101
102
105
106.5
104 101
114
116
117
009
013
019
Looking in bewteen about a jurney into a fantastic world 122
DALE NKD VILLA FAGERHEIM programatic exposĂŠ KRISTIAN FERDINAND ADOLPHSEN
BAS master course spring 2014/28/02 014
016
017
018
101
102
105
106.5
106
107
001
108
005
112
006
113
008
120
104
111
118
119
101
113
114
116
117
123
009
122
013
019
018
017
016
014
017
122
116
123
013
014
016
017
018
019
This work is made by This book is about
excoriation division composing
printing layering deviding
Preamble From the beginning of the course, „skin“ has been a topic of interest. The task of building a model of the Villa Fagerheim has increased this interest to work with layers and fictive spaces both inside the Villa and in between the walls or better said of the model. The first decission has been to figure out some particular spaces of the model to be able to overcome the task. The spaces are chosen by its shape and size. The creteria for the most complex cast is the treatment of mauld by filling the whole basement of the side appartment. The casts are taken out of the model`s context and are photographed individually. The casts are 1:1 by the same materials used in the model, including the images of the view. These left- overs becomes contextual elemtents initiating the processe of investigation, testing, transforming and developing the work. The casts appear in new contexts when unfolded, combined with the casing elemets or set into relation with a modulor. Later on, the work becomes more experemental and the methodes changed: The casts get less important by the time, while spatial speculations get more into focus. Basically is the work about layers and not about volumes. The methods are zooming, expanding, multiplying, layering with different oppacity, mixing pictures of the originals, inverting the colour, contrasting and rotating. This work is about finding ways to explore spaces and trying to make a fairy tale as an leading tread to spetial questions. The model of Villa Fagerheim was characterized as „paranormal“. The topic of parallelity occurs again in this work
A former teacher told me about one of Leonardo Da Vinci´s investigations asking for what there is in bewteen water and air. I think this is a physical as much a methaphysical question. Later I found out more. It is about the tensions between the four elemets in order to fatal scenarios. „Observe first of all sea and earth and sky [. . .] one day shall consign to destruction the mighty and complex system of the world, upheld through many years, it shall crash into ruins. The watery element will be pent up; . . . (then) the cold and rarified air has disappeared. Then the earth will be forced to close with the element of fire and its surface will be burnt to cinders, and this will be the end of all terrestrial nature. By lucretius In theese scenarios there are different catalyst, the smaller ones, are the battle bewteen the elements were one of those wins, sometimes water, air, or fire or even earth. In the final destruction stones fall off mountains, temples and images are destroyed. It is a matter of nature and culture as well as the ruin of humankind. A catalyst is something disturbing, changing and accelarating a process. This text works partly as a catalyst in this project.
preamble and presentation of the material chapter one: images, prints and space chapter two:layer, print and skin chapter tgree: atagonist - protagonist, invisible forces chapter four: tension, plasticity and elasticity chapter five: scales and transformations chapter six: potential of spaces chapter seven: interactions create spaces chapter eight: potential and synthesis
Studies of the four elements by Leonardo Da Vinci
021 021
101
401
101
401
601
5.401 601
5.401 011 011
111
811
111
811
711
911 711
911
221 221
121
121
611
611
411
411
311
311 211
5.601
501
5.601
211
801
801
501
201
201
101
101
701
701
321
221 321
221
310
900
310
410 410
610
610
710
810
710
900
810
800
800
600
500
600
500
100
100
910
910
021 021
101 101
201
201
301
5.601
301
5.601
601
601 701 701
701
701
211
311
211
311
710
611
411
911 911
710
611
411
811
811
111
401
111
101
401 101
321
221 221
321
500 500
800
600
800
600
900
900
310
310
810
910
810
910
710
610
710
610
410
410
120 120
101 101
102
102
105
105
106.5 106.5
106
104.5
106
104.5
107
108
107 113
112
108
114
112
113
114
116
116
117
117
119
123
123
001
005
006
001
008
005
006
009
008
009
122
121
119
118
122
122
121
118
111
104
101
