Løgstør Archive

Design Studies 5A

Løgstør Archive Making the Impermanent Permanent

Hugo Rafael Da Mota Silva

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Table of Contents

Phase 1

New Beginnings: Understanding Sustainability & Holistic Approaches

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Chapter I

Workshop: Introduction to Sustainability

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Chapter II

Exhibition: Sustainability Archive

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Inception / Impermanence Pop-up Installation

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Shop-front Installation

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Mapping the Territory / Deciphering the Environment

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Phase 2 Chapter III

Phase 3 Chapter IV

Activity 1: Territorial Approach / Navigating in the Margins

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Chapter V

Activity 2: Climatic Approach / Stalking a Theme

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Chapter VI

Activity 3: Socio-Cultural Approach / Engaging with the Locals

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Critical Architectural Position

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Chapter VII

Critical Written Reflection

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Chapter VIII

Architectural Drawings

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Chapter IX

Design Brief

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Annex I

Aarhus School of Architecture: Academic Briefs for the Autumn Semester

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Phase 4

Annexes

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Phase 1 New Beginnings: Understanding Sustainability & Holistic Approaches

One’s destination is never a place but rather a new way of looking at things.

Henry Miller

How can we produce architecture that can have an impact now and in the future in this shifting world?

My approach to my masters’ thesis project is to respond to the reality of the 21st-century: the world is shifting. Decades ago, the qualities to describe the world could be limitless and quickness. Nowadays we have to add another description that can be perceived in any changing element: impermanence. Architecture and its discourse thrived in a world of abundance but now the environmental and climatic impacts on a finite world are clear. Hence, architecture and its discourse too must shift to meet the current and future demands.

Phase 1 is the starting point of the process to understand sustainability and begin formulating a design brief throughout the Autumn semester.

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Introduction

I have led a group of 4 students in a workshop which acted as a starting point for critical thinking and communicating sustainability. It consisted of a holistic (global) overview of sustainability and a comparative and critical study of Scandinavian exemplary buildings.

In this workshop, I have explored a case-study by drawings and critical writing, and assisted the studio in curating a group exhibition of the work produced.

Connection Map: Six Competing Logics of Sustainable Architecture

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Chapter I Architecture and Urbanism play a significant role

This workshop moved from general concepts

in the consumption and distribution of resources

of sustainability to detailed considerations of

in space (...) In order to sustain ourselves through

specific examples of Scandinavian sustainable

the climate change crisis we need to design

architecture. I was the leader of a 4 member

our buildings and cities with sustainable and

group of bachelor students and conducted a

equitable carbon footprints.

critical analysis of the Ă˜sterild Visitor & Operation Centre in Denmark.

Vandana Baweka (School of Architecture) The workshop was divided into 3 tasks, which are I took part in the sustainability studio introductory

directly related to the 3 research questions below:

workshop to acquire knowledge and creative ideas about concerns which are addressed by

Task 1: What is sustainability?

sustainable practices in architecture today. The

Task 2: What are successful approaches to

workshop introduced basic elements, concerns

sustainable architecture?

and general awareness of sustainability including

Task 3: How to draw sustainable architecture?

climate change and the impact of human activity on global warming and the environment.

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Sustainability: Holistic Approaches Introduction Workshop

Case-Study: Østerild Visitor & Operation Centre

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Critical Written Reflection

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Critical Drawing / New Vision

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Case-Study: Østerild Visitor & Operation Centre Technical Information Architects

Cubo Arkitekter

Landscape Architect

Martin Schubet

Location

Testcentervej 7D, 7700 Thisted, Denmark

Project Year

2017

Area

650 m2

Clients

Thisted Municipality & Technical University of Denmark

Budget

10.3m DDK

DOCUMENTATION AND ANALYTICAL DRAWINGS

Hugo Rafael Da Mota Silva | 3B, Group leader (KA) Margit Sandberg Mikkelsen | 3B Michael Carlsson | 3B Hans Gerrit Kristian Maria Steinebach | 3B

Analytical Drawing | NTS Floor Plan | 1:200 South Elevation | 1:200 North Elevation + Sections AA’ & BB’ | 1:200

Østerild Visitors and Operation Center

Østerild Visitor & Operation Centre Drawings

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Architect Year Location Size

Cubo Arkitekter 2017 Testcentervej 7D, 7700 Thisted, Denmark 650.0 m2

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Critical Written Reflection The Østerild Visitors and Operation Centre is in harmony with the scenic landscape of Thy and the gigantic wind turbines of the National Test Centre. In this building, visitors can learn about local nature, wind and green energy.

Designed for minimal site impact, the Centre is raised from the terrain by a stilts structure. This protects the building from flooding and keeps external agents at Building Raised on Stilts (CUBO Arkitekter, 2017)

bay. However, it fails to achieve the aim of preserving local biodiversity as the space beneath is too dark and damp for life to grow. Also, a drainage ditch was dug

According to the Architect’s drawings, the design has

on site, which dismisses the argument that the building

2 courtyards that preserve the existing trees on site.

is raised to allow the natural movement of water.

However, post construction photographs show the building positioned within a significant offset from these trees and the existence of one courtyard which is empty.

This questions the feasibility of the one courtyard and shows discontinuity from the design and construction stages. The drawings also show a “greenwashing” tree arrangement that does not match site photos.

Building Raised on Stilts (CUBO Arkitekter, 2017)

The lightweight fibreglass cladding is efficient due to its natural strength, durability and low embodied energy.

However, the heat loss from the curtain walling in the east, north and west facades might be very significant

Architect’s Situation Plan (CUBO Arkitekter, 2017)

and require electrical heating in the building. Although it is understandable that the north-facing facade is

Cubo Arkitekter’s design is a successful example

glazed to provide a view of the windmills, the south-

of sustainable architecture as it interacts with the

facing facade has very few openings which make the

environment in an energy efficient manner. However,

space inflexible and does not permit solar heat gain.

certain sustainability concepts illustrated in the initial architect’s drawings/visuals were lost in the transition from design to construction.

This analysis opens up a debate on the efficiency of CGI as a tool for architecture as often renders are made to sell projects and not for accurate representation. Is architecture becoming a technologically centred craft?

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

1:200 SCALE BAR (M) 0

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Critical Drawing This illustration incorporates the concepts that were lost from the design to construction stages, as outlined in my critical written reflection. As shown, the building is lifted 4m from the ground to preserve the biodiversity underneath and allow the natural movement of water.

The two courtyards are “cut out” to maintain the existing trees on site.

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Chapter II The outcome of the introductory workshop was a

At this point, I realized that the idea of an archive

compilation of case-study drawings of sustainable

related directly with the concepts of permanence/

Scandinavian buildings. This was a useful “library”

impermanence I wished to explore, and although

for students seeking sustainable approaches for

this was an earlier stage of research, I kept in

their design projects. Therefore, I, along with the

mind that this exhibition could potentially inform

sustainability studio, put together an exhibition

my design proposal.

of the best drawings, which was installed in the architecture school’s canteen for 2 weeks.

The concept of the exhibition was a “sustainability archive”, as the idea of archiving our drawings brought a sense of permanence to the work that would have otherwise been inaccessible to others.

An archive can also be interactive, which is attractive to curious students who wish to explore the work with their own hands.

Exhibition: Sustainability Archive

Case-Studies Library

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Sustainability Archive Exhibition

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PHASE 1

... is sacrifice (to a degree) is timeless

26/9-05/10-2018 - CANTEEN Exhibition Poster 13

EXHIBITION - 2/3E-2/3F-3

SUS.AARCH - TP3

INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Case-Studies Library

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Lungaard & Tranberg - Tietgen Dormitory, Copenhagen (Denmark)

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JKMM architects - Viikki Church

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C.F. Møller - Student Housing, Odense (Denmark)

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OPPEAA’s Finlandia Prize - Winning Puukuokka Apartment Building

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Henning Larsen and Olafur Eliasson - Harpa Building Rejkjavik, (Iceland)

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Peter Zumthor - The Old Allmannajuvet Zinc Mines

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Snøhetta - Faculty of Fine Art, Music and Design Bergen, (Norway)

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Lendager Group - Upcycle House

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Eco - Viikki, (Helsinki)

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Skodvin & Jensen - Tautra Mariakloster

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BIG - 8 House

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Raumlabor - Bathing Culture, Goteborg (Sweden)

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3XN - Middelfart Savings Bank (Denmark)

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Ralph Erskine - Skaparbyn

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GXN - Green Solutions House (Denmark)

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Vandkunsten - Lisjberg Housing

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COBE and Transform - Library in Copenhagen (DK)

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Dorte Mandrup - Wadden Sea Centre, Ribe (Denmark)

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Vandkunsten - Seaweed Holiday House

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Helen & Hard - Rundeskogen

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PHASE 1 INTRODUCTORY WORKSHOP ON SUSTAINABILITY: HOLISTIC APPROACHES

Sustainability Archive

The exhibition was successful as students were keen on engaging with the archive and curious about the work produced. The “Archive� set-up gave the students the opportunity to select the drawings they wished to project in the wall which added a layer of interaction / participation to the exhibition.

I became very interested on the idea of an archive to store the most informative drawings and be accessible to other students wishing to learn about Scandinavian examples of sustainable architecture. Later on, I drew inspiration from this exhibition set-up to formulate my design position for my thesis.

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Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

Introduction

Nothing should be embraced by a consumer firmly,

The environmental concerns of the 21st-century are nothing should command a commitment till “death do

something which I wish to address in my masters’ thesis. us part”, no needs should be seen as fully satisfied, no

After attending a lecture focused on impermanence

desires considered ultimate. There ought to be a proviso

and sustainability, I formulated the hypothesis that

‘until further notice’ attached to (...) any commitment. It

one becomes more aware of their surroundings

is the (...) in-built temporarily of all engagements that

(environment) with the perception of the atmospheric

truly counts (...) more than the commitment itself.

conditions. I tested this theory by contributing to the

“Inception” pop-up exhibition project in selected shop-

In the previous workshop, I began thinking critically

“Inception”, the exhibition’s title, refers to Christopher

about holistic sustainability and how it can lead to a

Nolan’s movie about planting ideas in other’s people’s

new vision/approach to my design project.

head and dreams within dreams. Hence, the aim of

the one-week workshop was to critically investigate

the conceptualization of “impermanence” as related to

unstable territorial and environmental conditions, both

now and/or as imagined in the future.

How to stop people and convey a message, which is

longer-lasting than the exhibition of the installation in

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p owner will act as your Client, with its customers and passersby on the By making a visual statement with regards to the subject of ’impermanence’ rmanent installation, the shopfronts give you an opportunity to disclose your t related to global/local sustainability.

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

the shop-front?

ve agreed to participate so far and are ready to put room, walls, windows disposal. Each student will be allocated one shopfront. However, working aking two correlated installations is also an option. The character of the as to be formulated together with the shopkeeper. The understanding of the itions of the shop, Client´s desires, and (intended) users’ experiences are opment of the task.

udent will have 1000 DKR for materials (based on receipts)

troduction to the brief. Lectures by Karen Kjægaard and Polina Chebotareva. ketching out ideas. Testing mock-ups. rof Walter Unterrainer. Gymnastiksalen, 9-10.30) 9. Review and discussion of conceptual ideas.

Finalising ideas and fabrication. ashar Hanstad, TYIN. Gymnastiksalen, 3-4) alising ideas and fabrication.

R. Studsgade, 10-11. Peer-peer review draft text among students) ounting/placement. Documenting installation process.

Exhibition opening. Documenting Client/user engagement.

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Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

TERRITORIES FOR AN (UN)STABLE ENVIRONMENT

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fronts as part of the Architecture Fair in Aarhus.

Zyhmunt Bauman

ps are hairdressers, real estate dealers, bikeshops, IT-shops, a baker or shop. The proposed installation could be anything from an embroidered mment on waste or consumption, a critical vision about obsolescence, an ormance or installation in the shop....etc.

Inception/ Impermanence Pop-Up Installation

al is to encourage the students to formulate, test, and develop their esponding to site-specific and a deeply personal interpretation of the context. The time scale and material resources are purposively limited: ssarily have to be versatile, adaptable, flexible, and even reactive.

Phase 2

ON/IMPERMANENCE POP-UP INSTALLATION

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should be embraced by a consumer firmly, nothing should command a death do us part, no needs should be seen as fully satisfied, no desires mate. There ought to be a proviso ’until further notice’ attached to any and any commitment. It is but the volatility, the in-built temporality of all at truly counts; it counts more than the commitment itself.

