D a n S a d o w n i c z y k T h e s i s 4 /2 4 /2 0 J u l i a n B o n d e r
C o n v e rs i ng
Wi th
B e au t y
INTRODUCTION
There is an exchange in architecture and its surroundings. An exchange and conversation of the two that can become very productive. Working with an existing structure has numerous possibilities, but it is difficult to find the correct answer. There is a history and story already formed in an existing structure, an atmosphere that already exists. When that atmosphere starts to be forgotten an architect can come along and find a new atmosphere or revitalize its existing one. In this thesis, I look for creating an atmosphere with an abandoned water tank located in Stockholm, Sweden. Through the use of light and shadow, material, and other elements this problem is tackled.
WHY
There is something extremely beautiful about lost or forgotten structures. They hold an atmosphere that is very mysterious and enchanting. It is perhaps a sad or upsetting thought that something had become forgotten. However, through adaptive reuse, one that builds with the existing, this lost piece now can create a new life. This is the fascination that I have had for many years in my architecture career in schooling. Many architects have tackled this problem, how does one approach a lost building? How can an addition or renovation create a conversation within the building, the people, its surroundings, its atmosphere? Atmosphere in particular is an element or emotion that is captured through architecture and every structure, dead or alive, holds one. Though transformation or adaptive reuse, one can hold onto the same atmosphere or destroy it and create a new one in its place? Is there only one answer? These, as well as many more, are questions that I have asked myself and yearned to answer.
ADAPTIVE REUSE
Adaptive reuse is a very beautiful and sustainable process of design where old or historic buildings are transformed or recycled into a new purpose of a cultural value, social, or economic standing. Many architects have been able to transform old buildings into something incredible. It has become second nature in the modern world to recycle and yearn for sustainability. As a society, we have learned to recycle waste products, reuse objects, and ultimately reduce the amount of total waste produced for a healthier earth. We find a new use for the old objects we hold, and architecture is no different. It becomes the architect’s duty to create a solution for something that has potential of being recycled or reused. The most successful projects are the ones that learn from what they are given, whether that be its current conditions, history, surrounding context, purpose, and be able to create an addition or renovation with this gathered information. It is important to retain the existing building’s heritage and find a way to bring it to the addition. It would be wrong to completely get rid of a history or existing atmosphere a building holds. By adding a contemporary layer onto the heritage can provide value for the future to come. It shows that someone cares for the existing building and its history. It can inspire visitors and the rest of the world to become a better person and care for things that make them who they are and how their lives have become. Modernization doesn’t need to look like the stereotypical utopian society we may all think. Adaptive reuse gives substance that as we humans strive for.
Elbphilharmonie Hamburg / Herzog & de Meuron
Rotermann’s Old and New Flour Storage / HGA
CaixaForum Madrid / Herzog & de Meuron
Kolumba Museum / Peter Zumthor
Fortress of Fortezza / Markus Scherer with Walter Dietl
ATMOSPHERE
Atmosphere has been an important part of creating architecture and spatial design in the contemporary world. It refers to the senses and how an individual feels in a space. Famous architect, Peter Zumthor” defines atmosphere as “this singular density and mood, this feeling of presence, well-being, harmony, beauty...under whose spell I experience what I otherwise would not experience in precisely this way.” He describes it as experiences that would not have happened on a normal day, but something they have felt before in life. An individual might live in an urban setting for example and experience the same sounds, sights, and smells, but a dark cave would hold an atmosphere that is different from the normal. A dark, wet, and echoed space would stimulate a person’s senses. The mind and body are linked together and architecture uses basic human dimensions, such as the vitruvian man, to create buildings. It would only make sense if the human body is linked to the buildings it inhabits the atmosphere should be accounted for as well. The elements that create atmospheres light and shadows, form and objects, sounds, material and texture, and simply air. These elements are key to evoking an emotional response of a user.
Images are works of Peter Zumthor Matteis, Federico De. “Atmosphere in Architecture.” International Lexicon of Aesthetics (2020): n. pag. Web. Connor, Steven (2004). “Building Breathing Space” in Going Ariel: Air, Art, Architecture. Zumthor, Peter (2006). Atmospheres. Birkhauser, Switzerland.
LIGHT & SHADOW Light and shadow has the power to evoke an emotion out of a user in a building. Manipulating it can empower a space or put an individual in a good mood, where a more dim space can create a gloomy perception. Peter Zumthor is extremely moved by daylight and how it is used. He says, “When the sun comes up in the morning – which I always find so marvelous… and casts its light on things, it doesn’t feel as if it quite belongs in this world. I don’t understand light. It gives me the feeling there’s something beyond me, something beyond all understanding” (Atmospheres, p. 61).
FORM & OBJECTS Form and objects can dictate programmatic elements in a building. The layout and uses of a space. The form of a space dictates how it will be used. This allows for an atmosphere to be present in that space. A kitchen for example may include a counter top, ovens, shelves, storage of food and goods. This is where senses come into play as well, in this case the smell of cooked food. It gives a space a sense of identity, one that specifically holds that one task or duty and no other space could. Zumthor explains objects as “The idea of things that have nothing to do with me as an architect taking their place in a building, their rightful place… It’s a great help to me to imagine the future of rooms in a house I am building, to imagine them actually in use” (Atmospheres, p. 39).
SOUND
MATERIAL AND TEXTURE
AIR
Sound is a very important factor in atmosphere as it can evoke emotional responses by the user as well as the factors mentioned. Sound is determined by the volume and material of a space. It is also associated with memory and place as sounds can give a clue to where an individual is in a building or space. Even “silence” can be defined as a sound. When there are no actual loud noises in an empty room, there will always be a sound of something, even from ourselves simply living and breathing. Zumthor describes interiors as large instruments, collecting sound, amplifying it, transmitting it elsewhere. That has to do with the shape peculiar to each room and with the surface of materials they contain, and the way those materials have been applied.” (Atmospheres, p. 29).
Material and texture go hand to hand with light and shadow as without light one would not see a texture. Material is very important in the atmosphere as it allows for colors, tone, and character to come into a space. Muted or muddied colors can signify a sense of calm where a bright color can evoke excitement and awareness. “Materials react with one another and have their radiance, so that the material composition gives rise to something unique. Material is endless” (Atmospheres, p. 25). One could classify many objects as a material, for example, water or light perhaps could be a material. With combinations of other factors mentioned a space could have a very powerful atmosphere.
