Second exposée

in between thresholds, interstices, mediating spaces DALE NKD VILLA FAGERHEIM programatic expose gabriella de mattos pimenta BAS master course spring 2014

index

paratext

3

history

5

location

6

part 1 - viewing

13

part 2 - registering

23

part 3 - modeling

33

part 4 - experimenting

43

part 5 - references

53

conclusions

59

paratext

The following book is a porduct of the BAS spring master course of 2014 called “Dale NKD Villa Fagerheim Ad Hoc Transformation�.

It documents the current state of the Villa Fagerheim, located in Dale i Sunnfjord, Norway, and part of the Nordic Arts Center. There is an interest in expanding the art center, and one of the possibilities is using the villa.

3

Oddleif Fagerheim

Fjaler ungdomsskule i Dale, where Fagerheim was a director

Villa Fagerheim in January 2014

4

history

Oddleif Fagerheim was an importan figure in te village of Dale. He was an active member of parliament, an accomplished teacher and the director of a youth school in the village.

He also was very keen on studying and preserving the local nordic culture, and his dream was to set up a boarding school to the nordic youth.

To achieve this, he acquired a plot of land in a privileged spot in the village and comissioned the construction of what would become the school.

Thus the villa Fagerheim came to be, being built between 1968 and 1970, and designed by Peter Ristesund.

By a series of reasons the building never actually became a school, and so Fagerheim moved in with his wife, and lived there for some years. Since the building is rather large, it was difficult to keep it in living conditions, so it was gradually closed off until Fagerheim was living in 4 rooms out of the 46 available.

In the 80s the government started a campaign to build a Nordic Art Center in Norway, and after some discussions it was agreed that it would be built in Dale, at the location of the villa. By then, Fagerheim has already moved out, and in teh 90s the Nordic Arts Center was built, but the villa itself never was fully incorporated.

Having been unused for almost 10 years, the conditions of the villa are not optimal. There is mold in a number of rooms, the heating system is outdated and requires huge amounts of energy and in general the onnly use the building has is to serve as deposit for the objects of the Fagerheim couple and some materials of the Arts Center.

5

location

Dale i Sunnfjord

6

Villa Fagerheim

7

different views of the surroundings

fløyen

dalsfjorden

nyfjellet

jarstad heia

8

dale

vassdalselva river

9

villa fagerheim

10

buildings at the NKD

studios

cabins villa fagerheim

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12

part 1 - viewing This part shows the villa as it is now, with pictures that were taken in January of 2014. They were selected to give a broad image of the surroundings, the interior spaces and the general state of the villa Fagerheim.

13

pictures from far away

3

1

2

14

1

2

3

15

external pictures

2

4

3 1

16

1

2

3

4

17

internal pictures - first floor

living room

dining room

office

garage

entrance hall food storage

2 coatWC 1

kitchen

18

meeting room

laundry room

3 blue bathbedroom room

white bedroom 4

external office

1

2

3

4

19

technical room 3

4

sauna

storage room

shower

internal pictures - ground floor

library

2 1

club room

WC bedroom 1

20

bedroom 2

basement kitchen

external office storage

1

2

3

4

21

22

part 2 - registering The following images are drawn registries of the villa Fagerheim, based on actual observations and some previous drawins that we were given acess to. They were made with the intent to better understand the distribution of the spaces and their relations.

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24

roof

25

26

first

27

28

ground

29

section 1

section 2

30

section 3

section 4

31

32

part 3 - modeling Models of both wood and cardboard, made either at the villa or at BAS were made to better understand the villa. They serve as conceptual aids, and allow for different views and reshufflings of elements and spaces.

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model - villa courtyard

34

model - villa

35

group model - bird eye views

north

north-west

west

south-west 36

south

south-east

east

north-east

37

group model - built and unbuilt faรงades

38

39

interior spaces of the group model

40

41

out of focus

42

43

dream like state

44

45

46

47

48

part 4 - experimenting The following images were made either as tasks or following a more ramdom but interesting line of thought. The result is a subjective impression of the spaces of the villa, and what could become a future use for it.

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50

key concepts

threshold

the point something changes

interstice

a apce that intervenes between things

mediate

to convey (a message) by an intermediary

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traditional thresholds

52

53

possible interstitial spaces

54

possible core spaces

55

volumetric paths

56

paths and views

57

core + interstices

58

reshuffling

59

60

part 5 - references The key concepts mentioned before bring to mind a few atchitects that have worked with the same kind of architectural issues. Some significant examples are shown in the following pages.

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architectural complex at Pampulha - roberto b. marx In the 1940s the mayor of Belo Horizonte in Minas Gerais wished to develop the northern part of the city. He then comissioned the young Oscar Niemeyer to design a cassino, a ball room, a church and a hotel around an artiical lake that was built in the region.

The buildings are connected by a concrete marquis and lush gardens, designed by Roberto Burle Marx. The gardens have regions of flowers that bloom in different seasons, so that it always has some different color throughout the year.

Burle Marx also uses local plants to give a more natural feeling to the gardens, even though the regions for each kind of plant is very well defined.

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vargem grande farm - roberto b. marx Originally a coffee farm of the 19th century, the golden age of coffee in S達o Paulo, the remaining buildings and terrain were acquired in 1973 and restored over the following years according to pictures of the time. Nowadays the farm is a hotel and resort.

The garden in itself took ten years to be built due to its size and complexity. It has three tiers, several naturally fed and reflecting pools, and spreads over several square meters.

Burle Marx firmly believed a garden needed more than just plants and flowers: it needs light, sounds and music as well.

To fulfill that need, the garden has 19 waterfalls.

63

museum of art of sĂŁo paulo - lina bo bardi The founder of the museum, Assis Chateaubriand, after housing the museum in a house in the city center, decided to expand and build a permanent headquarters for his growing collection of art.

Lina Bo Bardi was the architect who was responsible for not only building a modern museum, but also preserving the view of the city and the avenue that passes underneath it, as requested by the city hall.

With a free area of 74 meters across, it is one of the most recognizable symbols of São Paulo. The exhibits originally were held in the upper halls, where the pieces weren’t identified and hung on glass sheets embedded in concrete. This was because Lina, who designed the exhibits, believed art should be apreciated for itself, and not its meaning.

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SESC pompĂŠia - lina bo bardi The SESCs are cultural and sports centers in SĂŁo Paulo, connected to a private merchant association. Their use is free to all citizens, though.

The Pompeia unit, in the western part of the city, was built in 1977, in what used to be a factory. Upon visiting the site, Lina was inspired to reuse the abandoned building and create an innovative center for sports and culture.

The two connected building house the sporting facilities, with the courts on the left and bathrooms and lockers on the right. The windows are assymetrical and ramdomly placed, so each floor is recognizable by its windows.

The project also has an internal street that is used not only as a patio, but also to define the surrounding spaces.

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conclusions -

“A threshold is an interstitial space that mediates.”

The villa currently is in a state of disrepair, and there is no real consensus what to do about it, but there is a lot possibilities to be explored.

The title of this book is “in between”, and there are some situations concerning the villa that relate to that concept.

The villa can become the intermediary in different scales. It can bring close together the people of Dale and the artists, mediate the relation between the surrounding landscape and the internal spaces, and connect the different rooms that are in between themselves.

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BAS spring 2014