Initial Case studies

Aldo van Eyck, a Dutch architect in the era of modern architecture after the second world war in the category of structuralism, which had quite influenced the world of architecture at that time. Born in 1918 from a father who works as a philosopher and poet, he received architectural education from ETH Zurich and worked professionally since 1946. Apart from being an architect, he was also a professor who taught at Delft University of Technology [1].

Pastoor van Ars Church by Aldo van Eyck

Theory of Aldo van Eyck ldo van Eyck was dubbed the ‘Humanist Rebellion’ because the concept of thought which was contrary to the architectural concept of the era which he called a ‘mechanist’, when housing construction was carried out on a large scale to pursue the target of ‘fulfilling housing needs’ by means of repetition of design, like a printing machine [2].

Aldo van Eyck’s concept of thought in his architectural work was influenced by his travel to several countries, Indonesia, Africa, the Far East, Mediterranean, New Mexico, and Scandinavia [3]. His admiration for the architectural philosophy of Nusantara, when he visited Nias and became acquainted with the concept of traditional Nias house architecture that contained noble values and was always associated with the macrocosm and microcosm realm, about the essence and culture where humans and their natural environment become actors and formers of space and mass [4].

In philosophy, there is a value of identity and the meaning of locality where it is located. The architect became the recipient of the responsibility that received the mandate from the Ruler - ontology, in contrast to the Western concept which adheres to the notion that architecture is the work of the artist to overcome a state of his environment by using existing tools and materials [5].

This meeting with Eastern philosophy gave birth to several architectural theories, among others, the in betweening, oervorm and the Twin Phenomena which are used as the basis of Aldo van Eyck’s design in work [6].

The concept refers to Martin Buber’s philosophy of ‘Ich und Du’ and is translated in this theory as ‘space between’ namely that between two conflicting polarities in a true entity there is always space that can ‘bring together’ the same transitional space important with both polarities. Space is a transition between ‘inside and outside’ meetings, ‘out and in ‘, up and down’, as illustrated in figure 3

Oervorm

– ancient form

The works of Aldo van Eyck always use pure geometric shapes like circles, squares and triangles, according to tribal society, the circle shape is centered on power above (macrocosm), and the square forms represent space for humans (microcosm) [2].

c. The Twin Phenomena

Theories that discuss the interrelationships between entities will be meaningful if there are other entities, which are referred to as ambivalent relationships - in a situation there will be contradicting relationships, for example there is no big without small or nothing inside without outside. This theory discusses identity and the relationship between place and occasion. The twin phenomena gives about two types of orientation those are, people seated concentrically in a hollow, gazing inwards towards the centre, and people seated concentrically on a hill gazing outwards towards the horizon as shown in figure 4.

Identity of Location

The project in Den Haag, Netherlands, used a concrete structural system and massive facades and fewer windows has finished in natural stone. The site location is on the edge of the highway and near the canal riverside with flat contoured which used as part of the exterior landscaping scenery, figure 10.

The choice of geometric shapes with horizontal scale and proportion play to distinguish the function of the altar (sacral), worship space (transition) and exterior landscape (profane), and vertically with volume processing and height in the mass, ceiling and floor arrangement as a marker of building functions worship of the Pastoor van Ars Church.

The uniqueness of the altar which divides the two Nave rooms in anticipation of the increased in the number of congregations still can use in the provisions of the Catholic church worship procedures, with circulation patterns, lighting and ceiling height that create a certain atmosphere.

c. The use of exposed concrete material confirms geometric shapes of square and cylinder, massive and closed in response to climate and weather challenges.

Finding :

Western architecture can only use symbolic archipelago architectural philosophy, but location identity becomes a marker in the form and building material where western architecture is a protection, while archipelago architecture is a reflection [8].