Finally, air is an interesting factor in atmosphere, but probably the most important as it is what gives life and fills buildings alongside the users themselves. If there was no “space” or air there would be no life and way of experiencing the emotions that are evoked in an atmosphere. An essence is received in the interiors of a building. Steven Connor explains air in architecture in the following, “Like the sky, space [is] mobile, mutable, perturbed, polymorphous, subject to stress, strain and fatigue. The most important agitations of space [are] sound, heat and odour” (p. 3).
IMPORTANCE OF LIGHT
There are many influential architects that speak on the importance of light and the meaning of it, but I believe Louis Kahn truly broke down what light is and why it is so beautiful by breaking it down in four categories of Light, Materials, Nature, and Structure and Light. LIGHT Light is most likely the most important element in the world as it gives a presence. The light hits an object, which then creates a shadow that allows for the eye to perceive forms. The casted shadow allows for a three dimensional view after hitting the surface of an object. By the light hitting the object, material is then visible, which allows for us to experience texture. Light is a powerful tool in architecture. As the architect, one can express a multitude of emotions, conditions, or ambiance by the way light interacts with individuals or elements. MATERIALS Since light gives us the ability to view materials, the material then allows the architect to learn and make the choice of choosing that material for a building. Walls are created so that light can hit for at least a moment of the day and create a moment. The use of man made light does not have the same values and emotions that are evoked through natural light. The most engaging spaces are those that evoke a mood though the light that enters. Kahn says, “the electric bulb fights the sun.”
NATURE Nature and mankind are destined to work together. Nature can make and create without mankind, but elements that mankind creates, nature cannot. As humans we create shelter, but need the element of nature to always be incorporated. By creating windows, one can view out to nature, but also feel completely disconnected to nature at the same time. Rooms and spaces give individuals to be able to feel like they are in a completely different world than the one outdoors. However, Kahn hints towards the importance of allowing nature to interact within a building. STRUCTURE AND LIGHT Kahn says that “structure is the maker of light.” Structure and light play intertwining and can create a rhythm or pattern of light and dark. Light shining down at a collonade will create an experience on the other side or inside of the columns of light rays. Structure can be simple and beautiful. An honest architecture made of walls and openings show the user that they are protected and have the freedom to pass through just as light has. Light framed by structure can give a level of guidance to the user as well. A corridor with a glimpse of light tells the individual that there is hope on the other side. The architect has the freedom to design any shape of a room, but that shape is only determined by the light that the architect lets in. Kahn says that the darkest room must have the right of allowing at least a crack of light in. https://i.pinimg.com/originals/fb/17/d3/fb17d38076515adbb83dabb799989f14.jpg
Lobell, John, Between Silence and Light: Spirit in the Architecture of Louis I. Kahn pp. 229-235
https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwjwpOP13IjnAhVaYs0KHQ6QAFsQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.salk.edu%2Fabout%2Fvisiting-salk%2Fabout-salk-architecture%2F&psig=AOvVaw20fSKDop1AOWJcGCVkPmP_&ust=1579284884575245 https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwiHttqF3IjnAhXWG80KHSSYBOcQjRx6BAgBEAQ&url=https%3A%2F%2Fusa.flos.com%2Fblog%2Fspotlight-on-louis-kahn-architect-in-light&psig=AOvVaw2gMi7McKPzyPPdBup0BMYf&ust=1579284564162549
IMPORTANCE OF SHADOW
Researching the importance of light and all the beauties it holds, does leave shadows to be pushed aside or even abandoned in architecture. However shadows are a very important factor in architecture and seems that the contemporary world we live in today focuses a lot on glass and creating excessively bright spaces or blocking the sun all together and using artificial light. LACK OF SHADOWS TODAY • Today’s culture demands for the brightest of spaces and with the help of digital pictorial media, it has become very easy • The extensive use of glass in contemporary architecture has become a trend of creating buildings transparent and allowing as much light in as possible and disregarding shadows • Leonardo da Vinci said, “Shadow is the withdrawal of light and the mere contrast of dense substance with brightness. Shadow belongs to the nature of darkness, brightness to the nature of light. The one conceals, the other displays. The two are bound to a substance in a permanent partnership and shadow possesses a greater power than light inasmuch as the former completely excludes light from substance and robs the latter of it, whereas light can never completely dispel shadow from substance, i.e from dense substance.” (65)
https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwjovO_y4ojnAhXZUs0KHe5FBm4QjRx6BAgBEAQ&url=https%3A%2F%2Fwww.wired.com%2Fstory%2Fsubatomic-particles-reveal-a-hidden-void-in-the-great-pyramid-of-giza%2F&psig=AOvVaw182WdAtl0WNLoDeFnf4COG&ust=1579286487194870 https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwi3sc6Q4ojnAhVJK80KHU_fAcAQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.history.com%2Fnews%2Fis-romes-pantheon-a-giant-sundial&psig=AOvVaw0dP-8UpZM5FlyvCgWkMbxm&ust=1579286306413754
Binet, HEIEne: The Secret of the Shadow: Light and Shadow in Architecture pp. 62-69
WHAT ARE SHADOWS • Shadows are defined as “holes in the light.” (66) • Shadows are two dimensional dimunitation that holds no qualities. It is the absence of light • Shadows are usually considered having bad connotations, but they really showcase details of the “nature of an object by drawing the latter in black and white and making clear it various relationships.”(66) ANCIENT USES • Exteriors and interiors of ancient architecture, such as greek temples and pyramids reflect the cosmic order through light and shadow • The architecture becomes more than for the context of humans but for the universe • The greek temples have an experience almost of a grandiose play that is performed by light and shadows • The Pantheon has a similar experience where light changes depending on the time of day • It makes the user to building relationship much more important and grandiose.
