Living bridge by Daniel Szakacs

G ROUP 08 MSc-01 2011 ARCHIT ECT U R A L

DE SIG N

ARCHIT ECT U R E & D E SIG N AALBOR G U N I V E R S IT Y LI VING BR I DGE A (NI C E P L A CE )

TITLE SHEET F O RMALI TI E S

SY NOP SIS

Project title: A (nice place) to B

The objective of this project is to bridge the shores of Limfjorden creating an inhabited settlement across the fjord. This connection is to be considered as a journey, offering a variety of different experiences such as dwelling, a bathing establishment inspired by the Nordic traditions and hence, a close contact with the water and the natural phenomena related hereto. The bridge is to be situated in front of the coming House of Music, connecting with the coast of Nørresundby characterized by its natural sceneries.

Project theme: Tectonic Design & Nordic Architecture Duration of project: 06/10/11 - 19/12/11 Architectural supervisor: Marie Frier Hvejsel Technical supervisor: Alberto Pugnale Editions: 9 Number of pages: 44 This report is accompanied by a folder of technical drawings. The contents of the report is open to the public, but publication with specification of source can only be done with agreement of the authors.

Dán iel E leni

The report consists of an analytic part revealing the issues and potential of the context, introducing the tools used later in the process and introducing the overall program and vision. The design part, which concentrates on form-finding reveals the process from concept development to final detailing, and finally the end result will be revealed in a descriptive and illustrative presentation part.

Sz ak ács Karag i an n i d o u

H elen e J u r e

The bridge design is based on a vision which states a journey related to the connection and interaction with the ever-changing water element. Furthermore, the bridge strives to be tectonic; binding form, structure and function together in

a unity – by using the iterative approach of formfinding. To complement the design of this large scale structure, Jørn Utzons additive principles are used – accompanied by the form-finding this ensures a rationalized structure that clarifies the structural composition.

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LIST OF CONTENTS PART

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I nt r o duc t i o n Sens e o f t he s i t e Si t e anal y s i s Theo r et ic a l s t udi es C o nc l us i o n o f ana l y s is Bui l di ng pr o gram Vi s i o n

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PART TW O - D E VE LO PM E NT O F C ONC E P T D E SIG N D evel o pment D evel o pment

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I nt r o duc t i o n The j o urney Ref l ec t i o n

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INTRODUCTION AP P RO AC H In a design project the Integrated Design Process are primarily used – intentionally or not. It is simply inevitable not to somehow use this method, because design is based on an iterative process of getting ideas, reflect on them, improve or reject – and then reflect again. The phases of this approach are more questionable – design does not fit well into labeled boxes! For example, you must be able to present a sketched idea and merge it together with all the different factors in use. Is this phase then to be labeled as initial idea, sketching, synthesis or presentation?

PA R T O N E _ S I T E A N A LY S I S

Designing is a compound process and even in the analysis, decisions are made on what to present or not. A great amount of work is put into understanding the context, and not everything ends up being relevant for the chosen path, since many fields are investigated in the effort of coming up with the perfect concept for the design – a vision.

INTRODUCTION M OTI VAT IO N The distinguishing between the noun, a bridge, and the verb, bridging, entails an action that is more than a physical bridge. It could be, bridging people, cultures or ideas. Bridging describes the act, instead of the object. A bridge connects two banks, but maybe it could increase its value by also bridging the people on the banks. It is important to be aware of this difference between bridge and bridging, to be open to unconventional types of bridging. What will happen when Aalborg will be bridged with Nørresundby? According to Martin Heidegger “The bridge designedly causes them [the banks] to lie across from each other”. “It brings stream and bank and land into each other’s neighbourhood. The bridge gathers the earth as landscape around the stream.” It is apparent that the bridge has an environmental impact. When bridging, something radical happens to the areas and the identities of them. The here versus there is accentuated, as the differences between the two banks become apparent. (Heidegger, 1971, p. 152) Is it appropriate to question: why bridge at all? The easy answer to this question could be that the bridging can ease the distance and create a connection between the two cities. Another answer could also be, that the bridging is providing new possibilities to experience the fjord. The reason for bridging is not only to provide the ability to pass from A to B, but everything you experience on the way. By means of programmatic functions along the path, the bridge can become a vital urban space. Finally, the reason for people to bridge can then be the bridge itself. By the use of the term “living bridge”, it obtains an significant value: The living bridge should serve as a new gathering point in the city and offer new areas for dwelling. Nørresundby, with its rough and undisturbed nature, and Aalborg with its cultural and industrial dynamic, are very contradicted areas. By bridging the two opposites, a dynamic middle is created. Characteristics from both banks can flow towards one another and the two different areas can benefit from each other.

During a workshop with a visit from a group af students from Portsmuth School of Architecture, an abstract way to analyze the site by means of its dance clarified the true reason to bridge: The city with its rigid large scale industrial buildings stands in comparison to the constant moving water. The water dances and leaves marks on the land over and over again, that can be translated into graphic curved shapes. The wave that washes over land has a certain rhythm and energy. Repeating and always changing, creating new patterns over time. The water is a very important actor on the site. The water is what you relate to and essential to the self understanding of Aalborg. Therefore the reason to bridge is to celebrate the water. We need a bridge to get us closer to the water to touch/ smell/feel/interact/look at it - a bridge that bridges human with the water.

I NITI AL

IDE A

Patterns of stranded algae, created by the water and also the silhouette of the city and factory buildings provide inspiration for the design. The water itself is the part of nature and is the strongest feature of the site, because of its presence and motion, as well as because of the pattern of waves. Besides creating a new urban connection, the reason to bridge Aalborg and Nørresundby is to create a place to sense the fjord in a new way. The idea is not only to bridge the two banks but to bridge human with water. This will be done by connecting between dwelling program, activities that celebrate the water and by making people get in contact with it.

INTRODUCTION SI TE

AN ALY SI S

The future bridge are about to be situated near the coming House of Music at the waterfront of Aalborg. It is becoming the fourth permanent connection across Limfjorden, together with the railroad bridge, Limfjordsbroen and the highway tunnel to the east. Both the Aalborg and Nørresundby waterfronts have been subjects to major changes and renovation in order to create new dynamic and recreational urban spaces. Therefore, both banks are characterised by these ongoing changes, and maintain an unfinished appearance. This forces one to distinguish between what is already present, what is in the making and what is just a vision - or even a utopia; For instance, the House of Music is under construction, developing week to week. But it is still shrouded in mystery, since we do not know if the proposed areas will function as intended. It takes time to see this.

NØRRESUNDBY Green area Stigsborg Brygge AALBORG

New plans are made for Østre Havn as well, but those are to be considered as a vision. Since the industrial character represented here is such a great part of the history of Aalborg, this project seeks to preserve these buildings instead of demolishing them and therefore rule out this future vision.

Østre Havn House of Music

The following site analysis strives to clarify the direction of this project by discovering the potentials and difficulties derived from the locality. Hereby facilitating a final proposal that respect and reflect the context surrounding it. Since the bridge has to host a hotel or similar, the present hotels in the area was mapped (the red dots). Here it is seen, that Aalborg has many of these, none of which are hostels. On the other hand, Nørresundby has none.

NØRRESUNDBY

AALBORG House of Music Green area

Østre Havn

SENSE OF THE SITE // AALBORG Although the difficulties existing in the depiction of the senses, this portrayal seeks to highlight the general experience of the site. These first pictures, showing the materials and the construction of the reused industrial buildings, are taken from the area that culture houses in, in the city of Aalborg.