Embodying radical yet humane ideas about the potential of architecture to shape social and pedagogical interaction, Hans Scharoun’s 1970s primary school at Marl came close to demolition, but is now being restored to accommodate a new use as a music school, in a programme that engages and resonates with the architect’s original design intentions

Scharoun’s radical concept envisaged a school articulated as a series of diverse individually shaped elements strung together like houses in a village and linked by a street-like interior. Not only was this intended to give the rooms separate identities closely related to their functions, but also to develop in the pupils a high degree of territorial identity. There were even theories about why classrooms for differently aged pupils should have different shapes and colours. A specific site was envisaged for this prototype, but no budget was forthcoming so nothing was ever built. However, Scharoun’s design soon became the milestone for extreme specificity in architectural thinking that it has remained ever since.

As he put it at the opening: ‘Since children are so impressionable in their early years, a rich childhood can be the foundation for a whole life. Education is not just the development of intellectual capabilities, not just the achievement of particular knowledge and abilities: it is a process which allows the bringing together and developing of all faculties. Therefore learning must be in harmony with the child’s growth and development, and the school, like the home, must stand as evidence that the earth is a good place to dwell.’1

The idea of the Klassenwohnung (classroomflat) as the second home for the child which had been developed for Lünen was repeated, again with clerestory-lit main teaching space, annexe, external teaching space and cloakrooms, the Klassenwohnungen strung together along a generous Gruppenraum which could be used for activities shared between them.

As with the first school project for Darmstadt, the classrooms were differentiated in relation to the ages of children between Unterstufe, Mittelstufe and Oberstufe, each given its own group territory, though the eldest had the least identifiable territory, being intended to possess the whole. The classes in their different wings fed into an irregular street-like foyer surrounding the central assembly hall and theatre which gave the school its heart. Here not only assemblies and teaching events were to be held, but also films, plays and concerts, making it a cultural centre for the whole area in the evenings.

Changes in site level were exploited in directional steps offering the kind of spatial punctuation found in all Scharoun’s later work, and guiding the visitor through. Most of the school remained single-storey, daylight being admitted throughout, and also through tiny planted courtyards. Even the auditorium offered daylit conditions with a big window

In 2007 Paris saw the completion of the Quartier Masséna, a district consisting of 17 urban blocks, a park (Jardins Grands Moulins Abbé Pierre) and a number of transformed existing buildings (Bibliothèque des Grands Moulins, Université Paris Diderot and artists’ breeding ground Les Frigos) on its left bank.

Quartier Masséna Paris by Christian de Portzamparc

In his master plan Christian de Portzamparc used the principle of the îlot ouvert (Open Block) to organize dwellings and work spaces and to provide residents with a rich, collective outdoor space. The îlot ouvert is best described as a frag- mented closed building block. Rather than forming a single urban volume, the building mass of an îlot ouvert is distributed over a number of buildings that in turn comprise different volumes of varying height and form. The collective outdoor space is accessed via patios in – and openings between – the buildings, which are closed off from the public street by fencing that follows the building line of the urban block.

The îlot ouvert directly to the north of the university buildings demonstrates what block fragmentation can do for the dwelling and work space ratio. Here, four architects have designed four buildings, one on each corner of the urban block. The architects used the design freedom provided them to design totally different buildings. They each chose their own access and building typology, determined the assembly of the volumes and the material palette, and established how functions are organized at the building level. The way the volumes relate to their surroundings at ground level is also different.

This elaboration of this urban block shows that the typology of the îlot ouvert allows a separation of dwelling and work spaces and a more intense use of the shared inner courtyard. Residents can enter the inner courtyard from all directions and, by this vestibule extérieur, find their way to their homes and to the back entrances of the work spaces and businesses. From the street, the shops and offices are just as easily accessible to non-residents as those in a closed block. Thus, the îlot ouvert successfully mediates between the different users of the city. n the summer of 2011, Steilneset Memorial in Vardø was opened. The attraction was a collaboration between Zumthor, artist Louise Bourgeois and historian Liv Helene Willumsen. While Steilneset was raised in memory of the people in Finnmark who fell victim to the government’s witchcraft persecutions in the 1600s, Allmannajuvet emerges as a monument of the mining operation and the miners’ life of hardship in the late 1800s.