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Zygmunt Bauman

mon workshop, we started critical thinking about holistic sustainability and of Scandinavian exemplary buildings and how this can lead to a new vision/ erent scales. Following on from this, students are asked to overlay a lens of to the issues previously discussed and to represent and visualise what the “shifting territories in an (un)stable environment” might mean for them. In ally, students will contribute to the ‘Inception’ pop-up exhibition project in onts as part of Arkitekturens Dag on October 1st.

title of the exhibition project for Arkitekturens Dag, relates to a sciencehristopher Nolan about planting ideas in other people’s heads and about am incubation. Hence, in this one week workshop, we aim to critically and vestigate the conceptualisation of ’impermanence’ as related to unstable nvironmental conditions, both now and/or as imagined in the future. Not only al with impermanence as a subject, but also as a physical manifestation of ’installation’ in one of the shopfronts along Nørregade and Nørre Allé, in anence is also present in the fleeting nature of passers-by on the street (and e shop), and even what may be sold and consumed in the shops.

people, and convey a message, that perhaps, is longer-lasting than the e installation in the shop window? How to stop people? How to combine nability and impermanence with a shop’s reliance on consumption and for it to survive? How to show the power of creativity and imagination to unity?

T WITH REAL CLIENT

ery different to the type of shops you´ll find in the gentrified areas in the Many shopfronts have no clear identity or presence and vary in content and

Coiffure by YANO

Chapter III (...) Watsuji identifies climate/atmosphere as the

In Japanese philosophy, it is believed that we learn to

medium through which humans come to understand

understand ourselves by attending to the changes in

themselves vis-à-vis the surrounding world: ‘Climatic

natural phenomena. So, by training our vision to see the

phenomena show man how to discover himself as

passage of time in the variations of the sea level, we are

‘standing outside’ (i.e., ex-sistere)…. We discover

enabling a process of self-discovery and developing a

ourselves, that is, in the atmosphere’ Watsuji notes

symbiotic relationship with the climate.

how self-understanding is routed through an affective relationship with the larger climate.

I interpreted Roquet’s vision as the basis for a sustainable approach to architecture. In order to respond to current

Paul Roquet. 2016. Ambient Media – Japanese

environmental conditions, we need to allow ourselves to

Atmospheres of Self. Univ. of Minnesota Press. Pp.

become aware of it, to understand its changes. And that

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moment of “understanding” of our environment happens when we become aware of the atmospheric conditions.

The “Inception” workshop was an opportunity to test this, as its purpose was to produce an installation to make pedestrians aware of the shop’s existence. Hence, I designed a paper windmill installation, with the aim of enhancing the pedestrian’s perception of the wind, thereby making them aware of their environment and notice the shop-front.

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PHASE 2 INCEPTION / IMPERMANENCE POP-UP INSTALLATION

Inception / Impermanence Pop-Up Installation

Commitment with Real Client

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“Barber’s Windmill” Shop-Front Installation

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PHASE 2 INCEPTION / IMPERMANENCE POP-UP INSTALLATION

Commitment with Real Client The shops with took part in the “Inception” workshop

I was assigned to “Yano”, a hairdresser located on

are different from the shops one finds in the gentrified

the outskirts of the city-centre which is not as popular

areas of Aarhus. Some have no clear identity and vary

as other more stylish/chic hairdressers in Aarhus.

in content and quality. The purpose of this exercise was

On my first visit, the client seemed unsure about the

to make a visual statement with regards to the subject

workshop and did not have a particular approach in

of “impermanence” to disclose my area of interest in

mind apart from wanting the final installation to attract

sustainability.

the attention of the pedestrians walking by and relate to the barbershop/hairdresser branding.

Inspiration I have drawn inspiration from the rotating movement and colours of the barber’s pole, which I replicated in my proposal; and by the Wind Portal in London.

Barber’s Pole

“Wind Portal” installation by Najla El Zein

Outcome

Group of kids engaging with the installation.

Pedestrians noticing the shop.

The windmill installation was placed at Yano’s shop-

Therefore, the installation supports the hypothesis that

front for a full day. The movement of the paper windmills

we become more aware of our environment with the

rotating with the autumn wind attracted the attention of

perception of the atmospheric conditions. Allied with

pedestrians walking by, who stopped to interact with

the fact that the installation was a “foreign object” in

the installation or to take a glance at the shop.

the street, pedestrians slowed their pace to notice the effect of the wind in the paper windmills.

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PHASE 2 INCEPTION / IMPERMANENCE POP-UP INSTALLATION

“Barber’s Windmill” Shop-Front Installation

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Phase 3 Mapping the Territory The Danish territory, much like the rest of Europe, has undergone intense transformation since the Industrial Revolution in the 19th century. Coastal towns, punctuated with rural settlements, have developed into layered territories, with building typologies closely related to their corresponding landscapes.

Where do functions, programmes, economies and cultures related to these landscapes meet, separate or overlap? How have these landscapes shifted over time, and how might they shift?

The evolution of these landscapes still continues, and their boundaries are in constant fluctuation, far from being stable and precise. This requires the emergence of architectural solutions found halfway between the landscapes converging in them.

Deciphering the Environment Also, the environment also ‘overlays’ (fluctuating) conditions, identities and boundaries in and on the territory. These are usually physical conditions but philosophical approaches are also considered.

‘Deciphering the environment’ means research and understanding of socio-cultural and climatic influences acting in the Løgstør territory, as well as influences from wider global environmental issues.

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Introduction

There is only life in the margins.

Honoré de Balzac

Phase 3 is divided in 3 activities which document and map the overlapping territories, socio-cultural and climatic conditions of Løgstør which caught my eye on the first site visit and meet my personal interests. It also outlines the research I conducted to further understand some of the findings that derived from empirical research.

In Phase 3, I outline the research and findings of my first site visit to Løgstør. This site visit acted as a starting point for unfolding the different layers of the territory and deciphering the environmental context. The research continues to explore the theme of “impermanence” in a “shifting territories in an (un)stable environment”.

Aerial Image of Løgstør (04.05.2017)

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Chapter IV Walking is a powerful way of experiencing and

This chapter maps the routes of 3 walks I took

measuring a territory. It is also a way of discovering

on my first site visit to Løgstør, the historical

otherwise hidden aspects, which can lead to a

research I made prior to this trip and my initial

reinterpretation of the territory and its properties.

observations. It displays a geographical catalogue of constructions, elements, forms, materials and qualities that manifest the overlapping of shifting territories.

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PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Activity 1: Territorial Approach / Navigating in the Margins

Introduction to Løgstør, Denmark

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Building Typology Map

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Historic Timeline

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Predominant Materiality

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Solid/Void Analysis

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Overlapping Territories: Traces from the Past

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Overlapping Territories: Historic Town / Cultural

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Overlapping Territories: Harbour

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Overlapping Territories: Industry

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Løgstør

Copenhagen

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

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Commercial / Industrial

Industrial

Historic Town

Residential

Industrial

50 M

Løgstør, Denmark Løgstør was mentioned for the first time in 1514 as a

The identity of Løgstør has recently shifted to “Mussel

fishing village and latter became known as a trading

Town”, an unsubstantiated claim as mussels are neither

town. In the 19th century, the fish became scarce and

collected or processed in Løgstør. However, this effort

Løgstør evolved in into an industrial village. Railway

to constantly renew itself shows the true character and

arrived and the canal was expanded to allow ships

resilience of Løgstør’s residents.

to sail through the shallow waters of the Limfjord. In the 20th-century, the canal closed as the ship freight

Over the past decades, Løgstør has faced severe

industry died. The Løgstør station also closed and the

problems as a result of the seasonal rise of the water

train tracks were removed.

levels. The historic town was flooded and hundreds of people had to be evacuated. Nonetheless, the

Through different eras, Løgstør has adapted and found

people have continuously shown efforts to preserve

new roles to fill: a fishing village, an industrial town, and

their town. But how to bring permanence to Løgstør’s

currently the host of the “Mussel Festival”.

impermanent environment?

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Building Typology Map Limfjord

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N Commercial / Industrial Industrial Historic Town Centre

Residential

Industrial

Industrial Museum Commercial (Industrial, Supermarket) “High Street” Shop Place of Worship Community Services Education Library Camping Accommodation (Hotel) Sports Complex Office Medical Cinema Transport Venue Secondary Routes Primary Routes Access to Løgstør from the highway

1:10000 SCALE BAR (M) 0 50 100

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250

500

ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Historic Timeline The historic timeline bellow focuses on relevant events

It summarizes the knowledge I have acquired on the

which acted as catalysts for change in Løgstør and led

“traces of the past” that I identified on my first site visit

to shifts in its identity.

to Løgstør, namely the former train station building and the empty site where the train tracks were located.

Identity as fishing village (herring & eel) Identity as a harbour town Identity as a mussel town Unclear Identity...

1514

1523

First time the name Løgstør is mentioned.

The town is described as a fishing village.

Løgstør becomes a customs office and flourishes due to its herring market.

1747

1751

The town is ravaged by violent fires and the population declines.

1814

1835

The sea broke into the Limfjord and the salt killed the herring.

The fishing industry, the primary source of money for Løgstør, was destroyed.

1861

The King Frederik VII’s opened in 1861 and made it possible for ships to pass by the shallow areas of the Limfjord. Løgstør gains a new identity.

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The harb expanded, built and arrived to

1814

Small houses for the fisherman were built on the former seabed.

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Hundreds of boa town is estab

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

1967

1977

2003

2018

Løgstør Train Station in operation

1908

1913

1972

1999

1999

2005

2018

?

bour was new roads d railway o Løgstør.

The Canal was closed as a channel was dig out in the fjord making it obsolete.

1908

Løgstør no longer received freight by train. The train station closed and the tracks were later on removed.

Half of Løgstør was flooded due to a 2.5m raise in water levels, which caused 100 people to evacuate their homes.

The first “Mussel Festival” takes place at Løgstør. The town adopts the new branding of “Mussel Town”.

1972

ats pass through the canal per year. The old blished and new industrial areas emerge.

New residential areas are built on the upper part of Løgstør.

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A Development Plan for Løgstør document is made available and goes into public consultation.

Coloured Render Traditional Fisherman Houses

Red Brick Former Løgstør Train Station

Black Corrugated Steel Warehouse

White Corrugated Steel Warehouse

Predominant Materials

Painted Brick Former Fish Industry

Text.

Yellow Brick Netto Supermarket

Concrete & Green Corrugated Steel Recent Housing Building

Coloured Render

Red Brick

Painted Brick

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Yellow Brick

Corrugated Steel

ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Solid / Void Analysis The site adjacent to the former train station is, in itself, a void in the town, an emptiness filled with opportunity.

100 m

SOLID

VOID

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Planned Walk

Walk II

Main Walk

Walk III

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3

2 5

1

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Overlapping Territories: Traces from the Past

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2

1. Abandoned structure of what used to be a windmill.

2. Building of the former Løgstør Station and location of the former train tracks.

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3. Factory for the local fishing industry closed in the 2000’s.

4. Former Løgstør cinema, which has been recently closed as a larger cinema was built.

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4 & 5. Løgstør canal, opened for traffic in 1861 and closed down in 1913.

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Planned Walk

Walk II

Main Walk

Walk III

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Overlapping Territories: Historic Town / Cultural

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2

1 & 2. Fjordgade is one of the most traditional streets of Løgstør with housing buildings dating back to the 2nd half of the 19th century.

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4. The Løgstør Church, built in red brick in1893, is of neo Gothic style.

5. Homes located on the previous seabed enjoy a scenic view of the Limfjord and the old town.

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5. The Limfjord Museum is one of the few recent buildings in Løgstør and displays a collection of the town’s connection with the harbour and fishing.

6. Examples of ‘vernacular’ architecture with thatched roof can still be found in Løgstør.

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Planned Walk

Walk II

Main Walk

Walk III

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5 2

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Overlapping Territories: Harbour

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1. The Løgstør lighthouse was built in 1908. Each of the 9m high towers have red or green light to guide boats approaching the town.

There are 2 identical lighthouse buildings in Løgstør.

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2 & 3. The Kanalfogedboligen,

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now part of the Limfjord Museum, was built in 1863 after the canal’s inauguration. The canal’s chief and captain lived in this building with their families.

There are 2 identical buildings, at the start (left picture) and end (right picture) of the canal.

4

5

4 & 5. Small timber buildings at the Løgstør harbour provide shelter and storage space for the fisherman.

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ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Planned Walk

Walk II

Main Walk

Walk III

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1

8 5/6

7

9

4

10 11

12 13

1:10000 SCALE BAR (M) 0 50 100

40

250

500

2

3

ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Overlapping Territories: Industry 1

2

3

1 - 3. Chalk quarry in the northeast of Løgstør.

4

5

6

4 - 12.‘Abandoned’ factory where mackerel & tomato were once canned.

7

8

4 - 12. Although the

4 - 12. The factory

factory has closed,

building is being

there is an effort by the

converted by the locals

community to give it a

into a storage facility.

new purpose.

19

10

11

4 - 12. Due to a lack of maintenance, the building has weathered and looks worn off.

12

13

13.The factory chimneys are part of Løgstør’s skyline, but no longer have a purpose.

41

Chapter V One of the methods (...) to register a territory is

In this chapter I persistently follow the traces, or

by making a photo series of a particular kind of

“stalk�, an environmental / climatic issue which

element or event. The photo series reminds us

I wish to address in my design proposal. I have

of the exploratory powers of following a specific

chosen to explore the raising water levels of the

theme.

