The legend of the underground
archive. Alexander Sokolov SS2018
University of Liechtenstein FĂźrst-Franz-Josef-Strasse, 9490 Vaduz Institute of Architecture and urban Planning
Master’s thesis to obtain the degree “Master of Science in Architecture”
Alexander Sokolov
Supervising Professors: Luis Hilti, MA Arch. Matilde Igual Capdevila, Dipl. Arch. Bianca Anna Böckle, MSc Arch.
SS2018
Table of contents
page 08
1. Acknowledgements
page 09
2. Abstract
page 10
3. Introduction
page 12
Part I: Knowledge collecting
page 13
4.1.
Theoretical notions
page 20
4.2.
Subject of thesis
page 22
4.3.
Pertinence of the topic
page 24
4.4.
Personal approach
page 26
4.5.
Local analysis
4
page 40
Part II: Methodological process
page 41
5.1 Walking
page 52
5.2 Collecting
page 54
5.2.1 Artifacts
page 62
5.2.2 Geological collection
page 72
5.2.3 Toponymical analysis
page 84
5.2.4 Legends
page 106
5.3 Digging
5
page 114
Part III: Design process
page 115
6.1 Built intervention
page 134
6.2 Underground archive
page 156
6.3 Narrative
page 158
7. List of references
page 160
8. List of figures
page 164
8. Affidavit
6
7
1. Acknowledgements
I would like to express my sincere
I would also like to extend my
gratitude to Matilde Igual Capdevila,
thanks to the staff of University
Bianca Anna Böckle and Luis Hilti,
of
my Master’s thesis supervisors, for
students and locals.
their guidance, encouragement, and participation.
Liechtenstein,
for
their
I would also like to thank Dr.
encouragement
Daniel Miescher and Dr. Alexey
study.
assistance in the geological analysis. My thanks are also extended to Ümit Mesci, Alkistis Thomidou, Sebastian Utzni
and
Christoph
Frommelt
for their interventions during the semester.
8
Venice
Finally, I wish to thank my whole family
Miroshnikov, for their advice and
Studio
support
and
throughout
my
2. Abstract
In order to integrate the local
The work is answering this question
by a built construction, it needs to
community and to bring changes and
in two parts. In the first, theoretical
produce a narrative, receptive for the
knowledge to the existing situation,
research, it approaches a specific
natives. The architecture should be
it is essential to understand and to
area defined by the line which is
a mediator which opens the door for
study its culture, and its physical
crossing
the interaction.
environment.
into consideration and studies the
The
architectural
Liechtenstein.
It
takes
the
physical and the cultural aspects of
collective memories, be a reminder
the region. In the second part, an
and bring support to unite people
empirical approach, divided in two,
under universal values. It should
consists in the building process and
be possible to provide a view of an
the exploration of the region using
intangible and forgotten heritage.
different mechanisms.
How can architecture build a narrative to unearth the hidden layers of local identities?
The project results in the test of a
intervention
can
stimulate
sensitive way to interconnect with the local identity through the curiosity and the imagination. Supported
9
3. Introduction
The work was made in the context
imagination is the same, which is
people, their needs and behavior
of the Studio Venice, Cross-country
used to recall our past.
to reach the subconscious depth. We should not create nice renders
experiments in architecture, on the
without any connotation.
topic of “remoteness” and of the
The concept of the project aims
Venice Biennale with the notion of
to
“Freespace” as the starting point. It
catalyzer to stimulate the creative
The fundamental part of the research
reflects on the personal and cultural
activity in mind, to uncover the
was the understanding of the context.
distance between people and the
invisible, hidden layers of collective
The methodology used for it was
memories which produce the common
memories and local identities. In
the collecting process. It consisted
ground. It considers the difference
the context of the globalization and
of four parties: artifacts and stones
of
physical
the standardization, it is crucial
as physical underground, names of
space and the anthropological place.
to producing places which have
locations and legends, as the cultural
The work refers to the links and
meanings, which have relations to the
one. They represent different and
connections between the emotional
human. The architects cannot stamp
interconnected local identities. The
and the rational reactions. The part
the “non-places”. They need to dive
collections helped to uncover hidden
of the brain responsible for the
into the culture and understand
layers of knowledge by linking and
the
impersonalized
use
the
architecture,
10
as
a
searching for similarities between
is a need to maintain this identity.
them. The second part of the
Moreover, the symbols transmitted
methodological approach was related
via
to the personal experience and inner
intervention
the
architecture as a symbiosis between
discovering. It consisted of walking
opportunity of realization. According
built and projected; the architecture
methods, as physical uncovering of
to the research, a narrative could be
as
the landscape and digging actions, as
built. It took into consideration and
architecture which creates a spirit of
spiritual exploration.
created links to the local identity.
the place.
The research topic and design were
The narrative is a crucial component
developed according to the local
of the design. According to Marc
social and landscape environments.
Augé: “the narrative is an effort
After
and
that ceaselessly transforms places
physical archeology: the ethnos, the
into spaces and spaces into places”
mentality, the cultural structure,
(Augé, 1995). The narrative is a tool
functioning; I realized that there
to connect emotional and rational
analyzing
the
social
the
small can
11
architectural provide
sources. This
work
a
aims
memory-maker
to
present
tool;
the
Part I: Knowledge collecting
The first part is the “groundwork”.
and Triesenerg. It will question
Its purpose is to place the theoretical
the
notions and explore basic definitions.
undergrounds, as physical and non-
It is the reflection about the studio-
physical notions.
defined topic of “remoteness”, Venise Biennale topic of “free-space”. This part provides the subject, personal approach and the pertinence of the topic for the local community, and for the more significant global scale. This part aims to collect the key knowledge
about
the
chosen
location along the Line in Vaduz
12
geological
and
cultural
4.1 Theoretical notions Remoteness
How is the notion of remoteness
disinterest, and no affection for a
It is crucial to understand how the
defined? According to the definition
group, or a community.
remoteness is defining the space. Is
in the Collins dictionary, it is related
it beneficial for atmosphere, cultural
to the physical or time distance
However,
and
considered positively. A remote place
the
personal,
inner
state
remoteness
can
be
in a distance and in time becomes
(“remoteness�, n.d.).
precious. It becomes an inaccessible The remoteness can be positive and
treasure. Personal remoteness is also
negative.
a sign of deepness and rich inner world.
In the negative sense, the remoteness is related to the abandonment, to the
The remoteness is an individual
insecurity, to the inaccessibility. A
notion and can be relative. The
remote place will ask for more vivacity
perception of the place correlates to
and
the outer environment, and to the
happenings.
The
personal
remoteness in a negative way is the
inner sensations.
13
preservation, or could the place benefit from changes?
The temporality of remoteness
The first characteristic is the time.
experience of my life, related to the
Depending on a day, a year, or
time, was on the “Karlův most” in
an event, space can be changed.
Prague on the 25.th of December.
Brasserie “Burg” is situated on the
I went there early in the morning
intersection between the analyzed
and was crossing alone this famous
Line
street”.
bridge, usually full of tourists. There,
Working from 8h30 till 23 hours, it
I understood the uniqueness of that
has two picks of attendance during
moment, which could be possible
the lunch and the dinner times. In
probably only once a year.
and
the
“Städtle
the weekends this place also becomes more animated. The sun brings
Even the most central space has its
people outside the restaurant on
moment of remoteness.
the terrace and influences the street environment. One of the strongest “remoteness”
14
Centrality of remoteness
The remoteness of one place is
central point on one precise area.
relative to another place. A small
However, this relation is reversed,
theater in Moscow will be bigger
and this area can be seen, in its turn,
and more animated, as the biggest
as the central point for other regions.
theater in Schaan. If we need to define the remoteness of the Castle of Liechtenstein which dimension should we take into consideration? Is it the building itself, or the regional situation
of
Liechtenstein?
The
castle is central for the country on the one hand, but more remote from some dense regions, such as Zurich. It means that one definition of the remoteness is the influence of the
15
Freespace
What is it the free space? This term has diverse signification and can be seen in a quite general way. Could it be understood from its opposite? What is the occupied space? What fills it? First,
space
can
be
occupied
physically. A wall, a corner, a house generates a new place, movement, perception. It is a border, which does not allow to cross the space in a usual way. It also creates a new room. It provides the possibility to adjust to this new free space in a better manner.
16
can
occupation. It can be related to the
beach near the Rhine. Nevertheless,
dominant
amount of public, which fills the
during the hot summer, people will
draws attention and changes the
room, or the function itself, which use
find a free space near the water,
perception. You can compare two
the space. For instance, a mountain
in order to occupy it. Imagine the
similar landscape photos. The first
road, occupied by cars, buses, bikes,
crowd around a programmed and
one has an old barn, and the second is
people can be considered, as a free
build function, such as a river-bar.
without it. How will the composition
space, in case there are no limitations.
You can conclude, that the functional
appear? Will it be possible to
However, what happens if you put a
occupation, has no needs in people,
understand the landscape, like an
separate bike line? Even, without any
or build environment. However, it
empty space? Which elements will
additional elements (bikes) space can
can emphasize it.
you recognize?
be considered as occupied.
The be
physical
occupation
monumental.
A
The third occupation is an appearance
The physical occupation prioritizes the movement and transforms the
To
functional
one. It also has two characteristics:
perception of the space.
occupation, which is filled by a crowd,
the occupation by diversity, and the
ones can observe a beach. It is not so
occupation by identity.
easy to find an example of occupied
In the space filled with diverse
The
second
is
the
functional
describe
17
the
elements, each object draws attention.
districts, it is complicated to imagine
it gives room to propose a strong
You will spend more time to discover
an extraordinary intervention. How
individual intervention.
objects one by one if there have no
will a pine look like in a birch grove?
similarities. For instance, the center
Many similar or banal objects put
The last space occupation is social.
of Vaduz can be compared to the
together produce a strong identity,
It can be related to the traditional,
housing situated in a few minutes on
which does not give a room for a
religious,
the line from the main street. People
foreign element. One monumental
aspects. A fenced field, an exclusive
will investigate the central area more
object could generate extra strong
restaurant terrace, a monastery yard
often, and consider it more occupied,
identity. The Castle of Vaduz has a
are such places. Potentially, they
because of diversity and interest
strong identity and influence the
benefit from free space. However,
of the buildings. At the same time,
country landscape. Will it be possible
they are occupied and does not
the diversity gives the opportunity
to find a free space nearby? It will
give the opportunity to build a new
to find a new non-occupied space,
push the new occupation to the
environment.
and to build lighter a new particular
second position.
environment.
A diverse, or a spot with a strong
In case of the standard housing
identity are always occupied, but
18
economic,
or
private
Figure 1. Fari landscape. Photo by author
Figure 2. Fari landscape without buildings. Photo by author
19
4.2 Subject of thesis
The studio aims to explore the topic
river, fields, city center, castle, forest,
“Freespace”. This concept has many
of the “remoteness” on the arbitrarily
cliffs, traditional alpine barns and
senses and meanings. One of the
chosen
as
settlement, artificial lake, streams,
characteristics of the Freespace is
“Line”) crossing Liechtenstein from
caves, infrastructural constructions.
to be related to the human activity
one border in the Rhine valley to the
It also incorporates varied human
and inner world. The architecture,
other one with Austria situated in
types and personalities: urban and
defined by it, is socially based. “We
the mountains. It is the uncovering of
rural inhabitants, farmers, prince,
believe that everyone has the right
the landscape via walking, observing,
tourists. We can speak about two
to benefit from architecture. The
writing and constructing. There is a
cultural identities of Walser and
role of architecture is to give shelter
fragmented way to discover the place
Liechtensteiner. The Line proposes a
to our bodies and to lift our spirits”
we are familiar with in a different
rich spectrum of topics and layers to
(Farrell & McNamara, 2017). Free
manner. It is an opportunity to
uncover, to understand and to react
space has a significant potential for
familiarize with the environment,
on.
the community. It is the moment
line
(after
indicated
where we can react and build or to
cultural traditions, social behavior. The Line includes a rich collection
The studio is also a part of the Venice
form a common ground to provide
of urban and rural patterns: Rhine
Biennale focused on the topic of the
additional value for the society and
20
to people interaction.
no issue for the integration into the community. Facing different
Freespace
and
remoteness
are
global
modern
problems
people
interrelated to the inner human state.
need to react together, to interact.
“Freespace celebrates architecture’s
Our build projects in scale one to
capacity to find additional and
one should contribute for this and
unexpected
bring additional value to space and
generosity
in
each
project - even within the most private,
community.
defensive, exclusive or commercially restricted conditions� (Farrell & McNamara, 2017). Organized in a right way it is the solution to avoid the weakness of remoteness and to maintain its qualities. The feeling of remoteness should bring value for the individuality and
21
4.3 Pertinence of the topic
There is a disconnection between the
of life it is crucial that the inner,
happenings, locations, atmospheres.
individual and the place identities.
personal, and the outer, surrounded,
During our life we accumulate
Alastair Bonnett in “Off the map”
states coincide. We need places that
information, we form our opinion, we
makes a difference between the space
have values. We need places with
shape our mind. Depending on the
and the place. Space has a modern
which people can associate their
experience, we react in the present.
connotation, and the place doesn’t.
childhood,
memories.