PRECEDENT
Cisterns
Many old and historic structures have been transformed into new uses, but one “building� type has been transformed into contemporary art galleries are water reservoirs or cisterns. Copenhagen, Denmark One cistern that has been transformed are the Cisterns in Sondermarken Park in Copenhagen. These cisterns never see any daylight and are ultimately a man made cave. They have been abandoned for some time and were once used to supply drinking water for Copenhagen in the 1800s. The cave would hold up to 16 million liters of drinking water. By 1933, the city no longer needed to use these cisterns and would ultimately drain out by 1981. All that remained were a hollow cave with colonnades of concrete columns. Finally, by 1996 the space started to be transformed into a gallery space holding many exhibitions and other attractions. As far as the types of exhibitions that are held, installations are most common, but perhaps the most captivating are the digital projection exhibitions. They display animations onto surfaces creating very powerful and intimate spaces. H / Ingvar Cronhammar
https://www.kbhmuseer.dk/en/museum/the-cisterns/
The Water / Hiroshi Sambuichi
Statue Exhibit
Houston, Texas Another cistern that does a very similar thing to the cisterns of Copenhagen are the Buffalo Bayou Park Cisterns. Located in Houston, these historic cisterns were also transformed into galleries. This cistern was built in 1926 and held up to 15 million gallons of drinking water. This was Houston’s first water reservoir with an outdoor park adjacent. In this massive cistern holds 221 concrete columns that hold up a thick concrete roof 25 feet up in the air. The cistern was abandoned in 2007 due to a structural fracture. The cistern was planned to be demolished but was kept alongside the park and first used for storage purposes, however eventually transformed into a space for exhibitions for digital projections. Due to low light and hundreds of pillars these projection exhibitions were extremely captivating.
Empt y Cistern
Spatial Chromointerference / Carlos Cruz-Diez
Spatial Chromointerference / Carlos Cruz-Diez
https://www.atlasobscura.com/places/buffalo-bayou-park-cistern
PRECEDENT
Notre Dame du Haut Chapel, Le Corbusier
The Notre Dame du Ronchamp by Le Corbusier emphasizes on the element of natural light and using it in a way to create a transcending atmosphere for the users. The space becomes at its purest form allowing for an architecture of contemplation and reflection. The windows religiously fill the space with ambient light and take the user out of the natural environment filled with distractions to a contemplative space. The chapel is truly a successful building and fulfills the architect’s main intention of creating “a place of silence, prayer, peace, and inner joy.” the buildings forms and ways of bringing light into the spaces create a harmonious environment. Its response to the landscape, materiality and structural techniques produces a real intimate experience. The chapel is located on top of a heavily vegetated hill that can be difficult to spot at first glance. The sloping manner of the roof and its reliance to the curving southern wall create a gentle touch to the ground. The same curving manner and terminating wall frame the outdoor chapel on the eastern face. On the north and south sides of the chapel are entrances, one for visitors and staff and the other for services and events. Upon entering, the light shining through multiple openings in the wall, right below the roof, light up the interior and exuate the organic form of the building.
illuminates the seating area as well as create a direct contrast between light and shadow. The thin light around the perimeter of the roof move the eye around the chapel and create a floating effect. The other means of light entering the chapel are through through three light wells. These light wells are tall half cylindrical towers that allows light to enter and bounce down into the space. The light then contrasts with the color of the walls, creating an intimate experience for the visitor. It is through the manipulation of natural light and the way that it enters the building where visitors can experience these different moments of intimacy. The roof is one of the chapels most significant elements, not only from the exterior, but from the interior as well. The grooves from the interior directs a visitors eyes towards the altar and helps to spread the gleam of light through the clearstory gap. As it appears to be one heavy and solid mass, it is in reality hollow. It is actually composed of two thin concrete shells which are structured by the curve. Concrete girders and purlins act as ribs and create a hollow mass that can be sculpted to an organic form.
The varying parameter windows on the South are based on the Golden section and create a harmony of light and emotion. This light 1. 2.
Crippa, Maria Antonietta, and Caussé Françoise. 2015. Le Corbusier : The Chapel of Notre-Dame Du Haut at Ronchamp. Translated by Caroline Beamish. English. London: Royal Academy of Arts. “Notre Dame Du Haut Chapel by Le Corbusier - Ronchamp.” Inexhibit, www.inexhibit.com/mymuseum/notre-dame-du-haut-le-corbusier-ronchamp-chapel/.
https://images.adsttc.com/media/images/5037/e73e/28ba/0d59/9b00/0391/medium_jpg/stringio.jpg?1414426172 https://www.collinenotredameduhaut.com/_vignettes//1587/f_51e3f21a6baf4.jpg-1200-800-inside-down-.jpg https://www.inexhibit.com/wp-content/uploads/2017/09/Le-Corbusier-Notre-Dame-du-Haut-Ronchamp-Chapel-section-1.jpg
PRECEDENT
Kolumba Museum, Peter Zumthor
The Kolumba Museum by Peter Zumthor is definitely a prominent project exhibiting the qualities of adaptive reuse, atmosphere, and ingenuity. It is located in Koln, Germany in a discreet position in the center of the city, simply integrated into the bulk of the construction of a generic perimeter block. The addition of Peter Zumthor is integrated into the Church of São Columba. It was of Roman origin and expanded in the late Gothic era, however, the building was completely destroyed after the allied bombing, which diminished the ruined city during World War II, with the exception of the Virgin Mary statue that had been placed between the walls of the church. “The Madonna of the Ruins” was considered by many to be a symbol of hope during the dreadful years of the post-war reconstruction era. For this reason, an octagonal chapel, designed by Gottfried Böhm in 1950, was built to honor the image. Excavations during the 1970s brought up rich traces of the past. They revealed remains of Roman residential buildings, as well as buildings from later eras. For this reason, the Kolumba society of Christian art, commissioned in 1997, a conscience in order to preserve and restore the ruins and also provide a space for the exhibition of its collection. Located relatively close to the magnificent Cologne Cathedral, the church dedicated to Saint Columba was once the most important parish church in Cologne. Peter Zumthor was then commissioned to design this gallery and later completed in 2007.