Limfjord which has led to seasonal floods in the past decades and will potential leave the whole town flooded in the future.

42

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Activity 2: Climatic Approach / Stalking a Theme

Climatic Approach: Seasonal Flooding

44

Limfjorden Sea Level Rise 1995-2005

46

Rise in Sea Levels & Climate Change

49

Limfjorden: 5000BC to 2018

50

43

ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Planned Walk

Walk II

Main Walk

Walk III

N

5 3

1

4

2

1:10000 SCALE BAR (M) 0 50 100

44

250

500

ACTIVITY 1: TERRITORIAL APPROACH / NAVIGATING IN THE MARGINS

Climatic Approach: Seasonal Flooding 1

2

1 & 2. Løgstør has experienced severe climatic problems due to seasonal raises of the Limfjord’s water levels. In 2005 there the water raised up to 2.25m above the Danish normal levels. The flooding in the old town caused the area to be evacuated.

3

4

3 & 4. After the 2005 floods, the municipality installed barriers (made out of sand bags, concrete blocks and timber planks) in the harbour.

5

5. The residents of the properties facing the harbour have used sand bags to divert moving water in case of flooding.

45

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

The above image highlights the area and buildings

The site adjacent to the former train station building,

that have been affected by flooding caused by the

where the rail tracks were located, was flooded by a

seasonal rise in the water levels of the Limfjord. The

total of 250 mm in 2005.

lightest pink, which covers a wider area, represents the flood of 2005.

46

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Limfjorden Sea Level Rise 1995-2005 1995

1.0 m above sea level

?

1.5 m above sea level

?

2.0 m above sea level

2005

2.5 m above sea level

47

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Limfjord Sea Level Rise 1995-2005

2.5 m raise in the water level (2005)

1:5000 SCALE BAR (M)

2.0 m raise in the water level 0 25 50

1.5 m raise in the water level

48

100

250

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Rise in Sea Levels & Climate Change

30 years

0.5oC

Water levels rise up to 1m and floods the harbour.

60 years

1.0oC

The homes facing the harbour are flooded once water levels rise up to 1.5m.

85 years

1.5oC

Most buildings of the old town and industry are flooded. Water levels have raised up to 2m.

100 years The old town and east

2C

industrial area below the

o

former sea bed is completely submerged. Water levels raise above 2.5 metres.

49

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

50

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

51

Chapter VI The fieldwork activity of my study trip to Løgstør

In activity 3, I describe, reflect upon and draw

involved the search of a local community,

conclusions from the conversations I had with

association, club non-profit organization, start-

the locals of Løgstør. The aim of this section is to

up company, artistic collective, minority, cultural

identify a client and user-group for my architectural

group that will act as clients and users of the

intervention.

architectural proposal.

52

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Activity 3: Socio-Cultural Approach / Engaging with the Locals

Talks with the Locals

55

Demographics

57

Volunteering Context

58

Client & User Sheet

59

53

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

1.

Proprietor of Løgstør Camping

2.

Curator of the Limfjord Museum

3.

Two elderly ladies by the abandoned windmill.

1.

4.

Elder man ‘cleaning up’

5.

Elder couple in the new housing

6.

Director of the Løgstør Tourist Office

abandoned factory

developments

N

4.

6.

3.

2.

1.

5.

250M

Building Typology Areas

Walk II

Main Walk

Walk III

54

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Talks with the Locals 1.

Upon arriving to Løgstør I checked-in at the Løgstør Camping, the most affordable (an one of the very few) accommodations in the town. The proprietor is pleasantly surprised to have a bunch of young students visiting and choosing to stay at his cabins. I kindly ask if he is from Løgstør.

Oh no. I am not from Løgstør. I have only moved here with my wife 5 years ago after purchasing the camping complex. We have retired from our previous jobs and found Løgstør to be a quiet space for us to spend our retirement years.

2.

Løgstør is not a nice place to live. It is part of the forgotten parts of Denmark because it’s far from the highway. Young people leave to pursue higher education and migrate to cities. It is very windy and floods are a recurring event. In 2005, strong winds pushed the fjord water into the town, which caused serious flooding and 100 people having to be evacuated. And it is getting worse. Normally, wind season starts in mid-October but this year (2018) the first hurricane took place in August. But elder people keep moving in, because in Løgstør one can own a house with a view of the Limfjord without being rich.

Løgstør’s used to be a fishing village. Herring and eel were abundant

On my first day in Løgstør I attended a

and its commerce brought money to the town. However, in 1835 the sea

meeting with the curator of the Limfjord

broke into the fjord and salt killed the herring. The canal was then built

Museum. She was kind enough to talk

and ships passing through gave a new life to Løgstør until its closure in

about the history of the town and tell us

1913. Nowadays, the Løgstør’s branding of Mussel Town brings tourist,

about the perspective of the people of

but it is unfundamented as mussels are not collected or processed

Løgstør.

here. We need something to bring the community together.

3.

Two elderly ladies are gathering at their backyards talking to each other while they collect yellow apples in a big pile. I approach them and inquire about the alien looking structure at their front door.

Why are you asking?! The green structure used to be an old windmill.

They took the wings down. It was just sold to someone that wanted to convert it into a small cabin - but they were not allowed! So now they will try to restore it.

55

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

1.

4.

The factory appears to be abandoned, but a large gate is open and a small red truck can be seen driving slowly around the factory grounds.

Intrigued by this, I approach the truck and engage in conversation with an elder.

“Yes, I used to work here. This was a factory where Mackerel in Tomato was canned and fish oil was made. However, the factory closed down 10 years ago. I am moving all these old machines so the building can be used again as a storage facility. Take a look around if you wish.”

5.

Walking through a recent housing area I notice suspicious looks and am approached by a young adult walking his dog and later on by an elderly couple. The lawns are perfectly mowed, the streets are spotless and my presence does not feel welcomed here as I am quickly identified as a stranger. I kindly explain to the residents that I am a student doing field research.

“Why are you taking pictures? You cannot take photos of people’s homes.”

“Why are you walking here? We have lots of problems with people wanting to steal.”, “Oh, you are an architecture student. Yes, my husband grew up in Løgstør but moved away for work. We moved back in 2006 after we retired. There are no summer homes here, only permanent residences. Our neighbors are also retired.”

6.

I visited the local tourist office to learn more about the town. The director of the office received me and other students enthusiastically and agreed on a quick meeting.

“I am 48 years old and grew up in Løgstør. I used to be a chef at a local restaurant until I started a consultancy agency to help the locals and the economy. Later on I took the position of director at Visit Vesthimmerland. There is a separation between the young and elder generation. Young people move to the city but elders return for the chance to buy an affordable home with a view of the Limfjord. The elders are keen on spending their time on a meaningfull away and ofte volunteer for events. However, Løgstør becomes a ghost town in the winter. Løgstør needs a new dimention to its heritage.

How I imagine the town in 10 years? ... Well, young people are moving away and only the elders stay behind ...

56

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

41 12

2006

57

44

1769

43

39

2

34

Demographics

2008

2010

2012

2014

2016

2018

89 80 -

70

52%

-7

0-9

Population decrease rate of -0.8%/year (2011-2018)

10

9

-1

9

20 -29

48% - 69

30

9

-4 9

Males

-3

40

50 59

60

Females 0 - 19

Gender (E 2018)

Student Population

Males

1,1973

20 - 59 Student / Working Population

Females

2,139

60 - 69 Elder/Retired Population

Age Distribution (E 2018) 0 - 17 years

18 - 64 years

65 + years

Løgstør Aalborg Aarhus

2 nearest cities

57

0-9 years

351

10-19 years

467

20-29 years

334

30-39 years

309

40-49 years

479

50-59 years

622

60-69 years

614

70-79 years

610

80+ years

326

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Volunteering Context 500 out of 4112

4 out of 10 people of

Løgstør residents

the 65+ age group

participate in

are volunteers

volunteering

40%

12% Building typology areas Places where people volunteer Site of interest

Care Centre

Løgstør Library

Limfjord Museum

Red Cross Eldercare Centre

BIO Cinema

N

250M

58

PHASE 3 MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT

Client & User Sheet Group/

The client/user group of my project is the elderly volunteering community of Løgstør,

association name

represented by the local organization and the municipality. The design project will have permanent staff but will be maintained mostly by volunteers. The users are the local community of Løgstør, volunteers and visitors.

Volunteering community gathers for information / fun event in Løgstør.

(May 2018)

Number of members

Approximately 500 (as of 2018), which is 40% of the town’s population. The number of elder volunteers in Løgstør has been steadily increasing over the last years.

Organized activities

The Vesthimmerlands Municipality has since 2011 celebrated the volunteering

and event

community in Løgstør by organizing a yearly event. This event currently takes place in the sports hall, located on the outskirts of Løgstør. A multipurpose/venue room in my project provides a new location for the event to take place.

Spacial needs

- Event space for volunteering celebration day.

- Volunteers common space for eating, resting and engaging.

- Cloakroom/storage.

Any other relevant

Since 2005, Løgstør has become a popular tourist destination during the summer

information

due to the “Mussel Town” branding. This has been a successful marketing strategy implemented by the tourist office to attract visitors. Also, many of the newly built houses are summer homes owned by Norwegian families. Therefore, the project is expected to have a higher influx of people in the summer/spring than the rest of the year.

59

Phase 4 Critical Architectural Position Phase 4 outlines my architectural position, which programmatic, formal and spatial resolution is deeply rooted in the previous analysis of territorial, socio-cultural and environmental issues. It follows up on Phase 1 and Phase 2 workshops.

Phase 4 outlines the final outcome of the research semester and sets the agenda for my thesis project. The architectural proposal of Phase 4 is the 1st of a 3-part design development process.

This also concludes my exchange semester in the Aarhus School of Architecture (Denmark) and starts the design process to take place at the University of Strathclyde in Glasgow (UK).

This phase is organized in 4 chapters, starting from a critical written exercise, followed by an initial small-scale architectural intervention and concludes with the design brief and schedule of accommodation which will be further explored in the Autumn semester. The architectural position is explored through conceptual design in 2D, 3D and physical models.

60

Løgstør Archive Løgstør is an impermanent environment due to socio-cultural and environmental conditions.

The population is in steady decline as the young generation leaves to study and work in the nearby cities, leaving the elders behind. The town is also experiencing serious problems due to the seasonal rises in the water levels of the Limfjord.

This later factor predicts that in the long time run, part of Løgstør will be flooded and historic and cultural losses threaten to erase the town’s identity from the map of Jutland.

With the aim of bringing this desired sense of permanence to Løgstør, I propose the design of an archive building as an architectural solution to the impermanence of this shifting environment.

The archive will preserve Løgstør’s history, culture and local skill. It will respond to current and future (as imagined) needs, as well as incorporate time in the form of future growth.

Nonetheless, the quietness of Løgstør and the view of the Limfjord still attracts (mostly) retired couples from all over Scandinavia, and the locals are proud of and have shown efforts to preserve their unique culture.

Design vision for the Løgstør Archive w/ transformation of the former train station building 61

Chapter VII The theoretically based critical written reflection

This CWR is divided into two parts: a preface,

research and report is centered around the poetics

which sets the context and the objectives I have

of shifting territories and unstable/impermanent

worked towards in the spring semester, as well as

environments, and what this means to/for the local

my design position and relevance of ressearch;

Danish context and emerging architectures, and

and the main body which focuses in the Japanese

my own position within this. This writing supports

concept of ma and how it can relate and inform the

the generation of my architectural vision, approach

design of an Archive in Løgstør.

and programme.

My CWR focuses on the first part of my design vision, which is the creation of a space which will act as a buffer zone of the archive and will make people aware of the climatic issue of the rise in water levels.

CWR: Critical Written Reflection Poetics of Shifting Territories

Preface

64

Ma in the Design of an Archive in Løgstør

66

Conclusion

74

62

PHASE 4 CRITICAL ARCHITECTURAL PROPOSITION

Pine trees (松林図) by Hasegawa Tōhaku

Size of space hangs upon our sentiments.

For one whose mind is free from care, A day will outlast the millennium.

For one whose heart is large, A tiny room is as the space between heaven and earth. [1]

[1] Translated from Saikontan (Vegetable Roots Talks), Yuhodo, Tokyo, 1926

63

PHASE 4 POETICS OF SHIFTING TERRITORIES

Preface In September 2018, I moved to Denmark to spend a semester as an exchange student at the Aarhus School of Architecture.

My aim for this period of study was to produce a research document / brief for a design realization of my thesis project in the spring semester at the University of Strathclyde, my home university in Glasgow.

I was drawn to Aarhus because of my architectural interest in the public spaces at the edges of the Aarhus river, which could possibly inform a regeneration project for the Glasgow waterfront. However, my interest was stirred away from ‘cosmopolitan’ Aarhus to Løgstør, a town in North Jutland with small houses built in the 1800’s for fisherman and sailors. I became aware of Løgstør when joining Studio 3B, New Beginnings, which critically investigates the production of architectural solutions for unstable territorial and environmental conditions, in the present and in the as imagined - future, with a lens of impermanence and a sustainability approach.