The Allmannajuvet zinc mines are a disused mining works in Sauda. The mines were in operation from 1881 to 1899. During these years a total of 12,000 tonnes of zinc ore were extracted. Today, the mining area is a museum. The plain buildings in the gorge are designed in an industrial construction style to embody the story of the mines. Some of the mining galleries will be made accessible for guided tours.

The exterior support system consists of creosote impregnated laminated wood. The exterior walls of the building consist of 18 mm plywood sheets and jute burlap, coated with a German acrylic material (PMMA). The interior walls have been painted in a dark colour to resemble a gallery. The foundation work of the museum building and the café building, with its high demands for precision, is some of the most demanding work carried out in Norway.

Kindergarten Enneberg / Architekt Andreas Gruber

The focus was on a long-term concept, from the point of view of the future user. The purpose was to create child-friendly spaces, light-flooded, which allows kids to learn with playful games. The flexibility and livability of the classrooms, the scale, and proportions, as well as the accessibility, have a basic role in the project. The focus was also to create more sheltered and reserved places so-called “retreat places”.

Thermal bricks, plaster, and natural wood surfaces were the main materials used. The pattern of the facade reflects the playful nature of the children. Moreover, the colorful concept gives the building a playful character. The different heights and distances of the windows focus on the surrounding alpine landscape.

The wide frames of the windows are thought of as part of the architectural concept. They characterize the rooms and they can be used as sitting places or play areas. In order to encourage the children’s creativity, bespoke furniture was designed in collaboration with interior designers from > MarchGut <. These are special educational modules that can be moved freely around the rooms and satisfy the children’s primary needs.

The educational modules are made of solid wood and the interior surfaces are covered with user-friendly surfaces, in their children can freely develop their senses and abilities.

Taika Kindergarten / OOPEAA

Despite the relatively large number of children served, Taika manages to offer a home-like scale. Taika provides daycare for 225 children between ages of one and seven as well as a place of work for 50 staff members. Taika also serves families with parents with shift work schedules offering overnight care for a rotating group of 200 children with a maximum of 60 children spending the night in the kindergarten at a time. This means that all overnight childcare offered by the City of Seinäjoki to its residents is now gathered under one roof. Also the offices of the regional directors of early education services are now all in one place in the Taika building supporting their work as a team of coordinators of regional services.

Taking its cue from the Ostrobotnian traditional barn in the open field, Taika is shaped like a large barn. Yet, it is colorful and full of light, and its star-shaped plan serves to provide rhythm and to create a sense of a home like scale. With its flexibly adapting naptime spaces, its highly practical foyer areas equipped to deal with the challenges brought along by the Nordic weather and the high demands it poses on handling children’s outdoor clothing, as well as the pockets of loosely separated outdoor areas each with its own porch to provide shelter from rain and to serve children of different age groups, the Taika Kindergarten is a great example of the contemporary Nordic approach to the design of kindergarten buildings.

The star-shaped plan offers an efficient and flexible organization of space. The spaces in the building are divided into six independent home base areas that each house two groups of children. There are altogether 12 groups of 1820 children of different ages. Each home base area has its own entrance providing direct access from the yard. The home base areas have large windows facing the yard and giving the building lots of light and air. The space is organized in a playful rhythm of alternating sheltered nooks and open areas and the interior spaces and their furnishings are color-coded so that each age group has its own identifiable color and its own section of the building helping the children orient themselves when moving around in the building.

Vilhelmsro Skole / BIG

The following case studies seek to find potential and alternative methods for designing kindergarten spaces. Though the projects vary in scope, they all provide insight into the land-use problem through the organizing functions, thinking materials, special experiences, and so on. The observations can be used as potentials and inspirations during the design phase.

an academic facility which focuses their curriculum on nature and sustainability in asminderoed, denmark. taking the undulating hillside of the site as a point of departure, the design features a series of bands which pleat and crisscross to merge with the surrounding topography.

the oscillating roofline is experienced from both the inside and the outside. outdoor green terraces and courtyard spaces are generated in between buildings. though all one-storey, the alternating peaks and ceiling heights allow natural daylight to stream into every class room. the sod makeup facilitates passive energy measures such as mitigating heat island effect, acting as thermal mass and evaporative cooling qualities. rain water runoff is reduced, collected and stored for non-potable usage. cross-ventilation is also encouraged through operable windows and overlapping openings.