The highlight of the site, the most dramatic, most potential and probably most debated area of the city of Aalborg: The former industrial zone which is turned into a cultural / recreational area, following the model applied in many European cities nowadays. The ravages of time and cold and wet climate can cause a feeling of distress.

The promenade next to the water on the harbour front: When waving, the sea is moulding the scenery. When windy, the weather carries the smells of the seaweed around. The water joins the two coasts and at the same time divides them.

SENSE OF THE SITE // NØRRESUNDBY The landing point of Nørresundby is an overgrown wasteland not showing any remains of the acid factory once situated here. The pure, abandoned, organic scenery is highly contradicted with the situated factory at this area. This industrial mass, is located in an inaccessible part of the coast, and creates a boundary towards the city.

Focusing on the banks and skylines, one discovers the emptiness at Nørresundby, only interrupted by the yellow brick building on Stigsborg Brygge and the factory area to the west. Aalborg has a very characteristic skyline of Østre Havn. The pace and composition of these buildings are only visible from Nørresundby.

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Due to the observations from the abstract approach used during the Portsmouth Workshop it was interesting to study the interaction between human and water. Therefore, the places suitable for different kinds of contact with the shores of Limfjorden were examined. One example is the steps that lead to the fjord in front of Toldbod Plads, which is a popular place to sit during summer; it creates a unifying connection between the built environment and the water. The interaction of the two elements is dynamic and recurrent. Next to this lies the harbour bath, which opened for visitors in the summer 2011 and is very popular. The three different basins and the diving tower offer the visitors to the most direct contact with the water. Along the harbour front are two ships, ElbjvĂ¸rn and Den Fede Ă&#x2020;lling that have been transformed into restaurants. Here one feels the movement of the water and observes it from a new perspective.

Quayside approx. 1.5m above sea level Beach or steps leading to the water Water on both sides Open air swimming

At most parts of the harbour front there is approx. 1.5 meters between the quayside and the surface of the water, and therefore a great distance between human and water. On the contrary, when crossing Limfjordsbroen the distance to the water surface is larger, but the feeling of the fjord gets more intense due to the brisk sea wind, the view of the coasts and the feeling of the water on both sides.

Popular place for fishing Marina Restaurant situated on a ship

Furthermore, the NĂ¸rresundby Pier is a very popular spot for fishing herrings during the springtime. The beautiful reflections in the water can turn the waiting time into a mental exploration. According to this mapping a lot of experiences connected with water is happening, but most are only suitable in the summer time, or depends on the people to pay for renting a boat or eating in a restaurant etc. The harbor front is creating a barrier due to the distance down to the surface of the water and therefore, Aalborg is missing a place where direct contact to the water can be made.

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S I T E A N A LY S I S F U N CTION S

REC REAT ION AL

To get an idea of the programmatic functions once to be situated on the bridge, the present functions of Aalborg and NĂ¸rresundby was examined.

Old city centre

One can see that there is a concentration of the old city centre characterized by its medieval structure near the bridge landings of Limfjordsbroen. The new developments in the city are concentrated near the water front and are expanding to the east. The usage becomes more cultural than commercial. Furthermore, there is a tendency that former industrial buildings are reused for new purposes such as offices. The industrial areas contain a lot of potential in the future development of the city. On the same time, these areas serve as a barrier for the flow along the fjord, and therefore a future bridge must tie theese areas together with the rest of the city.

Industrial area

New city centre

AR EAS

By categorizing the recreational areas in Aalborg and NĂ¸rresundby the need for such areas on the bridge are revealed. The mapping shows a variety of different facilities in Aalborg; sports facilities, parks, promenades and squares. On the other side, the bank of NĂ¸rresundby, only nature is present. Since this kind of greenery is not represented elsewhere near the site, this area has a lot of potential. Therefore, it is relevant to keep the sense of this area and bring nature closer to the citizens of Aalborg.

Unsetteled green area Park area Pedestrian zones Public squares

T HI TE EO RA ENTAILCYASLI SS T U D I E S S AC TI VI TY

L E VE L

To get an idea of the future activity level on the bridge, this is analyzed. Places with high activity level are places where many people go to do errand or to have a nice time. Since the House of Music is still under construction, the mapped activity level is predicted. Due to changes in activities during the day the map distinguishes between activity level during day â&#x20AC;&#x201C; and night time. E.g. the famous bar street Jomfru Ane Gade has a high activity level during night time. This mapping show, that the areas to be connected have a very low level of activity at the moment. The activity level depends on future initiatives, and therefore a bridge that offers diversity.

B RI DG E

Daytime activity Night time activity Predicted activity

PL A CEM EN T

In order to understand the potential and the importance of landing points of the bridge, their possible locations were suggested. Different placements for the bridge were considered along with different connection points. Some of the parameters were bridge span, sight lines, infrastructure and existing buildings. According to the use the potential of the nature at the NĂ¸rresundby shore, positions east to Stigsborg Brygge were in favour of the others. On the Aalborg side it was important not to stop the flow at the edge of the industrial buildings. On the other hand, it was important to interact with the coming House of Music as well. The chosen area deals with these wishes and integrates the possibility of connecting with the axis from Karolinelund.

Placement of bridge

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Big ships will have to be able to pass underneath the bridge to anchor at the Aalborg Harbor Front. For example during Tall Ships Races and when cruise ships visit the town. The largest ship is a 10 deck cruise ship; 214,7m long and 27,3 m broad (Thompson, 2011). This of course has a big impact on the design of the bridge according to the bridge opening, which will be, where the water is deepest. In general, the tide is not affecting the depth of Limfjorden as much, as the wind does. On the time of the low tide the distance to the quay side was measured to be 1,85 m and after a stormy weather it was approximately 0,6 m.

Channel for ship passage

The area is exposed to wind from the West more than 20% of the time. The average wind speed is between 5 and 11 m/s. Some times the wind speed though reaches more than 11 m/s. (DMI,2004)

Above 11,0 m/s 5,0 - 11,0 m/s 0,2 - 5,0 m/s

When designing the outside areas on the living bridge the wind should therefore be taken into consideration.

According to the placement of the bridge, the bridge opening will be placed closest to the south in front of the House of Music.

TH HE AE OD RLEI TNIEC 1A L S T U D I E S TE C TONI C

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The project theme, Tectonic Design and Nordic Architecture, is indeed central for the design process of the living bridge, and since no general and explicit definitions of the themes can be made, more in-depth studies of these are necessary; both to reveal the diverse and interesting facets of these fields, as to reach a common conception of the terms – a mutual point of departure within the project group. In these studies both traditional as well as contemporary aspects are included accompanied by a discussion of how it will be conceived and incorporated in this project. “Derived from ‘tekton’, the Greek word for carpenter or builder, the term tectonic, came into use in the mid-nineteenth century. Since then, many understandings and approaches to the term have been used by different architectural theoreticians” (Weston, 2011). In “Tectonic der Hellenen” (1852) Karl Bötticher distinguishes between the two elements; the core form and the art form, describing tectonics as an interaction between construction and aesthetics. According to Bötticher the art form should reveal or augment the essence of the core form irrespective as cladding or ornament (Frampton, 2001). In “The four elements of architecture” (1989), Gottfied Semper describes a tectonic structure made of timber columns and roof standing on a base of masonry (Frampton, 2001). For many architects this combination of light superstructure and heavy, earthbound base, is a tectonic expression and has been a theme for many buildings throughout history. An example is the Sydney Opera House by Jørn Utzon, in which the distinguishing between the solid, almost rock-like platform and the reflecting, elegant upper part is very evident. Semper distinguishes between the heavy construction (Mauer) and the inner protective membrane of a building (Wand), stressing that both are equally necessary. (Unlike Botticher, who claims the two elements function as independents). Thus, the task of the architect is not only to make the building stand, it is also to dress and furnish the inner spaces – focusing on human well being. One of our more contemporary theoreticians is Kenneth Frampton, who describes tectonic as a clear structure: The overall construction should be logical and easy to read. Opposing in the 14