When spending 3 days in Løgstør, I was intrigued by its quietness and stillness. Time seemed to stretch and the clock to slow down. After talking to the locals, which are mostly retired Danes, I learnt that silence and the opportunity to buy an affordable home with a view of the Limfjord are what draws people into this secluded town. Seasonal floods and strong winds are part of the experience of living in Løgstør, but this is a price some are willing to pay.

Løgstør is a place where the presence of time is woven into its urban fabric. A train station building which is now a hairdresser and a parking lot once crossed by train tracks, are traces of the past I wish to “revive” in my masters’ thesis.

But how and where to begin? I started by researching for the architectural representation of ‘sense of time’ and ‘sense of place’ and came across the Japanese or concept of ma (間).

64

PHASE 4 POETICS OF SHIFTING TERRITORIES

This writing investigates the definition of ma, what it means for architecture objectively and subjectively, how it is related to the built revelation of time and how it can inform the design of an archive building in Løgstør. It intends to support my design brief and clarify my design vision for an archive building in Løgstør.

The starting point of this critical writing was to organize my thought and research process to avoid drifting away from my desired aim: to identify design principles for an archive building in Løgstør in which ma represents the built revelation of time. The above figure illustrates my initial “modus operandi” for this piece of work.

QUESTIONS

What is the definition of the Japanese word, or ‘concept’, of ma?

RESEARCH PROBLEM: Impermanence of Løgstør’s identity.

Overlapping of temporal / historical territories not interconnected.

OBJECTIVES

METHODOLOGY

Investigate the definition of Ma in Japanese and English language.

What are examples of ma in our daily living?

Identify everyday actions where one feels the ‘presence’ of Ma.

In practical terms, what is ma in architecture?

Identify buildings of archive (or similar) typology with Ma ‘sense of place / time’.

How can contemporary architecture represent the built revelation of time through ma?

Analyze, compare and draw conclusions from selected case-studies.

How can ma inform the design of an archive building in Løgstør?

Determine the design principles of Ma that can be applied to Løgstør.

Literature Review

(AIM) CONCLUSION: Case-Studies

Structure for my research and thought process.

65

Design principles for the design of an archive building in Løgstør.

PHASE 4 POETICS OF SHIFTING TERRITORIES

“Ma” in the Design of an Archive in Løgstør Q1. What is the definition of the Japanese word, or concept, of ma?

What is often described as a “sense of place”derives from one’s sensorial experience of the physical space and one’s perception of time experienced in that particular environment.

Therefore, a “sense of place” comes from one’s state of mind and heart [1].

The Japanese kanji for ma (間) (Fig. 1) is a pictogram which combines the character for “sun” (日) under the character for Fig. 1 Japanese kanji for ma.

“gate” (門). The analogy of a delicate moment of the morning light shining through an entranceway expresses the objective and subjective (emotional) aspects of a “sense of place”

.

[1]

The direct translation of ma from Japanese to English means “space (in between)”, “time (in between)”, “span (temporal or spatial)” or “interval”, but its philosophical meaning is far more complex[2]. In its essence, ma is the essential void inbetween the beginning and the end, the space and time in which we experience, and find meaning, in life. Emptiness filled with opportunity.

The concepts of time and space are intrinsically linked with ma: Time (literally: time-place) = Cronos (時) + Ma (間) Space = Void (空) + Ma (間) The ma in the kanji of “time” (時間) refers to a concept of time that is non-linear, with no indication of past, present or future.

In other words, the ma in time represents a 4th dimension which is not a physical but temporal one. Time can then be expressed as “space in motion”, which reflects on the idea that our experience of space is a structured by our perception of time, and our perception of time is structured by our experience of space[2].

66

PHASE 4 POETICS OF SHIFTING TERRITORIES

Q2. What are examples of “Ma” on our day-to-day living?

Ma, or the lack of, is manifested and expressed every day in the way we interact with each other and our environment.

Although there is no particular term for ma in the West, it still plays an important role in our daily lives. However, nowhere it is more deeply rooted in the mind-sets of society as a culture than in Japan

. An example is the different

[4]

way in which we engage in dialogue. In the West, we tend to avoid moments of silence in a conversation as these are met with discomfort and “awkwardness”. In filling these gaps with meaningless words we do not allow space for ma, and deprive our conversation of essence. In Japanese culture, however, pauses in the dialogue are seen as natural, and silent moments often convey a sincerity of feeling that words do not.

In the busy routine of our daily lives, with the fast-paced environment of work or university, we can sometimes feel the lack of ma. Therefore, we tend to choose calm places such as a park or a quiet coffee shop, to spend our free time at. This way, we enjoy the serenity of ma before returning to our daily duties[4]. Some of Løgstør’s residents mentioned that they chose to spend their retirement years in this town because of the silence, and the tranquility that the proximity to the water and the view of the Limfjord brings to their lives.

The ma of Løgstør is what draws people to live here, and where I believe lays the design opportunities for this town.

In music, ma exists in the moments of silence between the notes of Beethoven’s Symphony No. 9; in discourse, ma is in the pauses of Martin Luther King’s “I have a dream” speech when the worlds become meaningful. In art, ma is in the negative spaces of a painting or a photograph which can have a dramatic impact on the overall composition and leaves spaces to be filled by our imagination.

67

PHASE 4 POETICS OF SHIFTING TERRITORIES

Q3. In practical terms, what is “ma” in architecture?

Ma in the In-Between Spaces In the inaugural film for a video series called “Time-SpaceExistence”, Japanese architect Arata Isozaki describes ma as the silences and pauses that exist in-between spaces.

According to Isozaki, the spaces in a design are important, but the opportunity for architecture to become meaningful lies in the ma of the spaces in-between [3]. However, ma is also a void, or blank canvas, which is purposefully incorporated in a design to allow room for growth, create a delicate atmosphere or express the built revelation of space and time.

Time in the Form of Future Growth In Frank Lloyd Wright’s architecture, time is interpreted in the form of future growth. His Usonian House type (Fig. 2), for example, is designed with the vision of future expansion to meet the needs of a growing family.[6] The inclusion of time as growth in a design is relevant to the design of an archive in Løgstør but it does not relate to the spatial qualities of ma.

Nonetheless, in his autobiography, Wright expressed his admiration for the ma of a Japanese home, where spaces are left clean and are designed to be used temporarily by the family who then removes all objects which are not in use.

Fig. 2 A Usonian house is designed like an L-shape. The kitchen and living room are the main body of the house, and the number of bedrooms can grow in the perpendicular direction.

Change-Responsive Atmosphere The delicate design of a traditional Japanese style room might give the impression of “simplicity” or “emptiness”.

However, it is this perception of the room as an unfilled “interval” enclosed by fixed timber posts which creates the opportunity for its atmosphere to be determined by temporary occupation (Figs. 3-6). Thus, such rooms can be perceived as a void, or empty space, in-between periods of occupation - which essentially means ma.

68

door (fusuma) and blends in with the rest of the decor. (See Pls. 55, 57, 76.) In fact, the designs found on the larger sliding doors used to partition rooms, and the doors to these closets, are often PHASE 4 coordinated.

POETICS OF SHIFTING TERRITORIES These days Japanese houses are a combination of Japaneseand Western-style rooms. The Western-style room is usually carpeted and furnished with desks, chairs, cabinets, stereo systems, etc. In contrast, furniture and decoration in the Japa­ nese-style room are kept to a bare minimum. The tatami in the The atmosphere of many places in the West, such as a music room gives it a somewhat formal air so that it is often reserved venue or aatheatre, is equally dependent on occupation and for use as a drawing room, guest room, or, as will be discussed [6] same space can be used for eating, time. within However, these spaces, there ais aThe sense later, a kind of retreat the unlike home.inFor many Japanese, simple, uncluttered tatami room does-wonders fortorooms thethose soul. the traditional Japanese associated with The wall closetof isritual notinparticularly noticeable un­ to those un­ familiar with it because it is in effect a kind of opaque sliding the process of arranging the space for different activities to opaque sliding Natural Colors,and Natural door (fusuma) blendsMaterials in with the rest of the decor. (See Pls. take place, and in storing of the furniture after its use. This ecor.

(See Pls. The raw materials used in Japanese give rooms 55, 57, 76.) In fact, the designs found onarchitecture the larger sliding doors erused sliding doors process, by delimiting the periods of use the space, quiet,tosubdued In principle, the floor is laid with of tatami of makes partitiontones. rooms, and the doors to these closets, are often osets, are often the inhabitants of the moment therefore fragrant, light green rush; wallsaware are made of paperand (when, for enhances coordinated. example, shoji are used), wood, or natural-colored clay; and the their perception of time.

These days Japanese houses are a combination of Japanesenand of Japanesewood The or bamboo.

Colors room tend toisbeusually white ceiling constructed of Western-style rooms.

Western-style om is usually or light brown; materials with are organic; and texture, matt as op­ carpeted and furnished desks, chairs, cabinets, stereo In the context of an archive in Løgstør, these concepts can abinets, stereo posed to gloss. systems, etc. In contrast, furniture and decoration in the Japa­ onnese-style in Japa­ be applied the design of a be main “empty” in It the is generally held that should deployed as (library/ room are kept to materials atobare minimum.

The tatami inspace the enatural tatami in the study room) which can periodically occupied a manner as possible.

Paint is be thus For­by visitors room gives it a somewhat formal air so that itseldom is oftenused. reserved often reserved tunately, however, and depending on the life span of the for use as a drawing room, a the guest room, collections. or, as will be discussed to analyses archive’s illlater, be discussed The same space can be used for eating, material, paper, even tatami, may be replaced and earthen sur­ a kind of retreat within the be home.

Foreating, many Japanese, a entertaining visitors, The same space can used for ny Japanese, a faces redaubed.

Sincetatami wooden buildings can be renovated bit by simple, uncluttered room does-wonders for the soul. tothethose orbit, soul. the lifeun­ span of the Japanese house can be several hundred opaque sliding years, and the of replacing Natural Colors, idea Natural Materials parts, instead of the whole, ecor.

(See Pls. pervades traditional used Japanese attitudesarchitecture toward building con­ The raw materials in Japanese give rooms er sliding doors requiet, givesubdued rooms struction. tones. In principle, the floor is laid with tatami of osets, are often with tatami of green rush; walls are made of paper (when, for fragrant, light per (when,shoji for are A Simple Plan for used), any Home example, wood, or natural-colored clay; and the ndConstruction of Japaneseclay; and the of a Japanese corner in one's owntend home not bamboo.

Colors to need be white ceiling constructed of wood or om isbeusually nd to white be just an idle dream or the task of a professional.

Here are some or light brown; materials are organic; and texture, matt as op­ abinets, stereo e,posed matttoas op­First, pick a corner and lay two or more tatami suggestions. gloss. ondown. in theThen Japa­divide off this space by experimenting with the dif­ It is generally held that materials should be deployed in as eferent tatami inin the deployed asof partitions suggested the following chapters. naturalkinds a manner as possible.

Paint in is thus seldom used.

For­ often reserved om used.

For­ Bear in mind that theand arrangement tunately, however, dependingneed on not the belifepermanent span of and the be discussed eillmaterial, span of paper, the changes that seasonal may require alteration.

The simplest evensame tatami, maybebe replaced and earthen sur­ entertaining visitors, The spaceiscan used for eating, ny Japanese, nd earthen Fig. 3 Theoff room arranged for breakfast time. method issur­ toa partition thisbuildings area by usebeofrenovated screens. bit Alter­ entertaining visitors, faces redaubed.

Since wooden can

by Fig. 4 The space is used to receive guests and serve tea. or the soul. novated may be suspended the ceiling. natively, a by kind bit, the bit life span of of shoji the Japanese house can from be several hundred everal hundred A more but more authentic, method is towhole, erect years, andcomplicated, the idea of replacing parts, instead of the of the whole, pillars in four corners and insert either shoji or lattice sliding pervades traditional Japanese attitudes toward building con­ redoors. give rooms building If con­ possible, raise the level of the Japanese-style room struction. with tatami about 12-16ofinches above the rest of the house. In this way, a per (when, for visual cluePlan to remove one's shoes will be provided, and the A Simple for any Home dJapanese clay; andatmosphere the emphasized. install Japanese-style Construction of a Japanese corner Later, in one's own ahome need not nd to be where white home not dream alcove different objects—a flower arrangement, be justneed an idle or the task of a professional.

Here are some e, matt Here areassome pottery, a op­ Japanese sword, a littleand tansu, scroll—may ad­ suggestions.

First, pick a corner lay atwo or more be tatami rmired. more tatami Add adivide low table and some made with of Japanese down. Then off this space by cushions experimenting the dif­ deployed indif­ assushi with hot sake or sake on the rocks, and relax ng with kinds the fabric, serve ferent of partitions suggested in the following chapters. om used.

For­ wing chapters. and a bitthat of the Japan right at home.