Room Program

The kindergarten is intended for 100 children. They are organized in six groups, composed out of 4 preschoolers groups, 1 infant group and 1 toddler group. One preschooler group has a capacity starting from 16 to 22 children, so range of 64 to 88 kids aged between 3-7 years old are playing and being taught in four playrooms. The youngest ones in the infant group, aged 0-1, are 14 in one playroom and toddler group which count 16 kids aged between 1-3 years are in another playrooms. They are separated from the mixed age groups in separate playrooms, where to teachers and two assistants are looking after them. This building provides space for 100 children shared by 6 Montessori trained teachers help by 6 assistants. The administration staff is composed of Director, consultant office worker, accounting, administrator, and archiver. The service working team is composed of janitor who maintainers the building. To cleaning persons, and employees working in the kitchen, three chef and three pre-cooked persons with responsibility for dishwashing and garbage area.

Infants/0-1/ Toddlers/1-3/ Preschoolers/3-7/

Space

Playrooms

Child area

Children toilets

Library with group rooms

Visitor reception including wardeobe and toilets

Cafe with own kitchen

Office and Staff room

Wardrobe and Staff toilets

Goods reception and storage

Technical room

Cleaning

Parking

Playgound

Front Playground

Back Playground

Area in m2 Notes

Place

A comprehensive introduction to the geography, climate, culture, and identity of the site at which the kindergarten is to be situated.

Between see and fiord

The west coast of Norway is one of the longest national coastlines in the world. It stretches from Egersund in the south and to well above the polar circle to the north. several places large fiords cut into the landscape, Among others the UNESCO heritage protected fiords of Naeroyfiord and Geirangerfirod. Boknafiord is the southernmost of the big fiords and is situated in the county of Rogaland. (fjordnorway.com 2015a)

Rogaland

Rogaland is situated on the south end part of the west coast. it is a county characterized by a mountainous landscape towards the north and eastern parts, the large flatlands, much similar to the Danish landscape with beaches, lighthouses, and agriculture towards the west. Stavanger is the main city of the region and together with sandness, it represents a population of more than 200,000 inhabitants making Rogaland one of the most urbanized regions of Norway. (destination-rogaland. com)

At the northern tip of Jahren, flatland along the coast south of the Boknafjord inlet, the site is situated some 15 km north of Stavanger, Where the sea meets the fiord.

Tungenes

Tungenes is situated around 15 km- a 20-minute drive north of Stavanger. Today the place is intact with a small Vilas, a marina for recreational sailors and local fishermen, and a lighthouse towards the Sea. The existing lighthouse was built in 1862 and was operational until 1984 - when a larger more modern lighthouse was built on the rock in the middle of the inlet to boknafjord. Today the lighthouse functions as a small museum and place of cultural heritage. The area is very affected by the weather. on stormy days people often come here to experience the forces of nature. This site is situated between the marina and the sea and involves the demolishing of two existing boards adjacent to the site. This site connects the story of how man has cultivated nature in this region.

Mapping

Following James corner’s theory, mappings are created to provide an overview of the surrounding areas and the site itself. The mappings shed light on a variety of issues and potential pitfalls associated with planning and, later, concept development.

Infrastructure Museums and cultural institutions Industrial harbours and marinas

The area of Stavanger and sandness is very populated to many other parts of coastal Norway. together the urban area of Stavanger and Sandness makes up 203.771 people (ssb. no). a Highway runs along the edge of the cities, and a new tunnel is under construction connecting under the inlet of Boknafjord and further up the coast towards Bergen.

People are most likely to arrive at the museum by car, and park the nearby parking lot since the highway is only about 3 km away from the site.

1. Tungenes lighthouse is a cultural hub, with small exhibitions and events, but other museums in the region tell the same story.

2. Vistnestunet, 19th Century Farm. Part of the jaer-Museum, a place where visitors can experience a traditional farming culture.