We build the future based on our
Space is related to the mobility. It
We need places to create links and
background. According to Daniel
erases restrictions. It is structured.
connections, to create a society
L.Schacter: “the number of recent
It offers an emptiness (Bonnett,
which stays together and does not
studies show that imagining the
2014). The place has a meaning, and
only transit.
future depends on much of the same
life,
love,
it interacts with our subconscious.
neural machinery that is needed for
The place should not be reduced only
“Place is a protean and fundamental
remembering the past … an idea that
to the transition functions.
aspect of what is to be human”
a crucial function of the brain is to
(Bonnett, 2014).
use stored information to imagine,
For
architecture,
as
the
social
environment, to improve the quality
simulate and predict possible future Our memories are composed of
22
events” (Schacter, Addis, & Buckner,
2007). The architecture is forming the future while it is building the present ground for memories. To provide freedom in space, in minds, and in imagination is to create a valuable milieu.
23
4.4 Personal approach
The way to reach the personal
decision making. New research in
we use the same parts of the brain
subconscious is to transmit the
neurobiology
for
information via familiar forms of
it is wrong. Antonio Damasio, the
the images, as for recalling of the
expressions. It is essential to generate
Portuguese
while
information (Damasio, 2011). It
an active behavior and to push the
the experiences of malfunctioning of
means that human interpretation of
imagination. For this reasons, we
frontal lobe responsible for logical,
the present and the future decision-
need to appeal to the emotional
voluntary
making processes are interconnected
side.
Colin Ellard warns against
decisions, discovered its causes in
the stereotype increased in human
broken connections between cognitive
history and culture about the logical
and emotional parts of the brain
The architecture using the cultural
and emotional opposition, the “fight
(Ellard, 2015). In his talk, Damasio
background and subconscious links
between heart and mind�. There is
makes the connection between the
is a powerful tool to stimulate the
an opinion which argues that the
analysis of the environment and our
human activity. The understanding
deep layers of a brain of the reticular
subjective perception in mind. As
and utilization of the identity is a
formation, responsible for primary
well as Schacter (Schacter, Addis,
critical point in a social approach to
functions are disturbing the rational
& Buckner, 2007), he claims that
the construction. The imagination
demonstrates neuroscientist,
and
analytical
24
that
human
perception
and
creation
of
with experience and memories.
is a part of the building process,
The utilization of the existing, as a
realization or the understanding
which we cannot put in the work
physical or meaning free space, is
systems. It is a way to provide a
submissions, but we still need to
a tool in case of a lack of resources.
vision,
consider as an essential part of the
The sign is an instrument to provide
makes it impossible. Architects such
project.
a more significant meaning. It is
Tony Garnier, El Lissitzky, Antonio
possible to start with a small form
Sant’Elia, or from Archigram group,
In my opinion and present project,
or intervention to reach a prominent
used imagination and inexistent
the built intervention is only a
result.
context to build their theories.
part of a more extensive system of
priorities meanings, it is a way to
meanings and representations. The
transmit
architecture is a catalyzer which
With a small gesture, we can suggest
architecture full of subconscious
opens new visions and shows another
a broader intervention, to reveal
meanings and a built sign installation
perusal of the environment. It is
problems and solutions.
is a way to transmit the message and
Temporary the
architecture
message
instantly.
essential to use the physical and the
The
without
symbiosis
obstacles,
of
intentions efficiently.
cultural contexts to tell the entire
The non-built architecture has a
story. The architecture is a narrative.
potential to test a complex in the
25
the
which
unbuilt
4.5 Local analysis Geological underground
Liechtenstein has a considerable
oldest one, the African rocks are
geological
Rhine
located above the ocean sediments
is a division between Eastern and
and the youngest European grounds
Western Alps. On the small amount
(Schuster, Kurz, Krenn, & Fritz,
of the land, one can find different
2013). In Liechtenstein and on the
layers by location and by time.
line we can find all types of sediments
situation.
The
from different areas of Tethys see: The Alpine region is formed by two
Ostalpin, Penninic and Helvetic. In
tectonic plates: the European and the
former times these grounds were
African. The last one converged in
separated by the distance of more
the direction of the first one since the
than thousand kilometers (Miescher,
Cretaceous Period (145–66M years
2014).
ago). This plate squeezed and pushed the ocean ground above the European.
Besides, it is possible to find different
Suchwise, the Alps, are composed by
time footprints in Liechtenstein.
three primary levels, in which the
During
26
the
movement
of
the
lithostratigraphic units in East-
mountains. It was the most significant
West direction, the Ostalpine part
Rhine valley and a local valley in
took a mixed ground to the surface
Steg. The glaciers shaped this region
and over the Penninic. Such areas
and made a water reserve after the
are called Arosa. It is a combination
melting period. As consequence
of different rocks, and it can consist
torrents also filled with seasonal
of the crystalline part related to the
melting brought mud and earth
Pangaea period (400M years old).
down. It was the formation of alluvial
In Liechtenstein, there are three
flows. The water broke the rocks
principal Arosa areas, and one of
and provoked the earth landslides.
these is situated on the studied Line.
One of these landslides defines the Triesenberg
landscape
landslides and rockfalls.
happened
The newest geological movements
15’000 years ago (Miescher, 2014).
are related to the Quaternary era.
It is still possible to see its shape.
Figure 3. p.28
During the Last Glacial Maximum,
Some stones lying in the middle of
Map of geologycal layers.
two valleys were separated by visible
Alpine fields are the result of these
Made by author.
27
Quaternary (0 M)
O stalpin schรถnberg (250 - 200 M)
0,115 km
O stalpin dreischwester (250 M)
0,121 km
Arosa (400 M)
see level
cenozoic (65 - 0 M)
Helveticum (150 - 100 M) 60 km
Q+M
Marine sediments Tethys
Penninikum (200 - 10 M)
mesozoic (250 - 65 M)
paleozoic (550 - 250 M)
(A)
Molasse (10 - 0 M) 28
Erosion product from young Alps
H+P+O
Pangea (335 - 175 M)
Europe North America
Tethys sea Africa South America
Figure 4. Map of Pangea supercontinent. Made by author
29
Formation of the Alps (200 - 60 M)
European plate
phase 3
phase 2
phase 1 Ocean plate (Tethys see) H+P+O
Figure 5. Formation of Alps Made by author
30
African plate
Lithostratigraphic units
D
Molasse Helveticum FL
Ostalpin
A
CH
Penninikum
Figure 6. Lithostratigraphic units. Made by author
31
Last Glacial Maximum (26 - 19 K)
Rhine valley glacier
Mountains not covered by glaciers
Vaduz
Steg
Triesenberg
Triesen
Figure 7. Last Glacial Maximum. Made by author
Local glacier in Steg
32
Quaternary formation (0 - 15 K)
Triesenberg landslide (15 K)
Vaduz Steg Triesenberg Triesen
Figure 8. Quaternary formation. Made by author
Brook debris cones
33
Cultural underground
The community of Triesenberg has a rich history and stands out from other regions of Liechtenstein. It is a Walser settlement. In Triesenberg you can find a strong implication in traditions and origins. They are part of the international association of Walsertum (IVfW). There is also a unique dialect, which diverse from other communities. They maintained specific and
behavior,
architecture
functioning, (“Walser
in
Liechtenstein�, n.d.). The ancestors of these people came to the region around 13-14th century.
34
Initially the folk called Alemannen
The movement covered a vast region
The Walser could benefit from
arrived in the Wallis in the 8-9
from Savoy in the western direction,
a
century from the northern. However,
till Italy in the south, Bern in the
“Walserrecht”. It was a colonialist
they left the upper part of Wallis
north, and till Vorarlberg in the east.
privilege, and for a certain period,
soon. It’s unknown for which reasons
It remains unclear if Liechtenstein
they did not need to pay taxes or to
at the end of the 12th century the
was inhabited by people coming
be attached to the land and landlord.
migration restarted. Probably it was
from the southern parts or northern
They were considered as free persons.
due to the overpopulation, plague,
ones, after the second movement
(http://www.walser-alps.eu/history/
natural catastrophes, famine or just
of migration. However, the Walser
the-walser-legislation) The land was
their desire to continue the walk.
established
communities
usually already occupied, and the
The name Walser could have relation
of Triesenberg and Planken in
Walser could benefit from the free
to «Waller», which means in German
the
space only high in the mountains. In
«Wanderlustige», the person who has
maintained
the
this region, the main problem was
a passion for travel – hiker (Bucher,
origins and Planken was assimilated
the winter and food preservation for
1992).
with Schaan and integrated into its
the cattle. During their walk, the
culture (Bucher, 1992).
Walser discovered sickle and scythe.
region.
two Only the
35
Triesenberg
relation
to
particular
law,
so-called
These tools offered a possibility for
also adapted to different natural
Triesenberg
people to settle in the upper regions
conditions. The material changed
traditions. Local and visitors can
(Bucher, 1992). They adopted their
place by place, from stones to wood.
follow the legends on the special
life in relation to the landscape
However,
path, called Walser Weg of Legends,
and environment. Because of the
planning remained similar and was
absence of a flat land and farmer way
dictated by production functioning
of living Walser needed to create
(“Wie siedelten die Walser?�, n.d.).
the
functioning
and
spread communities. Moreover, in case of natural catastrophes risks,
The history of Walser created a
such as torrents or avalanches, the
foundation for stories and anecdotes
settlement became closer. They were
in the form of legends which were
more attached, to the production of
transmitted and followed with their
cheese and milk: to the cattle; as to
migration over mountains. It was a
the land cultivation and agriculture,
movement of cultural underground
due to the ground and weather
through time and distance.
conditions. The architecture was
36
maintains
their
or during the festival of Legends.
Walser movements
Figure 9. Walser movements, translated by own from (Bucher, 1992, p. 12)
37
Walser path of the legends in relation to the line
in relation to the urban development
Figure 10. Legend path in relation to the line. Made by author Figure 11. Legend path in relation to the urban development. Made by author
Vaduz Triesenberg Vaduz Alpine Triesenberg Alpine
38
Figures 12-14. Path of legends. Photos made by author
39
Part II: Methodological process
The second part consists of a
symbiosis of these findings opens a
methodological
the
more significant understanding of
provide
landscape and cultural environment.
different strategies and examples to
Another methodological approach
explore local scientific and cultural
is building the prototypes, and
“undergrounds�.
exploring precise locations.
research
topic.
approach It
will
to
In this part, the group and the personal
experiments
will
be
presented, such as walking process, exceptional or unusual experiences and action of digging. Additionally, the collecting process will be presented in four groups; two physical and two non-physical. The
40
5.1 Walking
The walking experience chapter will present some observations done from another, unusual perspective, concerning the action of walking. The simple fact to change one of the characteristics, the direction, as a straight line, changes the sense and comprehension of an environment completely. This chapter will reflect on the action of walking, discovering and approaching to not familiar places and locations, tell the story of overcoming challenges.
41
Walking experience
Walking, hiking, conquer, roping,
instead of bypassing on the road,
the mountains, streams, waterfalls,
marching, crawl, climbing: there
makes small things visible. To slow
animals. It is essential to slow down
are different ways of exploring the
the pace, to go forward and back, to
one more level to understand, to
environment. Going on the street, on
repeat the same unknown way gives
find the hidden layers of landscape,
the sidewalk, on a path, or crossing
an opportunity to pay attention to
of culture. By putting yourself in
the field without any roads provides
the invisible.
the extreme conditions feelings are
different visions. The speed influences
exacerbated. It provokes an unusual
the perception. Robert Venturi is
How good the persons observe the
reaction and a view from a side.
associating the speed to the symbol’s
surroundings while going to work?
Making experience in the things we
scale in the “Learning from Las
We don’t notice things which are
never did before gives a waste field
Vegas.” Faster our movement is, the
under our feet. We prefer to look
for inspiration.
bigger the billboard, or the message
at our smartphones, newspapers,
will be (Venturi, 1972). At the same
books. Hiking is more related to
There are similarities to the flaneurs
moment exploring the landscape
nature and observation. It is its
of Charles Baudelaire. Uniquely the
with minimal speed, spending the
aim. However, we are moving still
city and natural context are different,
time to hold the Line, and cross cliffs,
too fast. The observing landscape is
and the movement has a different
42
rhythm; however the aim becomes
no longer a sortie from but an act of
similar: to observe. “The flâneur is
culture” (Solnit, 2014).
a precursor of a particular form of inquiry that seeks to read the history of culture from its public spaces” (Gleber, 1999). In the mountains, the landscape becomes public space. It is crucial to observe the environment, to change perception, to approach it differently. The walking is related to cultural
Figure 15.
layer. It is the understanding of our
Walking in the mountains in
self. It is a mental digging. “Climbing
challenging conditions
a mountain has become a way to understand self, world, and art. It is
Photo made by author
43
Weather
During different hikes and by exploring
access to the project site. The shape of the
the
changed
landscape went from stretch severe forms only
their outward aspect. A site can appear as
underlined by the presence of short grass,
abandon, inaccessible, dangerous when there
through wholly hidden enigmatical forms
is not enough sunlight. The higher contrast
under the snow, till silky waves of long grass,
influences the visibility. The cloudy sky
moving in many directions and creating a
erases diversities and makes the landscape
diversity of patterns. The forest was presented
monotone. There is not much vivacity, and
with some weather conditions as an entrance
the environment occurs, as “sleeping�. In
to the magical winter tale, and sometimes as
such weather conditions, it is quite simple to
a passage to the housing of the sinister witch.
same
places
the
weather
lose the orientation, as did one person from our group. He even did not recognize that we
The brightness and colors influence a lot
already came to the same spot some weeks
our perception of the place. The atmosphere
before.
provokes new feelings and thoughts.
It was also possible to see the changes in the
44
Figures 16-19. The site in different weather conditions.