Bear enjoy in mind arrangement need not be permanent and epermanent span of and the that seasonal changes may require alteration. The simplest ndThe earthen sur­ entertaining visitors, simplest method is to partition off this area by use of screens. Alter­ and sleeping. novated bit

by Fig. 5 The table is moved and the space is used as a study. screens.

Alter­ Fig. 6 The same space as an overnight bedroom. [7] natively, a kind of shoji may be suspended from the ceiling. everal hundred the ceiling.

A more complicated, but more authentic, method is to erect 43 of the hod is towhole, pillars in erect four corners and insert either shoji or lattice sliding [7] Images from page 43 of A Japanese Touch for Your Home building con­ lattice sliding doors.

If possible, raise the level of the Japanese-style room (Koji Yagi, 1982) ese-style roominches above the rest of the house. In this way, a about 12-16 In this way, a remove one's shoes will be provided, and the visual clue to vided, and the Japanese atmosphere emphasized. Later, install a Japanese-style69 home need not Japanese-style alcove where different objects—a flower arrangement, some Here are some gement,

PHASE 4 POETICS OF SHIFTING TERRITORIES

Fig. 7 and 8 Screen-grabs from Hiroshi Sambuichi’s talk on the “The Water” installation in Copenhagen.

Online Archive of the Louisiana Museum

Atmosphere: Sun, Water and Air The previous case-studies are concrete examples of ma in architecture. However, the true essence of ma lies in the delicate atmosphere of a “void filled with opportunity”.

Hiroshi Sambuichi captures the essence of ma in a sublime manner in “The Water” installation located in the Cisterns of Copenhagen. Natural changes in water, air and sun create powerful atmospheres which reveal the uniqueness of this place. The ma in Sambuichi’s installation is in the spatial qualities that are made visible by the changes in materials (the most important being water), and the emotions it brings to the visitors.

Sambuichi states that his design ethos is not to produce architecture to be admired, but that reveals the beauty which already exists in a place (Fig. 7 & 8).[8] The visitors experience the spaces by walking through a raised timber deck (Fig. 9). This installation creates the illusion of “walking on water” and is a beautiful solution for people to understand the space through the reflection of light in the water, air humidity, temperature and smell. As visitors do not walk directly over Fig. 9 Sambuichi’s timber deck installation in the Cisterns creates the illusion of “walking on water”.

the original structure, they start to perceive the Cistern, and how it interacts with the water, as something to be admired and contemplated from the wooden deck.

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PHASE 4 POETICS OF SHIFTING TERRITORIES

The circulation through the timber deck is carefully planned to unveil the unique atmosphere of each space. At a certain point, the deck leads to a dead-end where one is invited to stop and contemplate a glass cube which sits atop a bed of moss and reflects the sunlight (Fig. 10). The visitors walk down a 120 metres dark corridor to arrive at a small a room where the sun and water meet for the first time in 150 years.

These “in-between” spaces, where one has to walk towards the light, reveal the spacial qualities of ma and make one understand that they live in a beautiful place.

Fig. 10 Glass cube capturing nature and reflecting the sunlight.

As the seasons change, the presence of the wind, water and sun creates distinct atmospheres. The delicate existing architecture of the Cisterns and new deck installation allows the sound of rain in the water, as well as the process of water turning into moist (Fig. 11), to become the most important element in the room. In these moments, visitors become aware of the beauty of the water, and of the phenomena of the space that was not noticeable before.

Sambuichi’s narrative of his design intentions and atmosphere of the “The Water” installation touches in several points of my architectural vision for an archive building in Løgstør. This is a case-study is relevant for my design proposal, as it is a clear example of Japanese architectural vales and ma applied to a Danish context: - Firstly, the presence of water in a building and the design of a structure that allows people to “walk on water”. Water is the most important natural element in Løgstør due to the seasonal floods, which is a theme wish to address in my design. Therefore, my design will also have a deck element to allow the user to enter through the station and access the main building where the collections will be stored.

- Secondly, the intervention on an existing building to reveal, through ma, its existing beauty. In Løgstør, the former train station building will be the main entrance to the archive and will function as a buffer zone of what it is to come. I intend to achieve this by allowing water into the building to enclose (or frame) and enhance the human senses that are associated with a “sense of time” and “sense of place” in Løgstør, such as the smell of the sea, the texture of shells, algae, vegetation, etc.

71

Fig. 11 Through the process of condensation, the water becomes lighter than air and scatters the light.

PHASE 4 POETICS OF SHIFTING TERRITORIES

Q3. How does contemporary architecture represent the built revelation of time through “ma”?

I do not believe architecture should

Revelation of Time Through Natural Change

speak too much. It should remain silent and let nature in the guise of sunlight

The revelation of time through ma is still represented in

and wind speak.

contemporary Japanese architecture today. In many of Tadao - Tadao Ando

Ando’s buildings, spaces are simple in materiality and built-in features and are designed to frame certain elements of the landscape (Fig. 12). Thus, these spaces act as a blank canvas which is periodically transformed by the changes of natural phenomena. The quality of these spaces lies in ma: the energy which fills the room with endless possibilities dependent on climatic changes, thus on the passage of time.[6] In Ando’s architecture, the indication of time is predominantly given by wind, light and water. This ties in with the conclusion I reached from my paper windmill installation, which is that we are more aware of our environment, and thus the passage of time, in the perception of the atmospheric conditions.

The oval wing in the Naoshima Contemporary Art Museum (Figs. 12 and 13) is a clear example of the delicate qualities of ma in contemporary architecture. The “emptiness” of the space is by the perception of the passage of time which is visible in the organic transformations of nature. One suddenly becomes aware of the room, and consequently, of the uniqueness of space (here) and time (now).

Fig. 12 and 13 When isolated from the outside world, water, light and wind create a “sacred” like atmosphere. Tadao Ando: Naoshima Contemporary Art Museum, Naoshima, 1992

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PHASE 4 POETICS OF SHIFTING TERRITORIES

Q3. How can “ma” inform the design of an archive building in Løgstør?

1.

The archive building will be divided into 3 interconnected parts: a space dedicated to the senses of Løgstør, a building with workshop and archive/library facilities that are accessible to the public, and a raised archive which can grow in the future to react to the rising levels of water. The archive of senses/buffer zone and circulation spaces are where ma comes into play.

Fig. 14 Master Planning Model

2 1 3

2.

The entrance/transition space(s) should have delicate aspects that are revealed through the changes in natural phenomena, such as wind, water and light. The spaces are kept simple but light and water create a ma atmosphere. This will serve as an “archive of sensations” or “buffer zone” for the main archive spaces. This will happen in the former train station building.

3.

The archive’s design should include time in the form of future growth. Certain areas of the site in the direction of the former train tracks to be left empty for future extensions to accommodate a bigger collection of archives. Circulation and storage spaces should be designed with this in mind. In the future, when the town is flooded as a result of the rising sea level, the raised archive units will be the remaining part of the archive, and naturally form a pier.

73

1

“Buffer zone” dedicated to ma

2

“Core” building/ Library museum

3

Raised archive

PHASE 4 POETICS OF SHIFTING TERRITORIES

Conclusion The design of an archive in Løgstør aims primarily to create a sense of permanence in an impermanent environment. In the past decades, floods and urban migration have caused cultural and social losses that threaten the longevity of the town. Therefore, the archive should act in two different ways: firstly, on a functional level to store and preserve skill, history, and culture; and secondly to serve as a catalyst for social change by connecting visitors and locals to the Løgstør.

The presence of ma in the design does not intend to meet the functional needs of an archive. Its purpose is to immerse visitors on an atmosphere which conveys the “sense of place” and “sense of time” of Løgstør, thereby awakening their conscience of the uniqueness of the “here” and “now”, and the importance of preserving Løgstør’s culture. Therefore, I have one space in my project dedicated to ma which will act as a cleanse of “buffer zone” at the moment of entrance and transition of spaces. This way, once the visitors reach the main archive building, they have already experienced a ma atmosphere which reveals sensorial characteristics of the town, such as the smell of seashells or the sound of the wind. The awareness of Løgstør’s sensations will create a Fig. 15 Løgstør Archive concept model.

connection between user and place.

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PHASE 4 POETICS OF SHIFTING TERRITORIES

On my very first visit to Løgstør, I was intrigued by its “traces from the past”, some of which are small urban features and others which are woven into its urban fabric. The former train (Figs. 16 & 17) station building and train tracks site captivated my interest as these were once important landmarks in the town’s history. I have selected this site as the location for the archive and made the decision to incorporate the station building on my design, as the point of entrance to the main archive and a space dedicated for the ma atmosphere.

Fig. 16 and Fig. 17 Existing former Løgstør train station building photograph (November 2018).

Fig. 18 Collage: vision for train station building with ma atmosphere.

75

.

PHASE 4 POETICS OF SHIFTING TERRITORIES

Inspired by Sambuichi’s installation in Copenhagen’s cisterns I designed a raised platform which provides accessibility to

walkway detail

re-purposed building and connects it to the main archive

walkway detail

element is raised 1m from the floor, therefore allowing access

building and archive units on site (Fig. 19). This circulation to the archive during the seasonal periods of flooding. The walkway as an architectural element is not only intended to be appreciated but to make the visitors aware of the beauty which already exists in the space.

1.

2.

3.

4.

1.

2.

3.

4.

4.

5.

Fig. 19 Walkway detail.

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1:10 SCALE BAR (CM) 0

5 10

20

50

PHASE 4 POETICS OF SHIFTING TERRITORIES

Fig. 20 Section collage of proposed architectural intervention.

This installation grants the station the status of a “ruin” and allows visitors to be in contact with the natural elements enclosed in the space to experience the senses of Løgstør.

In three of the rooms, a water feature is introduced to offer a preview of the town’s future and strengthen the overall purpose of the archive building. This concept has been studied in 3D collage (Fig. 20) and physical model (Fig. 21).

Fig. 21 Model study of proposed intervention.

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PHASE 4 POETICS OF SHIFTING TERRITORIES

Fig. 22 & Fig. 23 Section collages of proposed architectural intervention.

The former train station building becomes an empty object, or “ruin”, to be appreciated, and which reacts to the changes in natural phenomena such as the rising levels of water.

Therefore, an “emptiness filled with opportunity”, which is in essence, ma.

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PHASE 4 POETICS OF SHIFTING TERRITORIES

Fig. 24 & Fig. 15 Model study of the transformation of the Løgstør train station, with the aim of capturing the ma atmosphere.

Reference Catalogue [1] https://kyotojournal.org/culture-arts/ma-place-space-void/#_ftn1 [2] http://new.uniquejapan.com/ike`bana/ma/ [3] https://www.archdaily.com/882896/arata-isozaki-on-ma-the-japanese-concept-of-in-between-space [4] https://wawaza.com/pages/when-less-is-more-the-concept-of-japanese-ma.html [5] http://www.east-asia-architecture.org/downloads/research/MA_-_The_Japanese_Sense_of_ Place_-_Forum.pdf [6] Place, Time and Being in Japanese Architecture, Kevin Nute, 2004) [7] A Japanese Touch for your Home, Koji Yagi, 1982 [8] http://channel.louisiana.dk/video/sambuichi-sun-water-air 79

Chapter VIII This chapter contains the 2D, 3D and physical model representation of the 1st part of the design of the Løgstør Archive. It refers to the detailed design of my architectural intervention on the former Løgstør Train Station building, as well as the masterplan of the 2nd and 3rd part of the design to be realized in the spring semester.

80

PHASE 4 CRITICAL ARCHITECTURAL PROPOSITION

Architectural Drawings

Site Plan

82

Intervention Axo

83

Masterplan Proposal

84

Intervention Floor Plan

86

Section AA’ 1:150

88

Section BB’ 1:100

90

Section CC’ 1:100

92

Section DD’ 1:100

94

Walkway Structure

96

81

PHASE 4 ARCHITECTURAL DRAWINGS

Site Plan Former Løgstør Train Station Site

N

2

1

3

1:2000 SCALE BAR (M)

0 10 25

1

3

3

82

50

100

PHASE 4 ARCHITECTURAL DRAWINGS

Intervention Axo

*Not to scale

83

PHASE 4 ARCHITECTURAL DRAWINGS

Masterplan Proposal

2

B

C

D’

1

A

C’

B’

84

A’

D

PHASE 4 ARCHITECTURAL DRAWINGS

1

Transformation of former Løgstør Train Station building.

2

Main ”core” building/ library museum.

3

Raised walkway platform/future pier.

4

Raised archive.

4

3

N 1:500 SCALE BAR (M) 0

85

5

10

20

PHASE 4 ARCHITECTURAL DRAWINGS

Intervention Floor Plan N

5

B

C

3

A

C’

2

B’

1

Main entrance point through accessible ramp.

5

Archive “core” building/ library museum.

2

Foyer, information point w/ water ditch.

6

Open-air water feature, visible from the exterior.

3

Seating area/ roof partially removed.

7

Access to library museum and raised archive.

4

Winter garden, glass roof (structure preserved).

8

Room with roof structure preserved.