3. Museums and collections in Stavanger:

4. Stavanger Maritime Museum

5. Norwegian petroleum museum

6. Valbergtaarnet & Vektermuseet

7. Archaeological Museum of Stavanger

8. Breidablikk

9. Norwegian canned foods Museum

10. Norwegian geographical museum

11. Ledaal Museum

12. Telecommunication Museum

13. Missionary Museum

14. Stavanger School Museum

Rogaland Museum of Fine Arts

Coastal culture collection in Tananger with its urban areas and industrial importance, the region of Stavanger has a high degree of connection to the sea. the many islands in the fiord and along the coast make this an area very many people own boats. The larger industrial harbors services many industries, from passenger ferries to Denmark and Bergen, to goods transport and oil Industry, related business.

Along the coastline in 6.3 km, hiking path. apart from the nature hikers can experience some cultural places of interest along the route. (Randaberg.kommune.co)

1. Gun positions from world War two

2. Burial mound

3. Toilet

4. Parking

5. Bus stop

6. Golf club

7. Campsite

8. Beach

The lighthouse functions today as a cultural house with a variety of activities. an exhibition shows the life of the attendant and his family in the 1930s. furthermore, there’s a small café. a burial mound is placed close to the Light House, this is one of many found along the coast of Rogaland, from the first Norwegian settlements.

The marina is home to around 20-30 private boats.

A new parking lot is planned near the marina by the main access road.

The site is located on the field behind some of the existing houses, between the marina and the sea.

As part of the task, the program states construction made below 3 m above sea level can be subject to floating, due to rough weather, surge, and generally increasing water levels. (Program 2014)

Investigations show that a severe increase in the water level can hit some of the existing houses around the site.

Climate

The climate has a lot to say about how we built-in and perceive a place. Weather affects us on a physical as well as a psychological level, and it is part of characterizing the customs of our culture whether it is grounded in an extreme or milder climate.

Daylight

The length of the day at Stavanger Airport, Sola varies extremely over the course of the year. In 2022, the shortest day is December 21, with 6 hours, 13 minutes of daylight; the longest day is June 21, with 18 hours, 28 minutes of daylight. (weatherspark.com)

Wind

The wind is defining feature in the landscape, the average daily wind speed varies between 4 and 5 m/s (gentle breeze) with the highpoints in January. at the same time the average daily maximum is 9 m/s and on January 13th. the direction of the wind changes between the seasons, from dominantly North-NorthWestern in the summer, to South-SouthEastern in the rest of the year. apart from this, there is generally more Wind coming from the Ocean towards the west than the mountains and Fiords towards the east. (weatherspark. com)

Clouds with the sky and the sea as dominant natural features, the texture of the sky becomes truly important. with ‘mostly cloudy’ and ‘partly cloudy’ as the main types of cloud cover, Counting for over 50% of the time, the changing skies are very important aspects of the experience of the place. (weatherspark. com)

Temperatures

Situated right at the sea, the region has a mild human temperature climate with warm summers and no dry season. due to the proximity to the sea, the winters are milder than most other places in Norway, and the temperatures are more constant. (weatherspark.com)

Snowfall

Compared to many other parts of Norway, snow is not a big factor in this coastal region. with a maximum probability of snow on the ground on January 1st being 19% maximum average snow depth (when there’s snow on the ground) being 8.3 cm on January 7th the snow cannot be said to be a defining climate factor. (weatherspark.com)

Precipitation

There is a significant increase in precipitation during the late summer and through the autumn. While the spring is relatively dry in comparison. the number of rainy days per month reflects the rainfall of the given months, and the precipitation is mostly categorized as moderate rain maxing out at almost 18 days of rain in November. during winters small amounts of snow are also possible. (weatherspark.com)

Solar Energy

This section discusses the total daily incident shortwave solar energy reaching the surface of the ground over a wide area, taking full account of seasonal variations in the length of the day, the elevation of the Sun above the horizon, and absorption by clouds and other atmospheric constituents. Shortwave radiation includes visible light and ultraviolet radiation.

The average daily incident shortwave solar energy experiences extreme seasonal variation over the course of the year.

