want to work with the double meaning: - That disorder can be form - That the unfinished can be a promise - That chaos and collapse are also spatiality