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PHASE 4 ARCHITECTURAL DRAWINGS

D’ 7

4 8

A’

6

1

D

1:200 SCALE BAR (M) 0

87

5

10

Section AA’

88

AA

A’

A’

1:150 SCALE BAR (M) 0

89

1

2.5

5

7.5

PHASE 4 ARCHITECTURAL DRAWINGS

Section BB’

90

B B

B’ B’

1:100 SCALE BAR (M) 0 0.5 1

91

2.5

5

PHASE 4 ARCHITECTURAL DRAWINGS

Section CC’

C C

C’ C’

1:100 SCALE BAR (M) 0 0.5 1

2.5

5

92

93

PHASE 4 ARCHITECTURAL DRAWINGS

Section DD’

1:100 SCALE BAR (M) 0 0.5 1

2.5

5

94

D ’D

D D’

95

PHASE 4 ARCHITECTURAL DRAWINGS

Walkway Structure

1

Inspiration:

1. Hiroshi Sambuichi: cisterns in Copenhagen

3

1. Walkway in Pedreira do Campo, Portugal

4

96

2

PHASE 4 ARCHITECTURAL DRAWINGS

5

1:10 SCALE BAR (CM) 0

97

5 10

20

50

Chapter IX The design brief is the outcome of the research undertaken throughout the autumn semester. It corresponds to the requirements for the Design Studies 5A class and sets the framework for the work to be developed in the spring semester, which will be a design realization.

Design Brief 1-Page Design Brief

99

Design Brief

100

Schedule of Accommodation

102

98

PHASE 4 DESIGN BRIEF

1-Page Design Brief Project Title

Løgstør Archive

Site

Løgstør, Denmark; Population: 4112 (as of 2018).

The project location is the former Løgstør train station building and train tracks site. Research has identified this area as a “trace from the past” with overlapping territories, thereby pertinent to the design of an archive.

Project

The Løgstør Archive brings permanence to an impermanent environment. The town centre

Description

of Løgstør was constructed on a historical seabed which is predicted to be flooded by the end of the century due to rising sea levels, a consequence of climate change. Hence, the Løgstør Archive responds to current and future demands by archiving Løgstør’s cultural heritage whilst addressing a climatic issue of the 21st-Century. The design project comprises 3 interconnected components: Autumn Semester •

The transformation of the former Løgstør Train Station into a “ruin” which will serve as a “buffer zone” incorporating the sensorial experience and preview of the future of Løgstør.

This is the main entry point of the archive, and circulation is made through a 1m raised platform.

Spring Semester •

The design of a “core” building for the Løgstør Archive, which will be located on the current parking lot behind the former station. This building will comprise the library, “museum” (archive collections exhibited), workshop and administrative facilities.

•

The design of a raised archive, which will sit atop a platform that will gradually turn into a pier as the sea levels rise, and will ultimately be the only structure standing in Løgstør’s old town centre.

Client

Løgstør Municipality through the Vesthimmerlands Kommune.

Users

Staff: Along with permanent staff members, the Løgstør Archive will be maintained by the local volunteering community of elders (40% of the population as of 2018).

Archive users: The Løgstør Archive is accessible to locals and visitors wishing to learn about Løgstør’s cultural heritage (locals, academics, etc). The workshop facilities are open to the local community, such as fisherman and artists, for them to and share their craft with others.

Sustainability

The design of the Løgstør Archive responds to the predictions of the rising sea levels of the

Approach

Limfjorden, a consequence of climate change. The archive units are placed on a raised timber structure which will eventually become a pier connected to the town’s ridge.

Socio-

Løgstør’s 18-64 demographics is in steady decline, whilst the 65+ population is increasing.

Cultural

Currently, approximately 40% of the retired population is engaged in at least one local

Approach

volunteering programme. In Løgstør, as in Denmark in general, cultural institutions are maintained by groups of elder volunteers. The Løgstør Archive brings volunteering opportunities for the local community to engage in.

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PHASE 4 DESIGN BRIEF

Design Brief Project Title

Løgstør Archive

Site

Løgstør, Denmark; Population: 4112 (as of 2018).

The project location is the former Løgstør train station building and train tracks site. Research has identified this area as a “trace from the past” with overlapping territories, thereby being pertinent for the design of an archive.

Project Description

The purpose of the Løgstør Archive is to bring permanence to an impermanent environment. The historical town centre of Løgstør was constructed on a historical seabed which is predicted to be flooded by the end of the century due to rising sea levels, a consequence of climate change. The locals have, however, shown resilient and continuous efforts to preserve their cultural heritage and their place on the map of Jutland. Hence, the Løgstør Archive responds to current and future demands by archiving history, culture and tradition whilst addressing a climatic issue of the 21st-Century.

The design project comprises 3 interconnected components: Autumn Semester •

The transformation of the former Løgstør Train Station into a “ruin” which will serve as a “buffer zone” incorporating the sensorial experience and preview of the future of Løgstør. This is the main entry point of the archive, and circulation is made through a 1m raised platform.

Spring Semester •

The design of a “core” building for the Løgstør Archive, which will be located on the current parking lot behind the former station. This building will comprise the library, “museum” (archive collections exhibited), workshop and administrative facilities.

•

The design of a raised archive, which will sit atop a platform that will gradually turn into a pier as the sea levels rise, and will ultimately be the only structure standing in Løgstør’s old town centre.

Client

Løgstør Municipality through the Vesthimmerlands Kommune.

Users

Staff: Along with permanent staff members, the Løgstør Archive will be maintained by the local volunteering community of elders (40% of the population as of 2018).

Archive users: The Løgstør Archive is accessible to locals and visitors who wish to learn about Løgstør’s cultural heritage (locals, academics, etc). The workshop facilities are open to the local community, such as fisherman and artists, for them to and share their craft with others.

100

PHASE 4 DESIGN BRIEF

Sustainability Approach

The design of the Løgstør Archive responds to the predictions of the rising sea levels of the Limfjorden, a consequence of climate change. The archive units are placed on a raised timber structure which will eventually become a pier connected to the town’s ridge.

Socio-Cultural Approach

Løgstør’s 18-64 demographics is in steady decline, whilst the 65+ population is increasing. Currently, approximately 40% of the retired population is engaged in at least one local volunteering programme. In Løgstør, as in Denmark in general, cultural institutions are maintained by groups of elder volunteers. The Løgstør Archive brings volunteering opportunities for the local community to engage in.

Throughout history, Løgstør’s has continuously adapted to environmental changes.

This reflects the resilient spirit of the local community, which is moved by their will to preserve Løgstør’s cultural heritage. Hence, the archive will achieve the aim of making the impermanent permanent.

The intervention in the former station building and new core building are located

Longevity

in the historic seabed, and expected to stand for 100-150 years. According to rising sea level predictions, this area will be severely flooded by then. The raised archive and platform, will then become a pier and last longer along with the current residential and industrial areas of Løgstør.

The core building of the Løgstør archive follows the industrial/commercial building

Materiality

typology of the area and is therefore constructed in steel and clad in metal. The raised archive structure is made out of timber to resemble a traditional pier.

The former Løgstør station is around 12.5m high, whilst the tallest building

Scale

adjacent to the site is 16m high. If the core archive building is 4 storey and the highest storey has a pitched roof, the building will be around 18.8m high. The raised archive will be at least 4.65m raised from the ground.

2 Autumn Semester 1

1

Intervention in former station building

2

Library Museum (“core” archive building)

3

Raised archive/future pier

3

Spring Semester

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PHASE 4 DESIGN BRIEF

Schedule of Accommodation •

Archive “Core” Building

Main Space

The main space of the archive “core” building is a circulation space, which the arrival point from the former Løgstør Station and provides access to the raised archive deck.

Facilities required: reception, info-point.

Workshop/

The workshop/co-working spaces require higher floor-to-ceiling heights and will,

Co-Working

therefore, be located on the top floors. The workshops will have a pitched roof will provide a more “industrial” feel. These are accessible through an industrial lift directly from the outside. One of the workshops should have a larger area and function as a multi-purpose hall/venue.

Workshop 1 - Industrial workshop: shipbuilding.

Workshop 2 - Artistic workshop: painting, furniture making, gallery.

Workshop 3 - Multipurpose hall / community venue.* *to host events such as the volunteering day

Common facilities required: workshop/co-working space, bathroom(s), private meeting room(s), common discussion room(s) storage.

Library Museum

The Library Museum is a combination of learning rooms with documents/objects of different categories on display, such as historical maps, furniture, architectural drawings.

“Library Museum” facilities: help counter, children’s playroom and library, bathrooms, journal and magazine area, reading room, historic maps on display, historic pictures on display, architectural drawings on display, screening room.

Café

The café is adjacent to the Museum Library rooms and is shared by the staff, volunteers and visitors. It is also located near the bathrooms, circulation points, and on the central part of the building.

Facilities: counter seating, indoor seating area, outdoor promenade, kitchen.

Administration

Office spaces are required for the archive’s administration, as well as common facilities.

These spaces are located on ground floor level.

Facilities required: flexible office-spaces (10-20 people), meeting room, bathrooms, tea point, storage.

Volunteers

Volunteers share bathroom facilities with permanent members of staff, but will have their own common room to rest, engage and store their belongings.

Facilities required: volunteer common room with cloakroom.

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PHASE 4 DESIGN BRIEF

•

Raised Archive / Future Pier

Archive Units

The raised archive units are all of the same architectural style, but its individual sizes are dependent on the sizes of the collections stored. A modular system allows flexibility in terms of size and lighting. Each archive units has a standard system of archive shelving and a small reading/study area. Some of these units can be used as restrooms.

Facilities required: area for standard archive shelving, small reading/study area, restrooms (separate from archive).

Platform/

The platform/future pier is an open-air circulation element which will connect the

Future Pier

raised archive units to the core building of the archive. It does not have programmatic functions.

103

Annex I Aarhus School of Architecture: Academic Briefs for the Winter Semester

Study Plan 2018 - 2019 Impermanence / Pop-Up Workshop Mapping the Territory / Deciphering the Environment Critical Architectural Position

STUDIO 3

TIMETABLE FALL SEMESTER

NEW BEGINNINGS

Common Workshop TP3 - weeks 36-38 “Introductory workshop on sustainability: holistic approaches” In groups of 4-5 people, across TP3, students will participate in a workshop as a starting point for critical thinking and communicating sustainability. It consists of a holistic (global) overview of sustainability and a comparative and critical study of Scandinavian exemplary buildings. Students will explore drawing a case study, and curate a TP3 group exhibition.

For CWR (Critical Written Reflection), this includes writing a critical text, in group, to communicate sustainable aspects of the case study together with a new vision/approach.

SHIFTING TERRITORIES FOR AN (UN)STABLE ENVIRONMENT

One’s destination is never a place but rather a new way of looking at things

Henry Miller

The world has shifted.

The qualities to describe the world several decades ago could be lightness, limitless, quickness, and visibility. This no longer holds. We have to add another description of the world that can be perceived in any changing element: impermanence. Architecture and its discourse thrived in a world of abundance and optimism, but now the environmental, health and climatic impacts in a finite world are clear. Hence, architecture and its discourse too are shifting.

At Studio 3 we aim to critically investigate the production of architecture under unstable territorial and environmental conditions, both now and as imagined – shifted - in the future. During the academic year 2018/2019 we will focus on local and international small settlements, located in the countryside, and characterized by historical relevance and architectural diversity. These places today are facing similar processes of depopulation, closing of manufacturing centres, loss of identity, and territorial tension through climate change. The overall goal is to allow the students to formulate, test, and develop their own architectural agenda, responding to site-specific ‘environmental’ context.

As sociologist and philosopher Zygmunt Bauman states, we got used to living in a society where there are no permanent bonds, and circumstances change over and over again.

Certainty and permanence sound today as archaic language modes used to depict ancient, forgotten, un-spoiled, or imaginary civilizations. Traditional institutions and social structures, formerly custodians of values such as stability, have weakened, dissolved or vanished.

Instability, ephemerality, and uncertainty are today the ordinary conditions of our lives. The output of our civilization has also been infected by this syndrome: technology, products, goods, methods, styles, and trends become obsolete at a very fast rate; and our increased globalised economy relies on designed-in obsolescence and (over-)consumption. Additionally, new social media forms of communication are conditioning and transforming personal relationships into something loose, malleable, evanescent, and disposable.

Paradoxically, while the human race is immersed in the quest for an eternal life, our culture is defined by items that are fleeting and ready to be replaced. Letting things go -riding the wave- has also unexpected and mostly undesirable consequences: the challenges that threaten human society are shifting as well. For example, global warming, deforestation processes, overpopulation, and migratory movements, among many others, are of a transmutable nature and can no longer be confronted according to a predetermined set of values. Indeed, the solutions applied yesterday are not effective today, while the future will bring new and unforeseen threats, but perhaps, also opportunities if we react differently.

How will we live and work now and in the future in this shifting world? What about the spaces we inhabit and the architecture we conceive? Has our physical context also acquired a shifting condition? It seems that whatever surrounds us remains in an apparent stable state. However infrastructures, constructions, landscapes, and even what we mistakenly denominate as nature, are undergoing processes of perpetual transformation at any scale.