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abstraction of space detected in commercial architecture leading towards scenography, Frampton advocates a clean expression of architectural construction and exposition of materials. According to Frampton, tectonic also is the awareness of the site: The architect must be “building the site” by modifying the surface of the earth, as opposed to making freestanding objects without any relation to the topography (Frampton 2001). Stressing an awareness of the time influencing the building, “duration” and “durability” are important factors to Frampton as well: This by being aware of the patination of building materials over time and taking change of the building’s utilization into consideration. All in all the field of tectonic is very broad, with many different opinions on what is tectonic and what is not. The perception has evidently changed over time, making Bötticher’s definition rather insufficient, since he separates the construction with the aesthetics instead of unifying them: According to him the two aspects can be developed one by one rather than simultaneously, and his perception of aesthetics was something to be added afterwards – cladding. Semper’s idea of the heavy masonry base and the light structure as a model for tectonic architecture rises the question: Is any building consisting of these two elements tectonic? He is almost presenting a recipe on how to be tectonic, but this is of course too literal; the point is to create an awareness of the two elements, stressing the necessity of both. Compared to Bötticher’s theory, Semper states that the construction (by means of contrasts) can be aesthetic, rather than aesthetics being attached afterwards. By introducing the light structure, its dressing and furnishing, a third element is commenced in the tectonic field - function. Looking at Frampton, he adds further value to the term of tectonic, now focusing on clarity, context and future as well. The idea is refined, and furthermore, he pays more attention to the details. Since the field of tectonics is ever-changing, always refining and adding value to the definition, tectonics can be many things; paying attention to the detail as well as adding extra value to the architecture. Tectonics is like the secret ingredient of a recipe, making the difference between mainstream and extraordinary architecture.

fig. 07: Sydney Opera House. Additive Shells

fig. 10: Oslo Opera House. Accoustic considerations being aesthetic

fig. 08: Sydney Opera House.

fig. 11: Oslo Opera House being a public property

fig. 09: Mortensrud Church, Norway. Relation to nature

fig. 12: Mortensrud Church, Norway. The construction taking the nature into consideration.

TH HE AE OD RLEI TNIEC 1A L S T U D I E S TE C TONI C

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The 1930s spreading of functionalism in the western countries triggered what we today know as Nordic architecture starting with the generation of architects including Alvar Alto (FIN), Sverre Fehn (N), Gunnar Asplund (S) and Arne Jacobsen (DK). The special characteristic of Nordic architecture is the synthesis between modernism and regional tradition. In continuation of the understanding of tectonic being about “building the site”, Nordic Architecture focuses on the relation to topography. Honesty in the construction and use of materials in close connection to surrounding nature creates authentic and harmonious architectural expressions. Using brick, stone and wood, because of the local origin and long lasting properties, makes the architecture raise a special connection to nature – a connection that often also is stressed by the layout, provoking a sense of belonging into the scenery or even produced by it. The attention to nature can be seen in Jørn Utzon’s approach to Nordic architecture; the additive paradigm. Nature has a certain order that is easy to relate to: According to Utzon, the simpler a form or composition is, the simpler it is for us to understand and the more it affects us (Lund, 2008) – in close relation to Frampton’s idea of a tectonic construction being logical and easy to read. In Utzon’s studies of nature and plants, he found, that these are built of tiny elements of different character and when combined, a whole new spatial expression is created. Through these studies Utzon explored different combinations of simple geometrical variations and achieved to create organic shaped architecture consisting of simple geometric elements, which therefore was easily adapted to the production industry. Since the components can be adapted to any scale, the additive principles are a useful tool in a design process, both adaptable to industrial, architectural and urban designs. Apart from nature being an important factor in Nordic architecture, also the distinctive Nordic light is. It often plays a unique role in Nordic architecture due to the limited daylight during winter time and the quality and experience of the light changing throughout the year. The light is often used in the buildings to emphasize materiality and shape. Furthermore, it gives

CON C L US ION

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quality to the interior as the natural light results in comfort and well-being. This relates to the statement from Semper about focusing on the comfort of the inner spaces by dressing and furnishing. For Nordic architecture, the natural light has a big impact in dressing the spaces, hereby participating in adding a certain character. In many ways Nordic architecture is similar to Japanese, in which the attention to details and nature, simplicity and delicacy is present in Nordic architecture as well. Focusing on the people who use the architecture, Nordic architecture relates to the human scale. By showing attention to details, certain atmospheres and narratives within the architecture can be created, providing the spaces with a unique character. The fact that traditional architects such as Alvar Alto and Arne Jacobsen also worked on designing furniture, may be the reason for their special ability to create unique and highly detailed architecture that also in smaller scale is able to address the human body and mind. The question is now; how this is passed on to a contemporary conception of what is Nordic. The Nordic tradition is today carried on by architectural firms such as BIG (Bjarke Ingels Group) from Denmark and Snøhetta from Norway. Both firms have gained acceptance internationally during the last decade by rethinking and developing the Nordic tradition in a multifarious manner. In spite of the criticism about being too conceptual and playing with the architecture, not focusing on the aesthetics, BIG is very successful and admired by architects all over the world. The architecture is consolidated in always having a clear concept that is easy to communicate and completed according hereto. By going through with a clear concept, the quality of BIG´s buildings is that they always have a clear story to tell and hereby addresses people. Looking at BIG’s ability to make multifunctional, extraordinary buildings they really succeed in being tectonic. Their projects never have only one primary function – one or several secondary functions are always included, making their buildings innovative and valuable for the whole community they are situated in. An example to this is a recent work by BIG, Amager Bakke, a

waste treatment plant with an integrated ski run on the roof. This approach of turning a building into more than just a building – or a chair into more than just a chair, is something architects from today should learn from. When making a project the architect should think out of the box – not just fulfil the wishes from the developer, but also being tectonic by adding extra value to the project, either in terms of a secondary function or in terms of the ability of the building to be something in its context - something that addresses people (also people who just passes by), that in return feel some kind of relation hereto. The Oslo Opera by Snøhetta is a good example of modern Nordic architecture being tectonic. The building is not only an Opera house; it also provides a large urban area on the roof for the citizens of Oslo to enjoy, hereby adding extra value to the city. The position on the harbour stresses the concept and overall expression of the building that tells a story about tilted ice floes. In the lobby area, the repeated wooden panels on the outline of the concert hall do not only serve an acoustic purpose, they also provide character to the interior and turn it into something unique. The Opera House is “public property” because of its ability to address everybody – not just people interested in opera.