Photos made by author
45
White environment
Free space: “a region that has no gravitational
The
any
it is floating in empty free space.
and electromagnetic fields: used as an absolute
definitions - it is a blank canvas, it is
Suddenly there is no difference
standard. Also called (no longer in technical
a white paper without any additional
between the sky and the ground.
usage): vacuum” (“free space”, n.d.).
information. What does it suggest to
There
walk between the empty lines? The
position, relation, function. The
A random page between Steg and
fog erases the landscape. It is still
matter is floating in the emptiness.
Austrian border was chosen to write
possible to recognize some objects,
People are lost between the top and
this passage in my diary during the
such as a branch, a cross, a stake, a
down.
seminar week. Our group was based
stone. It is even possible to identify a
already for four days in Berghaus
location, for instance, congestion of
Each person has his life marks:
Sücka in a dense fog environment.
trees, stones, or a direction sign to
physical,
We came from a hike, probably
the village.
separated from which, the human is
along the line, in a completely white
However, the place cannot be defined
lost. New sensation will be produced,
environment.
a
relative to other areas. Setting it in
new ideas, feelings. A dislocation is
sensation to be entirely lost in the
the landscape is impossible. The
a powerful tool, to open the borders
landscape.
same is happening with the object:
and to look out the frame.
We
experienced
remoteness
without
46
is
no
understanding
moral,
mental,
of
social:
Figure 20. In the fog. The information panel in front of the invisible view on the landscape. Photo made by author
47
Between the topographic lines
A relief map is a tool generally used
up-and-down
2
an identical middle step, such you
by architects, landscape designers,
meters elevation map, has another
are still able to count, is a hill region.
engineers. By the common man, it
perception as 0,4 m one. Regarding
If the curves are so close, that they
could be seen more as an abstracts
the general context, it is possible
start to merge, this is a cliff.
painting.
particular
to capture the character of the
elements are recognizable. They have
region. How many height lines
In the middle scale, the information
different sizes of impact: from the
can you count? Fewer layers with a
about
global scale to a small one. The way
significant distance between them is
visible: torrents, rivers, lakes, rocks.
to provide such information, and the
probably a flatland. The rural area
Enumerated components appear on
necessary knowledge of how to read
is distinguished by straight lines, in
both examples of the Fari situation
it, can change the site perception and
contrast to the urban one, in which
map. The torrent can be found in the
reveal hidden aspects.
the human impact is much harder on
middle, where the layers are making
the landscape. You may need to have
sharp and torn curves. It is the river
First, it is essential to find a primary
a precise topographical map in order
canyon representation. The cliff is
data: the scale, the difference in
to differentiate elements on a flat
situated in the down-left corner and
height between each level and the
relief. Flexibly wriggling lines with
is characterized by a small distance
However,
direction.
48
The
the
natural
elements
is
between the height lines. The lake
the smooth descent of the road is
is crucial to provide a small height
is defined by a round shape, some
contrasting on the saturated ground.
steps map. In the Fari example, the
enclosed curves, and an empty space,
Sometimes the relief is not strongly
right building is disappearing on the
illustrating the water, in-between.
pronounced, however, the road is
5 m elevation. The wall is likewise
Another visible element is a ridge,
distinguishable
perpendicular
almost disappearing in this scale.
appearing
lines,
crossing lines, situated on the same
Moreover, in a more precise map, it
enclosed curves, and decreasing ones.
distance between each other. That
becomes visible, to the point where
On the same scale, artificial elements
shows the regular slope of the way.
many lines are overlapping.
as
increasing
by
are presented, for instance, a road, or a dam. Three elements can identify
The smallest scale appearing on
the road. The first one shows the
the topography map are artificial
border of the path: usually, the line
objects, for instance, a building, or a
brakes in one, or another direction,
wall. The building can have straight,
to indicate a curb or a small
not a wriggling shape. It should not
elevation. The second will be more
be hard to find an unnatural form in
visible in the mountain region when
the changing landscape. However, it
49
model
0,4 meters
Figure 21. Model The model of the Fari landscape Made by author
Figures 22-23. Comparison between 0,4 and 2 m hight lines landscape representation
2 meters
Made by author
50
lake
pick
fields
hills and rocks
Figures 24-28. Representation of different landscapes
city
Made by author
51
5.2 Collecting
between
The first collection is the ordinary
background presented, as outlined
physical and immaterial elements
objects found on the line. However
above. It is comparative to the first
on our line? I started to collect my
they become interesting being in an
collection, in the way that stones
essential elements for the research by
alien location, they are unique and
are
walking along the line. I was quickly
with a story behind which makes
elements. Nevertheless, it is harder
interested in a hidden meaning of
this objects curious. First items work
to understand their meaning without
different objects. I asked myself what
as a personal catalyst, in order to
any specific knowledge.
composes the landscape, how it was
approach and deep the meanings of
made, how it arrived there, which
other collections.
What
is
the
relation
unique
and
extraordinary
Two other collections are the nonmaterial ones. The first is the
meaning has it. The
second
collection
interpretation
of
human
collection,
and
others,
underground. Each stone of this
environment.
interacting
between
themselves,
collection is an ordinary element
analysis of the toponymical map,
of the landscape in a first view.
which provides and explains names
However, it has a rich geological
and meanings of different locations.
52
physical
direct
composition
material and immaterial ones.
the
the
The work is one personal physical three
of
is
understanding of landscape and It
results
in
the
The last collection is a double interpretation
by
the
society.
The legends represent a mystical description of happenings. It is a story which reflects a direct explanation of phenomena.
53
5.2.1 Artifacts
To bring inspiration and to search for
typical and at the same time unique.
hidden topics, challenges, habits or
Even without knowing a precise
rituals, I started a personal collection.
story behind each object, adding a
It is a compilation of ordinary objects
cultural, imaginary context opens an
found in the trash, behind the bushes,
unexpected view of the object and on
lying on the road or hidden in the
the environment. It is an autonomous
forest. All objects were collected during
collection, however, related and used
different activities on the line, such
as a tool to understand and represent
as walking, constructing, climbing
the other three groups. There are
or digging. These objects served as
similarities and parallels which can
a catalyzer to approach questions of
be drawn between these artifacts and
remoteness, distance, globalization,
stones, names and legends.
time, sustainability. There is a story behind each item of the collection. There is a contrast between
54
Figures 29-34. pp. 56-58 Artifacts from the collection Photos made by author
55
The rose
Name: Item 32 Found:
Trash I Vaduz 47°08’37.2”N 9°31’00.7”E
1€
The piece of сeramic dish
Name: Item 33 Found:
Cliff I Triesenberg
1€
47°07’49.5”N 9°32’29.1”E
The pen from NY University
Name: Item 34 Found:
Forest I Triesenberg 47°07’45.3”N 9°32’42.1”E
1€
56
The metal holder for a plastic protecting a young tree
Name: Item 35 Found:
1€
ForestI Sücka I Triesenberg 47°06’47.5”N 9°34’09.4”E
The screw
Name: Item 36 Found:
Street I Technopark I Vaduz
1€
47°08’53.9”N 9°30’33.7”E
The snag
Name: Item 37 Found:
Forest I Kulm I Triesenberg 47°07’05.5”N 9°33’44.8”E
1€
57
The shovel
Name: Item 38 Found:
Digging on site I Fari I Triesenberg 47°07’48.0”N 9°32’38.1”E
1€
The pendant
Name: Item 33 Found:
Grass I Steg
1€
47°06’27.2”N 9°34’47.4”E
58
Item 37. The Snag
A snag intercepts my way to the top of
piece broke in my hands. I started to
the place called Kulm, which means
reflect on the fate of the tree.
symbol of evil spirit. The wood does not live as long as
mountain range. We climbed there in the deep snow, and I could hardly
The wood is frequently associated
the rock. However, it has a human
move my legs when it clung to me. I
with religion and beliefs. So, the
time dimension. In contradiction to
broke a piece, which was contrasting
ancient
the
stones, we see the tree coming into
on the white surface. Its versatile
nymphs related with trees, dryads.
being, how it grows and dies. We see
body was overgrown with lichen. I
By the way, unlike other dryads, they
it falling; we see it soaking in the
took it carefully in my hands, trying
could die. The process of collecting
water; we see it burning. The wood
not to break it, and then attached it
mistletoe was an essential ritual
is antipode of stone. It is human -
to the bag. It came calmly to the box
of druids, connected with healing
it is transient. A tree is a story that
in the university, where it was resting
against the poison and infertility.
appears as a legend and disappears
some time enjoying the warmth and
The Bible mentions two trees, one
with a person stumbled over it.
peaceful environment. , and I did not
of the knowledge of good and evil
visit the snag. Once, I opened my box
and the second, the tree of life. In
and took it. It lost a bit of color, and a
vernacular beliefs, the dead tree is a
Greeks
imagined
59
Item 32. The rose
Suddenly, I met her. She was lying
we need to forget about an object; we
valley in the Province of Cotopaxi, 90
with some friends under the rays of
need to find her personal story.
minutes south of Quito, surrounded by the majesty of the best volcanoes
the winter sun. It was in a few steps from the bustling road, which crosses
When we met, she was fresh and
and mountains such as El Cotopaxi,
the whole country. However, the noisy
smelled sweet. Her long green body
Chalupas,
atmosphere disappeared after the
held the bouncy flower. She was
Chimborazo, and in front of the
first range of houses. She was lying
wearing a necklace made by Max
Yambo Lagoon.” (Nevado Roses,
there, behind the street, behind the
Havelaar Fairtrade. An exclusive
2018). She was grown at the altitude
dwelling, behind the garden. I found
personal code, FLO-ID 4412, such
of 3000 meters, surrounded by many
her in the trash, left to die with some
as the pendant with a photograph of
diverse varieties of roses. The day
bio-waste company. I took her with
the parents, told me her story.
she hit puberty, a young girl working
Tungurahua,
Altar,
with 500 others local farmers, Mirian
me, her – the rose. She came from Ecuador, Nevado
Patricia Tacuri Abata, collected her
You will ask me, why I call the rose
Roses plantation. It is “located in
with great care. After it, the rose
“her”? In my native language, she is
the heart of the equatorial Andean
went to a small room where a cooling
feminine. To understand her nature,
Region, in a fantastic high mountain
gas enveloped and put her to sleep.
60
She opened the eyes in Blumen
of a small house. The man took the
her side. Ones the lady appeared
Keusch
9’500
bouquet in his left hand and a bottle
again. She did not smile at all. The
kilometers from home. She was
of “Veuve Clicquot� in the right one.
lady collected the rose, her sister and
standing with her sisters and some
They crossed the garden, inhabited
three of her friends and went behind
of her cousins in a beautiful silver
by many statues of gnomes, animals,
the house, behind the garden, behind
vase at the entrance of the shop. A
and busts of Roman rulers. The
the fence. She left her there, on the
man wearing a nice expensive suit
man rang the bell, and an exquisite
February 22nd, the day we suddenly
was picking her friends. He got three
middle-aged woman opened the
met.
roses when he pondered a bit and
door. She did not want to speak with
took her with the sister.
this man. She took roses, the bottle,
AG
in
Buchs,
sad that the man is five days late and She was waiting for her fate in the
closed the door.
back seat of the car, crossing the border to Liechtenstein. The trip
The rose spent three days at the
was short. The car turned from the
bottom of the sink. She found some
noisy street and stopped in front
water and a small sun ray touched
61
5.2.2 Geological collection
The geological collection is made out of
are quite ordinary. However, they could
another
stones collected on the line. I found a
be formed in Tethys sea and maintain
and meaning. The location, which is
rich diversity of rocks while exploring
their history.
symbolic for Liechtenstein, gave them
the studied area. It was possible to
non-material
dimension
additional value.
imagine that the minerals, similar to
The stones are divided into three
the artifacts have their extraordinary
groups by found location. In two
The stones, as typical object, can be
story. This collection intrigued the
first parts, one can see a difference in
seen as an artifact opening another
imagination and pushed to investigate
texture. The first part was found in
hidden extraordinary world.
the geological topic and formation
the river, and the water polished the
of the landscape. Before sending
surface. The second part, which was
the stones for an examination, they
taken from the forest and cliffs is less
were treasures from Pangea. After
smooth as the items coming from the
discovering their more close nature,
river.
they remain as examples, showing that there are still very precious stones
The third part is two last stones coming
hiding. The stones from the collection
from the wall of the castle. They have
62
Figures 35-58. pp. 64-71 Stones from the collection Photos made by author
types of rocks (Miroshnikov, n.d.)