The brighter period of the year lasts for 3.0 months, from May 6 to August 7, with an average daily incident shortwave energy per square meter above 5.0 kWh. The brightest month of the year at Stavanger Airport, Sola is June, with an average of 6.1 kWh.

The darker period of the year lasts for 4.5 months, from October 15 to March 1, with an average daily incident shortwave energy per square meter below 1.4 kWh. The darkest month of the year at Stavanger Airport, Sola is December, with an average of 0.2 kWh. (weatherspark.com)

Tungenes and Tungevagen

The tip of jaeren.

The illustration below depicts the typical movement through the sea from right to left. Along the coast, from the parking lot, towards the lighthouse.

Lighthouse Fields

The lighthouse itself is a popular tourist attraction and serves as a historic beacon in the sea. Beyond the lighthouse on the southern coast, the wind and the rocks dominate the landscape.

This part of the landscape represents the typical landscape of jaeren. Small fields in the cultural landscape which has been cultivated for thousands of years. the stone fences are built over time from stones collected from the fields and are used to separate the lands and keep the cattle in place. (gurandsrud 2015). This is where the site is, with the fiords towards the north-east. on this stretch of the path the wind is not quite as dominant, it is the light sound of waves and the sound of gravel path under one’s feet which is in focus.

Dwellings

The small gathering of houses by the marina is the first building still visitors meet when approaching the place. these dwellings are simple wooden houses, all painted white and with a pitched roof. these houses are typical for the region, where you are almost always able to see small settlements in the hilly landscape.

Arrival

One arrives at Tungenes by car or a bus. in the near future the parking lot will be expanded and a new bike path from Randaberg will be completed.

Registrations

Arriving and moving along the path, one encounters different buildings and landscapes, some of which will be removed before the completion of the center.

The journey

The walk along this part of the coast is very accessible compared to further along to tungenes walk where there is no path and one has to climb fences and jump on the rocks across little streams. In this section, the sea, the sky, and the winds are the main elements adding to the bodily experience. walking on the edge between the rock and the fields, one is closely connected to the two elements which man has been cultivating and harvesting from in this region for ages.

The sea

The sea here has a certain darkness to it. when the waves hit the rock, they turn black and shiny, One can see how deep the waters of these fiords are and which great powers they possess. The sound of waves is a constant backdrop for the atmosphere of the site. it adds a distinctive calmness to the place in near these forces of nature.

The sky

The sky is the second most influential element in the place. the horizon here is wide and deep, and with the sunset over the ocean, it adds an aspect of greatness to the place. the cloud formations are constantly changing and with it the mood and light affects the experience of the surroundings.

Institution of light

Tungenes lighthouse is both culturally and historically the most prominent building in the area now. while it is not operative, it is the exhibition, café, and occasional concerts that attract an audience. furthermore, the artist can apply to get a small room for a period of time, to go there for inspiration and a calm place to focus. despite the lights not being on, the whites volumes stand out and have all the light of their own in this scenic coastal landscape.

Illuminating the landscape

The vertical wooden façade cladding is seen everywhere in the region. the classic jaerhouse was built like this. a small wooden house with a pitched roof and two small additions in the end, typically made of stone, which guides the winds over the house and minimizes draught inside the house. the white color really makes the building stand out in the landscape, and the arrangements of the small windows add to the village atmosphere.

Maritime presence

Just at the top of Tungenes, all ship traffic going in and out of the fiord is visually present. this means that large vessels carrying everything from cargo to Cars and passengers pass by just of the shoreline. the presence underlines the connection between the cultural landscape on land as well as off-shore.

The mix of scales

In Stavanger and the region in general there is a presence of different industries and infrastructure programs which can be categorized as mega-scale. the contrast is especially evident in Stavanger where all the small wooden houses are present in close proximity with these elements. These contrasts of scale are parts of creating an image of a lively industrial cities rather than a small town and reflects the spirit of the region.

Section and surfaces

Sections through the side give an understanding of the topology. below the surface texture and the different zones creates an image of the transitions in the landscape.