Tectonic Design and Nordic Architecture are in many senses closely related. When designing the bridge, the two terms should be in mind through the whole process to ensure a harmonious result. This could be done by introducing additive elements hereby ensuring a clear and simple expression wherein variation can take place. Simplicity is the keyword of Nordic tradition that should be carried on to this project, but without making it monotone. The living bridge is a large scale project that needs a clear, overall concept allowing different kinds of variations to take place, hereby fitting with different purposes and functions. In the end it is about creating correlating diversity. Related to Frampton’s perception of tectonics, this is first of all about having a clear structure that stresses the transfer of loads and emphasizes the architectural space. This structure is likely to be the concept of the whole project, as firms like BIG and Snøhetta, where the concept in the end is what tells the story and makes people relate to the building. The choice of materials should be honest and relate to the surroundings both in Scandinavia, but especially Aalborg. The materials should also stress different constructive purposes and create certain atmospheres. The bridge should grow from the banks, hereby “building the site” with appreciation of the context and topography. The site, originating in the cultural centre of Aalborg, surrounded by former industry and still closely connected to nature, is special and should be treated with care. The unique location on the fjord makes it obvious to relate to nature and to benefit from the direct and reflecting light. The distinctive Nordic light could be what furnishes the inner spaces, hereby providing certain characters and an awareness of the surrounding nature, though being inside. Since the project is to design a living bridge, it is important to address people, and make them interested in using the bridge. Though it is a large scale project, the human scale should be emphasized. Inspired by the Oslo Opera House, it is not just about making a bridge and a hotel. The unity should become “public property” and invite people other than just hotel guests. This is in its essence the only way the bridge can be called a true living bridge.

C O N C L U S I O N O F A N A LY S I S SU M - U P This paragraph sums up the findings conclusions identified in the site analysis.

BU IL DING and

In the map introducing the site analysis the infrastructure is shown. The three existing connections are shown, and it is obvious that the infrastructure canalizes from the bridges, being major landmarks and an important part of the identity of the city. Hence, a new bridge will catalyst the area around and become a major asset for the city. The distinguishing between present and future is an issue, and only the ongoing construction of the House of Music is included as future development in the area. Also, this map indicates the location of the hotels and hostels in the city. From this portrayal is concluded that there are a lot of hotels in the city centre of Aalborg, but none in Nørresundby. Since none of the nine is hostels, it is also extracted that there is a need for a less expensive accommodation solution, such as a hostel, addressing students and travellers. The next mapping shows the interaction with the fjord, and to sum up, this interaction is limited: On the contrary, the map indicates where the water activities are taking place rather than the places where actual contact with the water exists. The water is just a secondary element, and not used to the full. Many of the places rely on money to experience the water (e.g. enter a restaurant or renting a boat), some are only useful in the summer time, and the rest does not interact with the water in any way, it rather creates a distance to it (like the quaysides). The water element is simply reduced to being a boundary. Since the water element is such a big part of the city’s identity, it is indeed a shame not to accentuate and emphasize this particular element: Thus a celebration of the water is needed in order to reveal the true potential of the water and its phenomena. An example for programming the bridge could then be some kind of bathing facilities supported by the opportunity to dwell. Furthermore, this function is consistent with the Nordic tradition of saunas and winter bathing. The mapping of functions is indeed very general, and the main observation is that the city centre is expanding to the east redeploying 16

former industrial buildings to new programs. Furthermore, new initiatives are concentrated close to Limfjorden along the developing waterfront, which suddenly ends at Østre Havn. Hence, the boundary between industry and culture has to be softened and this edge erased. Next is the mapping of recreational areas, which concludes that what Aalborg is missing, can be found in Nørresundby and vice versa: The diversity of Aalborg’s small, sequenced and subcategorized open-air spaces together with the natural large-scale green area of Nørresundby is two major assets just waiting to be connected. As for the activity level, the most important factor to extract is that both banks rely on future initiatives in order to become attractive, since there is no activity present at this moment: In order to make something happen, something must happen, and hence a bridge offering a diverse range of activities will be a solution. The overall placement of the bridge was influenced by a lot of factors, but the area to the east of Stigsborg Brygge was indeed interesting: This area is unexploited but also very promising and advantageous in terms of situation and orientation for a bridge project to land on, or even more focused, for a hotel/hostel with bathing facilities to develop. For the side of Aalborg, the most important factor was to break down the border between industry and culture, hence the placement in between. According to climatic and fixed conditions it was deduced, that the passage for ships should be situated close to the bank of Aalborg, and that the design has to incorporate solutions to the extreme wind exposure.

FUNCTI ONS

DWE L L I NG: Hostel * Hotel ** Cabins *** BATHI NG E STA BL IS HME NT Nordic tradition (saunas, winter swimming) WATE R PL AY GROU ND Sensing the water, water phenomenons TE MPOR ARY FU NCTI ONS Market, gallery etc.

As concluded in the analysis, Aalborg is not in urgent need of a new hotel. On the other hand, a hotel placed on a bridge has a vital part to play and will offer an experience very different from the conventional hotels elsewhere in the city. Furthermore, the hotels of Aalborg are missing diversity according to price range, especially with the many students affiliated to the University of Aalborg. Hence, the dwelling part on the bridge is divided into three different price ranges and typologies; hostel, hotel and cabins/cottages, which are detached from the additional dwelling volume.

As shown in the initial idea as well as the analysis, the fjord is an essential factor, since it represents the identity of the site. Unfortunately, this huge potential is not fully exploited in the present situation and in order to reveal the true potential of the water and its phenomena a celebration of the water is needed. It has to be possible for one to reach the water, to see, hear, smell and interact with the water. A walk on the bridge should become an exploration of different phenomena related to water (e.g. the tide or the waves) as the people are met by different installations or spaces that invite to interaction with the water and nature. Hence the bridge should accommodate a “water playground”. In addition to this, the typical Nordic traditions for water interaction are integrated: the practice of saunas and winter bathing, which indeed is very common in e.g. Finland. This bathing establishment is to be situated in relation to the dwelling, offering both free and charged activities. These programs should be accompanied by urban spaces suitable for temporary functions as open-air gallery or market. Hopefully, this configuration is able to consolidate a diverse and lively environment which can launch the further development and revitalization of the site becoming a vivid, vital part of the city centre.

BUILDING PROGRAM RE LAT I O N S

As mentioned previously, the main programs of the bridge will be a dwelling- and bathing establishment supplemented by a water playground, which will be a part of the urban scenery. In order to activate the deserted natural surroundings of the Nørresundby shore, the building mass is placed in closer relation hereto, whereas the water activities will be spread throughout the span of the bridge.

This element will serve as the identity of the room, creating a unique experience not available elsewhere in Aalborg. As for the hostel rooms, being inspired by the Croatian hostel Golly & Bossy, it is basic, but modern. By means of an extraordinary concept that creates the identity of the hostel, it gets a certain signaling effect to visit – added value. As for the additional functions related to the hotel, they will be placed in a grand lobby of doubleheight. The transition between public and private should be evident and emphasized, creating different zones within the space, and stressing that the place do not belong to hotel guests alone. The bathing establishment/spa will be placed in close to connection to the water and nature, presumably underneath the hotel volume. The mood will be related to Nordic tradition, applying warm, wooden materials in the effort of creating a recreational refuge. Finally, the technical room and related services making room for ventilation, boilers etc. will be placed in connection to hotel and spa, as well as logistically to the delivery and storage rooms.

The dwelling is divided into three different price ranges, and within those, different typologies exists: For the hotel, there are regular rooms (both single- and double beds) and a couple of suites. To ease the organization of the plans later in the design process, the rooms serve as modules of 7.5 x 4.0 m, where the suites will be duplex. As for the hostel part, the same modules are used, housing 6 persons in each. Here some will be joined, creating a dormitory with 12 berths. Furthermore, the cottages will be freestanding structures in close connection to the surrounding nature, housing 2-4 persons. The hotel room interior is kept simple, but delicate with the main element being the connection with the water, for instance a bath with a view.