63
Gneiss-like granite with quartz vein
Name: Item 01 Found:
River I Vaduz 47°09’32.0”N 9°29’37.3”E
1€
Fine-grained granite with quartz vein
Name: Item 02 Found:
River I Vaduz
1€
47°09’32.0”N 9°29’37.3”E
Fine-grained granite with quartz vein
Name: Item 03 Found:
River I Vaduz
1€
47°09’20.2”N 9°29’45.6”E
64
Quartz pebble with relics of the enclosing rock
Name: Item 04 Found:
River I Vaduz
1€
47°09’32.0”N 9°29’37.3”E
Quartz pebbles with relics of the enclosing granite or gneiss rock
Name: Item 05 Found:
River I Vaduz
1€
47°09’32.0”N 9°29’37.3”E
Plagiogneiss
Name: Item 06 Found:
River I Vaduz 47°09’20.2”N 9°29’45.6”E
1€
65
Quartz vein in granite
Name: Item 07 Found:
River I Vaduz
1€
47°09’32.0”N 9°29’37.3”E
Leucogranite with quartz veins
Name: Item 08 Found:
River I Vaduz 47°09’20.2”N 9°29’45.6”E
1€
Silicified gneiss
Name: Item 09 Found:
River I Vaduz 47°09’20.2”N 9°29’45.6”E
1€
66
Quartzite
Name: Item 10 Found:
River I Vaduz
1€
47°09’32.0”N 9°29’37.3”E
Plagiogneiss
Name: Item 11 Found:
River I Vaduz
1€
47°09’20.2”N 9°29’45.6”E
Weathered silicified gneiss
Name: Item 12 Found:
Forest I Triesenberg 47°07’45.5”N 9°32’28.9”E
1€
67
Weathered rock, type not defined
Name: Item 13 Found:
Forest I Triesenberg 47°07’45.5”N 9°32’28.9”E
1€
Quartzed shale
Name: Item 14 Found:
Forest I Triesenberg 47°07’42.7”N 9°32’29.4”E
1€
Сonglomerate
Name: Item 15 Found:
Forest I Triesenberg 47°07’42.7”N 9°32’29.4”E
1€
68
Gneiss
Name: Item 16 Found:
Forest I Triesenberg
1€
47°07’42.7”N 9°32’29.4”E
Quartz vein in the gneiss
Name: Item 17 Found:
Forest I Triesenberg
1€
47°07’45.5”N 9°32’28.9”E
Quartzite
Name: Item 18 Found:
Forest I Triesenberg
1€
47°07’45.5”N 9°32’28.9”E
69
Oxidized leucogranite
Name: Item 19
1€
Found:
Forest I Triesenberg 47°07’45.1”N 9°32’27.1”E
Actinolite shale
Name: Item 20 Found:
Forest I Triesenberg
1€
47°07’43.7”N 9°32’33.6”E
Some type of quartzed rock, possibly gneiss
Name: Item 21
1€
Found:
Forest I Triesenberg 47°07’43.7”N 9°32’33.6”E
70
Some type of quartzed rock, possibly gneiss
Name: Item 22 Found:
Forest I Triesenberg
1€
47°07’45.5”N 9°32’28.9”E
Heavily quartzed gneiss
Name: Item 23 Found:
Castle I Vaduz
1€
47°08’20.9”N 9°31’27.7”E
Some type of quartzed rock, type not defined
Name: Item 24 Found:
Castle I Vaduz
1€
47°08’20.9”N 9°31’27.7”E
71
5.2.3 Toponymical analysis Artifacts in the maps
The modern world attaches massive
have information about the property.
importance to the information. It is
One of the most graphical effect,
used to share knowledge, develop,
project
earth.nullschool.
The science called toponymy is one
invent, manipulate, stimulate. The
net (Beccario, n.d.), provides the
which opens a large field to the map
society produces an enormous amount
information most spectacularly but
encoding. It explains the names,
of data. There is an issue about how to
is challenging to analyze with more
significances, and origins of places. Did
control this volume and provide a clear
precision. Some geo-date maps give a
you ever think about the denomination
message. There are many tools to do
lot of technical materials and are not
of location? The object may be gone,
it, such as books, conferences, images,
easy to grasp.
but ones can still imagine it. In instance
“Earth”,
tools.
one area on the line called Fari comes
different media. Maps are one of these Looking at a map can take two minutes
from German “Farnkraut”, that means
to gain intelligence from it. However,
fern. The well-known location Steg is a
There is plenty of messages provided
ones can observe it for an hour. There
small bridge (Stricker, Banzer, & Hilbe,
by maps, and they are adapted to one
are many layers, and each of this layer
1999). Guessing the environment of
function. Google earth will measure
can be understood by analyzing and
these spaces is possible. This method
distance by time. Cadaster maps
comparing it with other information
shows a hidden layer of information.
tools.
72
Analyzing maps becomes a quest to
the environment through the lens of
find treasures.
traditions and social description of the landscape. It is a direct human
My work aims not just to collect physical
interpretation of the surroundings.
objects, artifacts, and stones from the line, but also to find immaterial ones:
The names can be divided into different
pieces of information. Toponymical
groups according to the message they
analysis is the third collection.
transmit. Some of this names are related to the landscape: “In da Steina”
The toponymical collection is composed
(between stones), or “Sücka” (the noise
of the names of locations and was made
of wet ground). Some of them to the
to complete a cultural underground
human presence: “Gada” (one room
analysis. The representations of the
house),
locations combined with the map of
Also, some of them have relation to the
the Line shows the region in another
legends, “Guflina”, “Gretahöhi”.
“Stausee”
dimension. That is a way to look on
(artificial
lake).
Figures 59-86. pp. 74-83 Representation of names of locations. Made by author
all definitions (Stricker, Banzer, & Hilbe, 1999)
73
Fari
Name: Item 51 Etymology:
fern
47°07’46.8”N 9°32’35.1”E
Coordinates:
Faritobel
Name: Item 52 Etymology:
fern ravine
47°07’44.3”N 9°32’34.3”E
Coordinates:
Gada
Name: Item 53
one room house
Etymology:
47°07’19.4”N 9°33’24.8”E
Coordinates:
74
Gipswäg
Name: Item 54 Etymology:
gypsum road
47°07’53.0”N 9°32’17.8”E
Coordinates:
Grund
Name: Item 55
level / platform in the mountains
Etymology:
47°06’24.7”N 9°34’49.3”E
Coordinates:
Guflina
Name: Item 56 Etymology:
a legend (p.)
47°07’37.6”N 9°33’11.6”E
Coordinates:
75
Hanaspil
Name: Item 57 Etymology:
heather cock
47°06’12.8”N 9°35’08.6”E
Coordinates:
Hof
Name: Item 58 Etymology:
farmyard
47°07’34.8”N 9°32’45.1”E
Coordinates:
In da steina
Name: Item 59 Etymology:
between stones
47°05’47.9”N 9°35’59.5”E
Coordinates:
76
Sägagatter
Name: Item 60 Etymology:
sawmill
47°06’36.7”N 9°34’23.5”E
Coordinates:
Schafstofel
Name: Item 61
pasture of sheep
Etymology:
47°06’08.0”N 9°35’24.1”E
Coordinates:
Siba Brünna
Name: Item 62
seven / lot of sources
Etymology:
47°05’08.4”N 9°37’45.1”E
Coordinates:
77
Stausee
Name: Item 63 Etymology:
artificial lake
47°06’39.7”N 9°34’25.6”E
Coordinates:
Steg
Name: Item 64
small pedestrian bridge
Etymology:
47°06’44.6”N 9°34’21.8”E
Coordinates:
Studa
Name: Item 65
bushes
Etymology:
47°07’11.4”N 9°33’23.7”E
Coordinates:
78
Sücka
Name: Item 66 Etymology:
marshy area
47°07’00.0”N 9°33’53.2”E
Coordinates:
Tunnel
Name: Item 67 Etymology:
tunnel
47°06’54.5”N 9°34’08.2”E
Coordinates:
Waldi
Name: Item 68 Etymology:
small forest
47°07’40.1”N 9°32’40.2”E
Coordinates:
79
Wisli
Name: Item 63
meadow
Etymology:
47°06’26.8”N 9°34’34.6”E
Coordinates:
Bäralöcher
Name:
caves where bears live
Item 64 Etymology:
47°06’07.5”N 9°35’38.6”E
Coordinates:
Güfel
Name:
hideaway under projecting rocks
Item 65
cave
Etymology:
47°05’07.4”N 9°37’23.0”E
Coordinates:
80
Düraboda
Name: Item 66
dry earth
Etymology:
47°06’43.1”N 9°33’53.4”E
Coordinates:
Herawingert
Name:
Vineyard of the ruler
Item 67 Etymology:
47°08’40.1”N 9°31’04.1”E
Coordinates:
Laubloch
Name:
leaves hole
Item 68 Etymology:
47°08’11.6”N 9°31’51.9”E
Coordinates:
81
Rota Lehrers
Name: Item 63
read teacher
Etymology:
Ludwig Verling’s red bard
Coordinates:
47°08’41.6”N 9°30’56.9”E
Küfergässli
Name:
cooper
Item 64
Franz Joseph Laternser
Etymology:
47°08’46.0”N 9°30’47.6”E
Coordinates:
Kalchofa
Name:
limekiln
Item 65 Etymology:
47°08’11.6”N 9°31’50.2”E
Coordinates:
82
Drechslergass
Name: Item 66
turner
Etymology:
Anton Sele
47°08’42.3”N 9°30’52.7”E
Coordinates:
83
5.2.4 Legends
Same as the names the Legends are
which answers the question, why the
called “Talibüdel”. The legends also
a tool to transfer information, to
conditions in this place are like they
refer to the social traditions and human
collect memories. It is the fourth
are. The legends explain it by the
behavior. They are mostly about money,
collection. The legends were invented;
underground lake, where the whole
religion, and state of insanity. Other
however they are describing the
water went. This legend will also
myths are the interpretation of the
existing
reflect on three streams going from
weather and natural conditions. For
Kulm in the direction of Triesenberg.
instance, a sound of wind or thunder is
environment.
Unlike
the
names of locations, the legends are a
interpreted as a cry of a ghost. A legend
double interpretation. For instance, a place situated above Sücka is called
The Legends, as well as the names of
can combine two characteristics, as
Duraboda. It means hard ground, and
locations, are related to the different
the story of the dairyman Keres from
it is a description of earth conditions.
categories. There are interpretations of
Sücka. It is a legend about awareness
There is no water, for this reasons the
the landscape, Three sisters mountain
and theft; still, the noises of the Keres’s
soil is dry. The legend of Duraboda
which natural form is similar to three
ghost are natural weather conditions
explains it by interpretation already
silhouettes, or red traces in the ravine
on Kulm.
an interpretation by the human of
of Malbun, left by ships which were
the landscape. It proposes a story
eaten and through there by a monster
84
The legends were translated by my
own, put in keywords and located. Further, all myths related to the Line are presented in a brief description. Also, two of them, have relation to the project and site, are given as translated examples.
Legends from (Seger, 1980) translated by own
85
The legend of Liechtenstein
German name:
Die Sage vom Liechtenstein
Key words:
#farmer #finding #light #stone #emperor #present
item 101 Location:
Liechtenstein
Coordinates:
The white horse of Lochgass
47°08’22.8”N 9°31’28.0”E
German name:
Der Lochgass-Schimmel
Key words:
#ghost #devil #cross #rhein #smuggling #horse #steal
item 102 Location:
Lochgass I Vaduz
Coordinates:
The violinist on the Vaduz gallows
47°08’48.0”N 9°30’39.6”E
German name:
Der Geiger auf dem Vaduzer Galgen
Key words:
#witch #violinist #feast #gallows #vaduz
item 103 Location:
Vaduz
Coordinates:
47°08’26.1”N 9°31’19.9”E
86
The 13 hellbender in the basement of Vaduz
German name: Key words:
Die 13 Prasser im Keller von Schloss Vaduz #castle #war #vaduz
item 104 Location:
Castle I Vaduz
Coordinates:
“Where should I put the border pile?”