104
101
111
110
110
122
013
013
019
018
017
016
019
014
018
017
016
014
120
120
111
118
119
017
104
118
111
116
114
119
017
113
112
107
114
113
112
107
101
102
103
106.5
106
107
116
101
102
103
106.5
106
104 101
107
101 122
123
122
123
013
009
008
005
006
013 014
016
017
018
A
B
101
105
102 106.5
106
106.5
016
017
018
106
106.5
106.5
107
106
107
108
006
005
D
E
G 106
106
008
019
C
F 105
009
019
014
106
106.5
107 108113
112
108 107
107
108
108
112
113
114
107 112
112
112
113
113
108
113
114
112
116
114 113
114
114
116
116 114
116
117
116
117 116
117
117
117
117
123
001
005
006
001
001
008 005
001 005
006
001
005006
005 008
006
006
008
009
001
008
005
008
006
009
009
008
009
009
009
013
013
013
019
120
120
120
B
104 101
104 101
111
104
118
101
104 119 111
118
111
118
111
A
118 111 119
120
120
017
019
013
019
016
019
018
017
019
018
01
F G
D 119
018
013
120
C
118
013
119
111
119
118
119
017
122
122
122
122
122
122
123
123
123
E
Plans: Thanks to Gjøran Dørheim 014
016
017
014
018
016
017
014
016014
017 014016
018
017016
017
018
014
018
016
018
017 019
C E F
G
B
A
D
Arise of a parallel world. The basement of the side- apartment of Villa Fagerheim is expected to be the origin of mauld. It is a poisened space to avoid and maybe the most eerie space in the villa. Filled and inaccessible, it becomes a space for speculation: What could be inside or even what should be there? By coulouring white, the character of the space as well as the spaces in between changes
Theese are sketches on the initial idea of turning the space into the opposite. It is creating another kind of space which is beyond the understanding of the spaces in Villa Fagerheim. It creates another logic of space as well as the concept of the spaces, when taken out of its former context inside the Villa.
chapter one: images, prints and space
A „parallel world“ appears.
What is an image? Can view be an image? Does an image have to be „painted“? Has an image to be framed?
Is an image a skin or a layer? Does one watch a picture or looking into the cast?
Negative space, space, print The casts are a representation of the volume of the space. The cast has a coat, given by the surface of the wood, but it also works in the opposite. The surface is the boundry point. All three elements are originals and different (will be specified) by the same process. All layers has left a print on each other. Are they images, unfoldet layers or space?
„There are controversal opinions about casting among architects (Utzon, Le Corbusier). Some say casted concrete should not have any traces of the casting form, others argue for the opposite.
I can only speculate that it has something to do with the nature of a material and its pureness. Is it naked or pure?
chapter two: layer, print and skin
A print is telling about what have been there. An image is a layer which is neglecting. A print is creating new spaces.
What is skin? Is it a print or an image. Is skin an organ, which is protecting, hiding and containing something? What is it attached to? Is the skin a referance to the wall? Can it be a referance to something else? Hypothesis: the skin is creating the space.
chapter three: atagonist - protagonist, invisible forces
F concrete = F casting form = 0 Is the cast a mass? Is it a sequence of layers? What is binding it?
Is force (F) an invisible layer? Layers can be immaterial. Force and light. Does concrete have an inner force? What is its force when fluid and what when massiv? When dry, there is a tension between formwork and cast when removing. It needs another, third force to seperate something which has been a unit. At least there has been a layer tying framework and plaster together. The skin becomes a left- over and a trace of the process of seperating.
This image is a plan, section, elevation. It is made by several layers of prited and unprinted tracing paper. There are equal layers which are invisible but affecting the space. The technique is about adding and repeating with equal and different materials.
chapter four: tension, plasticity and elasticity
It is an experiment about plasticity and elasticity of space.
chapter five: scales and transformations
How big is space? ...and what is it?
The elements, the surface, the spaces in- and outside the surface, patterns are changing dimension and meaning by scaling through a modulor and setting it into relation to the body´s dimension. There are parallel dimensions and meanings at the same time. Parallel existence.