For example, over a time span, a new residential district extends over a former industrial dock; a delightful canal substitutes one street that had been asphalted over a riverbed; an existing house is moved hundreds of kilometres away or lifted up to deal with changing territories; an apparently virginal lake occupies the pit of a coal mine; urban farms scatter in vacant lots; bricks recovered from demolished houses fill the façade of a new school; devices, materials, textures and construction methods are picked up from here and there….

As a result of this shifting world, the idea of a static, constant built environment in itself is shifting, and this also questions our role and ‘what it means’ to be an architect.

We are surrounded by spaces in transition, and impermanence, thus, defines both the condition of being, and use of the -physical and mental- territories we seize as architects.

Both territories and architects necessarily have to be versatile, adaptable, and flexible, and even reactive. Shifting territories for an unstable environment in this way can become a fascinating way of looking at the world and our role as architects within it.

The first and second semester are standalone but linked through the territorial complexity of the selected sites: Løgstør, in Denmark, and Hershey, Cuba. Both have issues of overlapping, unstable and even disappearing landscapes due to natural and man-made (climatic and other) changes. The economic and climatic disparities between both contexts will serve to confront and readjust the applied methodologies. A discussion about how to transform local and specific knowledge into global and general strategies is part of the pedagogical approach. While Denmark is regarded exemplary in renewable energy production and building fabric efficiencies, the UN has commended Cuba for its foresight in its adaptation planning to manage its territorial loss. Students will learn, critically reflect and exchange knowledge between contexts.

PH1 - week 39: Inception/Impermanence pop-up installation Following on from the workshop, students are asked to overlay a lens of ‘impermanence’ to the issues previously discussed and to represent and visualise what the Studio 3 theme “shifting territories in an (un)stable environment” might mean for them personally. In pairs, students will contribute to the ‘Inception’ pop-up exhibition project in selected shopfronts as part of Arkitekturens Dag. PH2 - weeks 40-44: Mapping the territory /Deciphering the environment In pairs, students will study and explore Løgstør by mapping in the field and at a distance the shifting and overlapping territories. In addition, they will individually decipher the local environmental context (socio-cultural and climatic) as well as influences from wider (global?) environmental issues. The goal is to ‘see’ differently and to research, communicate and present work in clear site drawings and site models. Physical conditions and philosophical approaches are to be equally considered. This group and individual research is the starting point for the next phase.

For CWR, students will continue elaborating their positioning in an individual draft report.

Support with proof-reading and tutorials by CWR tutors and studio tutors.

PH3 - weeks 45-51: Critical architectural proposition Individually, students will propose an architectural intervention, which programmatic, formal and spatial resolution will be deeply rooted in the previous analysis of territorial and environmental issues. The architectural (pro)position is to be developed through contextual and conceptual design in 2D and 3D. CWR texts and writing will support the positioning of the student’s proposal within the studio theme of “shifting territories in an (un)stable environment”. Support with proofreading and tutorials by CWR tutors and studio tutors.

TIMETABLE SPRING SEMESTER Common Workshop TP3 - weeks 6-8 “Introductory workshop on sustainability: detailed approaches” As a continuation of the fall workshop, focus will be on sustainable development and architecture in a more detailed scale. Simultaneously, preliminary research of project site in Cuba is developed. Models, drawings and a guidebook are produced and shown in group presentations. Group work (4-6 students) For DR (Design Realization), in groups, students will choose, draw and (physically) model a detailed component of a sustainability aspect of a case study building. Individually, students are asked to critically reflect on the analysed detail.

PH1 - weeks 9-10: Study trip / Field work / Conference Study trip / field work / research / analysis, mapping and documenting of the shifting territories, and (un)stable environment, in pairs. This builds on skills developed in the prior semester, and new incoming students will be paired up with continuing students. Study trip described elsewhere.

For DR, individually, each student has to select a component (related to ‘people, performance and/or poetics’) of an existing artefact of interest to them, document, survey and map its qualities and dimensions in detail and ‘reconstruct’ at scale 1:5 to 1:20 upon return.

PH2 - weeks 11-13: Mapping the territory / Deciphering the environment As per fall semester, but now based in Cuba, the Hershey Factory. Semester 9 students will be expected to understand and reflect on the difference in context compared to the spring semester.

For DR, students will develop an individual environmental/climatic/territorial and programmatic position. To be submitted in a draft report, A3 size, with annotated drawings and critical text setting out the student’s narrative. This phase will be supported by structural and sustainability tutorials and feedback on DR drafts.

PH3 - weeks 14-23: Systems, articulations, prototypes As per fall semester, individually, students will propose an architectural intervention, deeply rooted in the study of the territory and the environment. DR will support the spatial exploration and architectural expression and the use of context as a generator of architectural prototypes, articulations and systems through detailing at different scales.

Realisation of the architectural (pro)position is to be developed through contextual and conceptual design at different scales in 2D and 3D. For DR, this includes the developing and testing of different design options, in the search for sustainable strategies in the design of buildings/habitation. This phase will include more detailed building performance testing, light, air and ‘impermanence’ in drawing and modelling, supported by workshops and tutorials. Final individual design realization report submission.

The outcome of the semester is intended to be presented in shared publication or exhibition with TP3 unit 3F.

STUDIO 3 FALL 2018 - SPRING 2019

ENV I RONMENT

STUDY TRIP – description + cost The main study trip will be part of PH1 Spring Semester, in combination with field work and an international conference on Sustainable Architecture (http://s-arch.net/); where tutors (and students) propose to present work. The chosen destination is Cuba, where we will visit Havana and work in Hershey, a ghost town once created to provide shelter and facilities to the workers at the Hershey Central Sugar Factory. This location acts as a project site for students in Studio 3, shared with a Unit in TP3. TP3 intends to reach out to stakeholders and architectural network to collaborate during our stay and on return. Estimated cost: 9.500 kr.

New students joining in the Spring semester will be contacted in September to inform about the field trip well in advance. For students who cannot travel to Cuba, there will be an alternative field trip, with equivalent learning activities and learning outcomes.

CRITICAL WRITTEN REFLECTION (Autumn 2018) – Poetics of shifting territories The theoretically based CWR research and report will be centred around the poetics of shifting territories and (un)stable environments, and what this means to/for the local Danish context and emerging architectures and the student’s own positioning within this. CWR in Studio 3 will support the generation of an architectural vision and approaches, and a programme. Individual CWR report submission.

(UN)STABLE

With territory/territories, we do not just mean site or domain but also area of concern/interest/ knowledge/sphere, and world. Environment/environmental in this context to mean “relating to or arising from surroundings and conditions in which we live”, including but not limited to the natural world.

DESIGN REALIZATION (Spring 2019) – Performance and environmental imagination The practically based DR research and report will focus on the development of an architectural aesthetic expression in a non-Danish context. Students will be expected to integrate both qualitative and quantitative aspects of emerging (and) sustainable architecture and the creation of space, environment(s) and structure(s) at different scales. Specifically, the studio approach to DR will centre around each student’s own positioning within sustainable architecture, focusing on the impact of ‘technics’, ‘performance and ‘people’ on the design and detailed realisation (i.e. poetics). Individual A3 report submission.

In addition to CWR/DR organised learning activities across TPs, the studio will set specific readings, and organise additional learning activities throughout the semesters with the aim to fully integrate the CWR/DR and the studio project.

MOTIVATION / SEMESTER BRIEF / INSPIRATION The studio study plan is aligned with the school’s “Engaging Through Architecture” and TP3’s vision (see below) and broader shared activities in bachelor units.

“Teaching Program ’Emerging Architectures and Sustainability’ is passionate about investigating and imagining architectural approaches to the societal, climatic and environmental challenges in a rapidly changing world. We explore the making of space and our role within this process through emerging methods and tools both at different scales and in local and global contexts. We design for the needs and well-being of people which is the foundation for a resilient and healthy environment. Our emphasis is on examining how trans-disciplinary approaches involving anthropology, sociology and psychology can qualify architectural design and how contextual influences such as politics, history, culture, ethics, climate/climate change, pollution, ecology, (scarce) resources, economy, technology, etc., can foster new qualities and imagination. These contextual influences enrich and inspire rather than inhibit architectural design.”

Sofie Pelsmakers Assistant Professor, Ph.D., sp@aarch.dk

Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

SHIFTING

ASSESSMENTS (from study regulations) You will find the academic regulations for the bachelor and master’s degree programmes by following this link: http://aarch.dk/info/school-web/curriculum2016/da/

NEW BEGINNINGS

More information about general learning outcomes here: http://aarch.dk/wp-content/ uploads/2016/09/ENG-Studieordning-for-kandidatuddannelsen-g%C3%A6ldendefra-1.9.2016.pdf

TERRITORIES

FOR

AN

LEARNING OUTCOMES Students in Studio 3 will, in addition to learning outcomes and objectives listed for semester 7 to 10, be able: • to think critically about societal and environmental challenges, and formulate critical architectural responses; • to understand and decipher the challenges and the opportunities of shifting territories and environments; • to react to, and use these contextual challenges as a driver for an architectural vision and proposition; • to understand holistic emerging and sustainable architecture approaches and to critically position themselves in the sustainable architecture discourse; • to learn to ‘activate’ architectural propositions through self-programming; • to understand and be able to qualify decisions and compromises made in response to (sustainability) tensions within the project’ • to use environmental imagination as an opportunity for architectural creativity; • to be able to transfer and receive local knowledge to new, global contexts, and vice versa; • to learn to communicate and (re)present the architectural, environmental and spatial qualities of one’s own sustainable design project proposal through different media; • to peer review and take part in collaborative processes and constructive feedback practices.

STUDIO 3 FALL 2018

INCEPTION/IMPERMANENCE POP-UP INSTALLATION PHASE 1 - WEEK 39 Ideally, nothing should be embraced by a consumer firmly, nothing should command a commitment till death do us part, no needs should be seen as fully satisfied, no desires considered ultimate. There ought to be a proviso ’until further notice’ attached to any oath of loyalty and any commitment. It is but the volatility, the in-built temporality of all engagements that truly counts; it counts more than the commitment itself.

Zygmunt Bauman In the TP3 common workshop, we started critical thinking about holistic sustainability and communication of Scandinavian exemplary buildings and how this can lead to a new vision/ approach at different scales. Following on from this, students are asked to overlay a lens of ‘impermanence’ to the issues previously discussed and to represent and visualise what the Studio 3 theme “shifting territories in an (un)stable environment” might mean for them. In pairs or individually, students will contribute to the ‘Inception’ pop-up exhibition project in selected shopfronts as part of Arkitekturens Dag on October 1st. ’Inception’, the title of the exhibition project for Arkitekturens Dag, relates to a sciencefiction film by Christopher Nolan about planting ideas in other people’s heads and about dreams and dream incubation. Hence, in this one week workshop, we aim to critically and imaginatively investigate the conceptualisation of ’impermanence’ as related to unstable territorial and environmental conditions, both now and/or as imagined in the future. Not only will students deal with impermanence as a subject, but also as a physical manifestation of a temporary 3D ’installation’ in one of the shopfronts along Nørregade and Nørre Allé, in Aarhus. Impermanence is also present in the fleeting nature of passers-by on the street (and customers in the shop), and even what may be sold and consumed in the shops.

How to engage people, and convey a message, that perhaps, is longer-lasting than the exhibition of the installation in the shop window? How to stop people? How to combine ideas of sustainability and impermanence with a shop’s reliance on consumption and impermanence for it to survive? How to show the power of creativity and imagination to the local community?

COMMITMENT WITH REAL CLIENT The shops are very different to the type of shops you´ll find in the gentrified areas in the Latin Quarter. Many shopfronts have no clear identity or presence and vary in content and quality. The shop owner will act as your Client, with its customers and passersby on the street as users. By making a visual statement with regards to the subject of ’impermanence’ through an impermanent installation, the shopfronts give you an opportunity to disclose your areas of interest related to global/local sustainability.

Many shops have agreed to participate so far and are ready to put room, walls, windows or floors at your disposal. Each student will be allocated one shopfront. However, working in pairs and making two correlated installations is also an option. The character of the intervention/s has to be formulated together with the shopkeeper. The understanding of the contextual conditions of the shop, Client´s desires, and (intended) users’ experiences are key to the development of the task.

Among the shops are hairdressers, real estate dealers, bikeshops, IT-shops, a baker or an embroidery shop. The proposed installation could be anything from an embroidered statement, a comment on waste or consumption, a critical vision about obsolescence, an ephemeral performance or installation in the shop....etc.

The overall goal is to encourage the students to formulate, test, and develop their own agenda, responding to site-specific and a deeply personal interpretation of the ‘environmental’ context. The time scale and material resources are purposively limited: architects necessarily have to be versatile, adaptable, flexible, and even reactive.

Budget: Each student will have 1000 DKR for materials (based on receipts) TIMELINE Monday 24/9. Introduction to the brief. Lectures by Karen Kjægaard and Polina Chebotareva.