47°08’22.8”N 9°31’28.0”E
German name: Key words:
Wo soll ich den Markpfahl hintun #stinginess #ghost #borderpiles #vaduz
item 105 Location:
Vaduz
Coordinates:
Die Pest in Vaduz
47°08’27.8”N 9°31’16.2”E
German name: Key words:
Plague in Vaduz #death #eleven a life
item 106
#altenbach #vaduz Location:
Vaduz
Coordinates:
47°08’28.0”N 9°31’17.6”E
87
The spirit of the dead son
German name:
Der Geist des toten Sohnes
Key words:
#ghost #death #exorcism
item 107 Location:
Triesenberg
Coordinates:
The spirit in the castle room
47°07’05.6”N 9°32’36.2”E
German name:
Der Geist im Schlosszimmer
Key words:
#ghost #castle #midnight
item 108 Location:
The spirit of the lord of the castle
Vaduz
Coordinates:
47°08’22.8”N 9°31’28.0”E
German name:
Der Geist des Schlossherrn
Key words:
#ghost #castle #death #greed
item 109 Location:
Castle I Vaduz
Coordinates:
47°08’22.8”N 9°31’28.0”E
88
The devil carrying the bell
German name: Key words:
Der Glockentragende Teufel #devil #masescha #bell #chapel
item 110 Location:
The chapel of Masescha
Masescha I Triesenberg
Coordinates:
47°07’56.2”N 9°32’37.4”E
German name:
Das Kirchlein auf Masescha
Key words:
#mountain #landslides
item 111
#masescha #chapel Location:
The chapel of Masescha
Masescha I Triesenberg
Coordinates:
47°07’56.0”N 9°32’37.4”E
German name:
Das Kirchlein auf Masescha
Key words:
#chirch #construction #chilchabüdami #destroyed
item 112
#invisblehand #newplace #masescha #triesenberg Location:
Masescha I Triesenberg
Coordinates:
47°07’56.0”N 9°32’37.4”E
89
The giant of Guflina
German name:
Der Riese von Guflina
Key words:
#dragon #giant #rockfall
item 113
#herd #guflina Location:
Guflina I Triesenberg
Coordinates:
The black men
47°07’35.9”N 9°33’05.9”E
German name:
Das Schwarze Männle
Key words:
#witch #boggart #jealousy
item 114 Location:
Triesenberg
Coordinates:
The spirit of the bridge
47°07’05.4”N 9°32’37.7”E
German name:
Der Geist vom Brückle
Key words:
#ghost #fight
item 115
#bridge #rotenboden Location:
Triesenberg
Coordinates:
47°07’38.3”N 9°32’22.4”E
90
A good spirit
German name: Key words:
#ghost #helpaspunischment
item 116
#farmhouse Location:
Triesenberg
Coordinates:
The black woman
Ein guter Geist
47°07’05.4”N 9°32’37.7”E
German name: Key words:
Die Schwarze Frau #ghost #fire #rotenboden #triesenberg
item 117 Location:
Triesenberg
Coordinates:
The ghosts on New Year’s Eve
47°07’38.3”N 9°32’22.4”E
German name: Key words:
Die Geister in der Silvesternacht #christmas #spirit #chapel #death
item 118 Location: Coordinates:
47°07’05.4”N 9°32’37.7”E
91
The spirit of the nun
German name:
Der Geist der Klosterfrau
Key words:
#ghost #holy #treasure
item 119
#rock #monster Location:
Triesenberg
Coordinates:
The night people in the air
47°07’05.6”N 9°32’37.7”E
German name:
Das Nachtvolk in den Lüften
Key words:
#night people #kulm
item 120 Location:
Kulm I Triesenberg
Coordinates:
The dragon in Bleika
47°07’04.1”N 9°33’45.2”E
German name:
Der Drache in der Bleika
Key words:
#dragon #landslide
item 121
#bleikaweg Location:
Bleika I Triesenberg
Coordinates:
47°07’16.7”N 9°32’38.6”E
92
Keres from Sücka
German name: Key words:
#alpine dairymen #herdsman
item 122
#ghost #sücka #kulm Location:
Sücka
Coordinates:
Look at own death
Der Sücca-Keres
47°06’58.4”N 9°33’53.9”E
German name: Key words:
Blick auf den eigenen Tod #night people #death
item 123 Location:
The question of the night spirit
Triesenberg
Coordinates:
47°06’55.7”N 9°33’13.1”E
German name:
Die Frage des Nachtgeistes
Key words:
#ghost #night
item 124 Location:
Triesenberg
Coordinates:
47°07’05.6”N 9°32’36.2”E
93
The mountain woman
German name:
Das Bergi-Wiebi
Key words:
#woman killed her child #ghost
item 125
#punishment #valorsch Location:
Steg
Coordinates:
Der sechste Alpknecht in Valüna
47°07’13.2”N 9°34’11.0”E
German name:
Der sechste Alpknecht in Valüna
Key words:
#alpfarmworkers #ghost #chapel #bridge
item 126 Location:
Steg
Coordinates:
The red spirits
47°06’42.9”N 9°34’42.0”E
German name:
Die roten Geister
Key words:
#goat ghost #punishment #storm
item 127 Location:
Kulm
Coordinates:
47°07’04.5”N 9°33’45.0”E
94
The Dürrboden lake
German name: Key words:
#water #hiddenlake #torrents
item 128
#sücka #düraboda Location:
Triesenberg
Coordinates:
The Doggi with pigtails
Der Dürrboden-See
47°06’43.1”N 9°33’53.2”E
German name: Key words:
Doggi mit Zöpfen #doggi #bad feeling
item 129 Location:
Triesenberg
Coordinates:
The Doggi in the pasture
47°07’05.4”N 9°32’37.7”E
German name: Key words:
Das Doggi in der Weid #doggi #cattle #barn
item 130 Location:
Triesenberg
Coordinates:
47°07’05.4”N 9°32’37.7”E
95
The Tälibudel
German name:
Der Tälibudel
Key words:
#monster #spirit #church
item 131 Location:
Malbun I Steg
Coordinates:
D’Gitzihöll
47°06’43.0”N 9°34’42.5”E
German name:
D’Gitzihöll
Key words:
#devil #young goats #ravine
item 132 Location:
Malbun
Coordinates:
The Wildmannli
47°06’00.0”N 9°35’26.7”E
German name:
Die Wildmannli
Key words:
#wildman #cattle
item 133 Location: Coordinates:
47°06’08.0”N 9°36’30.6”E
96
The fire-red billygoat
German name: Key words:
Der Feuerrote Geissbock #ghost #treasure
item 134
#stinginess #triesenberg Location: Coordinates:
On the Gretahöhi
47°07’05.4”N 9°32’37.7”E
German name: Key words:
#witch #cliff #greta #cattle
item 135
#hahnnenspiel Location:
Pradme I Vaduz Alpine
Coordinates:
The fiery wheel
Auf der Greta-Höhe
47°06’01.6”N 9°35’55.1”E
German name: Key words:
Das feurige Rad #monster #spirit #church #fire #malbun #pradamee #steg
item 136 Location:
Pradme I Vaduz Alpine
Coordinates:
47°06’03.4”N 9°35’56.8”E
97
The three sisters
German name:
Die drei Schwestern
Key words:
#gold #mountains
item 137
#dreischwestern #venice Location: Coordinates:
Poli and the cow
47°10’31.6”N 9°34’26.1”E
German name:
Der Poli und die Kuh
Key words:
#alpinedairyman #ghost
item 138
#snowfall #storm Location: Coordinates:
47°04’42.2”N 9°36’06.6”E
98
The Dürrboden lake
#water #hiddenlake #torrents #sücka #düraboda #triesenberg
Sücka I Düraboda
Hinter der Alpe Sücca soll auf
Behind the Alpe Sücca under the
47°06’43.1”N 9°33’53.2”E
dem
Dürrboden
ein
grosser,
Dürrboden area, there is a large,
sein.
Einmal
underground lake. One day it will
wird er ausbrechen und das ganze
break out and tear the whole area
Gebiet von Triesenberg mit sich ins
of Triesenberg into the valley with
Tal reissen, einen Teil gradaus ins
it. One part will go straight into
Tal, den anderen durch die Bleika
the valley, the other through the
und den dritten durchs Rotenbodner
Bleika and the third through the
Tobel (Seger, 1980).
Rotenboder Tobel (Seger, 1980; own
unterirdischer
See
translation).
99
The chapel of Masescha
#chirch #construction #chilchabüdami #destroyed #invisblehand #newplace #masescha #triesenberg
Chilchabüdami I Masescha
Nach der Sage sollte das Kirchlein
According to the legend, the church
47°07’39.5”N 9°32’34.4”E
anfänglich weiter unten auf einer
was initially planned to built further
kleinen Terrasse, die heute noch
down on a small terrace, which today
«Kilchabüdemi»
erbaut
is still called “Kilchabüdemi”. The
werden. Das zum Bau notwendige
required water for the construction
Wasser habe man durch einen Graben
site was passed through a channel
aus dem nahen Rotenbodnerbach
from nearby Rotenbodnerbach. The
zur Baustelle geleitet. Der Kalkofen
lime kiln was close to it. Already
befand sich nahe daran. Schon hatte
the masonry work started. However,
man mit dem Mauerwerk begonnen.
the construction did not progress
heisst,
100
Auf einmal aber schritt der Bau nicht
any further, because overnight the
mehr vorwärts, denn über Nacht
masonry done on the previous day
wurde das am Vortage aufgeführte
was destroyed by an invisible hand.
Mauerwerk von unsichtbarer Hand
For this reasons, the construction
abgebrochen, so dass man also den
was abandoned here. Now a new
Bau hier aufgab. Es musste nun eine
construction site had to be selected.
neue Baustelle ausgesucht werden.
For this purpose, the Berger brought
Zu diesem Zwecke brachten die
a team of bulls to Kilchabüdemi
Berger ein Gespann Ochsen auf
and attached a carpenter’s wooden
Kilchabüdemi und hängten ihnen
cross to them; then he chases the
ein gezimmer- Holzkreuz an; dann
animals and left them free, without
trieb man die Tiere an und liess sie
any convoy. Where they stood with
frei, ohne jedes Geleite gehen. Da,
the cross, the church should be
wo sie sich mit dem Kreuz stellten,
built. The animals moved up the hill
sollte das Kirchlein gebaut werden.
and stood on Masescha in a bush,
Die Tiere zogen das Kreuz bergauf
at which point then the church was
und stellten sich auf Masescha in
built (Seger, 1980; own translation).
ein Gebüsch, an welcher Stelle dann das Kirchlein gebaut wurde (Seger, 1980).
101
The legend of Liechtenstein
#farmer #finding #light #stone #emperor #present #Liechtenstein
Liechtenstein 47°08’20.9”N 9°31’27.7”E
“Long time ago, lived a simple and
the plowshare struck an obstacle,
honest farmer. He was richly blessed
and the little horse stopped.
with land goods, devoted to his emperor in faithful love, and stood in
The farmer raised the plow quickly
the call of great piety.
out of the furrow and went to see the cause of the trouble.
One day on his field he went behind
Searchingly, he let his eyes glide
the plow. The horse walked abruptly
along the furrow.
ahead.
The
plow
had
already
furrowed its furrow when suddenly
102
There, in the depths of the furrow, he
saw a piece of something sticking out
the farmer: “The emperor has in his
from the earth, shining in the bright
After admiring the stone, he wrapped
treasury many beautiful gems, I’ve
light of the sun with all colors of the
it in a piece of fabric and kept it well
seen them all myself, but none of
rainbow. Moreover, he went to get a
under his shirt.
them in beauty and value would be
shovel to dig it out.
equal to this one.” Then he started to plow his field
He
carefully
picked
the
earth
around and saw there a well-formed,
again because he had to finish his
The farmer answered: “The Emperor
work by the evening.
should have this one too, I will present
water-white stone coming to light,
it to him.”
which reflected the bright sunlight
Next day early in the morning he
in thousands of rays with a rare
went to the nearby castle belonging
Also, on the same day, he traveled to
splendor of color.
the count of this district. Once there,
the remote imperial court. There he
he demanded the lord of the castle.
was lead to the emperor. The farmer
Surprised, the farmer looked at the
He showed him the magnificent
found him sitting on the throne,
precious stone. He picked it up and
stone.
surrounded by high-officials of the
held it in his hands. His astonishment
empire.
from the splendor of its colors was
The Count was very surprised by
limitless. He had not seen such a
this rare piece in the hands of a
The simple countryman stepped in
beautiful piece in his life, not to
simple farmer because he knew the
front of the Emperor and showed
mention to have it in his hands.
high value of the stone. He said to
him the precious gemstone. At sight
103
of this rare treasure, the emperor
all. beloved Emperor, I give you this
farmer, you have now shown me the
was also greatly astonished, and he
stone.”
heart and mind of a true nobleman. I
exclaimed, “Yes, my dear, do you
graciously receive your present, and
know that you are now the richest in
Then the Emperor spoke, turning
my vast kingdom?”
to the dignitaries standing over the
Then the simple farmer leaned his
throne:
“From this day on, you are a
knees deep in front of the Emperor
“Look at this simple farmer! The
nobleman, and your name will be
and said:
gem he carries is in his chest. The
the constant reminder of this bright,
Emperor,
tender love for his emperor and the
beautiful stone: Liechtenstein.”
considering you may well know the
holy faith in his God may not have a
value of this stone, it may be true. In
price of all the goods of the earth!
So
possession of it, I should be probably
As long as I have such objects in my
the progenitor of the House of
the richest in your vast kingdom.
vast kingdom, I want to thank God
Liechtenstein (Seger, 1980; own
However, my needs are not for
for the grace so generously granted
translation).
earthly goods. I believe I would be
to me, and I won’t be afraid of the
the poorest man in your wide empire
enemies, no matter how cruel they
despite the great value of this stone.
may be! “
“My
good
and
great
I lack the heart love for my good emperor and the holy faith in my
So turning to the farmer, he went
almighty God, who is the master of
on: “But you my dear, just a simple
104
it will be preserved for long.”
the
simple
farmer
became
105
5.3 Digging Underground
Underground is opposite of “above-
consciousness. It is metaphysical,
ground”; it is the opposite of being
and
visible, being on a surface, being
physically and mentally encourages
simple
and
the finding of the meanings and
Underground
the understanding of contents. The
enhance and encourages the mental
analysis of the underground is “social
remoteness and the inner reflection.
archeology”; today happenings is a
Underground is shaped by hidden
reaction to the past actions hidden
layers of treasures. Underground is
behind all these layers formed by
related to the time; it covers the old
time on the ground and in the minds.
being
in
understanding
proximate.
layers in order to bring the place for the new. The right reading of these layers of the past could reinforce the better explanation of the present situation. Underground is a reflection of the human impact and the human
106
it
is
ephemeral.
Digging
107
Digging the landscape by hands
I fell on the knees, as the book “50
the frozen earth did not concede. In
it and hands. About forty minutes
Steps to Landscape Thinking” (Oles,
a little while, the first meeting with
have passed, the pain was not felt, the
2014)
suggested, and started to
a new civilization happened. It was
mind was cleared. At that moment, I
dig. Behind me was standing an old
a gaunt worm. My hands took the
was able to continue for a long time.
barn. I was in the middle of the circle
animal and re-hide it under a piece
A dog brought me out of the trance.
without any snow. The muddy ground
composed of grass and mud. After
It came to see what I was doing and
was absorbing fresh flakes falling
seven minutes the first cuts and little
tried to help. It was a bizarre feeling
from the sky. It was cold. My hands
bleeding appeared. It wasn’t painful.
of warmth.
became dirty at the first touch of the
My hands were frozen. My body was
earth. They slipped, and I could not
under pressure. The stone broke
The dug hole was not more profound
grab any piece of soil. Soon, I found a
through the roots. I looked around
than my elbow. I thought about these
big stone nearby. It had a rectangular
to find some trees, but all of them
earth layers, made by time. I thought
form and was comfortable to hold
were far away. I smashed new rocks
about the vast energy which raised
in one hand. The prehistorical tool
and scattered them around. After
the mountains millions of years
helped to destroy the ground. The
while my digging tool broke and I
ago. I thought about destructive
process slowly moved forward, and
continued with some fragments of
human tools. I thought about the
108
impact. I thought about the natural
Figure 88. Digging experience during the seminar week.
environment around us. I looked
photo made by the Studio
once more in the hole than stand
#digging with hands #eternity #stone
and raised my hands. I felt the wind, the wind, lightly sliding over the landscape.