Open air bathing

Vantage point

Dwelling

Vantage point

Dwelling Open air bathing

Ship passage

Playful water activities

Ship passage

SPATI AL

Playful water activities

Plaza

N O. [units]

AREA [m2]

N O. [persons]

WATER VIEW

Hotel room

+++++

Hotel suite

+++++

Hostel room 1

+++++

Hostel room 2

+++++

2-4

+++++

Toilets

Cleaning depot

Laundry room

150

Tecnical room

200

Storage

100

Delivery

100

Kitchen

150

Reception/information

100

+++

++++

Restaurant

150

++++

+++++

Café/bar

150

+++++

Lounge

+++

Auditorium

150

100

+++

Reading corner

+++

Office/staff

1-2

Entrance/lobby

150

+++

++++

Bath (hot tub etc.)

++++

+++

Relaxation area

150

+++++

+++

Vital bar

+++

++++

Pool

++++

+++

Massage

Chaning facilities

PRIVATE PUBLIC

DWELLING

Cottage UTILITY

HOTEL / LOBBY

BATHING / SPA

Plaza

Sauna

V B IUSI IL OD NI N G P R O G R A M I THAK A

THE

As you set out on the way to Ithaca hope that the road is a long one, filled with adventures, filled with understanding. The Laestrygonians and the Cyclopes, Poseidon in his anger: do not fear them, you’ll never come across them on your way as long as your mind stays aloft, and a choice emotion touches your spirit and your body. The Laestrygonians and the Cyclopes, savage Poseidon; you’ll not encounter them unless you carry them within your soul, unless your soul sets them up before you.

As stated in the vision, it is the aim to present the users of the bridge with a journey. Actually, to design a journey rather than a bridge: The bridge is often depicted as a short cut – the most convenient way to get from A to B. But this project is not a about designing a bridge, it is about designing a living bridge. Therefore, the liveliness and usage are essential factors in able to succeed, and therefore it is the journey being the most vital element in this design.

Hope that the road is a long one. Many may the summer mornings be when—with what pleasure, with what joy— you first put in to harbors new to your eyes; may you stop at Phoenician trading posts and there acquire fine goods: mother-of-pearl and coral, amber and ebony, and heady perfumes of every kind: as many heady perfumes as you can. To many Egyptian cities may you go so you may learn, and go on learning, from their sages.

A journey is not about the destinations, but what happens in between: The detours and dead ends is what create the journey in the first place – making an interesting experience out of it and making it memorable. To make the users want to revisit, the journey can be different the next time, and perhaps sometimes only from A to B. The differences can be other factors than just the physical path; it can be variations in sense and expression, e.g. due to the changing light or different experiences according to the tide and its influence on the geometries.

Always keep Ithaca in your mind; to reach her is your destiny. But do not rush your journey in the least. Better that it last for many years; that you drop anchor at the island an old man, rich with all you’ve gotten on the way, not expecting Ithaca to make you rich. Ithaca gave to you the beautiful journey; without her you’d not have set upon the road. But she has nothing left to give you any more. And if you find her poor, Ithaca did not deceive you. As wise as you’ll have become, with so much experience, you’ll have understood, by then, what these Ithacas mean. “Ithaca”, Constantine P. Cavafy, 1911, Translated from greek by Daniel Mendelsohn

JOU RNE Y

B R I D G I N G I S A L L A B O U T T H E J O U R N E Y; FOC USI NG NOT ON THE DEST IN ATI ON S, BUT W HAT H AP P E NS I N BE TWE EN : A C EL EB R AT IO N OF TH E WATER, TAK I NG P LA CE AS A N E SSE NT I AL PART O F T HE BR I DG E BE I N G A VI TA L UR B A N S PA C E.

B D

A to B A pla c e to B n ice pl ac e t o

INTRODUCTION THE

J O U RNE Y

BE G I NS. ..

Design has no regulations – there is not one single answer to it and you can always evolve – always dig deeper into it and enter a new and more detailed level. It is a question of taste rather than finding the right answer. There are no rules, no boundary conditions that declare when an end result exists. Of course every project has some limits, goals and parameters, but all of those are subjective. So, how does one find the answer? – Or at least an answer? When designing, you have to consider all factors simultaneously; this is of course not always possible, hence the iterative approach. Two factors might be working against each other (e.g. openness and protection against wind), and in order to solve both, one must find a balance, a compromise. When a solution to one parameter is found, it might be contradicting the solutions to other parameters. So, where do this lead towards? Designing is a complex process with many dead ends and detours along the road towards something final – and there is nothing to do abvout it! The main thing is to always have a strong foundation, the concept idea, to lean on and to measure every aspect of the project according to this - always having in mind that designing is a journey.

PART TWO_ DEVELOPMENT OF CONCEPT DESIGN

CONCEPT DEVELOPMENT I NSP I RATI O N

TR AN S FORMATION

Connected to the vision of turning the bridging into a celebration of the water, the concept of the water drop appeared as one of the many phenomena connected to the water element.

By studying the different phases of a water drop, interesting shapes were discovered. Many of these had potential in being transformed into architectural shapes in both large and small scale.

Looking at a twig just after rainy weather, a collection of hanging water drops can be discovered. They may look different according to the weight of the individual drop: As a drop receives more water molecules the weight increases and gravity begins to take effect. As the force of gravity increases, the water drop stretches downwards, resulting in the drop letting go of the twig as the force of gravity becomes bigger than the surface tension of the drop. This proces makes the appearence of the drop change, as seen in the picture to the right.

fig. 13

The shape of the initial phase of a water drop just when it starts to hang down could be considered as a basin, manipulating a surface to make small puddles accumulate. Also, the stretched shape of the drop just before it lets go from the twig can be imagined as the shape of a column. The mode of expression was also considered turned into volumes such as hyperboloid towers housing e.g. the hotel. The different variations of the shape inspired by the water drop can be seen in the sections to the right.The water drop is an interesting object according to its relation to directions. Obviously it is symmetrical around a vertical axis, when not affected externally. The shape of the drop changes from mainly emphasising horizontality till emphasising verticality culminating in the drop falling downwards. This awareness of both horizontality and verticality could be interesting to apply to the expression of the bridge.

HO C E AN DC ELPI N T ED 1E V E L O P M E N T LAY E RI N G In order to make the bridging a journey, an idea about different layers (literally and figuratively) on the bridge appeared. Literally the bridge should contain of several layers offering different routes and figuratively the bridge should offer different layers of experiences in relation to the water.

COTTAGES

HOTEL AND SPA

BEACH

VANTAGE POINT

COVERED TERRACE

SHIP PASSAGE

PLAZA

When introducing layers, different variations of spaces along the bridge are possible. E.g. an upper layer can function as both an open vantage point and a cover for a more intimate layer below. When connecting the layers at certain points, changing between the layers can happen. This way people get the opportunity to choose between different routes along the bridge, hereby generating an individual journey with varying special and sensuous explorations.

DESIGN DEVELOPMENT F O RM

F I N D I N G

During the concept development, the columns inspired by the shape of a water drop had been considered as single units supporting the horizontal deck. But as the concept was discovered, an idea about the deck being a curved surface unified with the columns was tested. In this connection the concept of form-finding was considered as a design tool for further developing the structure. The parallel between the shape of the drop and the shape of soap film surfaces was recognized also calling for using form-finding. Soap film surfaces are minimal surfaces that form the optimal double curved membrane in terms of area and distribution of tension forces. Thus, structurally it is an advantage to use the shapes inspired from the water drop, since they would form an optimal shell or membrane structure. The wanted shape of the columns was generated in an experiment doing physical models with circular shaped steel wire and soapy water. A digital pendant to this phenomenon was also tested: A so-called relaxation script for Rhinoceros that within the decided boundary conditions makes a 3d MESH surface behave as if it was a soap film. In order to make the column have the shape, inspired from the water drop, the necessary boundary conditions were only three circles. Thus, like the experiment with the soap and the wire the minimal surface was digitally generated between only circles.