The spatial organization in Zumthor’s project is worked with many meanings in order to evoke memory and time. For this, Zumthor makes use of natural elements: earth, water, sunlight, landscape and vegetation. Through these qualities he is able to create atmospheres to entice the visitors. To reach the gallery, the visitor walks upwards through thin stairs, which clearly demonstrates the discipline and simplicity of Zumthor and can be seen in many other projects by him. Spaces are organized into three major sectors: ruins, courtyards and galleries. The ruins are located on the ground floor, where a large excavation field extends with traces of buildings prior to the church, dating back to the middle of the first century, and contains the “Madonna in Ruins.” The courtyard that borders the lobby is a space to be used by visitors for relaxation and social events. A patio with trees exhibits a softness to the architecture and allows for moments of pause and reflection. On both open sides, the museum’s courtyard is surrounded by a concrete wall to limit the visitors senses. The galleries are organized freely, with no clear path, so that it can be explored according to the visitor’s wishes. In this sense, the visitor ends up being more concerned with the experience of art rather than with progression. The height of the ceiling of each gallery is varied, creating tall and intimate galleries, giving the visitor a more intense experience. The chapel is functioning and can be accessed through a separate door from the street, while the lobby and ruins are arranged with views towards the courtyard.
https://www.researchgate.net/publication/334096860/figure/fig5/AS:774821797453824@1561743320001/Madonna-in-the-Ruins-Chapel-designed-by-Gottfried-Boehm-URL-17-Plan-URL-12-Facade_Q320.jpggACEQEDEQH/xAAbAAACAwEBAQAAAAAAAAAAAAAEBQIDBgEAB//EAEIQAAIBAgQEBAQEdata:image/jpeg;base64,/9j/4AAQSkZJRgABAQAAAQABAAD/2wCEAAkGBxETEhUSExMWFhUWGB0bGBgYGB8eIRsfIB0gHxseIR8dHyggHx0lGx8eIjEjJiotLi4uGiAzODMsNygtLisBCgoKBQUFDgUFDisZExkrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrKysrK//AABEIAN0A5AMBIhttps://coastarc.com/k-o-l-u-m-b-a https://images.adsttc.com/media/images/5037/e73e/28ba/0d59/9b00/0391/medium_jpg/stringio.jpg?1414426172
PRECEDENT
Kolumba Museum, Peter Zumthor
The construction and materiality of the building is used all around the world. The walls do not contain any type of insulation. This system is based on the design of the old churches, ultimately creating a light and simple to construct building. The bricks are made by hand, using ancient technologies. The clay is processed and pressed into wooden forms. Then the bricks are carefully dried to gain and create a variety of textures and colors, resulting in a rough and horizontal brick. They are to resemble something of ancient roman bricks, but in a more contemporary fashion. The construction of this building took over two years due to the handmade bricks. Concrete and wood are also present in this building which shape the pillars.
glass openings. In the internal space one can see the materiality of the brick entering the building creating a presence in the corridors and open galleries. The closed galleries have white plaster walls. There is a strong contrast between the light colors of the walls and the dark colors that are present, through the use of wood. The entire materiality palette is very earth tonal to reminiscent the earth tones of the existing structures. It is all expressed in its essence of the material present, no cladding or material to cover up.
The handmade brick creates a beautiful play of light and texture throughout the facade, which might be the most interesting part of the project. The calm gray color of the brick contrasts with the stone on the walls of the ruins, expressing the new from the old, creating this juxtaposition. The museum looks inwards, with few openings to the outside. However, you can see some simple openings that were designed to ensure good lighting and ventilation in the internal space, that is, creating an interesting atmosphere. From the existing openings, a certain juxtaposition can be noticed between those on the ground floor and those on the floors above. On the ground floor, the brick walls take on a different expression, with arbitrary perforations. Just above the walls, it takes on a more continuous texture, interrupted in some situations by large https://i.pinimg.com/originals/75/a3/74/75a37484a304f6563292c638e0900c53.jpg https://lh3.googleusercontent.com/proxy/nO_4IENUBhubx-rGu08FZ7j3lMRO7wRcbjlLk-nb0UzzmRHikgWuapES5Xk8zA66ewHQ-MQHdbi4m5-BGyrO-LmRTqYJZzN0jF8h http://anoukahlborn.com/ https://coastarc.com/k-o-l-u-m-b-a
SITE
The process of choosing a site happened during the same time of choosing a program, with original intent of designing a mental health center. With the main study of light and how it may evoke some type of response out of the user, led to ideas of health and wellness. As natural light can be seen as having healing properties and the way it is utilized can affect the users moods and emotions, at first a cemetery had caught my attention. Finding a site in an urban setting was the next step. With larger cities having limited space, it is hard to find a burial ground or other means, so choosing a site in a dense city was key. Another factor that played into finding a site was sustainability. I felt necessary to pick a site that holds a structure that was abandoned or unused. I eventually landed onto two sites, an abandoned coal mine in japan, and an unused water reservoir in Stockholm, Sweden. The final choice was the Stockholm site, but didn’t fit the program of a metnal health center, therefore I needed to backtrack my thoughts and refer back to the precedents. The site is an abandoned water tank reservoir on top of hill peaking over the tall trees to get a glimpse of the city beyond. For the city’s high demand of water, the city is proposing to destroy this tank and create a larger one in its place. I would suggest that this landmark remain and create a new water tank in a different location or nearby. The monument is perfectly hidden in a wooded area that may come to a pleasant surprise to a local hiker. This site is incredible as it is peacefully hidden from the loud city, but still within the urban area for people to walk and bike around. With an adjacent paved path to the east and a dirt path to the west, the building becomes the perfect gem within the city.
SITE
Uggleviksreservoaren
The reason for choosing this site came from the passion of giving life back to something that had been forgotten or under appreciated through light and atmosphere. Finding an abandoned structure was an important factor to choosing the right site. Stockholm, or Sweden in general, is one of those nordic countries that receive very little daylight, especially in the winter, therefore I sought out the challenge to work here. Designing in a site that is very proactive and artistically cultured allowed me as a designer to appreciate this site even more. This eventually led to searching for any abandoned buildings and after extensive research the Uggleviken Reservoir was the perfect site. This site is located just south of Stockholm University and east of Karolinska Institute and Hospital. The site itself is an old water reservoir built in 1935 by architect Paul Hedqvist in a dense wooded area. The name of the tank is the Uggleviken Reservoir and is given the name because it was located near the former Uggleviken bay (the Owl bay). The site is a very promising one where individuals can take a break from the city and come to this park-like area, suitable for walks and short hikes. The structure, or landmark some would say, then becomes this hidden gem emerging from the vegetation. This reinforced concrete structure is made up of 64 large pillars holding the tank 46 feet in the air. The tank is 256×128×20 feet, with a small lantern sitting at the very top. It is currently unused due to the city’s high demand for water and increase in population requiring a larger tank.