109
Digging the landscape with tools
After the site was found and a precise
continue. Some small stones began
installation idea designed I decided
to come across. I could find the
to dig the hole and to produce an
contour quickly and excavate them.
entrance situation where a door
The problems started when a bigger
could be put afterward. I borrowed a
stone appeared which outlines were
shovel and went to the future archive
more difficult to guess. Each rock
location. The construction site was
more than fifteen cm in diameter
installed on a more gentle but still a
caused issues. Stones also became
steep descent. The first layer of earth
heavier, and I used a shovel as the
was easily cleaned, it was composed
moment. Suddenly the shovel handle
mostly of branches, leaves, and loose
broke. I spend three hours, and less
soil. Afterward, as in my previous
than five percent of the planned hole
digging experience, I found the
was made.
ground covered by roots. The shovel
The next day the new equipment
fought against the wood without
was bought: two shovels and one ax-
any problems and the digging could
pick. It was the same day as Sagen
110
Festival in Triesenberg, and I went
away. Still, it was almost impossible to
to visit it with my new acquisition
dig vertically. A layer of turf changed
in hands. When I was already in
with the thickness of clay. The water
the crowd of locals a message from
started to appear from pockets
the tutors came: the article in the
behind each stone. The ground of
local newspaper saying that police is
hole was flooded. Each day of digging
searching for illegal diggers. Luckily
began from draining the site. After
nobody called the police, and I could
five days of digging only a large rock
explain to some people who were
was left to drag. Help came to move
interested in what I’m doing. It is
it next by the future installation.
always a precious moment of contact
The other stones covered a mound
when somebody is interested in our
made by the excavated earth. It was
non-ordinary appearance and story.
impressive the amount of ground
Finally, the work could be continued.
a platform produced in front of
The ax-pick was a helpful tool to find
the hole. The digging changed the
stones contours and to take them
landscape radically and brought the
111
desired effect.
Figure 89. Site before intervention Photo made by author
112
Figure 90. Digging, fourth day in the construction site. Photo made by author
113
Part III: Design process
The third part consists of the
second part, which remains fictional.
design process and the construction
The work suggests the way how to
development. It is divided into two
reveal this space for imagination and
main sections: the built intervention
proposes a personal vision of it.
and the imaginary project narrative. Thereby the entire architectural Starting from the precisions about
design
the location and explanation of
indicator, an interpretation of the
the place, the relation between
context, a told narrative, and further
the installation and the context is
individual imagination.
underlined as a sequence for the whole scenario. The establishment of the legend over the time is parallel to the construction. The visible installation is hiding the
114
consists
of
a
physical
6.1 Built intervention
The intervention is an entrance. The entrance, hidden in the forest, suggests being the gate to the underground archive. The door is half flooded, and the construction remains closed and inaccessible. The handrail indicates the stairs, but they also stand under water and are invisible. The visitor can explore an exceptional context and the entrance sequence
to
the
archive.
The
intervention aims to produce a strong emotional reaction. In combination with the narrative, it reinforces the imagination process.
115
Location
The
location
project
Geologically located between time
gives importance to the analysis
and distance the site is also connected
of
cultural
to the cultural meanings. The stream
area,
is a part of Duraboda underground
which is situated under Masescha
lake legend. It is one of three ways
is a conjunction of many presented
through which the water will come
characteristics. It is a spot located
and erase Triesenberg. Another
between
lithostratigraphic
myth of Masescha chapel is also
units: Penninikum and Ostalpin. In
referring to the dangerous natural
this area, the Arosa zone came on
conditions of this site and appeal to
the surface cached by the Ostalpin.
the invisible hand which destroyed
Behind the hill, a sheer cliff is a
the original construction work.
the
of
geological
undergrounds.
two
the and
Faritobel
part of initial mountains and on the other side is situated the border of Triesenberg landslide.
116
Approaching the site
The entrance to the archive is
on his left. Moreover, the magnificent
an infrastructure made to clean the
also a sequence of locations and
view opens on the Rhine valley. He sees
stream from branches and stones,
atmospheres which the visitor will
the flat ground where the previous
so the cows and farmer have access
cross. It starts on the small road
construction site for Masescha chapel
to the fresh water (figure 3). Behind
outgoing from Waldistrasse. The
was planned and afterward erased
the gray construction, a small path is
person comes out of the forest and see
by nature. He passes the field which
going towards the forest. It follows
the traditional alpine landscape, with
cows climbed to reach the place
the one-meter width channel framed
some barns, fields, and sometimes
for the new building. The road is
with low concrete walls. Depending
cows. There is much space, the shape
waging, and another sequence opens.
on the season the visitor walks slowly
of the landscape is smooth, and each
A small forest in the middle of the
up a gentle slope through the high
element has its position. The wind
landscape appears. It is divided into
grass or the snow. Only in the spring
has area. During the summer when
two parts. The first with thin trees
and autumn, when the vegetation
the grass is hight, it plays with it and
without many leaves is lightweight.
is not grown, and the snow did not
generates waves running across the
The second is massive and saturated
cover the path, it is possible to go
hills (figure 1). The visitor passes an
(figure 2). The road passes a second
there without much effort (figure
old barn situated beneath the slope
barn on the right which is hiding
4). The visitor comes to the glade in
117
front of the entrance to the forest.
is changing. A new room opens. It is
the stream. He needs to choose the
On his left stands a tree which differs
contrasting a lot with the previous
stones carefully to walk on because
from others. It has a lower crown,
sequence. The light is different, and
they are slippery and some of them
and the leaves descend almost to the
eyes take time for adaptation. The
move (figure 9). Finally, the entrance
ground. The tree is standing alone
colors change from bright green
is visible. A terrace covered by
and emphasize the entrance. At this
or white to dark brown and gray.
stonework leads to the entrance. The
point, ones decide to continue his
The evenly illuminated and clear
stairs go down, but it is flooded, and
way or to turn around (figure 5). The
landscape turn to the contrasted and
the door handle is almost touching
access to the forest starts. A bunch of
charged environment. The noise of
the water. The plate informs: ÂŤ closed
tiny vertical trunks frames the path.
the water proclaims the freedom
for technical reasons Âť (figure 10).
The person needs to bypass obstacles
from concrete walls. Above are
and is wabbling. It is a sensation
hanging the crowns of trees and from
to cross a filter (figure 6). Sun rays
both sides, many rocks are forming
pierce the space and disappear in
the ravine. In-depth, hiding behind
the black hole. The channel is doing
a tree a light wooden construction
the same (figure 7). Slowly the view
appears (figure 8). The visitor climbs
118
Entrance to the project site
Figure 91. Entrance to the project site. Made by author
N
119
small road in the direction
on the road looking
towards the site
in the direction of woods
#traditional landscape #barns #gravel
#woods #pasture
the way to the forest from the road
#water #infrastructure #filter #drink water for cows
120
forest entrance situation
#path #high grass #wind
glade in front of
the path through the range of
the entrance to the forest
trunks
#sun #single tree #“dead� forest
#straight #thin #trunks #squeeze
121
in-depth view through
hidden scenery
approaching the entrance
#atmosphere #fairy tale #noise #anxiety
#contrast #rays #entrance
the range of trunks
#verticality #sun #darkness #water #speed
Figures 92-100. pp. 120-122 Entrance sequence Photos made by author
122
Figure 101. Site with intervention Photo made by author
123
Establishment of a legend over time
ground
deformation
formation
decay
vanishing
legend
There is an algorithm for the legend
situation. The mind needs to explain
The whole legend context and it
to appear. In the beginning, it needs
and to make an interpretation of the
causes goes into vanishing. The
a context, a structured physical and
happenings. It creates the legend.
land recovers and hides the entire
cultural environment. It is the ground
Some artificial or natural objects,
formation. It returns to its primary
or foundation to the myth. It can be
some weather conditions, feelings,
state, just with one exception of the
physically described, and the spot
and
meaning: a new story hiding in the
can benefit from a name. Afterward,
forming the myth. During the decay
a
period, the unnecessary information
deformation
of
the
context
produces a particular unexpected
and
atmosphere
participate
inconsistencies
124
in
disappear.
“underground� layers.
Figure 102. p.124
Figure 103.
Legend over the time
The legend between formation and decay
Made by author
Made by author
125
Construction of the entrance
The construction phase consisted of
Butterfly joint was used to build the
joint. The same joint was selected to
three steps.
middle. It also suggested a pattern
create stair frames and to attach the
which has a mystical, old-style
handrail.
The first was the prototype part to
appearance.
find the right joints and define the
The
second
part
consisted
of
structure. The aim was to produce
The frame of the door was made with
producing the entire structure of the
a door without any metallic joints.
tongue and groove joints. It pushed
university workshop. The door could
The wood could decompose, and the
the middle surface of the door in
be transported as one piece, and the
entire structure would disappear, as
compression and stabilized the door.
stairs frames were detached.
the establishment of a legend over
The connection with the frame was
the time algorithm suggests. The
also made with butterfly joints.
structure of a door request to be
During the third, installation part the door was put against the earth
stable and an issue was to produce
After several prototypes, I choose a
after the hole was dug. The frames
a surface with the given material
straight and simple handle. It was
were put together and connected
(240x480 mm section sticks). A
put on the door by using handmade
in two places between each other:
Dutchman wood joint, also called
dowels
the first with the handrail and the
combined
with
126
Dovetail
second buried in the ground. The structure became stable. In the end, the stonework in front of the stairs and the most significant entrance stone formed the terrace.
pp.128-131
Figure 104. Plan Figure 105. Front elevation Figure 106. Section Figure 107. Door elevation Figure 108. Joints
Made by author
127
Entrance 3440
1500 1450 1390 1330 1250 1160
2100
1050 930 810 670 520 370 190 820
0
40
800
40
800
plan
front elevation
128
3440
3440 3280 3140 3010 2880 2770 2670 2570 2470 2400 2340 2280 2240 2100
2080
2100
1930
1870
1630
1330
1030 820
820
730
615 430
410 205
130 0 880
1160 1250 1330 1390 1450 1500
1050
930
810
670
520
370
190
0
0
section
129
door elevation
Frame detail without metal junctions
130
Door detail without metal junctions
131
Figures 109-111.
Door prototypes
Door frame. Door angle. Door handle Made by author
132
Figures 112-114.
Construction on site
Door. Entrance Made by author
133
6.2 Underground archive Space for imagination
Behind the door, a world open
and the selection of objects can also
for imagination is created. There
be invented. The fictional archive
are some basic notions which are
works as a memory palace. It is the
provided. For instance, the legend
architecture people create in their
itself proposes the principal scenario
fantasy and associate artifacts with
of a flooded underground archive.
it. This method developed by Greek
The leaflet indicates some spaces and
and Romaine orators and called the
what kind of items it is possible to
method of loci is one of the most
find there. It also shows an abstract
effective
functioning map. It can be read
(Yates,1966). The archive is working
as a plan or a section. Again the
as the collective palace of mind.
mnemonic
techniques
personal imagination should help the reader. Four collections are described, and an example of an item
Figure 115.
is included. However, the description
Map of the underground archive
only indicates the general topic
Made by author
134
Plan of the archive
130 - 110 m geology
i
info
hall 1
artifacts
s
services
hall 2
toponymy
r
restaurant
hall 3
legends
f
forbidden area
hall 4-5
geology
95 - 70 m
60 - 50 m
geology
legends
5
25 - 15 m toponymy
10 - 0 m
0 - 15 m
artifacts
entrance
f
20 - 40 m services + restaurant
entrance
4
3
2
5
1
i
s
r f
135
Hall 1
Hall 2
Artifacts
Toponymy
Explore the artifacts found on the line in the first hall. Ordinary at first sight, these objects hide stories and regional social traditions or behaviors.
The collection presented in the second hall is names of locations describing the landscape, built environment, weather conditions or cultural aspects.
Item: 32
Item: 67
The rose
Düraboda
Leaflet
Origins: Equador
Meaning: dry ground
Found: 22/02/18
Floor: -5
Floor: -1 Original location:
Original location:
47°08’37.2”N 9°30’60.0”E
47°06’42.4”N 9°33’54.7”E
136
Hall 3
Halls 4-5
Legends
Stones
In the third hall many regional legends are presented. Discover the relation between physical and cultural enviroments.
Find an extensive collection of stones discovred on the line in the halls four and five. Explore Thetys sea and Pangea supercontinent.
Item: 105
Item: 23
Der Riese von Guflina
Heavily quartzed gneiss
#dragon #giant #rockfall #herd
Found: in the wall of castle of Vaduz
Floor: -12
Floor: -25 Figures 116-119. pp.136-137
Original location:
Original location:
Leaflet illustrations
47°07’35.9”N 9°33’05.9”E
47°08’20.9”N 9°31’27.7”E
Photos made by author
137
Personal imagination
In this work, I propose a personal
mental floors. Objects transit to
In the first room, many artifacts will
fictional section of the archive, to
the surface through this layers of
appear, it is possible to collect some
show the whole process. It is a cave,
meanings and accumulate value. At
and in exchange to put your own. In
which is divided into different spaces
the same time while going in-depth,
the second room, you will learn about
passing into each other. There are
you discover new hidden layers.
the names of places, some of them float in the direction of the third hall,
no borders because the archive and I imagine archive as an active space,
the hall of Legends. In this space you
which you can discover. You go inside
will see heroes of myths: the devil
The rooms are developed with layers.
through the door, cross the first small
pushing the bell, the black woman
Inspired by the images of Orda Cave,
lake with a boat, similar to going
floating around, the fire-red goat and
where the rectangular forms contrast
through the Styx river. You climb to
the Doggi observing the new visitors,
with the smooth shapes of the cave,
the info point where you can get your
the Dragon of Bleika fused with
horizontal slabs organize the space.
scuba diving equipment or rent the
the rock, the mysterious monster
The linear image emphasizes the
Captain Nemo’s submarine Nautilus.
throwing stones to the fourth hall.
physical division of the ground. At
So you discover the infinite archive.