Could you enter it? How big are you?
chapter six: layers and accuring spaces
Theese are sections through the pocket models of Villa Fagerheim. The spaces which occured are unseen before. What kind of spaces are they containig?
chapter six: potential of spaces
Section through two different pocket model of Villa Fagerheim. Elements get a new meaning. They become walls or caves creating spaces in a mystical world. Spaces are boundry points and containers. Is there forces or layers in between? Again there is a discussion about scale when speculating on space inside the „bubbles“.
Extraction of a section of a pocket model of Villa Fagerheim. 27 layers creates space with different as well contradicting deapths.
The pictures can be read as plan, elevation or perspectiv pictures of spaces. Theese are spaces which are not existing on the plan of Villa Fagerheim. They are imagenary spaces which could be there...or maybe they are, but invisible. The image below can be about fire or a „gate to hell“. Turned around it becomes something lighter from a dreamy world. This can be a possibility for telling a catastrophic or a fantastic storry.
chapter eight: potential and synthesis
Disappearing surfaces opens spaces. It is maybe about the potential of surface and light.
chapter seven: interactions create spaces
D B
w M
D-W-B-M tells a history about moving through a kind of landscape with different characters and maybe dangers. A map helps you orientate and navigate. It is telling about spatial changes and characters of elements. There are different types of maps and different criterias. Some are pragmatic, prosaic and measurable, some poetic, giving other information about qualities, colours, shapes and can tell tails. I guess such a map occurs when a picture becomes „tree- dinensional“ and is articulating points. Is there a particulare movement pattern and rythms in Villa Fagerheim and its spaces. Are there landmarks? How are the spaces/ will the space be combined? Work in progress.... D B
w M
Thoughts on Nietzsche: Ecce Homo Ja, ich ich weiss woher ich stamme, ungesättigt gleich der Flamme, glühe und verzehr ich mich. Licht wird, was ich fasse, Kohle, was ich lasse. Flamme bin ich sicherlich. Friedrich Nietzsche
Thoughts on Leonardo: What do the elements relate to and how? Fire - iron. Fire - air. Fire wood. Fire - water. Fire- water - damp -air. Theese combinations seem to be something about a kind of harmony in order to transformation and on the other hand about destruction and winning.
A catalyst is a disturbing moment. Dancing Tango, one breaks the rythme to provoke new movements from the partner and thereby gives a new „character“ to the dance. Hypothesis: Catalysts are influencing the space. They are changing the qualities of spaces and maybe changing the, dynamics, pasticity, attachment, affinity of layers and spaces. The layers can allow spaces to accoccur, be connected or denied. There are possibillities of being pushed off or melting.
Is it a space or a wallpaper? Is this a picture and were is it hanging? Is it the surface of a material? If it is a space, where is it? What is happening there? Is it back a wall? Is it between? How big is the space or how big is the viewer in front the wallpaper or in the space? Is it in a bubble in the casts? Theese pictures have been created by zooming inro the woodwalls, turning overlaying several layers of different material. It could be interesting to see if there is an affinity between material, technique and result.
120
104.5
119
122
121
111
118
104
101
110
122
106
114
113
112
009
107
008
006
107
005
106.5
103
102
101
I understand this work as a collection of material which can create a story line. I assume that layers and forces will be an important topic for the further project later on. 104.5
111
104
The task will be to find out what the layers and spaces are, what they consist of and what they are connecting to. It will be nessecary to figure out what the catalyst are and how they behaves and how they are influencing layers and spaces. Anyhow - It will be a jurney.
101
110
by Kristian F A
106
106.5
103
102
101
It is clear to me that the fungi affected spaces should be kept in order to this project. Maybe there are other ways to keep it but filling it. It is still open if other parts, rooms, walls should be kept or not. It will be necessary to find and to delve into references of the building and its surroundings. This could be spaces, building/ construction elements (Olgiati), cracks in the wall (Thomas Wiesner), building process and/ or spaces.