They are proposing to demolish this tank and build an even larger one in its place. Instead of destroying the structure, it would be more sustainable to reuse its mass for a new program and locate the new larger tank in a different location. This structure holds a lot of attention to the public and is a prominent landmark for the city. Artists have used this structure for installations and tv shows have even been filmed there. The structure is blocked off by a metal fence, however the public can still walk to it and admire its incredible mass.
SI TE
Analysis
The site is part of state property and connected to the university, however since the new building will be public and have affiliations with the schools and hospitals, it can be built in this particular location. The existing structure does sit relatively high above its surroundings as the contours would suggest as well as directly above an underground highway system. When designing, it will be important to keep in mind the highways and other surrounds as measures will have to be taken more careful. The highlighted yellow dotted line that wraps around the site is an existing public hiking path and the dashed ride lines indicate narrow roads made for walking and smaller vehicles. The city of Stockholm, Sweden experiences relatively colder temperatures throughout the year wi th averages of 30 degrees fahrenheit in the cold months and can reach below zero in the winter. During the warmer months and summer, temperatures will range from 60 to 70 degrees fahrenheit and 80s at the max. The city isn’t the most comfortable outdoors, therefore mechanical systems are valued and used more in these nordic countries. Daylight is an issue in nordic countries such as sweden. On average, in June there are roughly 300 hours of sunlight, with about nine to ten hours of daylight. In the winter and colder months there will be very little daylight. In January and December there will be roughly 50 hours of sunlight, equivalating to an average of 3 hours of daylight.
In the City Museum’s cultural-historical classification map, the property is marked in green. This means that the building has high cultural values and that it is especially valuable from a historical, cultural-historical, environmental and artistic point of view.
Sveriges länskarta Stockholm University of the Arts
Site
Institutional Housing Trails Narrow Road Railroad Wetland
Summer Solstice
Average Temperatures
Hours of Daylight
Winter Solstice
Ground Floor
First Floor
Roof
CONCEPTUAL FRAMEWORK
Conceptualizing the reuse of this structure was a bit of a challenge. As the existing use of this monument is a destination point and landmark for some, and has been used for installations and films for the past, it felt only necessary to transform the building into a gallery for the people of Stockholm. Finding a singular concept to work off of was too difficult, therefore there are three that are used for the framework of the project. The first was the concept of infill, which calls back to the original use of the tank which was holding water, where now the program infills the void. The second concept explored was atmosphere. Architects, such as Zumthor and Herzog de Meuron, have created atmospheric spaces through the use of light, material, and volume. The existing structure already has an atmosphere that is compelling due to the play of light and shadow and with the pure size of the structure, therefore expanding on it will be interesting. The final concept experimented with is juxtaposition. As this may seem broad, there are many different kinds of juxtaposition that is tested with. Light versus dark, old versus new, closed vs open, ect. All these concepts are tested through diagrams, photo montages, sketches, and models.
CONCEPTUAL FRAMEWORK Infill
The concept of infill is explored through many different interactions of form. Envisioning the existing roof to open up to the sky and then infilling it with gallery and other spaces create a narrative between the old and the new. Testing through photo montages and models, some forms are spread along the perimeter of the tank and creating a central courtyard that is shared amongst all. The opposite was tested as well, as forms are located centrally in the tank, with circulation around the outside perimeter. These unique forms create several outdoor courtyard spaces, each with a unique attitude. Thinking of the structure as a once filled space with water, now is filled with programs and the empty voids have become courtyards. Works of Herzog de Meuron, such as the Caixa Forum inspire some of the models presented. Finding ways of designing within existing walls and adapting to create a cohesive design was a challenge. In some schemes, pockets of light through lightwells create small courtyards within the forms. These spillings of light represent holes on cracks in the tank that leak water. Light in many cases can be seen as a liquid and as light floods some larger spaces of the building, such as the courtyards, it also spills into smaller zones creating atmospheric spaces.
CONCEPTUAL FRAMEWORK Atmosphere
The existing structure already held a powerful ambience and atmosphere and to elaborate further into it seemed necessary. In order to create a powerful atmosphere within the gallery spaces, light and shadow and a material study was tested through models and photo montages. A large influence was from works of Zumthor, such as the bathhouse, the Bregenz Museum, and the Kolumba Museum. In his works, he was able to create very powerful atmospheric spaces that played with light and material. In my experiments I tested how light would affect a space through a glass ceiling, similar to the Bregenz Museum. This created a very powerful space with an interesting shadow pattern that only allowed to make the space seem even larger than it already was. Water, in some schemes, was used as a material to create another layer of moving shadows along the perimeter of the space. This however seemed to be distracting in the program of a gallery. Through the study of models, light wells and openings in the roof, created powerful moments of light into a dark space. These iterations seemed reminiscent of the Woodland Cemetery. As powerful as it seemed, this seemed limiting to a gallery. Air was an important factor to creating an atmosphere. Therefore, volume was crutial and that is why the empty tank already holds a powerful atmosphere. The concrete walls reverb and echo any noises and stimulate the senses. In designing, it was important to play off these elements and simply create a more contemporary space for gallery elements and visitors.
CONCEPTUAL FRAMEWORK Juxtaposition
Juxtaposition is an important element in designing this building. Working with an existing structure offers up many opportunities for manipulating and working with what is given. What I have found is the most powerful adaptive projects are the ones that juxtapose the old and new. This is done through choosing different material, creating new form, or working outside the boundaries. Since the existing structure is made of reinforced concrete, a very dense and hard material, juxtaposing it with something fragile like glass can be powerful. Glass is used in the ceilings to help filter in natural light as well as contrasting the heaviness of the concrete. This is something successfully done in the Bregenz Museum as well. Light versus dark was also tested as another juxtapositioning element. Creating one opening in the roof to allow light in resulted in a very powerful space. The deep darkness the tank holds is heavily contrasted by the light. In other schemes light wells are introduced to bring light into dark spaces. Shadow can also create beautiful patterns into the empty space. A scheme is tested where the energy of the grid is extended out and over the tank, casting a shadow reminiscent of the grid from below.