In the last compartment, the stones
respectively the mind are infinite.
are hanging cataloged in lines. Some
the same time, it represents the
138
of them felt already. You can explore
Figure 120.
them, and you can try to get in some
Orda Cave
of them. There is the thinker of
Retrieved from http://loveopium.ru/rossiya/puteshestvie-po-ordinskoj-peshhere.html
Rodin, sitting on a rock and looking on the big masses floating in the vacuum of eternity.
139
Figures 121-124. pp.140-143 Section of the imagined archive Made by author
140
141
142
143
Representation
The final presentation of the work
the entrance, underground archive.
a collection of landscapes along
is also a crucial moment. It needs
It was a way to show a gate to a
the Line. For the archive project, it
to transfer the idea and to intrigue
more significant dimension. Empty
showed the sequence of the entrance
the public. The composition was
frames reinforce the curiosity. The
to the forest and the intervention. It
divided into four parts: the separated
public can start to guess, what is
described the difference between the
title, the panels, the model and
hiding under each topic. The panels
density of two parts of wooden.
the exhibition box. In addition to
had their own divers design, except
the traditional panel disposition, I
a common font and several visual
decided to work with the semester
connectors. Each subject should
material: wood sticks. The aim was
represent one layer of the project.
to create five frames, the size of the
The separated layout reinforced the
door, which should be empty before
attention of every panel as a unit.
the event. Each “door� had a name of the panel on the top: physical
The model was a part of current
underground, cultural underground,
studio work. Each student made a
entrance to the archive, approaching
separated piece of land, to represent
144
Figures 125,126. Model of the site Photos made by author
145
Before and during the presentation
between distance and time
physical underground
legends and names of locations
cultural underground
intervention
entrance to the archive
approaching
the entrance
the underground
archive
The legend of the underground
archive.
Figure 127. Situation before the presentation Made by author
146
time & distance diversity between distance and time cenozoic (65 - 0 M)
Q+M
Quaternary (0 M)
physical undergound physical underground
O stalpin dreischwester (250 M)
O stalpin schönberg (250 - 200 M)
Rutti
0,115 km
C+(A)
Europe
Tethys sea
North America
Marine sediments Tethys
Penninikum (200 - 10 M)
Pangea (335 - 175 M)
Eggasweg
Bartlegrosch
Lochgass
Erosion product from young Alps
60 km
Underhof
Drechslergass
Rota Lehrers
Quaderli
Löwen
Laubloch
Chalberweid
Stöckler
The spirit in the castle room
47°08’28.0”N 9°31’17.6”E
Alte Frommahaustrasse
The spirit of the lord of the castle
47°08’22.8”N 9°31’28.0”E
Erblibach
the site for the future legend
#contrast #saturation
#magical situation #atmosphere #contrast
archive
archive
Chumma
Basement Pangea rocks
Rotabodnerwald
Allmeina
Amisescha
prototype construction during the seminar week
digging experience during the seminar week
digging, the first day in the construction site
digging, fourth day in the construction site
the first visit
temporary adaptation of the landscape
#volume #gravity #exhibition
#digging with hands #eternity #stone
#stone #broken shovel #tools
#huge stone #shovel #pick #mud
#massive stone outside #entrance #door #water
#break #stream #water #remoteness
The spirit of the bridge
1:500
47°07’56.0”N 9°32’37.4”E #mountain #landslides #masescha #chapel
Fari
Faritobel
Waldi
Balischguard
small road in the direction towards the site
ground
Hof
deformation
formation
decay
vanishing
3440
on the road looking in the direction of woods
the way to the forest from the road
#woods #pasture
#water #infrastructure #filter #drink water for cows
forest entrance situation
glade in front of the entrance to the forest
the path through the range of trunks
#path #high grass #wind
#sun #single tree #“dead” forest
#straight #thin #trunks #squeeze
3440
The black woman
3280
47°07’35.9”N 9°33’05.9”E
47°07’05.4”N 9°32’37.7”E
47°07’38.3”N 9°32’22.4”E
47°07’38.3”N 9°32’22.4”E
#dragon #giant #rockfall #herd #guflina
#witch #boggart #jealousy #triesenberg
#ghost #fight #bridge #rotenboden #triesenberg
#ghost #fire #rotenboden #triesenberg
3140 3010 2880
A good spirit
#traditional landscape #barns #gravel
legend
construction of the entrance
3440
The black men
entrance to the project site
#destroyed #invisble hand #new place #masescha #triesenberg
#devil #masescha #bell #chapel
Gipswäg
the path of the legends in relation to the urban development 1:15’000
establishment of a legend over time
#chapel #construction #chilchabüdami
The devil carrying the bell 47°07’56.2”N 9°32’37.4”E
Mattla
The giant of Guflina
The ghosts on New Year’s Eve
2770
47°07’05.4”N 9°32’37.7”E
47°07’05.4”N 9°32’37.7”E
2670
#ghost #help as punishment #farmhouse #triesenberg
#christmas #spirit #chapel #death
2570 2470
2’900 km
2400 2340 2280 2240 2100
2100
Gädami
Guflina
Parsüla
Gnalp
Bünda
Studa
Im Wang
Stärnabärg
2100
2080
1870
1930
D
1630
The dragon in Bleika
The spirit of the nun
Outer Core
A FL
47°07’05.6”N 9°32’37.7”E #ghost #holy #treasure #rock #monster #triesenberg
2’200 km
Molasse Helveticum Ostalpin Penninikum
the stream on a sunny day
#opacity #mysterious
The chapel of Masescha
47°07’56.0”N 9°32’37.4”E #new legend
#ghost #castle #death #greed #vaduz
#ghost #death #exorcism #triesenberg
Lithostratigraphic units
the stream on a cloudy day
#transparency #landscape #shapes
approaching the site
Underground Archive
47°08’22.8”N 9°31’28.0”E
#ghost #castle #midnight #vaduz
The spirit of the dead son
H+P+O mAntle
the line in spring
#grass #green #magical forest
Egerta
the path of the legends in relation to the line 1:100’000
Kalchofa
47°07’05.6”N 9°32’36.2”E
Fromahus
Herawingert
“Where should I put the border pile?” 47°08’27.8”N 9°31’16.2”E #stinginess #ghost #border piles #vaduz
#death #eleven a life #altenbach #vaduz
Cristalin rocks (400 M)
Küfergässli
Altes Forsthaus
phase 1 Ocean plate (Tethys see)
entrance to the site in the summertime
#fog #white #winter fairy
The 13 hellbender in the basement of Vaduz Castle 47°08’22.8”N 9°31’28.0”E #castle #war #vaduz
Adler Altbach Engel Städtli Burg-café Hundsgarta Schloss
Plague in Vaduz
African plate
phase 2
Pradafant
The white horse of Lochgass 47°08’48.0”N 9°30’39.6”E #ghost #devil #cross #rhein #smuggling #horse #steal
The violinist on the Vaduz gallows
phase 3
entrance to the site in the wintertime
construction
47°08’26.1”N 9°31’19.9”E
European plate
the tale of the the underground
site
The legend of Liechtenstein
#witch #violinist #feast #gallows #vaduz
Molasse (10 - 0 M) Formation of the Alps (200 - 60 M)
the entrance
approaching
#farmer #finding #light #stone #emperor #present #Liechtenstein
Oberau
Helveticum (150 - 100 M)
Africa
CH
Look at own death
The question of the night spirit
47°07’16.7”N 9°32’38.6”E
47°06’55.7”N 9°33’13.1”E
47°07’05.6”N 9°32’36.2”E
#dragon #landslide #triesenberg #bleikaweg
#night people #triesenberg #death
#ghost #night #triesenberg
The mountain woman 47°07’13.2”N 9°34’11.0”E
1330
#woman killed her child #ghost #punishment #steg #valorsch
820
The night people in the air
820
820
1030
in-depth view through the range of trunks
hidden scenery
approaching the entrance
#verticality #sun #darkness #water #speed
#atmosphere #fairy tale #noise #anxiety
#contrast #rays #entrance
Keres from Sücka
47°07’04.1”N 9°33’45.2”E
47°06’58.4”N 9°33’53.9”E
#night people #kulm #triesenberg
#alpine dairymen #herdsman #ghost #sücka #kulm
615 730 410
430
205
0
Sücka
Kulm
Duraboda
Tunnel
Steibruch
Stütza
Sägagatter
Wisli
Steg
130
Stausee 880
front elevation 1:10
2’500 km
The Dürrboden lake
0
1450 1500
1390
1330
1250
1160
1050
930
810
670
520
370
internal structure of the Earth
Inner Core
0
800
Last Glacial Maximum (26 - 19 K)
section 1:10
door elevation 1:10
The Tälibudel
47°06’43.1”N 9°33’53.2”E
47°06’43.0”N 9°34’42.5”E
#water #hiddenlake #torrents #sücka #düraboda #triesenberg
#monster #spirit #church #malbun #steg
The red spirits
Rhine valley glacier
190
archive.
archive
entrance to the archive
Neufeld
47°08’22.8”N 9°31’28.0”E
see level
South America
underground
entrance to the
intervention
‘‘
0,121 km
Arosa (400 M)
paleozoic (550 - 250 M)
The legend of the
cultural underground
legends and names of locations
project surrounded by the path of legends in Triesenberg
mesozoic (250 - 65 M)
H+P+O
The Doggi with pigtails
The Doggi in the pasture
The Wildmannli
D’Gitzihöll
47°07’04.5”N 9°33’45.0”E
47°07’05.4”N 9°32’37.7”E
47°07’05.4”N 9°32’37.7”E
47°06’08.0”N 9°36’30.6”E
47°06’00.0”N 9°35’26.7”E
#goat ghost #punishment #storm #kulm
#doggi #bad feeling #triesenberg
#doggi #cattle #barn #triesenberg
#wildman #cattle
#devil #young goats #ravine
Vaduz
Outer Core
Steg
2’200 km
Triesenberg
Triesen
Seeblick
Chleistäg
Schwemmi
Grund
Underemhanaspil
Hanaspil
1500 1450
Kirchliplatz
1390 1330 1250 1160 1050 930 810
The sixth alp farmhand in Valüna
670
47°06’42.9”N 9°34’42.0”E
Local glacier in Steg
#alpine farmworkers #ghost #chapel #bridge #steg
520
frame detail without metal junctions 1:5
370
On the Gretahöhi
Mountains not covered by glaciers
The fiery wheel
47°06’01.6”N 9°35’55.1”E
190
47°06’03.4”N 9°35’56.8”E
#witch #cliff #greta #cattle #hahnnenspiel #pradame
#monster #spirit #church #fire #malbun #pradamee #steg
2’900 km
mAntle
0
Schafstofel
Girastein
Bäralöcher
Gretahöhi
Wasserhalda
Höttatal
In da steina
Bergtrüia
Quaternary formation (0 - 15 K)
40
The fire-red billygoat
Triesenberg landslide (15 K)
800
40
The three sisters
47°07’05.4”N 9°32’37.7”E
47°10’31.6”N 9°34’26.1”E
#ghost #treasure #stinginess #billygoat #triesenberg
#gold #mountains #dreischwestern #venice
plan 1:10
door detail without metal junctions 1:5
Vaduz
Triesenberg
Steg
Basalt layer
the legend in between formation and decay 5 - 10 km
Triesen
Ruchhalda
Tali
Hubel
Grasig Halda
Underahubel
Bärgtälli
Tällibord
Tälliwäg
Brook debris cones
Sedimentary layer
Poli and the cow 47°04’42.2”N 9°36’06.6”E #alpine dairyman #ghost #snowfall #storm
’’ Antipode Steitälli
points on opposite sides of the globe
ocean
7 km (depth)
47,1299 9,5424
Güfel
Chellaböda
Siba Brünna
.
47,1299 9,5424
Figure 128. Situation during the presentation Made by author
147
Exhibition box
The exhibition box aimed to provide an
additional
atmosphere
and
represent physical collections. At the beginning of the presentation, the panels were hanging reverse side on the box, to hide the collection. It was an element in correlation with the personal image of the archive. The stones and artifacts were floating, fixed on a translucent fishing line, recalling the vacuum in the flooded archive. Two plaques stated to remind the variable state of things and architecture: “a place for your stone”, “a place for your artifact”.