SHE LL

STRU C TU R E

The procedure that could have been used for the form-finding of the shell strucutre (the curved surface in unity with the columns) would have been to test the transfer of loads and compression forces in the material using a digital tool such as the the Finite Element Method. The process would then have been iterative in terms of optimizing the structure according to the results from the FEM calculation until the structure reached an accepted level, with equalized compression forces through the structure. Since the columns are to be constructed as a shell, only one deck can be supported hereby â&#x20AC;&#x201C; unless the behaviour of the shell deteriorates. This means that in areas of the bridge, where many layers are present, many columns are necessary. This is not seen as a downside since the columns are considered beneficial for the spatial qualities. The idea about the curving bridge was though given up as it does not interact with the observation that the water drop emphasises horizontality and verticality. Before this decision was made, an idea about a faceted curving surface was tested, described on next page.

DESIGN DEVELOPMENT THE

G RI D

In order to make an additive system on how to position the columns to support the different layers of the bridge, a grid was designed. The grid was initially considered as a guideline to help control the span between each column, but also to implement regularity and rhythm, hereby avoiding a disorganised and arbitrary expression. It was found most appropriate with a triangular grid, since the columns then could be positioned in a constellation that gave a hexagonal area for each column to support (The area of a hexagon is close to the area of a circle). The grid as an overall guideline for the whole span of the bridge developed into an idea of the grid determining the curvature of the surfaces, hereby giving the organic shapes facets. This way the grid was not only a guideline â&#x20AC;&#x201C; it was activated further and this way became more present. In the end though, it was decided not to use the grid making the surface bend according hereto. This effect would be too dominant and visually compete with the concept of layering and the concept of the water drop. The purpose of introducing the grid was to help the two concept merge and fit together, not to be a third concept. The afterthought is; that a grid can be a nice guideline that can be very helpful when a design reaches a certain point of complexity. But in this case the grid was about to develop into a system that was controlling more, than what could be accepted: Instead of being a help, it became yet another complex parameter to include in an already complex design. The grid will therefore only be activated in its intersection points: Here either columns or other water celebrating gestures can take place such as basins, pierced holes with direct view to the water or different urban furniture allowing people to enjoy the view and the atmosphere of being on the middle of the fjord.

DESIGN DEVELOPMENT THE

HOTE L

VO LU M E

The layering of the bridge was introduced earlier on page 21. Here the hotel volume was not included, but off course the process of defining the two was iterative, always in close relation to the grid. The goal was to make the layout of the layers suitable for integrating the hotel volume in between and hereby forming a whole. It can be considered as the layers being a landscape in which the building should be fully integrated. “Building the site” became “building the bridge” with the hotel volume, hereby avoiding separating the two: The situation is not making a hotel on a bridge, but instead making a hotel in a bridge. The identity and the concept of the bridge will be present also inside the hotel and spa, meaning that the columns will participate in forming the inner spaces, where they form covered, implied spaces. In the hotel they will become something to relate to, since they become spatial focal points within the larger space. The columns become essential for the identity of the hotel, as well as they are essential for the character of the bridge. To emphasise the shape of the columns, positioned i.a. in the corner of the triangle, the triangular volume adapts by smoothening its edges. This can be seen in the diagrams to the right as well as the position of the columns within and around the building volume.

Nørresundby

Main layer

Hotel

Aalborg

Nørresundby

Main layer Lower layer

Spa

Aalborg

Dwellings Public Utility

Spa

DESIGN DEVELOPMENT THE

ATRI U M

The hotel can off course not be furnished with only the columns, since the span in between them, leave a big, still undefined space. The hotel rooms are positioned along the southeasterly edges of the hotel volume, since this is the quiet side of the bridge and here the hotel guest can benefit from the morning sun. The feeling of the open floating space should not disappear which necessitate additional elements to divide the space and to contain the different functions of the hotel without blocking and closing the main space. An atrium is therefore introduced to divide the public hotel lobby from the private hotel rooms. The atrium has an L-shape perpendicular with two edges of the hotel volume and is divided into rectangular units that differ in piercing through either all three layers or only one or two of them.

When the atrium pierces through the upper deck a skylight is created, making the natural light shine through and fill the surrounding interior spaces. When the atrium pierces through the main layer a visual connection is created between the hotel and the spa, making also the spa benefit from the skylight. When the atrium pierces through the lower layer the fjord is exposed, creating a connection to the water. Vivid reflections in the water surface will shine through and give the surrounding interior spaces a unique atmosphere and a feeling of being in close connection with the water. The atrium is thus a powerful element: It pierces its way through the structure and makes the interior benefit from the surrounding nature, by furnishing it with direct and reflecting light. In addition it is both a barrier, dividing the private from the public, and a transition zone, connecting them in specific points.

The atrium serves as both visual and physical connections in vertical direction, linking the hotel with the spa and the outside with the inside.

Private - hotel rooms Atrium Public - hotel lobby

DESIGN DEVELOPMENT

The triangular shape is representing something public and since several triangles are now positioned inside another triangle the degree of public space is qualified: The hotel lobby with its open floating space and relation to the exterior is the most public space, while the functions positioned in the smaller triangles are semi-public spaces. The functions that need more privacy such as the gallery and the auditorium will be enclosed by walls, while more public functions such as the reception and the lounges, will have the triangular shape indicated only with a change in the flooring.

In the spa, the triangular units again serve dividing the large open floating space and will contain the functions of dressing rooms, massage clinics, lounges, a vital bar and saunas. Again the distinguishing between public and semi-public determine whether the triangle has walls or not. Picture: eks. Alvar Aalto Finish pavilion (referring to the expression of the units)

More inside

To indicate that the triangular shapes are units, furnishing the lobby and being something attached to the existing structure, a new material is introduced. The structure of the bridge (layers and columns) is a concrete structure, while these triangular units will be wooden. This radical change in material will make them stand out and in addition emphasise the human scale.

Outside

The large lobby of the hotel will contain of different functions; reception, lunges, restaurant, auditorium and a gallery, also explained in the building program page 17. To subdivide the lobby into smaller spaces the triangular shape, originally introduced as the hotel volume, is reused. Multiple of these are positioned in the lobby, hereby furnishing it as well as introducing paths in the gaps.

Inside

SU BDI VI SI ON

PUBLIC

SEMI-PUBLIC

PUBLIC

SEMI-PUBLIC

DESIGN DEVELOPMENT O RG ANI SATI O N

RESTAURANT

RECEPTION GALLERY

VERTICAL CONNECTION

AUDITORIUM

Stairs and elevator Access to spa and upper layer

DWELLING UNITS

LOUNGE

Hotel rooms Hostel suite Hostel rooms

HOTEL LOBBY Main layer

SPA Lower layer

Pool

Access to exterior bathing facilities

UTILITY Technical rooms Restaurant kitchen Delivery Storage

DRESSING ROOMS

MASSAGE

VITAL BAR

Conceptual axonometric elevation showing the organisation of the hotel and spa

LOUNGE

SAUNA

Footprint of column supporting the main layer Footprint of column supporting the upper layer Public Semi public