CONCEPTUAL FRAMEWORK Circulation
Movement was an important factor to keep into mind, how will visitors come in and out of the building? With the preconceived notion of retaining the same experience under the tank and creating an addition above, there were iterations conducted finding the best way of bringing visitors up forty feet into the tank. The arcade of columns has such a powerful stance and attitude to the structure. The shadows and atmosphere that come from underneath are too powerful, therefore the goal was to stay away from removing as many columns as possible. The center of the structure already has a vertical circulation, however would be too small to accommodate the number of visitors coming to the site. Studies have been conducted where that central space expands to its furthest extents and proposes a means of core elements and a main staircase that would go all the way to the tank level. The type of circulation was also explored, would a straight stair or circular staircase be best suitable? The visitor experience was most definitely an important factor to the creation of circulation as well as servicing. Even though the intuition of keeping all columns was important, to test this and find out if it is in fact the right answer, other studies of separating vertical circulation was tested as well. Arranging two separate means of entrance to the tank at opposite ends of the building was tested. These schemes would try their best to not interfere with the existing columns, however seemed too obtrusive to the existing atmosphere and architecture of the arcade.
Another option explored was creating circulation on the sides of the building leading up to the tank. This ultimately wasn’t appealing as the addition seemed to take away from the structure again. It is important to create an addition that feels brotherly, one that can learn from the other.
CONCEPTUAL FRAMEWORK Modest
LEVEL 0 - 1/32
Ultimately the largest argument that had to be made to design in this site was whether or not to approach it in a modest and subtle way or add a whole new form, a new life. In my head I saw the situation of taking something of an Herzog de Meuron or Peter Zumthor approach, both incredible designers that create architecture that works with their sites, perhaps one more aggressive or louder than another, but both very successful. With all the iterations and studies conducted, ultimately one was chosen as a more modest approach and the other more intrusive or louder. The modest approach was the extension of the grid. Following the same pattern as the existing columns undeathe the tank, one segment is added to the exterior and goes up and over the top of the tank. One of the amazing features of the existing tank is the columns as they are very grand and the repetition adds an atmosphere unique to visitors. However there seemed to be a lack of connection from the bottom to the top of the tank. To allow the grid to appear at the top of the tank as a floating roof can now connect to the ground level. That atmosphere can also be present as the grid casts a shadow on the spaces within the tank. This extension of energy helps to strengthen the original atmosphere and architecture by paul hedqvist. The large horizontality is still expressed and doesn’t take away from the original structure. It almost can be seen as an architecture feature that secures the building. The new columns drive to the earth as the existing go to the foundation and now create a space of outdoor and indoor and the height of the columns blend into both the existing columns and the tall trees it surrounds.
One would enter the tank space through a central circulation space. Visitors would come to a reception then be allowed to enter the open gallery with enclosed rooms for services and storage. The space is open to the sky as the existing tank walls serve as a barrier, limiting views outward to allow for focus to the artwork.
LEVEL 1 - 1/32
LEVEL 2 - 1/32
ROOF - 1/32
CONCEPTUAL FRAMEWORK Instrusive
LEVEL 0 - 1/32
The more intrusive scheme is one that holds a form within the walls of the existing tank. This new form serves a new building with a major juxtaposition between old and new and open versus closed. One major core element brings visitors to the addition where it circulates them around different exhibitions. There are moments of small courtyards and light wells that allow us to naturally brighten spaces. By pushing all programs to one end of the tank, allows for a large courtyard space separate from the gallery. The addition is partially floating, hiding one from the light and creating an atmosphere that juxtaposes the courtyard. This space is inspired by the barcelona forum and caixia forum by Herzog de Meuron. They both have an entrance that seems like the building is peeling off the ground with the illusion where it is almost floating. Although this iteration does fascinate me, it perhaps takes away too much from the existing structure and its atmosphere. There is a disconnect from the ground floor to the levels above, whereas the first grid scheme had a much stronger connection. Studying this version and many like it also have a hard time fitting in the rest of the city and its surroundings. The modest approach was the intuition that was proven to be correct.
LEVEL 1 - 1/32
LEVEL 2 - 1/32
LEVEL 3 - 1/32
ROOF - 1/32
CONCEPTUAL FRAMEWORK
Grid Scheme 1
After extensive and repetitive testing of all the concepts mentioned prior, the ultimate result was a respectful and powerful design that reflects all the concepts and stands strong in the city of Stockholm. The iteration that took the lead was the extended grid. This design is a result of the existing structure and its existing grid. The energy is spread outside and up the building, almost creating a nest or cocoon for the existing monument to be protected in. In this scheme, visitors come up from the bottom level to a lobby space and then up a flight of stairs to the main gallery space. This gallery space spans the full length of the tank and with a glass ceiling and clearstory, brings in a lot of natural light to further emphasize the length of the space. The center of the building is where the core elements are held with storage and mechanical spaces adjacent. The large gallery space that is closed from the sky, is juxtaposed by the open courtyard space spanning the full tank as well. The furthest ends bring one to more gallery spaces that can be utilized for special performances or digital shows. From the courtyard there are two staircases on opposite ends that bring one to the terrace where there is an open view out back to the city. The roof grid is visible with pyramid skylights in between to provide a flooding or light below as well as creating a wave effect reminiscent back to the old use of the water tank. The ten feet of clearstory and skylights bring in natural light into the ceiling space, where the glass ceiling emits it softly and evenly. Since Stockholm has very low hours of daylight it is important to take advantage of what is given.
Ground Floor
First Floor
Second Floor
ROOF
CONCEPTUAL FRAMEWORK
Grid Scheme 2
This scheme is very similar to the first however the large courtyard space is located at the end of the tank and shaped as a square. By doing this, the large gallery space remains the same, but then creates secondary gallery space that is roughly two-thirds the size of the largest one. There are now two gallery spaces that emphasize the length of the tank. This scheme also allows visitors to circulate around the whole gallery indoors if the courtyard was closed. In the first scheme, if the courtyard was closed off, visitors would have to circulate from one end to the other instead of coming to a loop. Coming to the terrace is also changed. The two staircases up juxtapose each other. One stair comes from an enclosed space that is dark and then brings visitors to a wide open space looking out to the city. The other staircase brings visitors down to an open courtyard space only open to the sky. This creates an interesting experience of moments. At one moment it is closed off and dark, the next is completely open, and finally to an open space that has no view out limiting senses.