148
Figure 129. p.148 Hidden exposition
Figure 130. Inside the exposition box
Figure 131. Exposition making process Made by author
Figures 132-134. pp.152-157 Selected panels
Made by author
149
C+(A)
paleozoic (550 - 250 M)
H+P+O
mesozoic (250 - 65 M)
Q+M
cenozoic (65 - 0 M)
Erosion product from young Alps
150
Outer
60 km
mAntle
Marine sediments Tethys
Cristalin rocks (400 M)
schĂśnberg (250 - 200 M)
Ostalpin
0,115 km
Molasse (10 - 0 M)
Helveticum (150 - 100 M)
Penninikum (200 - 10 M)
dreischwester (250 M)
Ostalpin
Arosa (400 M)
Quaternary (0 M) 0,121 km 2’900 km
Basement Pangea rocks
see level
2’500 km
2’200 km
2’900 km
5 - 10 km
7 km (depth)
151
ocean
Sedimentary layer
Basalt layer
mAntle
Outer Core
internal structure of the Earth
Inner Core
Core
2’200 km
Drechslergass
Rota Lehrers
Herawingert
#castle #war #vaduz
#witch #violinist #feast #gallows #vaduz
#witch #boggart #jealousy #triesenberg
#dragon #giant #rockfall #herd #guflina
#ghost #holy #treasure #rock #monster #triesenberg
47°07’05.6”N 9°32’37.7”E
The spirit of the nun
Allmeina
Look at own death 47°06’55.7”N 9°33’13.1”E #night people #triesenberg #death
47°07’16.7”N 9°32’38.6”E #dragon #landslide #triesenberg #bleikaweg
#ghost #night #triesenberg
47°07’05.6”N 9°32’36.2”E
The question of the night spirit
Bünda
#christmas #spirit #chapel #death
#ghost #help as punishment #farmhouse #triesenberg
Gnalp
47°07’05.4”N 9°32’37.7”E
47°07’05.4”N 9°32’37.7”E
Parsüla
The ghosts on New Year’s Eve
A good spirit
Fari
Waldi
Studa
Im Wang
Hof
Stärnabärg
#woman killed her child #ghost #punishment #steg #valorsch
The mountain woman 47°07’13.2”N 9°34’11.0”E
Balischguard
#masescha #triesenberg
#destroyed #invisble hand #new place
#chapel #construction #chilchabüdami
#mountain #landslides #masescha #chapel
Faritobel
Chumma
Egerta
The chapel of Masescha
Chalberweid
Stöckler
47°07’56.0”N 9°32’37.4”E
#ghost #fire #rotenboden #triesenberg
47°07’38.3”N 9°32’22.4”E
The black woman
Amisescha
Laubloch
Löwen
#new legend
Erblibach
Quaderli
Neufeld
47°07’56.0”N 9°32’37.4”E
Underground Archive
#ghost #fight #bridge #rotenboden #triesenberg
47°07’38.3”N 9°32’22.4”E
The spirit of the bridge
Rotabodnerwald
The dragon in Bleika
Gädami
47°07’05.4”N 9°32’37.7”E
47°07’35.9”N 9°33’05.9”E
Guflina
The black men
The giant of Guflina
Gipswäg
#devil #masescha #bell #chapel
Mattla
47°07’56.2”N 9°32’37.4”E
Fromahus
The devil carrying the bell
#ghost #castle #death #greed #vaduz
47°08’22.8”N 9°31’28.0”E
The spirit of the lord of the castle
#ghost #death #exorcism #triesenberg
#ghost #castle #midnight #vaduz
#death #eleven a life #altenbach #vaduz
47°07’05.6”N 9°32’36.2”E
47°08’22.8”N 9°31’28.0”E
47°08’28.0”N 9°31’17.6”E
Alte Frommahaustrasse
The spirit of the dead son
The spirit in the castle room
Plague in Vaduz
nderhof Adler Altbach Engel Städtli Burg-café Hundsgarta Schloss
Kalchofa
47°08’22.8”N 9°31’28.0”E
47°08’26.1”N 9°31’19.9”E
Altes Forsthaus
The 13 hellbender in the basement of Vaduz Castle
The violinist on the Vaduz gallows
#stinginess #ghost #border piles #vaduz
Küfergässli
47°08’27.8”N 9°31’16.2”E
Pradafant
“Where should I put the border pile?”
Lochgass
#ghost #devil #cross #rhein #smuggling #horse #steal
Bartlegrosch
47°08’48.0”N 9°30’39.6”E
Eggasweg
#farmer #finding #light #stone #emperor #present #Liechtenstein
47°08’22.8”N 9°31’28.0”E
The legend of Liechtenstein
Rutti
The white horse of Lochgass
Oberau
‘‘
152
Grasig Halda
Steitälli
#alpine dairyman #ghost #snowfall #storm
47°04’42.2”N 9°36’06.6”E
Poli and the cow
Güfel
Chellaböda
Underahubel
Höttatal
Siba Brünna
Bärgtälli
#gold #mountains #dreischwestern #venice
Hubel
47°10’31.6”N 9°34’26.1”E
Ruchhalda
The three sisters
Tali
Wasserhalda
’’
.
Tällibord
In da steina
Stausee
Bergtrüia
Kirchliplatz
#devil #young goats #ravine
47°06’00.0”N 9°35’26.7”E
D’Gitzihöll
Tälliwäg
#monster #spirit #church #fire #malbun #pradamee #steg
Gretahöhi
47°06’03.4”N 9°35’56.8”E
#ghost #treasure #stinginess #billygoat #triesenberg
Bäralöcher
The fiery wheel
#witch #cliff #greta #cattle #hahnnenspiel #pradame
Hanaspil
47°06’01.6”N 9°35’55.1”E
47°07’05.4”N 9°32’37.7”E
Girastein
Underemhanaspil
#wildman #cattle
47°06’08.0”N 9°36’30.6”E
On the Gretahöhi
Grund
#doggi #cattle #barn #triesenberg
47°07’05.4”N 9°32’37.7”E
The fire-red billygoat
Schafstofel
#alpine farmworkers #ghost #chapel #bridge #steg
47°06’42.9”N 9°34’42.0”E
The sixth alp farmhand in Valüna
Schwemmi
#doggi #bad feeling #triesenberg
#goat ghost #punishment #storm #kulm
Seeblick
47°07’05.4”N 9°32’37.7”E
47°07’04.5”N 9°33’45.0”E
The Wildmannli
Steg
#monster #spirit #church #malbun #steg
The Doggi with pigtails
The Doggi in the pasture
Wisli
47°06’43.0”N 9°34’42.5”E
Sägagatter
The Tälibudel
Stütza
#water #hiddenlake #torrents #sücka #düraboda #triesenberg
Steibruch
47°06’43.1”N 9°33’53.2”E
Tunnel
The Dürrboden lake
Duraboda
The red spirits
Chleistäg
#alpine dairymen #herdsman #ghost #sücka #kulm
#night people #kulm #triesenberg
Sücka
47°06’58.4”N 9°33’53.9”E
47°07’04.1”N 9°33’45.2”E
Kulm
Keres from Sücka
The night people in the air
154
155
6.3 Narrative The legend of the underground archive
#underground #archive #masescha #duraboda #lake #flood #guard #treasures
Archive
In Triesenberg, down from Masescha,
Once it was flooded by the Duraboda
47°07’48.0”N 9°32’37.8”E
an underground archive was built.
underground lake and the whole
We don’t know by whom and when
archive became inaccessible and
it was made. However, it contained
closed. Some artifacts picked up
all possible rocks, artifacts, legends
by the water came outside. It is
and names from Liechtenstein. You
dangerous to approach the ravine:
could find as many stories as the
a guard of the archive is trying to
mind can imagine. Nobody knew
save each part of it and could throw
where the archive ended. People
a tree trunk on your head to protect
were disappearing in the darkness.
his treasury. Only daredevils are
156
Figure 135. The entrance to the underground archive Made by author
ready to meet him. They hope to find a precious light stone or another treasure. Some of them, armed with a shovel and pickaxe, even try to dig, and they risk a lot because they are going against the law. Still, they know that the place, called Archive, in Triesenberg, down from Masescha is worth the effort.
157
List of references
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metropolis: Chicago and the Great West. New York: W.W. Norton.
Baratta, P. (2017, July 21). Freespace: 16th Intl. Architecture Exhibition (2018). Retrieved January 19, 2018, from http://www.labiennale. org/en/news/freespace-16th-intlarchitecture-exhibition-2018
Damasio, A. (2011, March). The quest to understand consciousness. Speech presented at TED talks. Retrieved July 6, 2018, from https://www.ted.com/talks/ antonio_damasio_the_quest_to_ understand_consciousness.
Beccario, C. (n.d.). Earth :: A global map of wind, weather, and ocean conditions. Retrieved from https:// earth.nullschool.net/
Definition of ‘free space’. (n.d.). Retrieved March 28, 2018, from https://www.collinsdictionary.com/ dictionary/english/free-space
Bucher, E. (1992). Walsersiedlungen in Liechtenstein: Werden und Entwicklung. Vaduz: Gesellschaft Schweiz-Liechtenstein.
Definition of ‘remoteness’. (n.d.). Retrieved July 02, 2018, from https://www.collinsdictionary.com/ dictionary/english/remoteness
Bonnett, A. (2014). Off the map. Vaduz: Gesellschaft SchweizLiechtenstein.
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(1997).
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Farrell, Y., & McNamara, S. (2017, July 21). Freespace: 16th Intl. Architecture Exhibition (2018). Retrieved January 19, 2018, from http://www.labiennale.org/en/news/ freespace-16th-intl-architectureexhibition-2018 Gleber, A. (1999). The art of taking a walk: Flanerie, literature, and film in Weimar culture. Princeton, NJ: Princeton University Press Jackson, J. B. (1986). A Sense of Place, A Sense of Time. Oz, 8(1). doi:10.4148/2378-5853.111 Miescher, D. (2014). Geologie Liechtensteins: Ein grosses Meer in einem kleinen Land. Schaan: Alpenland. Miescher, D. (n.d.): personal communication in mai 2018 Miroshnikov,
A.
(n.d.):
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Schuster, R., Kurz, W., Krenn, K., & Fritz, H. (2013). Introduction to the Geology of the Eastern Alps (article). 11th Workshop on Alpine Geological Studies & 7th IFAA.
Oles, T., Timmermans, M., & Abelman, J. (2014). Go with me: 50 steps to landscape thinking. Amsterdam: Amsterdam Academy of Architecture.
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Schacter, D. L., Addis, D. R., & Buckner, R. L. (2007). Remembering the past to imagine the future: the prospective brain. Nature Reviews Neuroscience, 8(9), 657.
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www.walser-alps.eu/walserregionen/liechtenstein/walser-inliechtenstein-1 Whyte, W. H. (1980). The life of plazas. Sitting space. Sun, wind, trees, water. In The social life of small urban spaces (pp. 10-49). New-York: Project for Public Spaces. Wie siedelten die Walser? (n.d.). Retrieved July 4, 2018, from http:// www.walser-alps.eu/kultur-1/ siedlungsweise Wirth, L. (1938). Urbanism as a way of life. Indianapolis, IN: BobbsMerrill. Yates, F. A. (1966). The art of memory. Yates. Australia: Penguin.
List of figures
Figure 1.
Fari landscape. Photo by author
p.19
Figure 2.
Fari landscape without buildings. Photo by author
p.19
Figure 3.
Map of geologycal layers.
p. 28
Figure 4.
Map of Pangea supercontinent.
p. 29
Figure 5.
Formation of Alps
p. 30
Figure 6.
Lithostratigraphic units.
p. 31
Figure 7.
Last Glacial Maximum.
p. 32
Figure 8.
Quaternary formation.
p. 33
Figure 9.
Walser movements, translated by own from (Bucher, 1992, p. 12)
p. 37
Figure 10.
Legend path in relation to the line.
p. 38
Figure 11.
Legend path in relation to the urban development.
p. 38
Figures 12-14.
Path of legends.
p. 39
Figure 15.
Walking in the mountains in challenging conditions
p. 43
Figures 16-19.
The site in different weather conditions.
p. 45
Figure 20.
In the fog. The information panel in front of the invisible view on the landscape. p. 47
Figure 21.
The model of the Fari landscape
p. 50
160
Figures 22-23.
Comparison between 0,4 and 2 m hight lines landscape representation
p. 50
Figures 24-28.
Representation of different landscapes
p. 51
Figures 29-34.
Artifacts from the collection
pp. 56-58
Figures 35-58.
Stones from the collection
pp. 64-71
Figures 59-86.
Representation of names of locations.
pp. 74-83
Figure 88.
Digging experience during the seminar week.
p. 109
Figure 89.
Site before intervention
p. 112
Figure 90.
Digging, fourth day in the construction site.
p. 113
Figure 91.
Entrance to the project site.
p. 119
Figures 92-100.
Entrance sequence
pp. 120-122
Figure 101.
Site with intervention
p. 123
Figure 102.
Legend over the time
p.124
Figure 103.
The legend between formation and decay
p.125
Figure 104.
Plan
p.128
Figure 105.
Front elevation
p. 128
Figure 106.
Section
p. 129
161
Figure 107.
Door elevation
p. 129
Figure 108.
Joints
pp. 130-131
Figures 109-111.
Door frame. Door angle. Door handle
p. 132
Figures 112-114.
Door. Entrance
p. 133
Figure 115.
Map of the underground archive
p. 135
Figures 116-119.
Leaflet illustrations
pp. 136-137
Figure 120.
Orda Cave
p. 139
Figures 121-124.
Section of the imagined archive
pp. 140-143
Figures 125,126.
Model of the site
p.145
Figure 127.
Situation before the presentation
p. 146
Figure 128.
Situation during the presentation
p. 147
Figure 129.
Hidden exposition
p. 148
Figure 130.
Inside the exposition box
p. 149
Figure 131.
Exposition making process
p. 149
Figures 132-134.
Selected panels
pp. 150-155
Figure 135.
The entrance to the underground archive
p. 157
162
163
Affidavit
I hereby declare under penalty of perjury that the present paper has been prepared independently by myself and without unpermitted aid. Anything that has been taken verbatim or paraphrased from other writings has been identified as such. This paper has hitherto been neither submitted to an examining body in the same or similar form, nor published. Genève, 9.07.18
Alexander Sokolov
164