Tuesday 25/9. Sketching out ideas. Testing mock-ups.

(Lecture by Prof Walter Unterrainer. Gymnastiksalen, 9-10.30) Wednesday 26/9. Review and discussion of conceptual ideas.

Thursday 27/9. Finalising ideas and fabrication.

(Lecture by Yashar Hanstad, TYIN. Gymnastiksalen, 3-4) Friday 28/9. Finalising ideas and fabrication.

(Lecture CWR. Studsgade, 10-11. Peer-peer review draft text among students) Sunday 30/9. Mounting/placement. Documenting installation process.

Monday 01/10. Exhibition opening. Documenting Client/user engagement.

NEW BEGINNINGS

SHIFTING TERRITORIES FOR AN (UN)STABLE ENVIRONMENT Sofie Pelsmakers Assistant Professor, Ph.D., sp@aarch.dk

Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

STUDIO 3 FALL 2018

MAPPING THE TERRITORY / DECIPHERING THE ENVIRONMENT PHASE 2 - WEEKS 40-44 There is only life in the margins

Honoré de Balzac

In the Inception/Impermanence workshop, students were asked to overlay a lens of ‘impermanence’ to the global sustainability issues previously discussed. Following on from this, we will continue to explore the theme of ’impermanence’ of the Studio 3 theme “shifting territories in an (un)stable environment”. A site visit to the territory of Løgstør in the Limfjord region will act as the starting point for unfolding the different layers of the territory and deciphering the environmental context.

MAPPING THE TERRITORY The European territory has been deeply altered over the past two centuries. Since the 19th century, it has undergone intense transformation processes due to the industrial revolution.

Its original natural valleys, puntuated with rural settlements, have transmuted into thriving territories layered by the accumulation of different landscapes. From an architectural point of view, it led to the emergence of specific building types, closely related to their corresponding landscapes. The barn, the residential block and the factory, for example, respond to the needs generated by the rural, urban and industrial landscapes where they lie.

The evolution of each of these landscapes has not stopped yet, but still continue, struggling relentlessly with the rest: sometimes giving ground, sometimes retrieving it. Thus, their boundaries, far from being stable and precise, are in constant fluctuation. From time to time, their coexistence does not take place in a regulated or ordered fashion. In places of greater friction, boundaries become fuzzy, making it hard to distinguish between them and to accurately demarcate their areas of influence. When it happens, the territory is perceived as a fusion of opposing albeit intertwined identities. This situation inspires the emergence of alternative constructive models, which formal configuration is to be found halfway between the landscapes converging in them. They are situated in our mental outskirts, occupying a marginal site.

Where do functions, programmes, economies and cultures related to these landscapes meet, separate or overlap? Where does the landscape stop, start, engulf or is engulfed?

What perpetual changes are occuring to seemingly stable infrastructures and constructions?

How have these dimensions shifted over time, and how might they shift?

DECIPHERING THE ENVIRONMENT Additionally, the environment also ’overlays’ and subjects (fluctuating) conditions, identities and boundaries in and on the territory. These are usually physical conditions but philosophical approaches are to be equally considered. Deciphering the environment means deep research and understanding of socio-cultural and climatic influences in the Løgstør territory, as well as influences from wider (global?) environmental issues. This deciphering builds on previous explorations of broad sustainability issues and the student’s own positioining about the environment.

During Phase 2, students will work in pairs to map the shifting territories of Løgstør, according to the landscape categories they consider. The aim is to identify those areas of friction where two or more landscapes overlap. Furthermore, the fieldwork, the research development, and the use of a geographic information system (GIS) will serve to analyze how their perimeter, infrastructures, and constructions evolved over time. Likewise, in deciphering the environment, students will individually document and map socio-cultural and climatic conditions of their interest. This task will serve to designate a specific area of interest in the territory and a possible programme, as well as a set of attributes for the future project development. The outcome will be presented in models and drawings by the end of the phase. The obtained material should represent the impermanent and shifting qualities of the analyzed area in a dynamic way: e.g. motion animation, a time series of models, stop motion collage etc. This group and individual research is the starting point for Phase 3, which consists of a critical architectural proposition.

CWR For CWR, students will continue elaborating their own position to ’shifting territories in an (un)stable environment’ and what it means for site and programme, in an individual draft report. Support with proof-reading and tutorials by CWR tutors and studio tutors.

LEARNING OUTCOMES The overall goal is to encourage students to understand the challenges and the opportunities of shifting territories. In addition, students will be required to think critically about societal and environmental challenges, and use them to develop their own agenda, programme and architectural vision.

NEW BEGINNINGS

SHIFTING TERRITORIES FOR AN (UN)STABLE ENVIRONMENT Sofie Pelsmakers Assistant Professor, Ph.D., sp@aarch.dk

Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

STUDIO 3 FALL 2018 LØGSTØR TRIP / FIELDWORK During the field trip, undertake below 3 activities. We recommend you do them sequentially.

Activity 1. Territorial approach / Navigating in the margins Walking is a powerful way of experiencing and measuring a territory. It is also a way of discovering otherwise hidden aspects, which can lead to a reinterpretation of the territory and its properties. The territorial approach to the site consists of a planned walk according to the following instructions: 1. Use google maps to identify an area where different landscapes/categories may converge or overlap.

2. Draw on a map the estimated perimeter of the area and the trajectory of a walk to be performed along its margins (1-5 km).

4. Document with images, measurements, notations and comments all the elements/traces that reveal the clash between overlapping landscapes/categories.

5. Register possible deviations from the estimated perimeter and the planned walk (use GPS if possible/necessary).

6. Make a new map representing both perimeters (estimated and actual) and add into it the position of your finding/discoveries. Identify patterns.

7. Make a booklet; the first of three chapters to display a graphical catalogue of constructions, elements, forms, materials or qualities that manifest the overlapping of shifting territories.

Activity 2. Climatic approach / Stalking a theme One of the methods that artist Olafur Eliasson uses to register a territory is by making a photo series of a particular kind of element or event. He applied it to glaciers, volcanos, islands, caves, faults, lighthouses, huts or urban constructions. The photo series remind us of the exploratory powers of following a specific theme. By focussing on the particular rather than the general new nuances and details are revealed. In this walk we want you to rigorously and persistently follow (stalk) the traces of one environmental/climatic issue of your choice. They can be traces found in organic forms, construction materials, structures, typologies, details, patterns, geometries, symbols, vegetation, etc. The instructions to perform this walk are the following: 1. Predefine an environmental/climatic theme that you find relevant to investigate.

2. Select an area to begin your stalking and choose a deadline for your walk.

3. Document the elements belonging to your theme by photographs following the same parameters (distance, height, focal angle and light, should be treated equally to assure homogeneity in the photo series) 4. Register the trajectory of your walk and the location of photographs (use GPS if possible/ necessary) 5. Include in Booklet Chapter 2, the photo series of this walk, adding a map with indications of where the photographs were taken.

Activity 3. Socio-cultural approach / Engaging with the locals In the Inception/Impermanence workshop, students were given a client. This time, the fieldwork activities involve the search of a local community, association, club, non-profit organization, start-up company, artistic collective, minority, cultural group, etc. that will (can) act as clients and users of the future architectural proposal. After a couple of days in Løgstør, probably you met and interacted with different people or found some locals or groups/association that caught your attention. It is time to approach them and kindly ask some questions about their community, daily-lives and wishes for the future. A data form has to be filled in according to the following parameters: Group/association name - Date of establishment or arrival (if relevant) - Number of members - Organized activities and events - Material needs - Spatial needs - Annual budget (if possible) - Brief description - Any other relevant information Include in Booklet Chapter 3 this documentation, adding supporting sketches, drawings, photos, etc. (ask for permission).

TIMELINE - refer to Moodle for daily (and up to date) events Tuesday/Thursday 02-04/10. Trip to Løgstør. Fieldwork (Activity 1, 2 and 3). (cost trip: approx. 250 DKR per person; museum entrance 50 DKR; train/bus/car travel) Wednesday 03/10. Common meeting /sharing findings (20-21).

Friday 05/10. CWR Workshop 3.

Monday 08/10. GIS lecture by Martin Odgaard (Studsgade 10-11).

Friday 12/10. Tabling: Mapping, booklet, area & programme of interest.

(Lecture CWR. Studsgade, 10-11) Monday 22/10. Lecture by Katrina Wiberg (Studsgade 10-11).

Friday 26/10. Tabling: Individual positioning. vision, theme, programme for the site.

Thursday/Friday 01- 02/11. Phase 2 reviews.

(Lecture CWR. Gymnastiksalen, Friday 10-11)

NEW BEGINNINGS

SHIFTING TERRITORIES FOR AN (UN)STABLE ENVIRONMENT Sofie Pelsmakers Assistant Professor, Ph.D., sp@aarch.dk

Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

STUDIO 3 FALL 2018

CRITICAL ARCHITECTURAL PROPOSITION PHASE 3 - WEEK 45-ASSESSMENT JAN 10-11th 2019 The intention of design should be to discover the fundamentals of the problem, program and setting, and to express these with both technical expertise and poetic insight.

Dean Hawkes We will continue to explore the topic of ’impermanence’ of the Studio 3 theme “shifting territories in an (un)stable environment.” A site visit to the territory of Løgstør in the Limfjord region has acted as the starting point for unfolding the different layers of the territory and deciphering the environmental context, and how this can generate a programme, specific site, users, and vision for a critical architectural proposition. Individually, students will propose an architectural intervention; its programmatic, formal and spatial resolution will be rooted in the previous analysis of territorial and environmental issues (including socio-cultural and climatic). The architectural (pro)position is to be developed through both contextual and conceptual approaches in 2D and 3D. PH3.1 / SYNTHESIS OF OVERLAPPING INTERESTS (week 45) The design process starts by combining and consolidating all of the learning undertaken so far since the start of the semester. Each student will reflect and make visible his/her overlapping interests and investigations from the TP3 common workshop, the impermanence pop-up shop, CWR reading, writing, and discussion, as well as the knowledge gained from the latest phase (mapping territories and deciphering the environment). The aim is to overlap investigations and areas of interests as a tool to unfold a complex position. Your overlapping approach will be ’tabled’ at the end of the first week, without digital tools or screens, and only using design process drawings and sketches. You will also be expected to share a clear vision (with a project title), building on feedback from Phase 2 reviews.

PH3.2 / DEVELOPING AND COMMUNICATING THE CRITICAL ARCHITECTURAL PROPOSITION AND POSITION Students are expected to develop their critical architectural proposition until the period of assessment. This includes exploring, testing and communicating the intended spatial, material and architectural quality of the proposal through sketches, diagrams, drawings, and collages. Model investigations are also an essential part of the architectural design.

Therefore, each student is asked to develop a series of iterative conceptual and contextual models (i.e. more than one draft model), as an intuitive response to the chosen theme, site, and programme. The intention of the model series is to explore, test and spatially develop intuitive responses to the initial vision, and to help students to position themselves in relation to the self-identified issues and interests.

Contextual model: Material: reclaimed timber. Dimensions: free. Scale: 1:500.

Conceptual model: Material: reclaimed timber. Dimensions: A4 size. Scale: free.

Set out clearly what you are investigating in each model and what ideas it unfolds, and what you uncover in the model tests, which should be made in grey card. The design process and reflections are to be documented through a series of photographs of the design process/ iterations. The development of the project will be supported by individual desk tutorials and small group tabling. Initial tutor feedback will also be provided for CWR submitted draft texts.

TIMELINE - refer to Moodle for daily (and up to date) events Monday 05/11. Introduction to Phase 3 and start PH 3.1. Talk Mads Bay Møller.

Friday 09/11. Tabling synthesis work.

Friday 16/11. Talk Mads Nygaard.

Friday 30/11. Tabling model review.

Thursday/Friday 13-14/12. Reviews.

Monday 17/12. Submit final CWR. Friday 21/12- Tuesday 01/01. Winter break.

Thursday/Friday 10-11/01. Final presentation - assessment.

NEW BEGINNINGS

SHIFTING TERRITORIES FOR AN (UN)STABLE ENVIRONMENT Sofie Pelsmakers Assistant Professor, Ph.D., sp@aarch.dk

Nacho Ruiz

Assistant Professor, Ph.D., nra@aarch.dk

Mads Nygaard

External lecturer, cand. arch. mny@aart.dk

Mads Bay Møller

Temporary Lecturer, cand. arch. mbm@aarch.dk

A plan for Tokyo. Kengo Tange. 1960

LEARNING OUTCOMES The overall goal is to encourage students to critically and reflectively develop an architectural proposition that responds to and embraces the challenges and the opportunities of shifting territories and environments. In addition, students will be required to think critically about societal and environmental challenges, and formulate critical architectural responses; and to react to, and use these contextual challenges to develop their own agenda, programme and architectural vision.

University of Strathclyde Department of Engineering MArch Architectural Design (International) Design Studies 5A January 2019 Hugo Rafael Da Mota Silva Registration Number: 201881143

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