DESIGN DEVELOPMENT

But how do you create a unique hotel room? A return to the vision gives the answer. The main focus, when staying inside one of the dwellings, should be concentrated on what is outside the room: The water. In the dwellings, the journey does not stop. Here a celebration of the water should also be taking place. To emphasise this, the interior of the dwelling should not be too expressive, since it cannot be accepted that it overshadows the main attraction of the journey. The keyword for furnishing the dwellings is simplicity. A system of wooden lamellas (horizontal) forming panels is introduced to secure a simple expression, while also emphasizing the horizontality of the surrounding nature. The panels will be used to serve two functions; as solar screenings and to cover the practical functions of the hotel room, such as wardrobe, toilet - and bathing facilities. These functions will be organized in a utility belt. When used to cover the utility belt, the panels also include a layer of frosted glass, to secure a certain level of privacy. Working as sun screening the gabs between the lamellas are on the other hand open which allow a breeze to penetrate. The panels will be placed on the outer edge of the balcony, allowing the individual hotel- or hostel guest to adjust their position. This way the direct sunlight can either be invited inside the interior 28

space or it can be filtered, hereby furnishing the interior space with a characteristic striped pattern. This system results in a changeable and vivid expression in the facade. The bathtub will be positioned on the end of the utility belt, pushed to the edge of the faĂ§ade. From the bathtub the full panorama view over the Limfjorden can be experienced, while taking a relaxing bath. This feature is participating in making the hotel room something unique, as it is providing what is close to the ultimate water experience. The system including the wooden panels used as both solar shutters and to cover the utility belt is transferred to the other types of dwellings, each of them possessing a special feature, stressing the particular character of the dwelling. Only the hotel rooms and the suites are though provided with the feature of the bathtub pushed to the faĂ§ade. The cottages are considered as free form wooden structures with integrated sauna, following the Nordic tradition. They are positioned close to the beach of NĂ¸rresundby allowing the guests to enjoy a swim in the fjord followed up by going to the sauna. The hostel rooms are not furnished with the same level of luxury. Being a more practical type of dwelling, directed at younger people or families, the hostel rooms will feature kitchen facilities and a dining area.

Balcony

Utility belt

As introduced in the building program, the hotel will offer different kinds of dwellings: Basic hotel rooms, suites, hostel rooms and cottages. This will make the hotel accessible for everybody and invite a diversity of guest. The idea is to integrate the cottages as free standing structures in the north eastern bridge landing and the other dwellings inside the hotel volume. In the exploded axonometric diagram, presented on page 27, the dwellings are represented as groups of similar units. A hotel room (30m2) will fit into one of these units, while e.g. a hostel room (60m2) will occupy two units. Making the different types of dwellings relate to each other makes it reasonable to develop an additive system that can be used to furnish the dwellings. Within this system it should be possible to give the dwelling a character or a feature that is unique, representing this specific hotel.

Bathtub

DW E LLI N G S

INTRODUCTION A

( NIC E

PLA C E )

The following narration is an attempt to portray and translate in written form a transgressing experience, from one place to another, physically through a bridge, but literally, through a succession, or a sequence of feelings, provoked by architectural applications or qualities of spaces in general. The word “journey” replaced the word “bridge” from the very beginning of the designing. Advocating that a journey starts mentally, right in the moment that the decision to travel is made, the attention was concentrated in the iconic part of the bridge. Inspired by a falling drop and recognizing the qualities of the scenery, this bridge tries to marry the joy from the interaction with the fjord with the industrialized landscape.

PART THREE_ P R E S E N TAT I O N

B UA ISLTDEIRNPGL AP N M ROGRAM

So the journey starts once experiencing the view of the bridge from the land as a synthesis of horizontal and vertical elements connected into a tectonic synthesis. Just columns supporting slabs. and this is what one experinces from the land, looking at the architectural application, that this bridge is nothing more than a connection, 30

a possible fast way to cross the barrier. It can experienced as a bit provocative and unusual object, though it is distanced from a “usual” bridge. In a larger scale, it actually is a connection of opposite areas, opposite functions and qualities. As explained at the part of the analysis, the functions of the

whole application are situated considering the needs and lacks of every neighborhood. The bridge starts in front of the opera house, conversating with the future image of Aalborg. Answering city’s lack in a central square and trying to gather the forces from the city center and lead them toward the sea,

the bridge creates an open public space. In the other side, the application is leaning smoothly, guiding the forces towards the natural scenery. The most “green” part of the bridge, the roof of the hotel is laying near this unexploited until now, area, whose the scale and feeling is reminding of untouched natural landcapes.

secondary act. A result, rather than a purpose. Of course once the project is built, the users would be unaware of the travelling experience. For the people of Aalborg this application is a bridge, until the moment the first contact.

S C A LE

1:1000

After that, the whole span is divided into smaller pieces with different qualities. Square, promenade, beach, square again, vantage points, inner and outer spaces, private and public are bented all together creating a story, an adventurous scenery, a nice place just to be. The crossing then, becomes maybe a

LANDING AND JUNCTION POINT

S C ALE

1:500

Standing at Aalborg’s side and having already made a mental connection with the other side and the path that will follow, one is invited to leave the harbor’s usual floor and step on the “plaza” that forms the connection between the used, concrete and old, and the new, introduced “element” of the city.

This plaza is situated between the house of music and the cultural heart of the city, being an extension of these places towards the fjord. Since the middle piece between this plaza and the main span of the bridge is conceived as another element (fulfilling its role as a movable piece in order for the boats to cross), and since

there is no height difference to overpass, this plaza can experienced as an expanded pier. At this point, the first “connection” with the water is possible, since one corner of this geometry is a sloping surface that leads to the sea and studying the behavior of the tide, this plaza’s shape and area will be different every season and a bigger

or smaller beach will be formed. This is one of the parameters that nature determines in this design.

Once crossing the plaza and uphilling the sloping, movable piece, the “main deck” of the bridge is unfolded in front of one’s eyes. The main deck is uplifted almost 5 meters from the surface of the sea so the horizon is visible once again together with the bridge’s main body, the building mass and the Nørresundby coast

that might be the destination of this journey. The first linear, narrow part of the span, together with the indication of the construction at the floor, give a pace and maybe a feeling of restless for the experiences coming next in this crossing experience. This narrow passage finishes to an openness with the main deck forming a second plaza,

a piece of which “breaks”, creating a ramp, leading to the lower level/layer. If decides to descend, one meets a more enclosed, more protected and more private space in close relation to water. Here, a synthesis of wooden panels, walls and slopes creating a public beach for open air bathing. Here, in this converge

point of high interest, the first open air bathing experience is taking place along with the first contact with the actual architectural application.

JHUE NA CD TLI IONNE P1 O I N T

HOTEL AND SPA

E AS T

Back to the main deck, at the end of this second plaza a cross road is formed again. Straight ahead the horizontal road underlines the building mass, introducing deep shadows and glazed glass surfaces, under thin concrete slabs, and under other visitorâ&#x20AC;&#x2122;s promenades. Meaning that at this point peopleâ&#x20AC;&#x2122;s circulation at the roof 34

S C ALE

EL E VATI ON

of the hotel is visible as looming silhouettes. Under this heavy mass, another scenery is unfolded, in close relation to the sea. Silhouettes are bathing, laying, moving up and down, making the cold concrete slab, a vivid place. So a decision should be made once again at this point. Go straight into the darker, inner space

between layers or go up to the ramp that leads to the green roof and experience the view. The main deck gets narrow in order for the promenade to start once again, this time with a clear destination and in parallel movement with the sloop that will form the roof of the hotel. The columns supporting the upper slab, frame the view

1:200

to the Limfjorden and contribute to the pace and understanding of the construction once again.