Ground Floor
First Floor
Second Floor
ROOF
DESIGN
After examining both grid schemes, the organization and overall structure of the building from the first scheme was chosen to be pushed further into the final design. It is the leading design to the end of the project. It holds a very strong concept in atmosphere, juxtaposition, and infill. The next step was the more intercity aspects about the building such as the site, spatial organization, servicing, circulation, and much more. Like the rest of the project, many tests were conducted to find the best possible solution.
DESIGN Site
The site is beautifully hidden in a forest of tall trees, creating a very powerful impression on anyone that happens to run into the structure. Currently the only way to visit the site is by a paved pedestrian path west of the building. There are also trails around the woods that are only a dirt path. Since the building is located on the top of a relatively steep hill, a small side road is proposed adjacent to the railway and winds up to a proposed parking. For anyone visiting the gallery by vehicle, it was important to keep the hidden and discovering nature of the building as much as possible. Therefore, the winding road comes to a parking lot that is conveniently placed next to the existing trail and visitors can walk through the trees to discover the monumental gallery. The road however does continue on the south end of the building for servicing and loading. The immediate area is a popular local hiking area and with the new urban development by the coast west, the attraction level of the gallery will increase. There is a bus stop at the south east vehicular entrance where individuals and families are dropped off from the city and local areas. The gallery will be a thriving area due to the educational systems nearby and the new coastal urban development to the east. Visitors will arrive at the large outdoor plaza space with the transformed gallery to the north and a cafe/ bookstore to south. Large trees allow for the building to be hidden from the adventurers and immediately come into contact with a large open space shared amongst everyone else. Whether coming from the paved path west of the site or from the parking area to the east, the same experience is shared. For servicing purposes, trucks will drive past the parking lot and behind the pavilion in order to stay private and away from visitors.
DESIGN
Organization & Circulation
Once a visitor arrives at the plaza, they are greeted with the transformed structure and a pavilion on the opposite side. The structure remains relatively untouched as the existing columns contrast the new offset ones. Visitors are allowed to roam freely and eventually come into contact with the central circulation core consisting of one large grand stair up to the first level and two elevators.
The large span of the gallery is polar to the open patio. This space lets users experience the volume of the space but open to the sky. The grunge walls are the border and stop from any views outwards. Limmitting visitors’ perceptions encourages them to look upward and are exposed to the floating grid reminiscing the grid they experienced underneath. The shadows casted by the architecture create another grid pattern at the feet allowing for a different type The enclosure is at the top of the of atmosphere to that of the gallery spaces. stairs where visitors are met with the lobby Finally, there are ascending stairs at opposite space where tickets and information are given. sides of the terrace above. Restrooms, storage spaces, and mechanical rooms are also present here. The final destination is the terrace where visitors are no longer deprived of their views After receiving a ticket, visitors come outwards. The large space allows for views out up through an elevator or the main stairs towards the city, forests, waters, and much more. to the largest gallery space. Walking up the The glass pyramid skylights resemble something relatively narrow and long steps, visitors will of waves referring back to the original program experience a large contrast as they reach the of the structure. The grid system doubles as light at the top level and this large open gallery an irrigation system brings water from the top space that spans the full 250 feet. This gallery to outside the building also creating a strong is designed to let visitors fully experience the connection back to the original use of a water grand volume of the existing tank. The original tank. grunge and cold concrete walls contrast the light glass ceiling allowing diffused light into the For purchasing souvenirs, books, or space, illuminating the artwork and creating a coffee, the pavilion on the opposite side serves glow effect, something similar to the Bregenz for those luxuries. It was important to separate Museum by Peter Zumthor. This allows for an this pavilion however making sure it reads the interesting and powerful atmosphere. In the same and belongs to the gallery. For efficient transitioning spaces hold additional gallery servicing, the best outcome was to not include it spaces that are enclosed for special events within the gallery and separating it. The narrow or digital installations or shows. The remaining cafe follows a similar aesthetic and energy that central spaces consist of storage, mechanical/ of the gallery, through the column placement, electrical, and restrooms. materials, and simplicity.