HO E AT DE L L AI NN ED 1S P A

N O R D

E LE VATI ON

S C ALE

1:200

HOTEL

Index 1 Foyer - reception 2 Lounge 3 Permanent Expedition Area 4 Auditorium 5 Lounge - Reading Corner 6 Bar 7 Restaurant 8 Dwelling

9 Lounge for Dwellings

S C ALE The building volume gets closer with every step until the upper slab takes a turn and covers the main deck. On one hand, a terrace is pointing at the western part of NĂ¸rresundby, seen for the very first time. On the other hand, the front facade of the building, floats between horizontal slabs. The entrance is just a horizontal slit in this glass 36

volume, a dark rectangle that invites to discover what is behind the monolithic glazed boundary. In the public space of the hotel, the functions are floating, shaped in triangular forms but with no hard or well defined barriers, leaving the circulation of air and people to developped in every possible direction. The belt of the rooms, together with a belt of

atriums connecting the inner space with the water and the sky, form two bars of the most private functions. These bars are working independently as they include all the common facilities the rooms need and the vertical and horizontal movements. They are placed in the two sides of the triangular space, creating a frame for the view and the

1:500

light, and leading the vision to the corner of the triangle where the recreational area is situated. There, under a double height roof, around a smooth column and completely opened towards the view. In this high energy area the connection with the spa and the upper floor is formed into a core, an artery arranging the circulation.

HOTEL

S C A L E N

The design of the hotel and hostel rooms follows the overall idea of connection to the surroundings. For that purpose the â&#x20AC;&#x153;utility beltâ&#x20AC;? is introduced, in order to achieve views from every point of the the room. The bathtub on the balcony is placed in order to be able to experience the culture of bathing in the nature in every time of the year 38

1 : 1 0 0

SPA

Index 1 Foyer - reception 2 Lounge 4 Vital Bar 5 Sauna 6 Wellness - Massage 7 Rexation area 8 Pool (Heated / Natural) 9 Jacuzzi 10 Storage - Laundry - Delivery - Utility Rooms

11 Kitchen

S C ALE

1:500

HOTEL AND SPA

The spa facilities are situated in the lower layer of the of the complex, always in close relation with water and where the presence of the columns is more dense and intense, underlying the closer distance of this place with the foundations of the building and the connection of the rituals of bathing with the roots of mankind. 40

Descending from the core, one finds himself right in the center of the spa. Coming from NĂ¸rresundby to enter the building mass, one is slipping, from an open air and uncovered terrace, directly into the dark horizontal slit, to meet an even less dense space than above, passing through pairs of columns, functions and atriums to finish in the

change rooms. A transgression space between the dressed and naked, uncovered world. A place where one can lock his ego along with his clothes and experience the rituals of bathing and purification. After this, the circulation is floating freely and uninterrupted, the inner space is enjoined with the exterior, first visionary, and

then physically as the synthetic elements are spreading out of the glassy facade, provoking the visitors to feel the open air bathing.

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HOTEL AND SPA

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The situation of the building mass next to NĂ¸rresundby side, except for technical and practical reasons helps underlying the connection of functions with the natural part of landscape. Leaving the spa an once again exposed to openness, seeing the sea and the sky maybe from another view after the 42

catharsis experience. More calm, slowly... continuing the journey to see what else is there. The layer hosting the spa is expanding and reaches NĂ¸rresundby side under the compelling shadow of the upper slab.

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LANDING In between these layers, another dwelling way is unfolded, in the form of individual units, capable to offer an holistic experience of relaxation and refreshment. These modules looking like randomly rolled dices are in reality grouped together inclined qualities of a neighborhood with common areas of interest always in

close connection with water and the ways of experience it. This time, “utility belt” functions as a barrier between public and private.

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S C ALE In this whole span, the upper slab is forming a slope again, slowly verging the earth, approaching the human scale, until the gap is recovered and the ground regains the connection with the architectural application again. At this point the calling from nature maybe is loud and the voyager might feel the urge to abandon the built, for

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exploring the more primitive site of Nørresundby. To jump on the rocks or get lost in the woods.

REFLECTION The design program stressed the reason to bridge, being the bridge itself. Though the bridge helps you cross the water, it is also what brings you closer to it. The bridge is a celebration of the water, proceeding from its origin on the one bank to its very end on the other, providing a new way to sense the fjord. When being on the bridge, the water is particular present. The various layers place people in different distances from the fjord hereby providing diverse experiences. E.g. in the lower layer, the tide will course that a part of the surface from time to time will be flooded and at the upper layer a panoramic view over the significant surroundings will attract people to observe their city from the water. These experiences among others are a part of the journey it is to be crossing the bridge. The atmosphere of the bridge is closely related to the surrounding nature, referring to Frampton’s doctrine about “building the site”. The bridge is extending the harbor fronts by continuing them and using the water to build up the journey that it represents. The structure of the bridge can be conceived as a unique landscape in terms of the layering, columns forming implied spaces and the manipulations of the surface e.g. with the basins turning into puddles or places to sit. In this landscape the hotel volume is integrated and the two are forming a unity. With a clear structure that stresses the transfer of loads and strengthens the architectural idea, hereby forming spaces and landscapes, the bridge is a tectonic solution. The structure is also the concept of the bridge hereby continuing the new Nordic tradition, where the concept in the end is what tells the story and makes people relate to the bridge. The structure is additive according to the columns and the basins that are variations over the same shape and are being repeated along the bridge. The system is growing within the decided boundary of the different layers, meaning that it is controlled by us as architects. The additive paradigm is thus made use of in a limited way – not the way Utzon originally thought of it, where a structure can grow unlimited. 44

The additive system was introduced to simplify the structure, meaning that only two types of columns are used and positioned according to a grid. The introduction of this grid created a rhythm and a rule only to position the columns in the intersection points. This guideline became blurred as the grid was scaled down and the density of intersection points increased. One should know about the grid to detect it in the structure, meaning that the grid do not participate visually in the overall expression of the structure. It only exists as a guideline in order not to make too large spans between the columns and to create a certain pace in the placement of them. Though challenging and trying to vary the concept of the columns and horizontal surfaces in numerous ways, this alone was not suitable to complete the hotel. We as architects acted responsible in creating spatial quality and fulfill the requirements of the program by allowing the initial concept to be accompanied by additional systems, including the piercing atriums, hotel rooms and the triangular units. These systems were able to solve what the initial system was not able to, but without taking the spotlight from the columns. The systems therefore work interrelating with each other on making the living bridge obtain the spatial and functional visions. One can ask why to use a system that alone does not comprise a solution to fulfill the requirements of the projects? A system often has a tendency to be monotone, and when used on a largescale project solving both the structure of the bridge and the hotel, one single system is not enough (at least not in this case) to maintain a certain level of interest and experience, related to the vision of creating a journey. The final result of the living bridge is a multifarious architectural structure, working in both large – and human scale. The hotel room is one step of many on the journey, where the human scale is particularly emphasized. Here the interior has a simple expression, based on a modular system of wooden panels to cover the utility belt and also working as solar screening. Simplicity in the interior emphasizes the fantastic view across the ever-changing Limfjorden that becomes the primary furnishing element of the room.

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Cavafy, C. P., 1911, Ithaka, Collected Poems. [Online document] Available at: <http://www. cavafy.com/poems/content.asp?id=74&cat=1> Translated by Edmund Keeley and Philip Sherrard. Edited by George Savidis. Revised Edition. Princeton University Press, 1992. [Accessed 10.11.11].

If not stated elsewhere the illustration is of own production.

DMI, 2004. Vindhastighed og vindretning, Ă&#x2026;lborg Lufthavn 1993-2002. [Online document] (updated 22.11.04) Available at: <http://www.dmi.dk/ dmi/saadan_blaeser_det_i_danmark> [Accessed 16.03.11]. Frampton, K., 2001. Studies in Tectonic Culture. MIT Press Heidegger, M., 1971. Building Dwelling Thinking. Poetry, Language, Thought. New York: Harper Colophon Books. Lund, N., 2008. Arkitektens Forlag

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