1 Cafe
1,260 sf
2
Book Store
290 sf
3 Lobby
2 ,160 sf
4 Gallery
15,400 sf
5
D i g i ta l G a l l e r y
6
Mech/ Electrical
2,300 sf
2,350 sf
7 Storage
1,060 sf
8 Pat i o
13,500 sf 2
1
To t a l : 1 8 , 5 0 0 s f
Ground Level 0’
100’
200’
5
6
3 8
8
4
6
7
4
0’
Roof Level
L e v e l Tw o
Level One 100’
200’
0’
100’
200’
0’
100’
200’
DESIGN
Build Up & Materials
The build up of the design consists of the existing reinforced concrete tank with a cut opening in the center allowing for two core elements all the way to the top level alongside main stair pathways. A concrete floating wall runs along the perimeter of the opening, signaling an importance for the visitors. A glow of light illuminates the space indicating a destination point, or a starting point in this case. The rest of the infill structure is made up of concrete to serve as an insulator and to portray an old and new contrast between the exting tank walls to the addition. This choice of materiality creates an atmosphere and ambience into the gallery spaces that allow the pieces of work to be the focus. The large volume of concrete bounces noises and creates echoes, reminding visitors to keep voices down as the exhibitions are in place. In order to juxtapose the harshness of the concrete very light and opaque glass ceiling equally brightens the space. The opaqueness allows for additional structure and mechanical systems to be hidden above, but still allowing as much natural light in as possible during the short days. To emphasize the amount of natural light, above the glass ceiling runs a clearstory along the perimeter of the tank. Located in a country where light is limited during the day, it is important to take advantage of what is given. Opposite of the galleries is the patio space. This space juxtaposes the galleries as there is no obstruction to the sky other than the concrete grid. The grid allows for visitors to be reminded of what is below them. Using this grid
system as a tool allows for another material to be used, this is vegetation. The beautiful colors of nature contrast the concrete walls perfectly giving life to this space. The grid also allows for moments where vegetation can grow in between or around, engaging architecture and nature together.With no windows outwards for views encourages the visitor to view the terrace where one can see all of the city and ocean. A precast concrete grid with water irrigation sits above the tank reminiscing the grid from below as well as physically adding to it. This system is concrete again to juxtapose the old and new. This is to give the appearance of modesty, where one can physically see a difference from the addition and existing however see the brotherhood they share. Water is also seen as a material in this project as it runs through the groves of the precast to relate back to the original use of the tank. The final element to the project are the glass pyramid skylights. The use of glass contrasts the concrete once again and is a pyramid shape to allow water to run down and to the irrigations system of the grid. The repeated shylights also give the illusion of waves from the rooftop terrace. This is something that only visitors will be able to experience as it is not visible from
S o u t h We s t E l e vat i o n 0’
100’
200’
S o u t h E a s t E l e vat i o n 0’
100’
200’
Site Section 0’
100’
200’
300’
DESIGN
Build Up & Materiality
The way light enters the gallery spaces are through three zones of glass. The pyramid skylights are one of those zones and they are composed of an inner and outer glass panel. The shape of the sylights are also a result of dispersing runoff water to the edges. The second glass zone is the clearstory that runs on the perimeter of existing tank walls. This glass is a frosted double laminated panel to eliminate any possible views into the ceiling space. These panels are located above the ceiling inorder to let light evenly luminate the last glass zone which are the ceiling panels. These panels are reminiscent of the ones used in the Bregenz Museum by Peter Zumthor. The panels are frosted as well to let the ceiling create an illuminating effect. This allows the space to seem as if there is glow from above, a heavenly effect one could say. For days of low natural light or none whatsoever, there are suspended fluorescent lamps hanging from the ceiling illuminating the artwork on display. In Between the ceiling and skylights holds a steel framing system that holds up all the mechanical and electrical components of the building. The frame is attached to the precast concrete grid frame above. Due to the opaque glass, no one can visibly see the equipment above. The final component is the precast concrete grid system that does a number of things, one most importantly is water irrigation. The precast is made up of three separate pieces that are then connected together. Two larger external sides keep water from falling off the edges and through the central groove water can be managed through and out of the building. An aluminum flange sits on top of the concrete and connects to the edge of the skylight. Water then is carried through and out the sides of the building creating a small waterfall effect. This image can be seen as if the existing water tank is being emptied out. A drainage system is located underground and water is sent to the closest water management system.
1
Pyramid Glass Skylight
Inner/ Outer Glass Pyramid Extruded Aluminum Angle Sealant P o l y. T h e r m a l B r e a k s Extruded Aluminum Frame Mounting Flange
2
5
6
Concrete Roof Grid
3
Pre-cast Concrete Aluminum Flange Sealant
3
6
7
Glass Clerestory
Fr o s t e d D o u b l e L a m i n at e d G l a z e d Pa n e l sealant and Backer Rod Anodized Aluminum Coping Tr e a t e d W o o d B l o c k i n g G a lva n i z e d L- M e ta l
4
4
E x i s t i n g Wa l l
0’
7
100’
200’
Steel Framing System Steel Frame Mounting Flange
6
L e v e l Tw o
Level One
Steel Reinforced Concrete
5
2
1
Suspended Flourescent Lamp
Ground Level 0’
Suspended Glass Ceiling
100’
200’
F r o s t e d G l a s s Pa n e l s
Site Section 0’
8
8
4
100’
200’
300’
0’
Roof Level 100’
200’
0’
100’
200’
DESIGN
Artwork
There are many exhibition types for this gallery, from sculptures to paintings and to more modern art of projection mapping. Similar to the cisterns in Copenhagen and Huston there are exhibitions of light projections that are very powerful. By using multiple projections and placing them around a space can create incredible visual displays. With these tools, artists can play animations, graphic visulas, or videos onto surfaces to create captivating exhibitions of colors, light, and movement. The amount and size of columns that the water tank holds is a perfect opportunity for artists to showcase exhibitions of projections. Visual stories and illusions using modern technologies contrast the old and weared down tank. Juxtaposing the old and new is a concept that fuels the design of this project and the artwork can do the same. The gallery has the potential to be used by art students from the Stockholm University. The art school is located south of the water tank. The open courtyard has many potential opportunities as well for gatherings and other special events for the public or the University.
appendix
Presentation Board Sketches 3D Model Iterations Handmade Models Documents Bibliography
Bib
Ahlborn, Anouk. “Anouk Ahlborn: Architecture.” Anouk Ahlborn | Architecture, anoukahlborn.com/. Binet, HEIEne: The Secret of the Shadow: Light and Shadow in Architecture pp. 62-69 “Collective Architecture Studio - K O L U M B A.” COAST, coastarc.com/k-o-l-u-m-b-a. Connor, Steven (2004). “Building Breathing Space” in Going Ariel: Air, Art, Architecture. Crippa, Maria Antonietta, and Caussé Françoise. 2015. Le Corbusier : The Chapel of Notre-Dame Du Haut at Ronchamp. Translated by Caroline Beamish. English. London: Royal Academy of Arts. Lobell, John, Between Silence and Light: Spirit in the Architecture of Louis I. Kahn pp. 229-235 Matteis, Federico De. “Atmosphere in Architecture.” International Lexicon of Aesthetics (2020): n. pag. Web. “Notre Dame Du Haut Chapel by Le Corbusier - Ronchamp.” Inexhibit, www.inexhibit.com/mymuseum/notre-dame-du-haut-le-corbusier-ronchamp-chapel/. “Paul Hedqvist - Alchetron, The Free Social Encyclopedia.” Alchetron.com, 11 Jan. 2018, alchetron.com/Paul-Hedqvist. “The Cisterns.” Copenhagen Museums and Attractions, www.kbhmuseer.dk/en/museum/the-cisterns/. Ugc. “Buffalo Bayou Park Cistern.” Atlas Obscura, Atlas Obscura, 17 June 2016, www.atlasobscura.com/places/buffalo-bayou-park-cistern. Zumthor, Peter (2006). Atmospheres. Birkhauser, Switzerland.